As we witness the poignant realities in Gaza and Palestine, ‘Embroidering Identities: A Century of Palestinian Clothing’ offers a vital snapshot, capturing the rich diversity of traditional Palestinian dress across various regions. This blog ventures into the pages of this volume, originally published as a companion to an exhibit at The Oriental Oriental: (Latin and Late Middle English Adjective: orientalis – From Orient; from Latin (noun): oriri – to rise; and oriors – East), anything of an Eastern origin in relationship to Europe – Asia. The word was first used in the context of territorialization between the late 3rd and early 4th Century CE. Institute in Chicago. Join us as we examine how each garment intricately sewn and detailed in the book is not just a piece of fabric but a fragment of the broader cultural story, resonating with profound relevance in today’s climate.
This volume accompanied the exhibit ‘Embroidering Identities: A Century of Palestinian Clothing.’ This collaborative exhibition between the Oriental Oriental: (Latin and Late Middle English Adjective: orientalis – From Orient; from Latin (noun): oriri – to rise; and oriors – East), anything of an Eastern origin in relationship to Europe – Asia. The word was first used in the context of territorialization between the late 3rd and early 4th Century CE. Institute and the Palestinian Heritage Center in Bethlehem offers a rich evocation of Palestinian culture through hand-embroidered garments. It focuses on the period between the late Ottoman Empire and the British Protectorate, showcasing the creative embroidery of working-class women in Palestinian villages from 1880 to 1948. These women developed distinctive styles passed down through generations, becoming symbols of Palestinian history and identity.
Iman Saca reflects on the struggle of Palestinian youths to connect with their heritage. Recognising the risk of losing rich cultural traditions, Iman’s mother embarked on a mission to document and preserve Palestinian folklore, including stories, traditional items, and the art of embroidery. This effort led to the establishment of the Palestinian Heritage Center in Bethlehem, which has become a crucial institution for preserving and promoting Palestinian heritage.
The introduction outlines the context of Palestinian embroideries, such as Palestine’s diverse geographical zones, including the coastal regions, central highlands, Jordan River Valley, and semi-desert areas. It discusses the influence of foreign cultures, especially during the Ottoman Empire and British Mandate eras, on Palestinian dress. The chapter highlights how townspeople were more receptive to foreign clothing styles and materials, while villagers and Bedouins maintained more distinct, regional dress designs and embroidery styles. Despite these foreign influences, regional distinctions in village and Bedouin dress design and embroidery remained strong, providing clues to a woman’s age, marital status, and wealth.
This part of the volume explains the various components of traditional Palestinian dresses and their significance:
Qabbah: (Arabic) square chest piece made from a separate piece of fabric and added to the thawb in the countries of the Levant (Palestine, Syria, Jordan)
): The most elaborately embroidered and essential part, indicating the wearer’s village of origin.Aṭlas: (Latin: Atticus Atlas Atlas: (Arabic and Aramaic: atlas – silk; from Greek: Atlas – Character from Greek mythology Synonym: adras, ikat, abr), a resist dyeing technique that involves tying and dyeing yarns or threads before weaving, resulting in a distinct pattern. With strong traditions sporadically across the globe it probably originated independently around the world. – a large silk producing moth; from Greek: Atlas Atlas: (Arabic and Aramaic: atlas – silk; from Greek: Atlas – Character from Greek mythology Synonym: adras, ikat, abr), a resist dyeing technique that involves tying and dyeing yarns or threads before weaving, resulting in a distinct pattern. With strong traditions sporadically across the globe it probably originated independently around the world. – character from Greek mythology; Synonym: harir), common term for silk in the Arab world especially the Levant.
silk, satin Sātin: (Arabic: Zaytuni: from Chinese port of Zayton in Quanzhou province where it was exported from and acquired by Arab merchants), one of the three basic types of woven fabric with a glossy top surface and a dull back. Originated in China and was fundamentally woven in silk., or velvet, and embroidered with geometric motifs, reflecting personal taste or village identity.
Palestinian dresses were made primarily from linen, cotton, wool, and silk, woven in prominent centres like Mejdel, Bethlehem, Nablus, and Ramallah. The chapter discusses how local and imported fabrics and natural dyes were crucial in dressmaking. Notably, linen with a high silk percentage called “malak” was used for Bethlehem bridal dresses, while the indigo Indigo: (Latin: Indigo – India, synonym: nil Nīl: (Latin: indigo), Arabised term for Indigo, a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that have been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye.), a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that has been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye. -dyed cotton fabric was prominent in dresses from the coastal region. The chapter also touches upon the traditional colours of fabrics, like un-dyed linen and indigo Indigo: (Latin: Indigo – India, synonym: nil Nīl: (Latin: indigo), Arabised term for Indigo, a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that have been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye.), a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that has been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye. blue, and the introduction of synthetic dyes in the late nineteenth and early twentieth centuries.
