This work was a turning point in El-Funoun’s artistic experience. For the first time, El-Funoun gallantly challenged preexisting notions about how Palestinian dance should look like. From the specially designed colourful costumes, to the not-so-familiar choreography, that derived from folkloric Palestinian dance , but also was slightly influenced by ballet and contemporary dance, to the sound and light effects, to the fresh more expressive spirit, El-Funoun broke new grounds and set new standards in Palestinian popular dance.
“Marj Ibn ‘Amer” tells the story of a Palestinian village’s struggle against a feudal lord who conspires with the occupiers to grant them control over the vast fertile plains of Ibn ‘Amer, in return for helping him to kidnap a local village woman called Khadra. Khadra’s lover, Kan’an, representing the strong determination of his people to fight injustice, and driven by his own affection for Khadra, battles with the feudal lord, winning back his beloved Khadra. The entire village celebrates the victory and the following wedding of the two lovers, and vows to continue the struggle to liberate their dear Marj Ibn ‘Amer. Amidst all the events, a baby boy is born to Khadra and Kan’an. This boy grows up and picks up where the older generation left off, armed with a symbolic stone.
Needless to say, this production succeeded against very unfavourable odds. It was created in mostly clandestine dance sessions during the first two years of the Palestinian Intifada, facing not only the obvious repressive measures of the occupation, including arrests of several key members of the Troupe, but also internal criticism by some Palestinian intellectuals, who believed that cultural expression during the Intifada should exclude music and dance, except for the very overtly political works.
El-Funoun rejected those views, insisting that its artistic work not only does not contradict with any form of struggle, but on the contrary compliments those other forms by addressing cultural/intellectual dimensions of the struggle that should never be ignored or shelved. A few years later, and after fierce dialogue and debate, most Palestinians came to accept El-Funoun’s avant-garde endeavour, some of them with clear enthusiasm.
"Haifa, Beirut & Beyond", 2003
“Zaghareed” (Ululations),1997
“Talla Wara Talla” (Tableaus),1994
“Afrah Filastiniyah” (Palestinian Festivities),1987
“Mish’al” (Lantern),1986
“Wadi a-Tuffah” (The Valley of Apples), 1984
“Folkloric Scenes”, 1982
