Palestinian
Christian families visit the Nativity grotto, believed to be the birthplace of
Jesus, seeking blessings for their children [Qassam Muaddi / TNA]
Basel Abbas and Ruanne Abou-Rahme. Oh shining star testify, 2019
Installation view at Art Institute of Chicago, 2021
If only this mountain between us could be ground to dust
–
If only this mountain between us could be ground to dust—the
first exhibition by Palestinian artists Basel Abbas and Ruanne
Abou-Rahme in a major US museum—combines a site-specific installation of
the artists’ ongoing multimedia projects with a commissioned work
created specifically for the Art Institute of Chicago.
Working in film, installation, performance, sound, and text,
Abbas and Abou-Rahme sample self-authored and existing media and
materials to reframe and activate narratives that they describe as
everyday erasures of Palestinian experience as a means of resisting the
illusion of one immutable history. The interconnected works in this
installation critically examine how bodies, images, language, memories,
and narratives exist within contemporary archives, media, and
institutions. Often reflecting on ideas of amnesia, erasure, and return
within the Palestinian condition, the artists see these artworks as
potential tools for the politically oppressed to become unbound from
colonial systems.
Central to the exhibition is an immersive multimedia installation combining new versions of two multi-channel video works. Oh shining star testify(2019–21)
focuses on CCTV footage taken from a surveillance camera that
circulated online after Yusuf Shawamreh, a 14-year-old Palestinian boy,
was killed by Israeli forces. The layered footage, sampled from
recordings of the event, brings attention to how images that circulate
online can offer a testament to historic events, though that testament
can be obliterated when the internet becomes oversaturated with imagery.
Foregrounding the simultaneous accumulation and disappearance of data
and images, the artists make visible how those “uncounted bodies counter
their own erasures, appearing on a street, on a link or on a feed.”
Basel Abbas and Ruanne Abou-Rahme. At those terrifying frontiers where the existence and disappearance of people fade into each other, 2019
Installation view at Art Institute of Chicago, 2021
The second video, At those terrifying frontiers where the existence and disappearance of people fade into each other (2019–21),uses fragments of Palestinian postcolonial scholar Edward Said’s poem “After the Last Sky”to
interrogate what it means to be constructed as an “illegal” person,
body, or entity. The text fragments are interspersed with human avatars
created from images of demonstrators in the Great March of Return, a
series of protests that began in 2018 and advocated for ending a 12-year
blockade and returning Palestinians to their ancestral homeland. The
avatars, which are rendered with software that represents missing data
as glitches, scars, and incomplete facial features, seem to exist
between the past and the future.
Basel Abbas and Ruanne Abou-Rahme. Once an artist, now just a tool, 2021
The exhibitionalso presents for the first time the series of prints Don’t read poetics in these lines
(2010–21). Abbas and Abou-Rahme began producing this work in 2010 by
screenshotting and archiving tweets that responded and continue to
respond to the Arab revolutions. The selectively erased texts distill
the rapid-fire reactions that unfolded on social media, thus standing as
a testament to our time and offering a physical counterweight to the
internet, which the artists consider an “amnesiac archive.”
Extracted from this archive,Once an artist, now just a tool (2021)wascommissioned
by the Art Institute and critiques how museums perpetuate the legacies
of the colonial apparatus. In repositioning these sampled fragments, the
artists assert language’s capacity to challenge systems and histories
of power, critically pointing to the shifts that occur between events
and discourse.
The exhibition’s visceral and material narratives
raise timely and urgent questions about the ways history is constructed
and continually obliterated—encouraging viewers to imagine the potential
futures that emerge from the immersive sonic and visual environment.
If only this mountain between us could be ground to dust is curated by Maite Borjabad López-Pastor, Neville Bryan Associate Curator, Architecture and Design.
Inscribed in 2021 (16.COM) on the Representative List of the Intangible Cultural Heritage of Humanity
The art of traditional embroidery is widespread in
Palestine. Originally made and worn in rural areas, the practice is now
common in all of Palestine and among members of the diaspora. Women’s
village clothing usually consists of a long dress, trousers, a jacket, a
headdress and a veil. Each of these garments is embroidered with a
variety of symbols including birds, trees and flowers. The choice of
colours and designs indicates the woman’s regional identity and marital
and economic status. On the main garment, the loose-fitting dress called
a thob, the chest, sleeves and cuffs are covered with embroidery.
