What are Palestinian handicrafts ?
Palestinian handicrafts are handicrafts produced by the Palestinian people. A wide variety of handicrafts, many of which have been produced by the natives in Palestine for thousands of years, continue to be produced today. Palestinian handicrafts include embroidery work, pottery-making, soap-making, glass-making, weaving, olive-wood and Mother of Pearl carvings, among others. Some Palestinian cities in the West Bank, particularly Bethlehem, Hebron and Nablus have gained renown for specializing in the production of a particular handicraft, with the sale and export of such items forming a key part of each cities' economy. 1 2
The origins of Palestinian handicrafts can be traced back to ancient times, with evidence of skilled artisans and craftspeople producing a wide range of items using traditional techniques.
Many Palestinian handicrafts are closely tied to the natural resources and materials available in the region. For example, olive wood carving has been a traditional craft in Palestine for thousands of years, with artisans using the wood from olive trees to create a wide range of items, including bowls, spoons, and religious icons.
In more recent years, there has been a renewed interest in Palestinian handicrafts, with artisans working to preserve traditional techniques and develop new styles and designs. Palestinian handicrafts are often sold in markets and online, and are highly prized by collectors and connoisseurs for their beauty and cultural significance.
Embroidery and weaving
An exclusively female artistic tradition, embroidery has been a key feature of traditional Palestinian costumes dating back centuries to the region's ancient civilizations. Two main types of embroidery are tatreez (cross-stitch embroidery) and tahriri (couching-stitch embroidery). 3 4
Some examples of modern cross-stitch designs. From top left, clockwise: Gaza, Ramallah, Ramallah, Nablus, Beit Jala, Bethlehem.
The intricate patterns and designs of Palestinian embroidery are often influenced by the region's cultural and religious traditions, and the craft has been passed down from mothers to daughters for centuries.
The production of cloth for traditional Palestinian costumes and for export throughout the Arab world was a key industry of the Palestinian village of Majdal that was destroyed by Zionist forces. Malawi weaving, as the technique is known, is woven by a male weaver on a single treadle loom, using black and indigo cotton threads combined with fuchsia and turquoise silk threads. While the village no longer exists today, the craft of Majdalawi weaving continues as part of a cultural preservation project run by the Atfaluna Crafts organization and the Arts and Crafts Village in Gaza City. 4
Gaza itself was a center for cloth production, famous for a fine silk produced there that was known as gazzatum. Imported to Europe as early as the 13th century, this fabric later gave its name to the loose weave fabric known today as gauze. 5
Bedouin weaving is traditionally carried out by women to create household items suited for the life in the desert. The thread is spun from sheep's wool, colored with natural dyes, and woven into a fabric using a ground loom and the strong fabric produced is used for tents, rugs, pillows, and other domestic items. 4
The embroidery tradition was passed down through generations of Palestinian women, with each family having their unique style and designs. The embroidery was not only decorative but also served as a form of communication, conveying messages about social status, wealth, and identity.
During the Ottoman Empire's rule over Palestine, the embroidery tradition began to decline, as the Ottoman authorities introduced western-style clothing, which was less conducive to embroidery. However, in the early 20th century, Palestinian embroidery experienced a revival, as nationalist and feminist movements sought to preserve and promote the country's cultural heritage.
Today, Palestinian embroidery remains an essential part of Palestinian identity and heritage. It is still practiced by women in Palestinian communities worldwide, who use it as a way to connect with their roots and preserve their cultural heritage. Palestinian embroidery is also recognized globally as a unique art form, and its designs have inspired fashion designers around the world.
Glass making:
Palestinian glassmaking has a long and rich history dating back to ancient times. Archaeological evidence suggests that glass was first made in the region as early as the 16th century BCE, during the Late Bronze Age.
Hebron Glass (zajaj al-Khalili ) refers to glass produced in Hebron as part of a flourishing art industry established in the city during Roman rule in Palestine, but its origin goes back to the older Phoenician glass industry. 6 7
As the quote says: "If Hebron could boast of its glass bracelets, its big he-goat skins, and its fine grapes; if Gaza was still the granary of Palestine; if Lydda was reputed for its oil markets and mat industry; Nablus could point with pride to its soap manufactories."