Each pattern and motif intricately sewn into Palestinian garments is a whisper of identity, a testament to the skilful hands that brought them to life. These designs narrate stories of individuality and cultural pride from the villages to the bustling towns. Geometric shapes and floral designs were common, with specific motifs named and given meanings. The chapter illustrates how these motifs, like the eight-pointed star of Bethlehem or food and animal representations, symbolised various aspects of rural life. Embroidery also served as a medium for women to express their hopes, desires, and social affiliations. For example, women from Beit Dajan often embroidered orange blossoms, a symbol of their village’s famous orange orchards.
Red, symbolising happiness and life-blood, was a dominant colour in Palestinian embroidery. The chapter describes how village and Bedouin women skillfully combined shades of red with other colours like yellow, green, pink, orange, and white. The transition from silk to cotton threads in the late 1930s and the symbolism of different colours in expressing a woman’s feelings and life stage are also discussed. For instance, older women in the Hebron region preferred purple threads, while younger women and girls chose red and green.
The most prominent stitches in Palestinian embroidery were the cross-stitch
Cross-stitch: An embroidery technique of counted-thread embroidery in which X-shaped stitches in a tiled, raster-like pattern are used to form a picture. and couching
Couching: (Latin: collocare – Place together), in needlework and embroidery couching is a technique in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn Couching: (Latin: collocare – Place together), in needlework and embroidery couching is a technique in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn
Dresses from the Jaffa area, especially the ‘jallayeh,’ are highlighted for their heavy embroidery and unique decorative elements like amulets, arches, and cypress trees. Usually made from indigo Indigo: (Latin: Indigo – India, synonym: nil Nīl: (Latin: indigo), Arabised term for Indigo, a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that have been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye.), a natural dye belonging to the ‘Indigofera Tinctoria’ species of plants that has been cultivated in East Asia, Egypt, India, and Peru since antiquity. According to Pliny the Elder, it was named after India as it was the source of the dye. linen, these dresses feature elaborate designs on the front skirt, lower back panel, and short, narrow sleeves. Headdresses in this region are also heavily embroidered, often with a row of coins.
In Gaza, dresses are characterised by their distinctive cotton and silk fabric, woven in Mejdel on traditional looms. The designs, such as the Abu Mitain and Abu Rukbeh, are noted for their vibrant colours and heavy silk embroidery, with unique patterns like amulets heavily featured. The dresses from Gaza stand out for their unique construction and the use of specific fabric designs.
Jerusalem, a major city, did not develop a characteristic embroidery style due to its exposure to foreign influences. Dresses were often made of fabrics imported from Damascus and were distinct for their vibrant colours and materials like silk. The fashion in Jerusalem was a blend of various regional styles, with influences from Bethlehem and other surrounding towns.
Ramallah was renowned for its handwoven white Rumi-linen embroidered thobe Thobe: (Arabic: thawb, Pl. Athwāb/thībān), can be pronounced thawb or tobe Tobe: (Arabic: thawb, Pl. Athwāb/thībān), can be pronounced thawb or thobe based on locale. The standard Arabic word for ‘fabric’ or ‘garment’. It can refer to a qamīs-like tunic worn by men and women in the Arabian Peninsula, Iraq, the southern and south-western ports and islands of Iran, and some countries in East and West Africa. More specifically, it can refer to the square-shaped Bedouin overgarment worn by women. based on locale. The standard Arabic word for ‘fabric’ or ‘garment’. It can also refer to a qamīs-like tunic worn by men and women in the Arabian Peninsula, Iraq, the southern and south-western ports and islands of Iran, and some countries in East and West Africa. More specifically, it can refer to the square-shaped Bedouin overgarment worn by women. , usually adorned with wine-red silk cross-stitching. The chest panel and back lower panel of these dresses are elaborately embroidered with motifs such as tall palms and stars. The headdress, known as the smadeh or saffeh, is a distinct feature, heavily embroidered and adorned with coins and a silver chain.
Bethlehem is famous for the ‘thobe
Thobe: (Arabic: thawb, Pl. Athwāb/thībān), can be pronounced thawb or tobe
Tobe: (Arabic: thawb, Pl. Athwāb/thībān), can be pronounced thawb or thobe based on locale. The standard Arabic word for ‘fabric’ or ‘garment’. It can refer to a qamīs-like tunic worn by men and women in the Arabian Peninsula, Iraq, the southern and south-western ports and islands of Iran, and some countries in East and West Africa. More specifically, it can refer to the square-shaped Bedouin overgarment worn by women. based on locale. The standard Arabic word for ‘fabric’ or ‘garment’. It can also refer to a qamīs-like tunic worn by men and women in the Arabian Peninsula, Iraq, the southern and south-western ports and islands of Iran, and some countries in East and West Africa. More specifically, it can refer to the square-shaped Bedouin overgarment worn by women. al malak’, a bridal dress noted for using gold, silver, and silk threads. The dress features unique patterns like watches and vases, with the couching
Couching: (Latin: collocare – Place together), in needlework and embroidery couching is a technique in which yarn or other materials are laid across the surface of the ground fabric and fastened in place with small stitches of the same or a different yarn
Jericho’s traditional dress is known for its extraordinary length, often three times a woman’s height, and long, pointed sleeves. This design was both practical and a display of wealth. The dress was adaptable for work and protected from the elements.
