MultakaOxford
Palestine: Pieces of Me
CLICK TO ENTER
فلسطين: قِطعٌ مِنْي
جُذور وَطننا
Palestine: Pieces of Me
Roots of My Homeland
Daily Life
Creativity & Sumud
History & Heritage
Partners
About
MultakaOxford
Daily Life
Life in the United Kingdom
Life in Palestine
MultakaOxford
History & Heritage
Tapestries
Dabke
MultakaOxford
Creativity & Sumud
Al Am'ari Women's Program Centre
Museum collections
Daily Life
Food & Drink in Palestine
About
Daily Life
Clothing in Palestine
Daily Life
Family treasures in Palestine
Daily Life
Living in the United Kingdom
About
Samia Shibli
Daily Life
Living in the United Kingdom
Suhad Jarrar-Browne
Daily Life
Living in the United Kingdom
Sawsan
Daily Life
Living in the United Kingdom
Ali Alzoubi
History & Heritage
Dabke dance
Dabke is a popular dance originating in the Levantine region, including Palestine, Lebanon, Jordan & Syria. It is widely performed at festivals, celebrations and events such as weddings.
More Tapestries
History & Heritage
Tapestries
The Palestinian History Tapestry Project works with talented Palestinian embroiderers to create pieces that illustrate aspects of the land and peoples of Palestine – from Neolithic times to the present. The designers and embroiderers who contribute to the Palestinian History Tapestry live and work in the Gaza Strip, West Bank, Jerusalem, the Naqab, Jordan and Lebanon. Several of the beautifully embroidered panels were produced by women in Oxford’s twin city of Ramallah, Palestine, and you can see a sample of these works in this exhibition.
More Tapestries
History & Heritage
Tapestries
History & Heritage
Tapestries
Creativity & Sumud
Al Amari objects
About
Creativity & Sumud
Al Amari objects
Creativity & Sumud
Al Amari objects
Creativity & Sumud
Museum collections
About
Traditional women's dress of silk and linen
Creativity & Sumud
Museum collections
Traditional women's dress of silk and linen
Creativity & Sumud
Museum collections
Women's dress of hand-spun and hand-woven natural linen with qabbah
Creativity & Sumud
Museum collections
Women's dress of hand-spun and hand-woven natural linen with qabbah
Creativity & Sumud
Museum collections
Embroidered Jacket
Creativity & Sumud
Museum collections
Veil, Ghudfeh غدفة
(Al Khalil, الخليل)
Creativity & Sumud
Museum collections
Framed Embroidered Sampler
Creativity & Sumud
Museum collections
Qabbah Chest Panel Sampler
Project Partners
Click the logos to learn more...
DABKE
Tahriri embroidery التطريز التحريري
Rolling pin
Samia
Olive harvest
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Small pouch
The History of Science Museum is located in the world’s oldest surviving purpose-built public museum building on Broad Street. We believe our world needs people to unite in addressing the challenges and opportunities of today. That's why we explore, with our visitors, the stories, ideas, and questions that connect our human experience across time and space.
The History of Science museum website
Palestine 1917 فلسطين
Veil, Ghudfeh غدفة
Rolling pin
Date
This rolling pin is part of my childhood, I love the touch of the wood, the smoothness and the roundness. My mother produced so much yummy food with it, the taste of the bread is still in my mouth and each time I use it now in Oxford it takes me back to the smell and taste of bread coming out of the wood-fired oven.
The rolling pin belonged to my father’s grandmother, my mum inherited it and entrusted it to me. I feel privileged to be chosen to have it out of her 11 children and one day it will pass from me to my daughter.
Samia
Bracelet
Date unknown
My mother gave this bracelet to my daughter Serene. My mum had two bracelets, which she wore ALL the time, she gave one to Serene and kept one on her arm. I love listening to the story of the bracelets. My mother is an excellent storyteller, in the time of no TV she would tell us stories every night.
Samia
The bracelet story is one of my favourites
Sumud صمود
Solidarity with women hunger strikers
Scarf
Land ownership, 1946 ملكية ارض فلسطين
Women's dress of hand-spun and hand-woven natural linen with qabbah
Girl's Dress
Early 20th Century
Suhad Jarrar-Browne
These objects are from the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over 30 years and displayed at interactive exhibitions across the UK.
The collection encompasses a selection of traditional Palestinian heritage items, such as women’s costumes, jewellery, and shoes, amongst other unique items. These objects represent different aspects of Middle Eastern and Palestinian culture and heritage.
Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives. She strongly believed that sharing her collection with the public is a great opportunity to bridge the gap between the East and West for better understanding of Arab Muslim people and their cultures
Rolling pin
Date
This rolling pin is part of my childhood, I love the touch of the wood, the smoothness and the roundness. My mother produced so much yummy food with it, the taste of the bread is still in my mouth and each time I use it now in Oxford it takes me back to the smell and taste of bread coming out of the wood-fired oven.