A Palestinian man blows molten glass into a Christmas ornament at his glass factory in the southern West Bank city of Hebron, on December 15, 2019. HAZEM BADER / AFP
The Old City of Hebron still contains a quarter named the "Glass-Blower Quarter" (Haret Kezazin, Arabic:) and Hebron glass continues to serve as a tourist attraction for the city.
Traditionally, the glass was melted using local raw materials, including sand from neighbouring villages, sodium carbonate (from the Dead Sea), and coloring additives such as iron oxide and copper oxide. Nowadays, recycled glass is often used instead. Glass production in Hebron is a family trade, the secrets of which have been preserved and passed down by a few Palestinian families who operate the glass factories located just outside the city. The products made include glass jewellery, such as beads, bracelets, and rings, as well as stained glass windows, and glass lamps. However, due to the Israeli occupation, glass production has suffered a decline. 7 8 9 10
The Natsheh family opened a glass factory in the old city of Hebron more than 200 years ago. In 1962, they expanded and added a ceramics factory, which was temporarily closed after the first Intifada, but reopened 10 years ago.
The glass industry in Hebron was established during Roman rule in Palestine. As the ancient Phoenician glass industry shrank from the exposed cities along the eastern Mediterranean coastline, the industry migrated inland, to Hebron in particular. Glass artefacts from Hebron dating to the 1st and 2nd centuries have been found, and are on exhibit as part of the Drake Collection. Stained glass windows made of Hebron glass dating to the 12th century are found in the Ibrahimi Mosque, which served as a church during the Crusader era in Palestine. Another example of stained glass windows produced in Hebron are those adorning the Dome of the Rock in the Old City of Jerusalem. 6 7 11 12
"Hebron's medieval reputation in glassmaking is corroborated by some of the many Christian pilgrims who visited the city over the centuries. Between 1345 and 1350, Franciscan friar Niccolò da Poggibonsi noted that "they make great works of art in glass." In the late 15th century, the friar Felix Faber and his companions also stopped in this "exceeding ancient city," and he described how "we came forth from our inn, and passed through the long street of the city, in which work-people of divers crafts dwelt, but more particularly workers in glass; for at this place glass is made, not clear glass, but black, and of the colors between dark and light." 13
While acknowledging that the production of glass in Palestine dates back to Roman period, Nazmi Ju'beh, director of RIWAQ: Centre for Architectural Conservation, contends that the practices of today's glass industry in Hebron most likely emerged in the 13th century CE. This corresponds to what foreigners observed, like Jacques de Vitry who around 1080 mentioned Acre and Tyre, (but not Hebron), as glass-producing cities, while by 1483, when Felix Fabri visited the city, he described passing "through the long street of the city, in which work-people of divers crafts dwelt, but particularly workers in glass; for at this place glass is made, not clear glass, but black, and of the colours between dark and light." 9
Ju'beh notes that an alternate theory assigns today's techniques to the Venetian glass tradition and that still other researchers claim they were already extant at the time of the Crusades and were carried back to Europe from Hebron, possibly originating in Syria. 9
Glass produced by these factories were typically functional items including drinking and eating vessels, as well as olive oil and later petrol-based lamps, although the factories also produced jewellery and accessories. Bedouins of the Negev (Naqab), the Arabian Desert, and Sinai were the primary purchasers of jewellery, but large exports of expensive Hebron glass items were sent by guarded camel caravans to Egypt, Syria, and the Transjordan. Marketing communities of Hebron glass were established in al-Karak (Crac) in southern Jordan and Cairo in Egypt by the 16th century. 9
The glass industry was a principal employer and a generator of wealth for its owners. Well known for glass production throughout the Arab world, Western travellers to Palestine in the 18th and 19th century provided descriptions of the Hebron glass industry as well. For example, Volney in the 1780s, wrote that: "They make there great quantity of coloured rings, bracelets for the wrists and legs, and for the arm above the elbows, besides a variety of other trinkets, which are sent even to Constantinople." Ulrich Jasper Seetzen noted during his travels in Palestine in 1807–1809 that 150 persons were employed in the glass industry in Hebron, while C.J. Irby and J. Mangles visited a glass lamp factory in Hebron in 1818, and were told the lamps were exported to Egypt. 9 16 17 18 19
Later in the century, the production declined due to competition from imported European glass-ware. However, the products of Hebron continued to be sold, particularly among the poorer populace. At the World Fair of 1873 in Vienna, Hebron was represented with glass ornaments. A report from the French consul in 1886 suggests that glass-making remained an important source of income for Hebron with four factories making 60,000 francs per annum. 20 21
The tradition of glassblowing continues in the 21st century in three factories located outside of the traditional quarter of the Old City, north of Hebron and south of the neighboring town of Halhul which generally produce functional household souvenirs. Two of the factories are owned by the Natsheh family. These are displayed in large halls close to each of the factories. 9
Hand blown Palestinian glassware,Hebron.
