Since 1989, El-Funoun underwent a long period of theoretical debate, experimentation, professionalization and restructuring. Although these processes are continuing, their first yield was in 1994. “Talla Wara Talla” was a multi-faceted experiment containing some old El-Funoun classics, while examining original dance forms and styles, new costumes, non-traditional music, unconventional choreography and the use of special visual and sound effects. The work was never meant to tell a story or to have any dramatic gluing theme, but rather was presented as a collection of some newly interpreted old dances and some novel, dances and songs that carried substantial elements of change.
Overall, El-Funoun tried in this work to further develop its experience in creating contemporary Palestinian dance, freeing itself more pronouncedly from the fetters of folkloric dance, while maintaining the characteristic Palestinian spirit that stems from folklore, and that has always distinguished the Troupe’s productions.
In “Talla Wara Talla”, the audience was given a taste of the old and a good dose of the new in the same offering, to allow viewers to compare, contrast and judge for themselves. As expected, this experiment stirred waves of criticism, admiration, debate and then ultimately, approval.
"Haifa, Beirut & Beyond", 2003
“Zaghareed” (Ululations),1997
“Talla Wara Talla” (Tableaus),1994
“Marj Ibn 'Amer”(The Plains of Ibn 'Amer),1989
“Afrah Filastiniyah” (Palestinian Festivities),1987
“Mish’al” (Lantern),1986
“Wadi a-Tuffah” (The Valley of Apples), 1984
“Folkloric Scenes”, 1982