Embroidered, vertical panels run down the dress from the waist. The
embroidery is sewn with silk thread on wool, linen or cotton. Embroidery
is a social and intergenerational practice, as women gather in each
other’s homes to practise embroidery and sewing, often with their
daughters. Many women embroider as a hobby, and some produce and sell
embroidered pieces to supplement their family’s income, either on their
own or in collaboration with other women. These groups gather in each
other’s homes or in community centres, where they may also market their
work. The practice is transmitted from mother to daughter and through
formal training courses.
Another VICTORY The minister of culture of UNESCO
added Palestinian Embroidery (Tatreez) to its Intangible Cultural
Heritage of Humanity list today after thieving 'israel' attempted to
promote Tatreez as part of the 'israeli' culture (no such thing) during
the Miss Universe pageant this past weekend.
Photos shared by Maher Naji followed by some photos from the online visual tour by the Palestinian Return Centre
"Maher's artwork is inspired by his family's memories of Palestine before
1948. He relies on his mother's vast details of her memories, for every
line and shape in his paintings, his art is a means of preserving
Palestinian culture in the midst of Israeli settler colonial siege. The
memories he paints, are also the hopeful visualisations of return." RETURN WEEK
These images (on this blog post) are only a small sampling of the embroidered panels & information... Please go to original link to see the tapestry in full https://www.palestinianhistorytapestry.org/
This image of an oud player is based on a woodcut published by William McClure Thomson in 1860 (The Land and the Book: Or, Biblical Illustrations Drawn from the Manners and Customs, the Scenes and Scenery, of the Holy Land. Vol II, p. 578).
Instruments of the lute family were known to have existed in Mesopotamia at least as long ago as 3000 BCE.
The
Palestine postage stamp had English, Arabic and Hebrew text. Hebrew
was given equal status to Arabic and English even though the Jewish
population was only around 10 per cent. The special treatment of that
population was written into the terms of the Mandate with the Balfour
Declaration.
Source of image: Selected from traditional designs by Riham Khalil Embroidery: Iman Shehaby [Tabariyeh], Ain al-Hilweh, Lebanon
This
image is familiar in three religions. Jews refer to it as the hand of
Miriam, to commemorate the sister of Moses and Aaron. Levantine
Christians refer to it as the hand of Mary, mother of Jesus. In Islam,
it is known as the hand of Fatima, so named to commemorate Fatima Zahra,
Muhammad’s daughter.
Source of image:Traditional design Embroidery: Amari Women's Group Ramallah, Palestine
An
example of tahriri embroidery with traditional cross stitch. The
tahriri sample here has been stitched by the Amari Women’s Group in
Ramallah. The Women’s Child Care Society in Bet Jala is maintaining the
traditional Bethlehem tahriri stitching by training local women to
produce embroidered items for the tourist market, providing income for
women working from home. Tahriri stitching is also known as couching,
and is used to preserve golden threads used in the decoration of church
raiments.
Source of image:Traditional design Embroidery: Mothers’ Embroidery Group, Al Deheishe Refugee Camp, Bethlehem, Palestine
This
panel displays a typical Palestinian country wedding with its rituals,
dabkeh folk dance, the bride on a horse, and traditional music. The
dabkeh dance is characteristic of the whole of the Levant, with the
music and the dance steps differing slightly from place to place.
Palestinian cuisine is the cuisine of the Levant – msakhan, maftoul, kibbeh,hoummous, and mansaf, for example – which have become very widely known and appreciated.
Design: Hamada Atallah [Al Quds] Al Quds, Palestine Embroidery: Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Olives
and olive oil symbolize Palestinian land, identity and culture. The
olive tree is seen by many Palestinians as a symbol of nationality and
connection to the land, particularly due to the slow growth and
longevity of the tree. The destruction of Palestinian olive trees has
become a feature of the Israeli occupation, with regular reports of
damage and destruction by Israeli settlers.
The Roman conquest of Judea in 63 BCE was solidified when Herod was
appointed King of Judea. In 132 CE, the Roman Emperor Hadrian joined
Judea and Galilee to form Syria Palaestina, so reviving the ancient name
of Philistia, combining it with that of the neighbouring province of
Syria.
Source of image: Inspired by the writings of Ghassan Kanafani Embroidery: Suheer Abu Rabia, Drejat, Naqab
The
title of this image is inspired by a short story by Ghassan Kanafani, a
Palestinian writer who was assassinated in 1972 by Mossad, the Israeli
secret service. “The Land of the Sad Oranges” describes the influence of
deportation on Palestinians when Israeli troops took over their country
in 1948. Jaffa oranges were cultivated by Palestinian farmers from the
mid-19th century, and take their name from the port city of
Jaffa. Mention of Jaffa oranges being exported to Europe first appears
in British consular reports in the 1850s.