Hebron glass is an attraction for both domestic and foreign tourists. Today, however, due to ongoing export problems, the decline in tourism, and restrictions on Palestinian freedom of movement by the Israeli occupation, industry production has suffered. According to Nazmi al-Ju'bah, the director of RIWAQ: Centre for Architectural Conservation, under these circumstances, the survival of the Hebron glass industry is in question. 9
Production:
Hebron glass was traditionally produced using sand from the village of Bani Na'im, east of Hebron, and sodium carbonate taken from the Dead Sea. Instead of sand, recycled glass is the primary raw material used to make Hebron glass today. 9
In the 19th hundred, it was reported that Arabs cut and burned Salicornia fruticosa (syn. Arthrocnemium fruticosum), growing by the Dead Sea, and afterwards sold the ashes to the glass-makes of Hebron. 22 23
The precise production process is a trade secret maintained by the few Palestinian families who run the factories which continue to produce Hebron glass today, passed through generations by apprenticing children. As one master of the craft said, "You can learn to play the 'oud at any age, but unless you begin [glasswork] as a child, you will never become a master..." 7 9
According to the Holy Land Handicraft Cooperative Society, the blowing technique employed is the same as was used by the ancient Phoenicians, though archaeologists and historians of glass agree that glassblowing was not common until the last few centuries BCE. Molten glass is withdrawn from a furnace on the end of an iron pipe, which is blown into as a metal tool called a kammasha is used to shape the glass. It is returned to the furnace and reshaped by the same process before being detached from the pipe and placed into a cooling chamber. 7 9 24
Jewellery
The history of Palestinian jewelry dates back to ancient times. Archaeological excavations have revealed that the people of Palestine have been creating and wearing jewelry for thousands of years.
Gold jewellery found in Tell el-Ajjul. Credit: Trustees of the British Museum
One of the earliest forms of Palestinian jewelry was made from gold and silver and was adorned with precious stones such as turquoise, lapis lazuli, and carnelian. These pieces were often worn by wealthy individuals and were used to demonstrate wealth and social status.
In addition to precious metals and stones, Palestinian jewelry was also made from a variety of other materials, including glass, bone, and shells. Many of these materials were sourced locally, and the jewelry was often made using traditional techniques passed down from generation to generation.
These two shatwahs or headdresses were worn in Bethlehem. As you see, they carry rows and rows of coins, communicating the prosperity of the woman that wore them.
The designs of Palestinian jewelry were often influenced by the cultural and religious traditions of the region. For example, many pieces incorporated symbols and motifs from Christianity, and Islam reflecting the diversity of the region's religious heritage.
Photographed on 10 February 1936. A woman on an archaeological excavation in Tell Deweir, Palestine, the site of ancient Lachish. She is wearing multiple bracelets and necklaces, along with a rich headdress laden with coins. Credit: Library of Congress/jewellery added by the author from her own collection.
Today, Palestinian jewelry continues to be produced and worn, with artisans creating a wide range of beautiful and unique pieces. Many of these pieces incorporate traditional designs and techniques, while others incorporate modern styles and materials. Palestinian jewelry is often sold in markets and online, and is cherished by people around the world for its beauty and cultural significance.
