Situating intra-family femicide within the global economy and the feminization of poverty in the new world order makes it possible to interrogate the ubiquity of misogynistic violence in patriarchal cultures not only in Arab countries but also around the world. In its global expansion to the remote corners of the world in search for new markets and cheaper sources of labor, the neoliberal ideology of economic globalization recodes women’s labor and redefines the parameters of their mobility. Consequently, traditional gender formations themselves get disrupted as Western notions of freedom and the division of labor are negotiated and appropriated. This cultural disruption happens in complete disproportion to the deteriorating economic conditions among Palestinians. More than ever, the Palestinians are excluded from Israel’s capitalist economy, which is now increasingly outsourced to migrant workers from around the world. And the crisis of tradition and gender, in turn, is violently acted out on women’s bodies.
Violence against women is a complex political, moral, and ethical issue, but the burning questions we face in our everyday work are how to address and respond to violence against Palestinian women inside the Jewish state. How do we portray the killing of the colonized woman by the colonized man? And who profits from such criminality?
For answers to these questions, read more on The Politics of Killing Women in Colonized Contexts

"Palestinian rap trio DAM dropped their latest video “If I Could Go Back in Time” a week ago at a press conference in Ramallah. Working in cooperation with UN Women, the subject of the song is domestic violence and crimes against women. With this release, DAM members Mahmoud Jreri, Suhell Nafar, and Tamer Nafar affirm their reputation as audacious socially-conscious rappers by continuing to take on taboo issues in Palestinian society. They do so through hip-hop, whose mainstream stars are all too often themselves guilty of propagating intensely sexist and homophobic content. In so doing, DAM are contributing to transforming hip-hop into a safe space for women and women’s issues domestically while breaking the social silence surrounding controversial socio-political topics and offering an opening salvo in an indigenous conversation about internal problems.


The story of the song is that of a single heroine whose experiences relayed in the video unfold in reverse chronology, from end to beginning, thereby interrupting the linear temporal convention. The first scene shows her lifeless body, immediately followed, in reverse, by the bullet retreating from her head and back into her brother’s gun. The audience pieces the violent narrative together as both the video and the lyrics work backward through time to tell the full story of her murder. The chorus is an interruption of the story that showcases singer Amal Murkus singing in the presence of other women in a place that is the dead protagonist’s posthumous utopian fantasyscape. The women merrily and smilingly participate in various playful creative activities such as knitting and drawing, to Murkus’ words as she laments the life she did not live.”

— Read more on DAM: Crime, Honor, and Hip-Hop