Source of image: Ahmad Canaan. Artist Design: Ahmad Canaan, Tamra, Palestine Embroidery: Iman Shehaby [Tabariyeh], Ain al-Hilweh, Lebanon
This
embroidery is based on a painting by the distinguished Palestinian
artist Ahmad Canaan, born in 1965 in Tamra. He now lives in Jerusalem,
and his painting of the lone refugee symbolises the Nakba [Catastrophe].
Era: Sumud - Steadfastness (1948 onwards)
UN Resolution 194, 1948- United Nations General Assembly Resolution 194 [53] on 11th December
1948 declared the right of Palestinians, who had be displaced by Zionist
forces, to return to their homes or to receive compensation for their
losses.
The Right of Return
Source of image: Design by Fatma Abu Owda [Hamama], Gaza, Palestine Embroidery: Hanan Al-Behery [Karatiyya], Gaza
In
the hope of returning to their homes, Palestinian refugees retain the
keys to the houses from which they were forcefully displaced during the
Nakba in 1948. The key symbolizes the inheritance of successive
Palestinian generations of the right of return to their homes and their
rejection of the policy of resettlement. This embroidery illustrates the
right of return by featuring images of over 30 house keys of different
shapes and sizes which Palestinian families have retained over the
generations.
The
United Nations Relief and Works Agency for Palestinian refugees (UNRWA)
was established in 1949. The following year, it began providing
nutritional, health, and educational services to about 750,000 Palestine
refugees displaced as a result of the ethnic cleansing of Palestine.
Today, due to lack of international support, UNRWA struggles, to provide
services to over 5 million Palestinian refugees.
Embroidered by: Jan Chalmers, UK Inspired by art created by: Naji al-Ali [Palestine] Sponsored by: Chalmers children UK
(A reminder from my dear friend, Nancy Harb Almendras: "Al Ali's little refugee boy will always have his backed turned until Palestine is free.")
Land Day inaugurated, 30 March 1976
[59 x 131 cm]
Embroidery: Haneeyeh Abu Saleh, Galilee, Palestine
Land
Day, March 30, is an annual day of commemoration. In 1976, in response
to the Israeli government’s announcement of a plan to expropriate
thousands of dunams of land for state purposes, a general strike and
marches were organized in Arab towns, from the Galilee to the Negev. In
the ensuing confrontations with the Israeli army and police, six unarmed
Palestinian citizens of Israel were killed, about one hundred were
wounded, and hundreds of others arrested. This was the first time since
1948 that Palestinian Arabs in Israel had organized a response to
Israeli policies as a Palestinian national collective. Land Day is
marked not only by Palestinian citizens of Israel, but also by
Palestinians all over the world.
Source of image: Design by Shaymaa Abu-Hasanain [Gaza], Gaza, Palestine Embroidery: Khawala Dahrouj [Bir Seb’a] Gaza, Palestine
This
panel shows school children being taught at home in Gaza after the
Israeli occupation forces had cut electricity supplies and closed
schools in response to the first Palestinian Intifada [uprising]. The
Intifada, which began in 1987, was a protest against Israeli “beatings,
shootings, killings, house demolitions, uprooting of trees,
deportations, extended imprisonments, and detentions without trial”. It
involved civil disobedience consisting of general strikes, boycotts, of
Israeli institutions, an economic boycott and widespread throwing of
stones and Molotov cocktails at the Israeli army.
Source of image: PHT design Embroidery: Jan Chalmers, UK
Sponsored by: Chalmers Family, UK.
“Greetings to the one who shares with me an attention to the
drunkenness of light, the light of the butterfly, in the blackness of
this tunnel.” Mahmoud Darwish, Palestinian poet.
Palestine becomes UN Non-Member Observer State 2012
[59 x 85]
Source of image: PHT design Embroidery: Jan Chalmers, UK
On
29 November 2012, the General Assembly of the United Nations accorded
Palestine non-Member Observer State status by an overwhelming majority —
138 in favour to 9 against (Canada, Czech Republic, Israel, Marshall
Islands, Micronesia, Nauru, Panama, Palau, United States), with 41
abstentions.
The meaning of the Pan-Arab colours of the Palestinian flag come from
the poem ‘al-Fakhr Hillis’ (Boast) by Safi Al-Din Al-Hilli
(1278-1349). Safi was a famous 13th century poet born in Hillah, in
modern day Iraq.