The rolling pin belonged to my father’s grandmother, my mum inherited it and entrusted it to me. I feel privileged to be chosen to have it out of her 11 children and one day it will pass from me to my daughter.
Samia
Disappearing Palestine اضمحلال فلسطين
Note on stitches
Some of the stitches indicate a Bethlehem connection (Bayt Lahm). This can happen sometimes when families from different areas join forces through marriage and dresses can combine stitches of two geographical areas which is beautiful. Stitches from different villages can often have names and meanings relating to the surrounding flora/fauna (for example Qurunful (carnations) and Hamam (pigeons) deek (roosters) waz (geese)), whether the area is by the sea, or known for a specific industry or is famed for its agriculture. For example, dresses from areas such as Gaza will often have sea-related stitches or be blue, whereas dresses where there is a lot of farming may feature stitches named after tools such as sickles and scythes.
Some more recent stitches that have developed might be named after everyday objects of use, for example there are stitches called a comb (musht) and a razor (makinat hla’a/moos). If a woman becomes a widow it is traditional to dye your Tatreez indigo to indicate this. If you complete your mourning period and choose to marry again you may stitch new red stitching onto your indigo dress (thus indicating that you are indeed a widow but have moved out of mourning and are ready to meet someone again).
Object title
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Table Runner
Wooden spoon
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Oxford officially twinned with Ramallah in 2019.
Oxford City Council webpage for Ramallah
Wooden spoon
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Women's dress of hand-spun and hand-woven natural linen with qabbah
Wedding Dress
Late 19th Century
Lantern
Date unknown
Before being connected to the public network of electricity, almost every Palestinian household and shop used a kerosene pressure lantern like the one in this image. It originates from Germany and is made from Nickel and brass.
Portrait of a Bedouin Man
Land ownership, 1946 ملكية ارض فلسطين
About the Exhibition
This exhibition celebrates the visit of our friends from the Women’s Centre in Al Amari Refugee Camp Ramallah to Oxford. The Sewing Project, based in the Women’s Centre is the inspiration for the display. The project is run by talented embroiderers and stitchers who produce exquisite work for public sale and for The Palestinian History Tapestry. We invite you to share and celebrate Palestinian stitching, craft and culture from before the Nakba through to the present day. It is about Sumud (steadfastness), about holding the roots of their homeland which is being continually fragmented by the Israeli occupation.
This year is the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Zionist forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stays powerfully present and is at the centre of Palestinian society today.
Bracelet
Date unknown
My mother gave this bracelet to my daughter Serene. My mum had two bracelets, which she wore ALL the time, she gave one to Serene and kept one on her arm. I love listening to the story of the bracelets. My mother is an excellent storyteller, in the time of no TV she would tell us stories every night.
Samia
The bracelet story is one of my favourites
Hanthala حنظلة
Sawsan
The Palestinian History Tapestry project seeks to empower Palestinian women by enabling them to engage in income generation while telling the story of the villages and towns, the life and heritage of their forebears, the indigenous people of Palestine, through beautiful, skilled embroidery.
The Palestinian History Tapestry project website
Oxford Ramallah Friendship Association (ORFA) is a charity that builds grassroots links between people in Oxford in the UK and Ramallah in Palestine. ORFA works to raise awareness in Oxford of the situation in the West Bank and works closely with the Women’s Program Centre in Al’Amari Refugee Camp, Ramallah Municipality.
Oxford Ramallah Friendship Association webpage
Coffee brazier
Mid 20th Century
Qabbah Chest Panel Sampler
Traditional women's dress of silk and linen
UN partition plan, 1947 مقترح الامم المتحدة لتقسيم ارض فلسطين
Destruction of Bedouin villages تدمير القرى البدوية
Sumud صمود
Solidarity with women hunger strikers
These objects are the personal belongings of Palestinian people living in the UK. The objects and stories connected to them that have been shared by each individual teach us the value that material objects can hold in preserving cultural heritage and creating opportunities for intercultural dialogue and understanding.
The Oxford Dabke Group promotes dabke in Oxford. Dabke is a Levantine Arab folk dance performed in Lebanon, Jordan, Iraq, Syria, and Palestine, and is frequently performed at weddings and other joyful occasions.
Oxford Dabke Group webpage
Woman’s Wooden Shoes
Suhad
Video: Dabke Dance
UN partition plan, 1947 مقترح الامم المتحدة لتقسيم ارض فلسطين
Metal Keys
Early 20th Century (est)
A metal key to the door of an evicted Palestinian house. It dates back to a period long before 1948, the year that Jewish militias depopulated more than 500 Palestinian towns and villages by force. Presently, such keys are called 'keys of return' because they symbolise the Palestinian aspirations to return to their towns and villages. Such keys are kept by hundreds of thousands of Palestinians who are presently living in refugee camps after being uprooted in 1948 from their homeland.