The Hebron area is celebrated for its diverse and distinct dresses, such as the ‘jallayeh,’ which are heavily embroidered in red. The ‘jinneh u nar‘ dress, named after the fabric used, is another notable style. In Bir Sabe‘, Bedouin women’s dresses featured bright cross-stitch Cross-stitch: An embroidery technique of counted-thread embroidery in which X-shaped stitches in a tiled, raster-like pattern are used to form a picture. embroidery with unique motifs and designs reflecting their identity and aspirations.
The traditional Palestinian ensemble for men included an undergarment (qamis
Qamīṣ: (Possibly late Latin: Camisia – Linen Undergarment; Synonym: Kamiz), a traditional loose fitting long tunic or shirt worn by both men and women in South and Central Asia and the Arab world. Typically extending below the waist it is usually paired with a pair of trousers. Qumbāz: (Arabic; Synonyms: sayah, zubūn, gombaz, yalak), also pronounced ‘umbaz or ‘imbaz is a long front open, unlined, lightweight silk traditional cloak either with quarter or no sleeves fastened at the waist often worn by both men and women in the Levant, Fertile Crescent, and Najd regions. Salwar: (Farsi: shalvār; Synonym: ṣarwāl, shirwāl ), trousers featuring tapering ankles and drawstring closure of Central Asian origin. They disseminated in the Indian subcontinent between c.1st-3rd century BCE. Although exact period of its arrival in the Arab world is disputed their widespread adoption is confirmed from the 12th century. Qumbāz: (Arabic; Synonyms: sayah, zubūn, gombaz, yalak), also pronounced ‘umbaz or ‘imbaz is a long front open, unlined, lightweight silk traditional cloak either with quarter or no sleeves fastened at the waist often worn by both men and women in the Levant, Fertile Crescent, and Najd regions.
This chapter delves into the significant role of jewellery in Palestinian culture from the 19th to the mid-20th century. Women adorned themselves with various silver jewellery, including bracelets, necklaces, rings, nose rings, and chokers. These items, often crafted by local Christian and Jewish silversmiths, bore regional distinctiveness while also sharing styles across villages. The chapter discusses the symbolic and social meanings attached to these pieces, such as protection and good luck, embodied in specific designs like the “cucumber” bracelets and amulets engraved with God’s name. The chapter also touches upon the decline of traditional silver jewellery production following the establishment of the state of Israel in 1948, which led to a shift towards gold jewellery and the eventual disappearance of many traditional silver pieces.
Post-1948, the creation of the state of Israel profoundly impacted Palestinian life, including the realm of clothing and embroidery. The chapter outlines the reasons for the disappearance of traditional dress and the art of embroidery, primarily due to the displacement of Palestinians and the resulting economic hardships. With reduced access to traditional materials and the influx of cheaper, imported fabrics, there was a significant shift in clothing styles. Embroidery and dress styles lost their regional distinctiveness as Palestinians in refugee camps embraced a shared identity. The emergence of new dress designs like the four-branch (arba’ agruq) or six-branch (sit agruq) dresses and the maris dress showcased a blend of traditional structures with simpler styles and decorations. The chapter also discusses how the political and economic turmoil of the 1960s and 1970s influenced these changes, leading to new fabrics and the advent of machine-made embroidery.
This chapter explores the revival and transformation of traditional Palestinian embroidery from the 1950s onwards. While older generations continued to wear and embroider traditional dresses, younger women initially saw them as outdated. However, efforts to revive this art form emerged, with international funding agencies supporting Palestinian women in refugee camps to produce and sell their embroidery. These initiatives led to new designs and motifs catering to Western markets, indirectly helping to preserve the art of embroidery. In the late 1980s and 1990s, Palestinian women began incorporating national symbols like the Palestinian flag and the Dome of the Rock into their embroidery, using them as personal and national expressions. More recently, there has been a renewed interest in traditional Palestinian clothing and embroidery, with initiatives by organisations like the Palestine Heritage Center to promote this heritage. The chapter concludes by highlighting how Palestinian women today embrace handmade embroidered dresses with traditional and modern motifs, viewing them as a means of expressing their identity and connecting with their cultural heritage.
As we reflect on the rich history of Palestinian embroidery, the current events of 2023 in Gaza and Palestine at large bring a sense of urgency to our discourse. Understanding and preserving Palestinian history and identity has become essential in these turbulent times. These embroidery traditions, steeped in stories and skills passed down through generations, are not just remnants of a past when Palestinians were free; they also embody resilience amidst adversity. Now more than ever, it is vital to keep these artistic and cultural forms alive to support the people who carry this heritage forward against all odds.
Our role in this endeavour extends beyond passive admiration. Whether through educational initiatives, supporting traditional crafts, or simply retelling these stories, we all have a crucial role. We are called upon to ensure that Palestinian embroidery survives and continues to flourish. This is an invitation for all of us to celebrate and safeguard these threads of history and heritage. By joining hands in this effort, we preserve a culture with remarkable resilience, ensuring its beauty and significance are recognised and remembered, even in the most challenging times.