“Red are our swords, Green are our fields, Black are our battles, White are our deeds”
Source of image: Inspired from video, (see link below) Design: Ibrahim Al Muhtadi [Al Quds], Gaza, Palestine Embroidery: Karema Nassar [Barbara], Gaza, Palestine
The Great March of Return, a series of protests at points near the
fence between Gaza and Israel, began on 30 March 2018. The protests were
initiated by Palestinian activists independently from Palestinian
political factions. The protesters demand that Palestinian refugees and
their descendants be allowed to return to the land from which they were
displaced in 1948. Many non-violent protesters, including children,
medics and journalists, were killed and maimed by Israeli snipers using
live ammunition, creating life-long disabilities. The theft of
militarily occupied Palestinian land for the use of Jewish Israeli
settlers is still ongoing and continuous despite being in violation of
international law.
The
dove has been a symbol of peace for thousands of years in many
different cultures, including Palestinian culture. It was Pablo Picasso
who made the dove a modern symbol of peace when he used it on a poster
for the World Peace Congress in 1949.
Era: Sumud - Steadfastness (1948 onwards)
Olive branch
[59 x 40 cm]
Source of image: PHT design Embroidery: Iman Shehaby [Tabariyeh], Ein el Hilweh, Lebanon
The olive branch, a symbol of peace.
Nothing symbolizes Palestinian land, identity and culture as olives
and olive oil do. Olive trees are the hallmarks of national pride and
the veritable heart of Palestine’s agricultural economy
Palestinian olive oil production contributes millions annually to
some of the poorest, most disadvantaged families and communities in the
occupied West Bank. It is a primary source of revenue for the economy
and nearly half of all agricultural land use is devoted to olive trees.
As one of the territory’s major exports, the extent to which olives and
olive oil contribute to employment opportunities and income for 100,000
Palestinian farming families cannot be overstated.
Yet, the Israeli government deliberately prevents access to land where olive farms are located.
Physical barriers such as checkpoints and road blocks have restricted
the free movement of people and goods within the West Bank and
obstructed access for Palestinian agricultural produce, including olives
and olive oil, to internal, Israeli and international market.
Settler attacks and harassment against Palestinian olive farmers are common.
The Israeli government overlooks settler violence against the groves
and their owners, which includes stealing their fruits, torching or
uprooting tens of thousands of trees, and attacking farmers to
intimidate them, and prevent them from harvesting their olive crops.
It’s a tragedy that the olive branch – a symbol of peace – has become a casualty of settler violence.
Source of image: PHT design Embroidery: Hejar Abu Saleem [Ajjur, district of Hebron], Amman Jordan
When
700,000 Palestinians fled from or were thrown out of their homes during
the Nakba in 1948, they took their house keys with them, convinced that
they would come back after a week or two and re-open their front doors.
The keys have been passed on from generation to generation as a
reminder of their lost homes and as lasting symbols of their ‘right of
return’. The Palestinian right of return or compensation was
internationally recognised by the United Nations General Assembly
Resolution 194, adopted on 11 December 1948.
The Palestinian History Tapestry…
This is a charitable, not-for-profit project in support of
Palestinian women: women who live an oppressed existence, who are poor,
whose land has been taken from them; many whose families have lived for
over half a century in refugee camps throughout the Middle East; women
who, like any wife or mother, desperately want to take care of their
families but face a daily struggle for survival.
The History Tapestry Project is empowering Palestinian women,
enabling them to engage in income generation, whilst telling the story
of the villages and towns, the life and heritage of their forebears, the
indigenous people of Palestine, through beautiful, skilled embroidery
in the Palestinian History Tapestry Project.
Source of image:Traditional design Embroidery: Nawal Ibrahim Al-Ahmad [Tabariyeh], Ain al-Hilweh Lebanon
Palestinian
embroidery has a rich history going back at least 200 years.
Traditional Palestinian women’s dresses, or thobes, took different forms
in different regions of the country. The various stitches, designs and
colours of the embroidery indicate the regional origins and in some
cases, women’s status. Beyond the beauty of this intricate work, and
particularly in the aftermath of the 1948 Nakba, embroidery has played
an important role in preserving Palestinian identity, becoming a symbol
of heritage and endurance.
The award winning Palestinian History Tapestry
uses the embroidery skills of Palestinian women to illustrate aspects
of the land and peoples of Palestine – from Neolithic times to the
present.
Read on →
Embroidery by Hejar Abu Saleem [Ajjur, district of Hebron], Amman Jordan
When 700,000 Palestinians fled from or were thrown out of their homes
during the Nakba in 1948, they took their house keys with them,
convinced that they would come back after a week or two and re-open
their front doors. The keys have been passed on from generation to
generation as a reminder of their lost homes and as lasting symbols of
their ‘right of return’. The Palestinian right of return or compensation
was internationally recognized by the United Nations General Assembly
Resolution 194, adopted on 11 December 1948.
