This paper will discuss the weekly Friday demonstrations and actions organized by the Palestinian residents of Bil’in against Israeli policies of land confiscation and illegal occupation and settlement of Palestinian lands. Israel has annexed close to sixty percent of Bil’in land for settlement expansion and the construction of its separation wall. Begun in 2005 and now organized by popular committee, the demonstrations in Bil’in are joined by Israeli and international activists. News on the demonstrations are recorded and circulated via oral testimony and modern technology, including email reports, youtube clips, photography exhibits, and documentary films. While weekly demonstrations take place in a number of Palestinian villages affected by construction of the Wall (such as Jayyous, Nil’in, and Budrus), the actions in Bil’in have been noted for their highly deliberate theatrical staging, which has captured local and international media attention. For instance, in 2006 Bil’in called for the building of the ‘Falistin Hotel’ on Israeli occupied village land, erecting a seventeen by ten feet sign announcing its construction. More recently, in January of 2009 the protestors wore clothes reminiscent of those worn by Jews in Nazi concentration camps, including yellow cut-outs in the shape of Gaza with the word ‘Gazan.’ Such performance strategies have turned Bil’in into a symbol of an alternative form of resistance in Palestine. Part of a long trajectory of Palestinian resistance against Zionist and Israeli colonization that extends pre-1948, the demonstrations in Bil’in are largely described (and applauded) as a form of ‘nonviolent’ resistance. Drawing on primary and secondary commentary on Bil’in’s protest actions (including personal observance), as well as literature addressing forms of Palestinian resistance and the politics of performance in the public sphere, I will examine how both the theatrical framing and the discourse of nonviolence have come to serve as two means of categorizing Bil’in’s public protests. The strategy of spectacle and the directed use of catchwords (such as nonviolent, peace, apartheid, terrorist) will be discussed using the case study of Bil’in, while emphasizing the significance of the relationship between performance and politics in the public sphere, specifically in the context of Palestine.