Although normative constructions of masculinity in Palestine denote emotional suppression as an idealized attribute, extreme subjugation under the grinding realities of a colonial military occupation requires that this ideal is negotiated. This article explores Palestinian rap as a channel through which emotions related to individual and collective oppression are expressed within the (fluid) parameters of a particular emergent masculine performance. Through qualitative research with young Palestinian men living in a refugee camp, I argue that emotional expression within this musical culture both functions to reconfigure binary gendered dynamics, while simultaneously masculinizing emotionality through a dialogic performance of emotion, nationalism, resistance, and paternalism. In some ways, patriarchal gendered binaries are hence challenged in and through the performance of Palestinian rap, while in other ways these are reconfigured so that men’s emotional expression can be subsumed within them. This article, therefore, examines the negotiation of “masculinity as emotional suppression” through rap, in a context in which internal patriarchal powers are routinely threatened by colonial patriarchal forces.

尽管巴勒斯坦男子气概的规范建构将情绪压抑表示为一种理想化的属性，但在殖民军事占领的残酷现实下的极端征服要求对这一理想进行谈判。本文探讨了巴勒斯坦说唱作为一种渠道，通过这种渠道，与个人和集体压迫相关的情绪在特定新兴男性表演的（流动）参数中表达。通过对居住在难民营的年轻巴勒斯坦男子的定性研究，我认为这种音乐文化中的情感表达既可以重新配置二元性别动态，同时又可以通过情感、民族主义、抵抗和家长式的对话表演来使情感男性化。在某些方面，因此，在巴勒斯坦说唱表演中并通过表演，重男轻女的性别二元对立受到挑战，而在其他方面，这些都被重新配置，以便男性的情感表达可以包含在其中。因此，本文探讨了在内部父权权力经常受到殖民父权势力威胁的背景下，通过说唱来协商“作为情绪压抑的男子气概”。