Embroidered Panel
Mid 19th Century
Maamoul معمول Moulds
Suhad
Metal Keys
Early 20th Century (estimated)
Palestine 1917 فلسطين
Godfrey de Bouillon and crusaders
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Disappearing Palestine إختفاء فلسطين
Here are some examples of the incredible tatreez created by the expert embroiderers at Al Amari Women’s Program Centre in Al Amari Refugee Camp in Ramallah, Palestine. You can see a Variety of Palestinian Stitching used in innovative ways to make bags, scarves, homeware and even jewellery. This women’s centre located in Al Amari Refugee Camp in Ramallah, Palestine, is a women-led collective dedicated to supporting expert Palestinian Tatreez embroiderers to create and sell pieces in Palestine and across the globe. The initiative is a crucial source of income for women in the centre, as it is not uncommon for women in Ramallah to be the sole earners in their families due to historic and ever-increasing restrictions on Palestinian men finding work in the region. The centre supports skilled embroiderers along with training newly joined women in ancient tatreez techniques to create modern-day takes on traditional tatreez pieces such as hair scrunchies, lanyards, pouches and bag straps. Embroiderers in Palestine see tatreez as a peaceful tool for activism and a way to share their Palestinian culture and identity with people around the world.
Notes on silk
Floss silk thread used for embroidering Palestinian women’s costumes was produced in Homs and Mount Lebanon (sometimes from imported cocoons) and dyed the range of required colours in Homs and Damascus. In 1843 a European-owned factory started to manufacture so-called ‘Syrian’ silk thread on Mount Lebanon. As a result, between 1843 and 1914 ‘Syrian’ silk and the export of silk cocoons became an internationally traded cash crop, of paramount importance in the economy of the mountain. The silk factory reached its height in the 1880s, accounting for about 80% of total exports. However, it all but disappeared by 1914.
Thobe Sampler
Back of the dress
Bracelet
Date
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years.
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects, such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
About the Exhibition
This exhibition celebrates the visit of our friends from the Women’s Centre in Al Amari Refugee Camp Ramallah to Oxford. The Sewing Project, based in the Women’s Centre is the inspiration for the display. The project is run by talented embroiderers and stitchers who produce exquisite work for public sale and for The Palestinian History Tapestry. We invite you to share and celebrate Palestinian stitching, craft and culture from before the Nakba through to the present day. It is about Sumud (steadfastness), about holding the roots of their homeland which is being continually fragmented by the Israeli occupation.
This year is the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Zionist forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stays powerfully present and is at the centre of Palestinian society today.
Palestinian Henna party
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
Destruction of Bedouin villages تدمير القرى البدوية
Coffee Grinder Mihbaj مهباج
Suhad
Embroidered Panel
Mid 19th Century
This is an outstanding piece of Palestinian embroidery. It is a back panel of a ceremonial dress from the region of Jaffa. Its white linen foundation is harmoniously embroidered with floss silk. The middle motif is called sea waves (Mawj Al Bahar) or sometimes the Venetian wave. Very few similar examples of this motif on white linen can be found in museums or with collectors.
Tote bag
Olive harvest موسم حصاد الزيتون
Tatreez
Sawsan
Grain crusher
18th Century
These two hand-cut stones are used as a grain crusher. This was the handiest tool in most Palestinian households. It was used to crush grain, soya beans and lentils. it used to be shared between families living in the same neighbourhood. This tradition started thousands of years ago but has disappeared gradually as a result of modernisation and the availability of crushed grains in stores.
Object title
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Cushion Cover
Tahriri
The form of the central panel of the dress is called Tahriri, a method of embroidery known specifically in the area of Bethlehem in Palestine. This is done by drawing a design on tracing paper, fixing the paper onto the inner side of the dress then stitching ‘running stitches’ (called tasreej in Arabic) onto your panel to mark where you will need to go with the embroidery. In more modern times it is sometimes done with a sewing machine but this particular one will have been done by hand. Some expert embroiderers don’t even trace the design onto the panel as they can do it freehand! After you have your guide stitches you then start your embroidery. This couching method, is when you secure thicker silk threads onto the surface with smaller stitches to create your pattern.
The artist would start with the gold/silver metallic threads (qasab) first then continue with the silks and more delicate threads that fill in the designs, finishing with the stitches that fill in the gaps with the finest threads, the silks used in Palestine were produced locally with silk worms.
Tahriri embroidery
Amari Women's Group, Ramallah, Palestine
The Pitt Rivers Museum cares for over 500,000 objects, which are arranged by type into a ‘democracy of things’, rather than by time or region. It is also a contested space that calls for innovative curation to engage with the more difficult aspects of its history; a place where many histories collide and where objects from Britain's colonial past sit side by side with more recent (and much older) ones.
