Wafa Ghnaim Uses the Traditional Craft of Tatreez to Preserve and Share Palestinian History

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Tatreez, traditional Palestinian cross-stitch, “is unwritten language, transferred stories, between woman and woman in silence.” Artist Wafa Ghnaim shares how she uses the craft to preserve and share Palestinian history

out of storage and guided her daughters through the design, teaching them the stories of each pattern.

Tatreez “is unwritten language, transferred stories between woman and woman in silence,” says Abbasi-Ghnaim. When formal schooling in reading and writing was limited to men, Palestinian women learned to tell their stories through embroidery. “We want to keep the stories alive.”the experience of embroidering with her mother over a cup of tea while learning her people’s stories was at the front of her mind.

Ghnaim and her mother share a common interest in the ways tatreez patterns have evolved over time, especially as Palestinians have continued to embroider in the diaspora. Historically, tatreez patterns varied from village to village because of limited transportation, says Abbasi-Ghnaim. But after 1948, when people from different areas started living together in refugee camps, the distinctions began to fade. “Now people are wearing whatever they like from any village,” says Abbasi-Ghnaim.

“The majority of the patterns that we stitch on our garments are adapted from traditional motifs,” says Ghnaim. “But inI encourage Palestinians in the diaspora to try to stitch motifs that reflect their current context.” Ghnaim says that innovation has always been central to tatreez: “The spirit of our tradition is to be creative and expressive.

“The first book was to document my mother’s stories and the oral history in my family,” says Ghnaim. “The next book is to document the stories of Palestinian women in history who have been dispossessed of dresses”—garments that are now in museums or other collections. She hopes to digitize the dress designs, making the patterns available to others to be reproduced and built upon.

 

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The end of the British Mandate wasn't the 'catastrophe' part of the Nakba. Nice to shine a light on Palestinian designers I guess, but what a roundabout way to avoid implicating Israel in any way in the displacement of her *literal* family. This is a rewrite of history

Since I chose music even though I went to fashion design school I get to enjoy the fashion industry you may get to enjoy the music world the fashion industry is much more ruthless

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