In Palestine, the qibla of the two Easts, women have created their own unique arts, which are distinct from those of men. Since ancient times, they have adorned life with song and melody, and with the colors they paint on fabric, presenting their embroidered artwork on the garments they wear. They also excel in culinary arts and all other types of arts. The Palestinian woman masters the art of living, even though she is the one most in contact with death, experiencing the pain of loss and bidding farewell to martyrs, and being deprived of loved ones who are imprisoned in Israeli jails and detention centers. She experiences the deepest meanings of longing; if she is in her homeland, Palestine, she longs for those who have been killed, captured, and displaced. If she is outside her homeland, she yearns for it. Both sides long for a restored Palestine in all its lands, with every inch liberated. The history of the Palestinian woman is filled with the glories of resistance, bravery, and steadfastness. She is the embodiment of the strength of women in times of trials and hardships, which have lasted for so long for the Palestinian woman. She continues to set example after example, spreading hope and instilling reassurance in the hearts of those who believe in the truth, while planting despair and fear in the enemy's heart, reminding them of the inevitability and certainty of their demise, even if it takes time. The history of the Palestinian woman in resistance does not only date back to the Nakba but extends far back to the times of Ottoman and British occupation. She still creates the greatest epics in the time of Israeli occupation and the abhorrent Zionist aggression against the qibla of the two Easts.The Uniqueness of CreativityJust as the Palestinian woman has her own uniqueness in life and resistance, she also has a unique specificity in the arts she has created. Among these arts is an ancient type of singing known as "Trowida," from which another type called "Mawal" emerges. This is a coded song created by the Palestinian woman, born from her imagination throughout her life journey. It is likely that there is no equivalent to this art anywhere else in the world. Those who listen to it realize that it is indeed something rare, in terms of words, intonation, and singing style. It is an art created by the community and not attributed to any specific individual, thus reflecting the spirit of the Palestinian woman, her innate nature, and all the feelings, intelligence, and imagination that led to the creation of this art in such a beautiful form. Trowida is a type of slow singing governed by a specific rhythm, which relies heavily on the delivery; the delivery is melodic and carries its own music, as it was not usually performed with any musical instruments in the past. Women sang it collectively, creating the rhythm with their voices. As for its themes and the occasions on which it was sung, love was naturally a main subject, and celebrations and weddings were among the foremost social occasions. However, happy occasions were not the only field for this singing; this type of singing, particularly Mawal, had a political function since the time of Ottoman occupation. Women sang it after encoding its words, relying on it to convey secret messages to the resistors in their hiding places and to the prisoners in their jails when they visited them. In this way, women became the link between the fighters and the freedom fighters in captivity. Through women, the prisoners could participate, even if by providing guidance and information, in the struggle and acts of resistance. What women sang contained news codes or details about redemption operations, meaning that singing, in the hands of the Palestinian woman, transformed into a means of communication and the transfer of news and information in a coded way that the enemy could not understand. Interestingly, they did this while fully preserving the aesthetics of singing and its artistic conditions.

It is beautiful and enjoyable singing, of the kind that captivates the ears and lingers in the minds even after listening to it ends.

It is noted that the method of encryption itself reveals a significant innate intelligence. Encryption is not an easy task, as it relies on adding the letter "lam" and repeating it within words, at their endings or in their last syllables, with variations in the formation of the letter from one word to another. The Palestinian woman first composes the words and weaves their meanings, embedding the messages she wants to convey. Then, she works on encrypting and rephrasing them. This must be done while creating a melodic rhythm for the words, maintaining their balance, and generating the necessary beauty and required appeal, all of which fulfill the conditions of art. Those who listen to this singing feel its beauty and are captivated by its allure, even if they do not understand the words at first. In fact, the touch of mystery adds to its attractiveness. The women of Palestine have inherited the arts of Trowida and Mawal from their mothers and grandmothers, and to this day, there are those who care for these arts and preserve them as part of the precious Palestinian heritage. While preserving heritage in general is considered a significant and highly important task, in Palestine, this matter is magnified and takes on more precise and sensitive dimensions, as it is an act of resistance and protection of identity and existence, solidifying the roots of the past and reviving the present and future. One of the most important artists who cares for the arts of Trowida and Mawal is the Palestinian artist and heritage researcher, Sana Moussa. She sings some songs with her voice and provides explanations for these arts, traveling to different areas of Palestine to hear them firsthand from women of the older generations and to learn the original singing method from them

The words of these songs are as follows:
North, Lali, oh Hawali, to the northern area, Lali, oh Roilaloo (North, oh the air of the northern area)...
To Lali for the doors, Hololum, open North, oh Roilaloo (to those whose doors open North)...
And I am Laililb'ath, with the northern wind, Lali, oh Roilaloo (and tonight I send with the northern wind)...
Oh Saleelar, and it goes around, to my beloveds, oh Roilaloo (it arrives and circles around the loved ones)...
And the exile has prolonged, and we long for them, oh Roilaloo (and the exile has lengthened, and we miss them)...
Oh bird, go to the beloveds and reach them, oh Roilaloo (oh bird, go to the beloveds and deliver to them)...
Reach them and circle around the people of them, oh Roilaloo (reach them and circle around the people who are of them)...
And send my regards to the one for whom the beloved leans, oh Roilaloo (and send my greetings to the beloved and lean towards them)...
And to God, do not ruin, oh high-headed one, oh Roilaloo (and to God, do not destroy, oh high-headed one)...
And if you go, take your spirit with peace, oh Roilaloo (and if you go, take your spirit with peace).