The Pitt Rivers museum website
Chest Panel
Traditional women's dress of silk and linen
Ali Alzoubi
Ali is the founder of the Oxford Dabke Group, a community group that promotes and shares traditional Levantine folk dancing called dabke in Oxfordshire in the UK. He leads workshops, performances and events across Oxford to fundraise, raise awareness and share his skills and knowledge with communities in the UK.
About the Exhibition
This exhibition is a legacy created to illustrate Multaka’s longstanding partnerships with two organisations, Al Amari Women’s Program Centre and the Oxford Ramallah Friendship Association. In the summer of 2023, expert embroiderers from the women’s centre, based in Al Amari Refugee Camp in Ramallah visited Oxford to share the power and beauty of Palestinian cultural heritage and tatreez with local communities. Collaborating with the artists, Oxford Ramallah Friendship Association and Palestinian communities and organisations based in Oxfordshire, the museum facilitated a series of tatreez museum research sessions, workshops and a pop exhibition. The events were a celebration of Palestinian stitching, craft and culture from before the Nakba through to the present day.
At the time of these events in 2023 it was the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Israeli forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stayed powerfully present and was at the centre of Palestinian society. Sadly, a similar threat to Palestinian culture and life is posed by the ongoing genocide in Gaza.
Thus, the message of Sumud (steadfastness) and holding the roots of Palestinians homelands which are being continually fragmented and destroyed is as important as ever.
Tahriri embroidery التطريز التحريري
Necklace
Disappearing Palestine اضمحلال فلسطين
Pestle and mortar
19th Century
Wedding Dress
Late 19th Century
An amazing wedding dress (jillayeh) from Hebron Hills (Falojah) or the southern coastal plains. The frontal appliqué definitely suggests that this is a bridal piece. The silk taffeta appliqué is harmoniously and asymmetrically put together which adds extra beauty to its rich embroidery on the chest, back and side panels. The ‘Satan’s eye’ stitch on the sleeves and the shoulder provides charm and extra harmony to the overall design of the jillayeh. It is embroidered with satin and cross stitched with floss silk on handwoven linen and naturally dyed with indigo extracts.
Girl's Dress
Late 20th Century
A Young girl’s hand-woven white linen dress from the Nablus region of Palestine. This is a very rare example from that particular region where women did not give importance to embroidery because they were more focused on farming and agriculture. Such dresses were made for a young girl either to use material leftover from another dress or they were tailored for a ceremonial occasion. Its winged sleeves are made to flutter while clapping during weddings which suggests that this is a ceremonial piece. The red and green stripes represent hell and heaven (Jannah wa Nar). The yoke seems to be embroidered in Bethlehem and applied to the dress at a later stage.
This is a selection of some of the Palestinian tatreez from the Pitt Rivers Museum’s extensive collection. The pieces were chosen by the artists in Al Amari to be retrieved and studied during their visit in 2023. During those sessions the Museum was able to learn more about the deeper meanings behind each stitch and embellishment and to enhance the Museum’s database with that information.
Asymmetric handle bag
Gold bracelet
Samia
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
Janah wa Nar Dress
Early 20th Century
This dress was embroidered in Gaza on hand woven linen most likely during the British Mandate Period in Palestine. its green and purple stripes are interwoven by silk and linen and is called jannah wa Nar to signify heaven (green) and hell (purple). The embroidery of the chest panel is applied directly on the dress in a way that is not like anywhere else in Palestine whereby the yoke is embroidered separately to be attached later on to the dress. The remaining part of the dress is dipped in indigo which is a dye embroiderers used to extract from wild flowers. The simplicity of the dress rules out the possibility that it will be used as a bridal piece.
Palestinian Henna party
Egg basket
Early 20th century
Janah wa Nar جنة و نار Dress
Early 20th Century
A Woman’s Wuqa وقاة
Suhad
Ṣalaḥ ad-Din Yusuf al-Ayyubid, 1187 CE
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Quran Panel
Early 19th-century
Water jar
Late 19th-century
Girl's jacket
Olive harvest موسم حصاد الزيتون
Disappearing Palestine إختفاء فلسطين
The award-winning MultakaOxford project works in the Pitt Rivers and History of Science museums. The project brings people and communities together to strengthen understanding through inter-cultural dialogue and the mutual sharing of art, stories, culture, and science in the museums.
Multaka webpage
Grain Crusher
18th Century
Women's dress of hand-spun and hand-woven natural linen with qabbah
The Right of Return
Hanan Al-Behery [Karatiyya], Gaza
Emroidery piece
Date:
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Transcript
MultakaOxford
Palestine: Pieces of Me
CLICK TO ENTER
فلسطين: قِطعٌ مِنْي
جُذور وَطننا
Palestine: Pieces of Me
Roots of My Homeland
Daily Life
Creativity & Sumud
History & Heritage
Partners
About
MultakaOxford
Daily Life
Life in the United Kingdom
Life in Palestine
MultakaOxford
History & Heritage
Tapestries
Dabke
MultakaOxford
Creativity & Sumud
Al Am'ari Women's Program Centre
Museum collections
Daily Life
Food & Drink in Palestine
About
Daily Life
Clothing in Palestine
Daily Life
Family treasures in Palestine
Daily Life
Living in the United Kingdom
About
Samia Shibli
Daily Life
Living in the United Kingdom
Suhad Jarrar-Browne
Daily Life
Living in the United Kingdom
Sawsan
Daily Life
Living in the United Kingdom
Ali Alzoubi
History & Heritage
Dabke dance
Dabke is a popular dance originating in the Levantine region, including Palestine, Lebanon, Jordan & Syria. It is widely performed at festivals, celebrations and events such as weddings.
