Embodying “Dalouna”

The fiery red wings of the phoenix flapped as she rose, appearing to glow beneath the stage lights. Around her, dancers stomped in rhythm, kuffiyehs held in their hands, as the voice of Mahmoud Darwish thundered across the theater: “On this land is what makes life worth living.” With each line, the kuffiyehs lifted higher, the phoenix still twirling at the center as if rising from the ashes of destruction with every beat. The dancers moved in perfect synchronization, their steps striking the floor, filling the stage with motion and color. “She was named Palestine. She is still named Palestine,” Darwish declared, “My lady, I am worthy, because you are my lady, I am worthy of life.” Suddenly, the movement stopped. The dancers froze, facing the audience, and one voice cut through the silence, exclaiming “Oh, Jafra!”

When one lives in the diaspora, it becomes easy to forget where you come from. The culture, the history, and even your people. Over time, Palestinians born and raised far from home stop singing “Dalouna” and in St. Louis, we watch some of our youth grow up without ever learning their roots. Canaan Wellspring, however, brought to life an opportunity to reconnect and build a community centered on what matters most: Palestine.

Canaan Wellspring is a Palestinian heritage and folklore troupe rooted in tradition, pride, and resilience. Their mission is simple yet profound: to be seen, to be heard, and to be humanized. Through dance, they remind the world that Palestinians are a people who cherish life. At the center of their performance is dabka, a joyful yet powerful form of traditional line-and-circle dancing that dates back thousands of years to ancient Canaanite rituals associated with rain, fertility, agriculture, and warding off evil spirits. These dances were inherited from the ancient Canaanites, and fittingly, the word “wellspring” is defined as a source or origin; therefore, the name represents the source of the troupe’s art and its origins. As the troupe explains, “We are a group of people who have a beautiful culture that deserves attention. Our Palestinian culture is a legacy for humankind.” Recognizing its deep cultural significance, dabka has been inscribed by the United Nations Educational, Scientific and Cultural Organization (UNESCO) as an Intangible Cultural Heritage of Humanity, a testament to its enduring legacy across generations and borders.

At the heart of the troupe is Hanan Hamed, who previously coached dabka in Palestine. Despite having a newborn baby and recovering from recent surgery, Hamed founded Canaan Wellspring in June of 2024 as an act of resistance against cultural genocide and theft. In doing so, she recognized how the genocide in Gaza enabled the dehumanization of Palestinians and felt compelled to represent Palestine, preserve its culture, and fight cultural erasure. While the troupe initially performed at cultural events such as the St. Louis Festival of Nations, Hanan Hamed and others quickly realized they needed a platform of their own.

In the past, the dabka group had been excluded or denied opportunities to perform at certain events for being deemed “too controversial,” a reminder that, in today’s world, Palestinian identity alone is often considered controversial. Hamed recalls how the troupe received media attention accompanied by unsettling questions, one of which lingered with her: “Are your songs about violence?” The question stuck with her for months. “Why would someone ask us this?” she wondered, “Why do they assume our music only traces back to modern conflict, when it predates it by centuries?” She concluded that a language barrier, intentionally shaped by mainstream media, had distorted public understanding. In that realization, she saw an opportunity to educate. The troupe needed a space to tell their story, explain their songs, and even provide audiences with translated lyrics. This vision became the foundation for Jafra, and the troupe later received a grant from the Regional Arts Commission of St. Louis (RAC) through their sponsors, St. Louis Friends of Bethlehem, to bring their vision to life.

After a year and a half of dedication and hard work, Canaan Wellspring proudly presented Jafra to the St. Louis community on January 10, 2026. It was the first performance of its kind in Missouri. Jafra told the story of a young Palestinian girl who guided the audience through the world of dabka and Palestinian folklore. Through her voice, attendees learned about the history of Palestine and the stories embedded within traditional folk songs, many of which were created and preserved by Palestinian women through oral tradition.

The screen then filled with the colors of Jafra’s thobe, its intricate embroidery vibrant. She slowly swirled a delicate cup between her fingers, the porcelain rim stained with dark coffee grounds. Her gaze was steady and intent as she read the symbols inside, her silence stretching and thickening the air. The audience leaned forward, suspended in anticipation. Then she looked up. “I see . . . I see a free Palestine,” she proclaimed. The moment shattered into thunderous cheers, applause rippling throughout the room.

After that, the final scene, Bilad Al-Sham, featured the “Jafra” of Hebron and Beir Al-Saba. She recounted how the Levant was once a single land, a people united by shared history, language, and roots, before the Sykes-Picot Agreement divided Palestine, Jordan, Syria, and Lebanon. These imposed borders left generations longing for unity. In the closing song and dance, “Eshtakna,” a word meaning “we miss you” to convey a feeling of nostalgia, the audience witnessed Bilad Al-Sham symbolically reuniting as one.

Jafra was a show for everyone. It was for Palestinians yearning to reconnect with a piece of home, for the youth discovering what it means to be Palestinian and proud, and for
non-Palestinians seeking to learn about folklore, history, and cultural resilience. It challenged the notion that Palestinians are only worthy of attention in moments of suffering when they are dying, being bombed, or facing genocide. According to the troupe, “Jafra exists first and foremost to celebrate Palestinian culture, because solidarity is not only about aid, it’s about humanizing a people.”

With a sold-out theater, Jafra concluded with a standing ovation. The audience erupted in applause and cheers for the twenty-three performers who led them through a journey of emotions over the course of two hours. Attendee Zayna Fakhani remarked how Jafra “left a feeling of belonging and hope because it showed that Palestinians and our culture will always be preserved and practiced.” Another audience member, Deboura Ashkar, shared that the performance left her feeling more educated about Palestinian history and the ways in which Palestinian culture and society shape the world as a whole. Even weeks after its conclusion, the St. Louis community continues to rave about the spectacular event that showcased the beauty of Palestine.

Looking forward, the troupe is eager to see what the future holds. They hope to perform Jafra again, possibly taking it on the road. Furthermore, they are excited to create new productions centered on storytelling. After all, Palestinian culture is rich, and they have much more to share with the world.

In Palestinian songs, “Dalouna” (or “Ala Dalouna”) means “let’s help” or “assist us.” It symbolizes Palestinian unity, resilience, love for the land, and shared cultural identity, expressing longing, pride, and perseverance through hardship. As Hamed explained, “Canaan Wellspring is an effort of a community: the coach, the moms, the dancers, the volunteers; we all worked together to create this piece. We represent what Dalouna means because we support each other, we help each other, and that’s the most important part.” In the end, it is evident that Canaan Wellspring truly embodies the spirit of Dalouna, teaching Palestinian youth in the diaspora how to sing it once again and reconnecting us to our roots at a time when it matters most.

Jenna Jabr
January 2026

Jenna Jabr is a 19-year-old Palestinian from Gaza and Bethlehem, born and raised in the diaspora. Deeply passionate about representing Palestine in every aspect of her life, Jenna is dedicated to amplifying Palestinian voices and preserving Palestinian culture. Through her writing, tatreez, and small business, Henna by Jenna, she actively uses art as a form of resistance and cultural preservation. 

Additional photos of Jafra performances by Nadia Abusoud (Instagram: @nads.shots) are below.