Tatreez

Embroidery from Beersheba Dress (Palestinian thobe) early in 20 century. The red embroidery in Beersheba was worn by married women while the blue by unmarried women/widows

Tatreez (Arabic: تَطْرِيز, romanized: taṭrīz) is a form of traditional Palestinian embroidery. Tatreez, meaning ‘embroidery’ in Arabic, is used to refer to the traditional style of embroidery practiced in Palestine and Palestinian diaspora communities. The contemporary form of tatreez is often dated back to the 19th century, but the style of cross-stitch embroidery called fallahi has been practiced amongst Arab communities in the Mediterranean for centuries. The embroidery is particularly associated with embellishments on traditional dress (the thobe,) with the motifs and colors representing regional identity and social relationships. Tatreez is commonly used on garments and includes a variety of symbols including birds, trees and flowers. The craft was originally practiced in rural areas of Palestine, but is now common across the Palestinian diaspora. In 2021, the art of embroidery in Palestine was recognized by UNESCO as an important intangible cultural heritage. According to Reem Kassis, this style of embroidery in particular is often celebrated as one of the most rich and exquisite.

Historically, each village in Palestine had their own tatreez patterns, with unique designs telling stories about the local people, legends, animals and plants, and various beliefs people had. The different styles of tatreez have become less distinct and have continued to evolve with the diaspora. The practice of tatreez has accreted an additional politicized significance within the context of Palestinian displacement and resistance. 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.

Origins

Village woman's dress (thobe) from Ramallah, 19th century.

Hanan K. Munayyer, a scholar of Palestinian dress, considers one of the first examples of Tatreez-like embroidery to be a fragment of geometric silk cross-stitch embroidery from 11th-century Alexandria. Dresses found in a 1283 CE burial in Lebanon represent the earliest intact garments with Tatreez embroidery, and strongly resemble the regional dress of Ramallah.

Many popular Tatreez motifs mimic elements of Arab architectural and mosaic design. For example, the cup and acanthus leaf motif is often found in stone carvings.

Historically, the materials used for Tatreez embroidery were from the local area of the embroiderer. Silk was cultivated in Palestine from the sixth to the nineteenth century in order to make the embroidery thread. Before industrialization, the fabric was woven by men in home looms. Plant dyes, such as indigo or madder,  were used to color the embroidery thread.

Terminology

The cross-stitch mode of embroidery is known as fallahi, from the Arabic word denoting a rural person ‘fallah.’ This is the most common mode of embroidery throughout Palestine, but certain regions are known for idiosyncratic techniques. Bethlehem embroidery usually uses a satin stitch known as tahiri, and may incorporate metallic thread embroidery (qasab,) because the thobe material was often finely woven and unsuitable for fallahi. Embroidered aspects of a thobe were often decorated before being assembled. The parts of a thobe that would often be embroidered include the chest panel (qabbah,) which has patterns and colors that vary from region to region and identify the wearer easily. Other commonly embroidered areas of the thobe include the radah (shoulderpiece,) side skirt panels (benayiq,) the front of the skirt (hiijer,) and the lower back panel (shinyar.)

Prominent motifs

A completed piece of tatreez comprises many motifs. These motifs each carry symbolic meanings, telling a story through textile. Different motifs are passed down through generations, becoming identifiers of particular villages, towns, regions, or even families. The variation reflects the deep connection between tatreez and Palestinian heritage - motifs depict the environment, history, and even daily life of Palestinians.

Tree of life: Also known as the Cypress Tree, this motif is one of the most popular, seen across regions. Symbolizing longevity, resilience, and stability, the cypress tree is often depicted in symmetrical patterns, reflecting its persistent role in the natural environment of Palestine.

Palm tree: Another common motif is the palm tree, though it is seen most frequently in relation to thobes from Ramallah. The palm tree is reflective of the Palestinian natural landscape, it symbolizes fertility and life - as is the nature of Palestine.

Khemet el Basha: A motif related to Palestinian history is the Khemet el Basha. The Khemet el Basha is also referred to as Pasha’s Tent, associated with a high ranking official from the Ottoman Empire.

Star of Bethlehem: As it’s name alludes to, this motif is incredibly popular in the region of Bethlehem, communicating messages of love and family with its ties to the Canaanite goddess of fertility.

Border Motifs: Bordering elements also play a significant role in the symbolic nature of Tatreez and Palestinian thobes. Often working to frame larger motifs, or the edges of a garment borders depict feathers, roses, soap, triangles, and toothed lines.

Each completed thobe, with a tapestry of motifs, is a direct reflection of the personal circumstances of the artist, displaying social and marital status, wealth, village of origin, even communicating personality.

Regional differences

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. Bethlehem is especially well-known for its extravagant use of silver and gold threads in wedding attire, representing prestige and wealth. Ramallah's embroidery features detailed geometric and floral patterns, often adorning handwoven white linen used in traditional dresses, marking celebrations and significant life events.

On the other hand, the Southern areas, such as Gaza and Hebron, exhibit distinct styles. 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. 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. 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.

Tatreez after the Nakba

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. Countless treasured works were lost as the vast majority of Palestinians became refugees. Before the Nakba, embroidery was largely a family business, the technique passed down through generations of women.

After Palestinians were torn away from almost every aspect of their everyday lives, tatreez, like other routine practices, became something to preserve. The process of “heritagization” turned smaller aspects of Palestinian life into hallmarks of their existence, and resistance. Tatreez also became a necessary part of the economy for refugees- the practice was commodified as women sold their art to support their families. Many women’s organizations cropped up around this time, centered around giving women the supplies to take back their craft and their lives.

Tatreez after the 1967 Six-Day War

A second tatreez revival occurred in the 1970’s and 80’s, after the Six Day War. Commercialization of tatreez increased,the market drawing international attention to Palestine. At this point, practicing and teaching tatreez became a revolutionary act. The Palestinian Liberation Organization even established tatreez workshops in refugee camps. “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.” Embroidery gave Palestinian women work, power, and identity: though at this time the art was no longer just women’s work. It is now not only a symbol for Palestinian heritage but a new form of mobilization and activism.

Palestinian "Intifada Dress" or "Flag Dress"

Tatreez and the Intifadas

Throughout the First Intifada, nationalist art and imagery had a strong influence on resistance, and vice versa. This escalated Israeli censorship of Palestinian art, to the extent that the colors of the flag itself were not permitted to be shown in public.  Tatreez, along with other tasks traditionally performed by women, was not only publicized but politicized into a format for nationalist rebellion. Using tatreez to display the Palestinian flag on thobes became a popular form of resistance for Palestinian women. These dresses came to be known as “intifada dresses” or “flag dresses”. Thobes became an excellent media for the palestinian flag after it was banned in public places. Women could wear their “intifada dresses” in their homes or other private places, and even if displayed in public at a protest, the dresses could not be removed off their bodies.

See also

• Palestinian handicrafts
• Palestinian traditional costumes