More Tapestries
History & Heritage
Tapestries
The Palestinian History Tapestry Project works with talented Palestinian embroiderers to create pieces that illustrate aspects of the land and peoples of Palestine – from Neolithic times to the present. The designers and embroiderers who contribute to the Palestinian History Tapestry live and work in the Gaza Strip, West Bank, Jerusalem, the Naqab, Jordan and Lebanon. Several of the beautifully embroidered panels were produced by women in Oxford’s twin city of Ramallah, Palestine, and you can see a sample of these works in this exhibition.
More Tapestries
History & Heritage
Tapestries
History & Heritage
Tapestries
Creativity & Sumud
Al Amari objects
About
Creativity & Sumud
Al Amari objects
Creativity & Sumud
Al Amari objects
Creativity & Sumud
Museum collections
About
Traditional women's dress of silk and linen
Creativity & Sumud
Museum collections
Traditional women's dress of silk and linen
Creativity & Sumud
Museum collections
Women's dress of hand-spun and hand-woven natural linen with qabbah
Creativity & Sumud
Museum collections
Women's dress of hand-spun and hand-woven natural linen with qabbah
Creativity & Sumud
Museum collections
Embroidered Jacket
Creativity & Sumud
Museum collections
Veil, Ghudfeh غدفة (Al Khalil, الخليل)
Creativity & Sumud
Museum collections
Framed Embroidered Sampler
Creativity & Sumud
Museum collections
Qabbah Chest Panel Sampler
Project Partners
Click the logos to learn more...
DABKE
Tahriri embroidery التطريز التحريري
Rolling pin
Samia
Olive harvest
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Small pouch
The History of Science Museum is located in the world’s oldest surviving purpose-built public museum building on Broad Street. We believe our world needs people to unite in addressing the challenges and opportunities of today. That's why we explore, with our visitors, the stories, ideas, and questions that connect our human experience across time and space.
The History of Science museum website
Palestine 1917 فلسطين
Veil, Ghudfeh غدفة
Rolling pin
Date
This rolling pin is part of my childhood, I love the touch of the wood, the smoothness and the roundness. My mother produced so much yummy food with it, the taste of the bread is still in my mouth and each time I use it now in Oxford it takes me back to the smell and taste of bread coming out of the wood-fired oven. The rolling pin belonged to my father’s grandmother, my mum inherited it and entrusted it to me. I feel privileged to be chosen to have it out of her 11 children and one day it will pass from me to my daughter.
Samia
Bracelet
Date unknown
My mother gave this bracelet to my daughter Serene. My mum had two bracelets, which she wore ALL the time, she gave one to Serene and kept one on her arm. I love listening to the story of the bracelets. My mother is an excellent storyteller, in the time of no TV she would tell us stories every night.
Samia
The bracelet story is one of my favourites
Sumud صمود
Solidarity with women hunger strikers
Scarf
Land ownership, 1946 ملكية ارض فلسطين
Women's dress of hand-spun and hand-woven natural linen with qabbah
Girl's Dress
Early 20th Century
Suhad Jarrar-Browne
These objects are from the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over 30 years and displayed at interactive exhibitions across the UK. The collection encompasses a selection of traditional Palestinian heritage items, such as women’s costumes, jewellery, and shoes, amongst other unique items. These objects represent different aspects of Middle Eastern and Palestinian culture and heritage. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives. She strongly believed that sharing her collection with the public is a great opportunity to bridge the gap between the East and West for better understanding of Arab Muslim people and their cultures
Rolling pin
Date
This rolling pin is part of my childhood, I love the touch of the wood, the smoothness and the roundness. My mother produced so much yummy food with it, the taste of the bread is still in my mouth and each time I use it now in Oxford it takes me back to the smell and taste of bread coming out of the wood-fired oven. The rolling pin belonged to my father’s grandmother, my mum inherited it and entrusted it to me. I feel privileged to be chosen to have it out of her 11 children and one day it will pass from me to my daughter.