Glass beads for jewellery have traditionally been made in Hebron. Blue beads and glass beads with 'eyes' (owayneh) were made for use as amulets since they were considered particularly effective against the evil-eye. In the Museum of Mankind collections, there exist several glass necklaces that were made in Hebron during the Mandate period or earlier. Besides necklaces made of blue and green beads, and 'eyes' beads, there are examples of beads of small hands, also called a Hamsa, representing the hand of Fatimah, the daughter of the prophet Muhammad. Most of a woman's jewellery was given to her at marriage; in the early 1920s, in Bayt Dajan, a glass bracelet (ghwayshat) made in Hebron would be considered a necessary part of the jewellery of a bride's trousseau. 9 26 27 28
The jewellery store shows evil eye beads and Hebron-made glass bracelets sold alongside the shopkeeper's main ware of silver or metal wire. Photo taken 1900-1920 by American Colony, Jerusalem. 25
Hebron trade beads:
In 1799, English traveller William George Browne mentioned the production of "Coarse glass beads...called Hersh and Munjir" in Palestine; The "Munjir" (Mongur) were large beads, while the Hersh (Harish) were smaller. These Hebron glass beads were used for trade, and export primarily to Africa from the early to mid-19th century. Spread throughout West Africa, in Kano, Nigeria, they were grounded on the edges to make round beads fit together on a strand more suitably. There, they picked up the name "Kano Beads", although they were not originally produced in Kano. By the 1930s, their value had decreased; in 1937, A. J. Arkell recorded the beads being sold "for a song" by Sudanese women to Hausa traders in Dafur. 29 30
Antique Hebron Beads
Olive wood carving:
Olive wood carving is an ancient tradition in Palestine that continues to the present day. It involves the skillful chiseling of olive wood and is most common in the Bethlehem region.
History:
The tradition of making the handicrafts began in the 4th century CE under Byzantine rule in Bethlehem — which continues to be the main city that produces the craft — following the construction of the Church of the Nativity. Greek Orthodox monks taught local residents how to carve olive wood. The art developed and became a major industry in Bethlehem and nearby towns like Beit Sahour and Beit Jala in the 16th and 17th centuries when Italian and Franciscan artisans on pilgrimage to the area — by now under the rule of the Ottomans — taught the residents how to carve. Since then the tradition has been passed on generation by generation and is dominated by the descendants of the original local carvers.31
Today, the art continues to be a major source of income for Bethlehem's Palestinian Christian residents and is the most profitable tourist product in the city with the main purchasers being Christian pilgrims visiting in Christmas time. Olive wood is carved into crosses, boxes, picture frames, covers for historical and old books, candle holders, rosaries, urns, vases and Christmas ornaments as well as scenes of the Holy Family. Olive wood branches are supplied by olive groves in nearby villages as well as from the Nablus and Tulkarm region, despite the difficulty of transportation in the West Bank due to Israeli occupation restrictions.
St George. Olive wood 35cm. Beit Sahour 2012
Palestinian olive wood carving is also an important symbol of Palestinian identity and resistance. The olive tree is a symbol of peace, prosperity, and resilience, and the craft of olive wood carving is seen as a way to preserve Palestinian culture and traditions in the face of ongoing political and economic challenges.
Production process:
The process of producing an olive wood craft requires labor intensity and consists of many stages, often involving the work of multiple artisans. Drilling machines are used initially to attain the rough outline of the intended craft. It accounts for 15% of the process, although it eliminates some of the most difficult and time-consuming aspects of the carving. Next the piece is passed onto a skilled artisan who transforms the rough outline into a finished product by chiseling the details. Finally, the finished item must be sanded down and polished, then coated with olive wax to give the object a "natural shine" and ensure its longevity. Depending on what the particular product is, the process could take up to 45 days. Most professional artisans go through six to seven years of training.
