Tatreez
[2] The embroidery is particularly associated with embellishments on traditional dress (the thobe,) with the motifs and colors representing regional identity and social relationships.
Tatreez patterns have incorporated nationalist symbolism within the Nakba, the Intilaqa, and the Six-Days War, and the practice remains imbued with social significance as a way to embody and propagate cultural heritage.
Symbolizing longevity, resilience, and stability, the cypress tree is often depicted in symmetrical patterns, reflecting its persistent role in the natural environment of Palestine.
Often working to frame larger motifs, or the edges of a garment borders depict feathers, roses, soap, triangles, and toothed lines.
In each region, the embroidery serves as a form of aesthetic and cultural expression and carries deep social significance, reflecting the community's identity and traditions.
For instance, In the Northern regions like Bethlehem and Ramallah, the embroidery is distinguished by its intricate motifs and the use of luxurious materials, reflecting the historical and religious importance of the area.
[3] Ramallah's embroidery features detailed geometric and floral patterns, often adorning handwoven white linen used in traditional dresses, marking celebrations and significant life events.
Although Gazan dresses are more simple and represent the practical needs of everyday life, they are exquisitely adorned with vibrant embroidery down the sleeves and hems.
[3] Hebron, known for its vivid cross-stitch designs on thick linen, exhibits a strong aesthetic with rich reds and greens that represent a bond with the land and local traditions.
[3] In addition to adding beauty to the clothing, the tatreez of each region is a form of identity and expression passed down through the generations, reflecting the artistry and resilience of Palestinian culture.
After the 1948 ethnic cleansing and displacement of over 700,000 Palestinians (known as the Nakba, Arabic for catastrophe), the practice of tatreez was disrupted, as was every aspect of daily life.
[25] Tatreez also became a necessary part of the economy for refugees- the practice was commodified as women sold their art to support their families.
[27] “In short, in the 1970s and 80s, people extended resistance and the political struggle to culture and other nonpolitical domains, like the domestic sphere, that were less exposed to immediate Israeli repression: This culture resistance was imbued with folklore.”[28] Embroidery gave Palestinian women work, power, and identity: though at this time the art was no longer just women’s work.