Samia
Disappearing Palestine اضمحلال فلسطين
Note on stitches
Some of the stitches indicate a Bethlehem connection (Bayt Lahm). This can happen sometimes when families from different areas join forces through marriage and dresses can combine stitches of two geographical areas which is beautiful. Stitches from different villages can often have names and meanings relating to the surrounding flora/fauna (for example Qurunful (carnations) and Hamam (pigeons) deek (roosters) waz (geese)), whether the area is by the sea, or known for a specific industry or is famed for its agriculture. For example, dresses from areas such as Gaza will often have sea-related stitches or be blue, whereas dresses where there is a lot of farming may feature stitches named after tools such as sickles and scythes. Some more recent stitches that have developed might be named after everyday objects of use, for example there are stitches called a comb (musht) and a razor (makinat hla’a/moos). If a woman becomes a widow it is traditional to dye your Tatreez indigo to indicate this. If you complete your mourning period and choose to marry again you may stitch new red stitching onto your indigo dress (thus indicating that you are indeed a widow but have moved out of mourning and are ready to meet someone again).
Object title
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Table Runner
Wooden spoon
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Oxford officially twinned with Ramallah in 2019.
Oxford City Council webpage for Ramallah
Wooden spoon
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Women's dress of hand-spun and hand-woven natural linen with qabbah
Wedding Dress
Late 19th Century
Lantern
Date unknown
Before being connected to the public network of electricity, almost every Palestinian household and shop used a kerosene pressure lantern like the one in this image. It originates from Germany and is made from Nickel and brass.
Portrait of a Bedouin Man
Land ownership, 1946 ملكية ارض فلسطين
About the Exhibition
This exhibition celebrates the visit of our friends from the Women’s Centre in Al Amari Refugee Camp Ramallah to Oxford. The Sewing Project, based in the Women’s Centre is the inspiration for the display. The project is run by talented embroiderers and stitchers who produce exquisite work for public sale and for The Palestinian History Tapestry. We invite you to share and celebrate Palestinian stitching, craft and culture from before the Nakba through to the present day. It is about Sumud (steadfastness), about holding the roots of their homeland which is being continually fragmented by the Israeli occupation. This year is the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Zionist forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stays powerfully present and is at the centre of Palestinian society today.
Bracelet
Date unknown
My mother gave this bracelet to my daughter Serene. My mum had two bracelets, which she wore ALL the time, she gave one to Serene and kept one on her arm. I love listening to the story of the bracelets. My mother is an excellent storyteller, in the time of no TV she would tell us stories every night.
Samia
The bracelet story is one of my favourites
Hanthala حنظلة
Sawsan
The Palestinian History Tapestry project seeks to empower Palestinian women by enabling them to engage in income generation while telling the story of the villages and towns, the life and heritage of their forebears, the indigenous people of Palestine, through beautiful, skilled embroidery.
The Palestinian History Tapestry project website
Oxford Ramallah Friendship Association (ORFA) is a charity that builds grassroots links between people in Oxford in the UK and Ramallah in Palestine. ORFA works to raise awareness in Oxford of the situation in the West Bank and works closely with the Women’s Program Centre in Al’Amari Refugee Camp, Ramallah Municipality.
Oxford Ramallah Friendship Association webpage
Coffee brazier
Mid 20th Century
Qabbah Chest Panel Sampler
Traditional women's dress of silk and linen
UN partition plan, 1947 مقترح الامم المتحدة لتقسيم ارض فلسطين
Destruction of Bedouin villages تدمير القرى البدوية
Sumud صمود
Solidarity with women hunger strikers
These objects are the personal belongings of Palestinian people living in the UK. The objects and stories connected to them that have been shared by each individual teach us the value that material objects can hold in preserving cultural heritage and creating opportunities for intercultural dialogue and understanding.
The Oxford Dabke Group promotes dabke in Oxford. Dabke is a Levantine Arab folk dance performed in Lebanon, Jordan, Iraq, Syria, and Palestine, and is frequently performed at weddings and other joyful occasions.
Oxford Dabke Group webpage
Woman’s Wooden Shoes
Suhad
Video: Dabke Dance
UN partition plan, 1947 مقترح الامم المتحدة لتقسيم ارض فلسطين
Metal Keys
Early 20th Century (est)
A metal key to the door of an evicted Palestinian house. It dates back to a period long before 1948, the year that Jewish militias depopulated more than 500 Palestinian towns and villages by force. Presently, such keys are called 'keys of return' because they symbolise the Palestinian aspirations to return to their towns and villages. Such keys are kept by hundreds of thousands of Palestinians who are presently living in refugee camps after being uprooted in 1948 from their homeland.
