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Embroidering Palestine

A colorful illustration of a woman with flowing purple hair and a polka-dotted white veil. She's adorned in a vibrant dress featuring yellow, blue, and red patterns with flower motifs.

MoMu explores Palestinian embroidery and dress through the lenses of nature, splendour, power and change.

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Description of the exhibition

Embroidery, called tatreez in Arabic, is the most important cultural practice of Palestine. Historically, Palestinian fashion was defined by diversity, with every region known for distinct textiles, styles and stitchwork. More than a craft, tatreez in the nineteenth and early twentieth centuries was a visual language shared by women, as embroidery reflected its maker’s identity and origins.

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This exhibition explores Palestinian embroidery and dress through the lenses of nature, splendour, power and change. Tatreez was a rural craft, embedded in women’s relationship to nature – from motifs inspired by Palestinian flora, to fabrics dyed with indigo grown in the Galilee. At the same time, the splendour of embroidery attested to women’s wealth and status. The wedding was a vital rite of passage, with sumptuous clothing a key element of celebrations. Golden thread, mother-of-pearl shoes, and elaborate headdresses offer a spectacular glimpse of local craftsmanship. Silver jewellery, along with certain tatreez motifs, also held talismanic significance, reflecting the power of clothing to affect and protect the body.

Married woman from Bethlehem wearing hat and veil
Married woman from Bethlehem wearing hat and veil, Matson Photo Service, ca. 1934-39
Courtesy of the Library of Congress, Prints and Photographs Division

Today, embroidery’s power lies in its connection to Palestinian identity, as a symbol of resistance and solidarity. Since the Nakba, or catastrophe, of 1948, which refers to the mass displacement and dispossession of hundreds of thousands of Palestinians, and the establishment of the state of Israel, tatreez has become a form of cultural resistance, an assertion of identity. The exhibition traces the politicisation of the craft, and the continued inspiration it provides to Palestinian fashion designers in the present.

A photograph shows Faredah Ibrahim Farah, 1924
The Musa Allush Collection, the Palestinian Museum Digital Archive

Exhibition under the lead of
Guest curator: Rachel Dedman

Campaign image: Jerusalem Is In the Heart, 1977, Helmi El-Touni. Edited by Dar Al-Fata Al-Arabi, Caïro. Source: Palestine Poster Project Archives