Manar Hasan employs the term “memoricide” to describe the systematic eradication of Palestinian society from modern memory, a process, she points out, that occurred not only through the destruction of its major cities, but also through the erasure from public consciousness the inhabitants of those cities, and specifically the Palestinian women who once played highly visible, integral roles within them. This paper enters into conversation with Hasan’s argument in its exploration of the work of Palestinian choreographer Shaden Abu Elasal, focusing on dances performed in urban spaces—locations from which she draws historical and creative inspiration to imbue her choreography with layers of meaning. I show how through her choreography, Abu Elasal reroots and uproots herself from the place in the very same acts of dance. She resurrects both the city and the women, revealing the obscured and retrieving the forgotten. I argue, then, that in staging dances in what Marc Augé terms “anthropological places” in Israel/Palestine, locations saturated with historical and conceptual significance, Abu Elasal both deepens her roots to the land, her land, and rises anew from it, freeing herself of its heavy shackles. Moreover, by reintroducing specifically Palestinian women dancers as elements of the “flesh and stone” of Israel/Palestine, spaces rife with histories of trauma, dominated by patriarchy and a Zionist ideology that privileges Jewishness and whiteness, Abu Elasal excavates a forgotten past, negotiates a restrictive present, and shapes a future for herself and her community. The paper brings together the ideas of anthropological space, which recognizes the identity of place as not merely physical but comprised of the breadth of human activity (symbolism, history, imagination, vision) that has taken and is taking place in it; and dance’s power to inspire a sense of losing oneself or transcending the existing, tangible world. In both ideas, consciousness and the material, stone and body, entwine and shape one another in the ongoing process of (re)forming identity and reclaiming history.

中文翻译：

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重新扎根和重新想象：舞蹈、巴勒斯坦妇女和城市空间的开垦

Manar Hasan 使用“memoricide”一词来描述从现代记忆中系统地消灭巴勒斯坦社会的过程，她指出，这一过程不仅通过摧毁主要城市，而且通过从公众意识中抹去巴勒斯坦居民那些城市，特别是那些曾经在其中扮演着引人注目的不可或缺的角色的巴勒斯坦妇女。本文与哈桑探讨巴勒斯坦编舞家沙登·阿布·埃拉萨尔（Shaden Abu Elasal）作品的论点进行对话，重点关注在城市空间中表演的舞蹈——她从这些地方汲取历史和创造性的灵感，为她的编舞赋予层层意义。我通过她的编舞展示了阿布·埃拉萨尔如何在同样的舞蹈动作中重新扎根并将自己从这个地方连根拔起。她复活了城市和女性，揭示了被遗忘的事物并找回了被遗忘的事物。然后，我认为，在马克·奥热（Marc Augé）所说的以色列/巴勒斯坦“人类学场所”中，充满历史和概念意义的地方，阿布·埃拉萨尔（Abu Elasal）既加深了她对这片土地的根，她的土地，并从中重新崛起，摆脱了沉重的枷锁。此外，通过重新引入巴勒斯坦女舞者作为以色列/巴勒斯坦“肉和石头”的元素，空间充斥着创伤历史，由父权制和犹太复国主义意识形态主导，赋予犹太人和白人特权，Abu Elasal 挖掘了一个被遗忘的过去，谈判一个限制性的现在，并为她自己和她的社区塑造一个未来。这篇论文汇集了人类学空间的思想，它认识到地方的身份不仅是物理的，而且包括已经发生和正在发生的人类活动（象征、历史、想象、视觉）的广度；和舞蹈的力量激发一种迷失自我或超越现有的、有形的世界。在这两种观念中，意识和物质，石头和身体，在（重新）形成身份和恢复历史的持续过程中相互缠绕和塑造。