Embroidered Panel
Mid 19th Century
Maamoul معمول Moulds
Suhad
Metal Keys
Early 20th Century (estimated)
Palestine 1917 فلسطين
Godfrey de Bouillon and crusaders
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Disappearing Palestine إختفاء فلسطين
Here are some examples of the incredible tatreez created by the expert embroiderers at Al Amari Women’s Program Centre in Al Amari Refugee Camp in Ramallah, Palestine. You can see a Variety of Palestinian Stitching used in innovative ways to make bags, scarves, homeware and even jewellery. This women’s centre located in Al Amari Refugee Camp in Ramallah, Palestine, is a women-led collective dedicated to supporting expert Palestinian Tatreez embroiderers to create and sell pieces in Palestine and across the globe. The initiative is a crucial source of income for women in the centre, as it is not uncommon for women in Ramallah to be the sole earners in their families due to historic and ever-increasing restrictions on Palestinian men finding work in the region. The centre supports skilled embroiderers along with training newly joined women in ancient tatreez techniques to create modern-day takes on traditional tatreez pieces such as hair scrunchies, lanyards, pouches and bag straps. Embroiderers in Palestine see tatreez as a peaceful tool for activism and a way to share their Palestinian culture and identity with people around the world.
Notes on silk
Floss silk thread used for embroidering Palestinian women’s costumes was produced in Homs and Mount Lebanon (sometimes from imported cocoons) and dyed the range of required colours in Homs and Damascus. In 1843 a European-owned factory started to manufacture so-called ‘Syrian’ silk thread on Mount Lebanon. As a result, between 1843 and 1914 ‘Syrian’ silk and the export of silk cocoons became an internationally traded cash crop, of paramount importance in the economy of the mountain. The silk factory reached its height in the 1880s, accounting for about 80% of total exports. However, it all but disappeared by 1914.
Thobe Sampler
Back of the dress
Bracelet
Date
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years.
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects, such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
About the Exhibition
This exhibition celebrates the visit of our friends from the Women’s Centre in Al Amari Refugee Camp Ramallah to Oxford. The Sewing Project, based in the Women’s Centre is the inspiration for the display. The project is run by talented embroiderers and stitchers who produce exquisite work for public sale and for The Palestinian History Tapestry. We invite you to share and celebrate Palestinian stitching, craft and culture from before the Nakba through to the present day. It is about Sumud (steadfastness), about holding the roots of their homeland which is being continually fragmented by the Israeli occupation. This year is the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Zionist forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stays powerfully present and is at the centre of Palestinian society today.
Palestinian Henna party
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
Destruction of Bedouin villages تدمير القرى البدوية
Coffee Grinder Mihbaj مهباج
Suhad
Embroidered Panel
Mid 19th Century
This is an outstanding piece of Palestinian embroidery. It is a back panel of a ceremonial dress from the region of Jaffa. Its white linen foundation is harmoniously embroidered with floss silk. The middle motif is called sea waves (Mawj Al Bahar) or sometimes the Venetian wave. Very few similar examples of this motif on white linen can be found in museums or with collectors.
Tote bag
Olive harvest موسم حصاد الزيتون
Tatreez
Sawsan
Grain crusher
18th Century
These two hand-cut stones are used as a grain crusher. This was the handiest tool in most Palestinian households. It was used to crush grain, soya beans and lentils. it used to be shared between families living in the same neighbourhood. This tradition started thousands of years ago but has disappeared gradually as a result of modernisation and the availability of crushed grains in stores.
Object title
Date unknown
From the private collection of Palestinian anthropologist Suhad Jarrar-Browne, collected over a period of 30 years. Suhad travelled extensively across the MENA region, where she lived with Bedouin Nomads and carried out academic research about their lives.
Cushion Cover
Tahriri
The form of the central panel of the dress is called Tahriri, a method of embroidery known specifically in the area of Bethlehem in Palestine. This is done by drawing a design on tracing paper, fixing the paper onto the inner side of the dress then stitching ‘running stitches’ (called tasreej in Arabic) onto your panel to mark where you will need to go with the embroidery. In more modern times it is sometimes done with a sewing machine but this particular one will have been done by hand. Some expert embroiderers don’t even trace the design onto the panel as they can do it freehand! After you have your guide stitches you then start your embroidery. This couching method, is when you secure thicker silk threads onto the surface with smaller stitches to create your pattern. The artist would start with the gold/silver metallic threads (qasab) first then continue with the silks and more delicate threads that fill in the designs, finishing with the stitches that fill in the gaps with the finest threads, the silks used in Palestine were produced locally with silk worms.
Tahriri embroidery
Amari Women's Group, Ramallah, Palestine
The Pitt Rivers Museum cares for over 500,000 objects, which are arranged by type into a ‘democracy of things’, rather than by time or region. It is also a contested space that calls for innovative curation to engage with the more difficult aspects of its history; a place where many histories collide and where objects from Britain's colonial past sit side by side with more recent (and much older) ones.
The Pitt Rivers museum website
Chest Panel
Traditional women's dress of silk and linen
Ali Alzoubi
Ali is the founder of the Oxford Dabke Group, a community group that promotes and shares traditional Levantine folk dancing called dabke in Oxfordshire in the UK. He leads workshops, performances and events across Oxford to fundraise, raise awareness and share his skills and knowledge with communities in the UK.
