Since then, the new Palestinian musical subgenre has grown to include artists in Palestine, Israel, Great Britain, the United States and Canada.
Borrowing from traditional rap music that first emerged in New York in the 1970s, "young Palestinian musicians have tailored the style to express their own grievances with the social and political climate in which they live and work."
Just as the percussiveness of the Hebrew language is emphasized in Israeli Hip-hop, Palestinian music has always revolved around the rhythmic specificity and smooth melodic tone of Arabic.
“Musically speaking, Palestinian songs are usually pure melody performed monophonically with complex vocal ornamentations and strong percussive rhythm beats”.
[4] The presence of a hand-drum in classical Palestinian music indicates a cultural esthetic conducive to the vocal, verbal and instrumental percussion which serve as the foundational elements of Hip-hop.
This hip hop is joining a “longer tradition of revolutionary, underground, Arabic music and political songs that have supported Palestinian Resistance”.
Rather than succumbing to the violence that surrounds them, Palestinian hip hop artists instead, attempt to spread their politically conscious messages to the world.
[3] The book, Representing Islam: Hip-Hop of the September 11 Generation, states that "the Palestinian struggle for self-determination has become a major rallying cry for Muslim hip-hoppers.
Many established or up-and-coming Muslim hip-hopper either have a song about Palestine or make references to the politics of dispossession in the third holiest land in Islam".
For rapper Mahmoud who lives in Israel, he describes his experience as "whenever I walk the streets, my enemy steps to me in ignorance, he demands my ID, sees I’m an Arab.
Based in Paris, France, it Was in 2007, in a Palestinian refugee camp in Yarmouk, Syria, that the brothers, Yaser and Mohamed Jamous, created this group.