This article explores the revival of Palestinian indigenous performance practices that were part of the Sufi Nabi Musa festival. Focusing on the 2018 and 2019 government-sponsored performances, it examines how the different sociopolitical changes that took place in Palestinian society, following the mass expulsion of Palestinians from their land in 1948, have led to the marginalization, politicization, and eventual revival of indigenous performance practices, which are an important part of Palestinian theatre history. Exploring Sufi rituals as indigenous performance practices shows that theatre forms not based on appropriations of European-style theatre existed in Palestine in the twentieth century. It also raises important questions as to why many of them have been neglected by Palestinian non-governmental theatre organizations (NGOs). Dia Barghouti is the Arab Council for the Social Sciences Postdoctoral Fellow at the Abdelmalek Essaadi University in Morocco. Her research focuses on indigenous performance traditions in the Levant and North Africa. Her work on theatre and Sufism has appeared in New Theatre Quarterly and Jadaliyya.

本文探讨了作为 Sufi Nabi Musa 节一部分的巴勒斯坦土著表演实践的复兴。重点关注 2018 年和 2019 年政府赞助的表演，它研究了在 1948 年巴勒斯坦人大规模驱逐出他们的土地后，巴勒斯坦社会发生的不同社会政治变化如何导致土著人民的边缘化、政治化和最终复兴表演实践，这是巴勒斯坦戏剧历史的重要组成部分。将苏菲仪式作为本土表演实践进行探索表明，20 世纪巴勒斯坦存在并非基于挪用欧式剧院的剧院形式。它还提出了重要的问题，即为什么其中许多被巴勒斯坦非政府戏剧组织（NGO）忽视。Dia Barghouti 是摩洛哥 Abdelmalek Essaadi 大学的阿拉伯社会科学理事会博士后研究员。她的研究重点是黎凡特和北非的土著表演传统。她关于戏剧和苏菲主义的作品出现在新剧院季刊和Jadaliyya。