About the Exhibition
This exhibition is a legacy created to illustrate Multaka’s longstanding partnerships with two organisations, Al Amari Women’s Program Centre and the Oxford Ramallah Friendship Association. In the summer of 2023, expert embroiderers from the women’s centre, based in Al Amari Refugee Camp in Ramallah visited Oxford to share the power and beauty of Palestinian cultural heritage and tatreez with local communities. Collaborating with the artists, Oxford Ramallah Friendship Association and Palestinian communities and organisations based in Oxfordshire, the museum facilitated a series of tatreez museum research sessions, workshops and a pop exhibition. The events were a celebration of Palestinian stitching, craft and culture from before the Nakba through to the present day. At the time of these events in 2023 it was the 75th anniversary of the Nakba (the catastrophe). In 1948, 531 Palestinian towns and villages were destroyed by Israeli forces; 85% of Palestinians were forced into exile or displaced. Much had to be left behind but traditional culture stayed powerfully present and was at the centre of Palestinian society. Sadly, a similar threat to Palestinian culture and life is posed by the ongoing genocide in Gaza. Thus, the message of Sumud (steadfastness) and holding the roots of Palestinians homelands which are being continually fragmented and destroyed is as important as ever.
Tahriri embroidery التطريز التحريري
Necklace
Disappearing Palestine اضمحلال فلسطين
Pestle and mortar
19th Century
Wedding Dress
Late 19th Century
An amazing wedding dress (jillayeh) from Hebron Hills (Falojah) or the southern coastal plains. The frontal appliqué definitely suggests that this is a bridal piece. The silk taffeta appliqué is harmoniously and asymmetrically put together which adds extra beauty to its rich embroidery on the chest, back and side panels. The ‘Satan’s eye’ stitch on the sleeves and the shoulder provides charm and extra harmony to the overall design of the jillayeh. It is embroidered with satin and cross stitched with floss silk on handwoven linen and naturally dyed with indigo extracts.
Girl's Dress
Late 20th Century
A Young girl’s hand-woven white linen dress from the Nablus region of Palestine. This is a very rare example from that particular region where women did not give importance to embroidery because they were more focused on farming and agriculture. Such dresses were made for a young girl either to use material leftover from another dress or they were tailored for a ceremonial occasion. Its winged sleeves are made to flutter while clapping during weddings which suggests that this is a ceremonial piece. The red and green stripes represent hell and heaven (Jannah wa Nar). The yoke seems to be embroidered in Bethlehem and applied to the dress at a later stage.
This is a selection of some of the Palestinian tatreez from the Pitt Rivers Museum’s extensive collection. The pieces were chosen by the artists in Al Amari to be retrieved and studied during their visit in 2023. During those sessions the Museum was able to learn more about the deeper meanings behind each stitch and embellishment and to enhance the Museum’s database with that information.
Asymmetric handle bag
Gold bracelet
Samia
These objects were photographed in Ramallah رام الله, Palestine in 2023 to be shared with museum visitors. They are treasured items that offer a snapshot of the daily life, culture and stories of Palestinian people living in Palestine. You will notice that the items selected by the community to represent Palestinian culture are mostly practical objects such as tools for food preparation and clothing. Historically, most Palestinians were forcibly evicted from their homes at short notice, having to make the difficult choice of selecting which possessions to take with them swiftly. For this reason, most people chose to take objects of daily use with the hopes that they could later return to their homes and belongings. The objects in this display illustrate these events and the object descriptions have been written by the community.
Janah wa Nar Dress
Early 20th Century
This dress was embroidered in Gaza on hand woven linen most likely during the British Mandate Period in Palestine. its green and purple stripes are interwoven by silk and linen and is called jannah wa Nar to signify heaven (green) and hell (purple). The embroidery of the chest panel is applied directly on the dress in a way that is not like anywhere else in Palestine whereby the yoke is embroidered separately to be attached later on to the dress. The remaining part of the dress is dipped in indigo which is a dye embroiderers used to extract from wild flowers. The simplicity of the dress rules out the possibility that it will be used as a bridal piece.
Palestinian Henna party
Egg basket
Early 20th century
Janah wa Nar جنة و نار Dress
Early 20th Century
A Woman’s Wuqa وقاة
Suhad
Ṣalaḥ ad-Din Yusuf al-Ayyubid, 1187 CE
Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine
Quran Panel
Early 19th-century
Water jar
Late 19th-century
Girl's jacket
Olive harvest موسم حصاد الزيتون
Disappearing Palestine إختفاء فلسطين
The award-winning MultakaOxford project works in the Pitt Rivers and History of Science museums. The project brings people and communities together to strengthen understanding through inter-cultural dialogue and the mutual sharing of art, stories, culture, and science in the museums.
Multaka webpage
Grain Crusher
18th Century
Women's dress of hand-spun and hand-woven natural linen with qabbah
The Right of Return
Hanan Al-Behery [Karatiyya], Gaza
Emroidery piece
Date:
This object.....