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deprivation of dignity. I seek to find moments in which dance is utilised from the bottom up, protesting a wrong, namely the marginalisation of individuals who are deemed voiceless, less than human. I draw my case studies from one of the areas which is of key interest to human rights activists and theorists worldwide. This is the struggle of the Palestinian people for sovereignty and recognition as a state under international law. This struggle enables the people of Palestine to make human rights claims within jurisprudential structures that belong to a nation state. This
violence, those responses subverting intention at times but creating different spaces in which bodies could meet and heal together. The dance continues through the dabke, allowing for people to join and create a shared embodied symbolic space where international law cannot allow that to be created. The argument then creates an embodied dialogue between the dabke dancers, stalled in checkpoints, and Arkadi Zaides’s unravelling of a space for a chorus of Palestinian narrators, made absent by systematic infringement upon their human rights. The argument dances equality and