Olive wood is used because it is easier to carve than other woods and could be done accurately with simple hand tools. Also, it has a diverse variety of natural color and tonal depth, due to the annual structure. It is also resistant to decay and receptive to a number of surfacing treatments. The olive tree's wood is widely used in the manufacturing of various artistic, religious, and historical works such as cups, crosses, engraved key chains, Christian magnets, kitchen items, rosary beads, rosary boxes, tree ornaments, flower vases, and wall decorations.
Mother of Pearl carvings:
Mother-of-pearl carving is a traditional handicraft in Bethlehem, and is said to have been brought to the city by Franciscan friars from Italy in the 15th century.
Antique Mother Of Pearl Carved Shell, Nativity Scene, Large Size, Bethlehem, The Holy Land – Late 19th Century
Bethlehem's position as an important Christian city has for centuries attracted a constant stream of pilgrims. This generated much local work and income, also for women, including making mother-of-pearl souvenirs. According to Weir, Bethlehem women's employment in the mother-of-pearl industry goes back at least to the seventeenth century. It was noted by Richard Pococke, who travelled there in 1727. 32 33
Model of the Church of the holy sepulchre made in Bethlehem, probably late 1600s. In the British Museum.
The first exhibition in the west of mother-of-pearl artifacts from Palestine was at The World Fair in New York in 1852. Two brothers, Giries and Ibrahim Mansur, exhibited their work and were a great success.
Previously, most of the oysters for the mother-of-pearl supply came from the Red Sea. As of 2007 however, Australia, California, New Zealand and Brazil are the main exporters of the mother-of-pearl.
Present day products include crosses, earrings, brooches and picture frames.
Workers in mother-of-pearl in Bethlehem. Photo taken 1900–1920 by American colony, Jerusalem.
Palestinian pottery:
Palestinian pottery shows a remarkable continuity throughout the ages. Modern Palestinian pots, bowls, jugs and cups, particularly those produced prior to the establishment of Israel on Palestinian lands in 1948, are similar in shape, fabric and decoration to their ancient equivalents. Cooking pots, jugs, mugs and plates that are still hand-made, are fired in an opened, charcoal-fueled kilns/ovens as in ancient times in historic villages like al-Jib, Beitin, and Sinjil. 34 35
Palestinian pottery is a traditional craft that has been practiced in Palestine for thousands of years. It is known for its intricate designs and vibrant colors, and is made using a variety of techniques and materials.
Palestinian amphorae in Bodrum castle, Turkey.
The most common type of Palestinian pottery is made from clay, which is shaped by hand or on a pottery wheel. Once the pottery has been shaped, it is dried in the sun and then fired in a kiln at high temperatures. This process creates a durable, long-lasting ceramic that can be used for a variety of purposes, from cooking and storing food to decorative purposes.
One of the unique characteristics of Palestinian pottery is its use of intricate designs and motifs. Palestinian potters often incorporate geometric shapes, floral patterns, and calligraphy into their designs, which are inspired by the rich history and cultural heritage of Palestine. Some of the most common motifs include the tree of life, the Palestinian sunbird, and the Arabic word for peace.
Palestinian pottery has faced challenges over the years, including competition from mass-produced ceramics and restrictions on the movement of goods and people imposed by the Israeli government. Despite these challenges, Palestinian potters continue to produce beautiful and unique pieces that are cherished by people around the world. Many artisans have also turned to online marketplaces to sell their wares and to connect with customers outside of Palestine.
Pottery making is one of the oldest crafts known to humanity. In Palestine, earthenware pottery has been used since ancient Canaanite times and is considered a fundamental reference in studying the history of the country and the eras it has gone through. Even until recently, farmers preferred earthenware jars for storing wheat, lentils, and oil, and drank water and milk from pottery vessels, before the introduction of cheap and easily manufactured glass and plastic industries.
In the village of Jaba, south of the Palestinian city of Jenin, lies the last kingdom of pottery in the northern West Bank. A small cellar that has been the cradle of Jamal Al-Fakhouri and his ancestors for nearly 400 years, where they shape and mold clay.
Palestinian pottery has a rich history that dates back to ancient times. Pottery was an essential part of everyday life in ancient Palestine, serving a variety of functions such as storage, cooking, and serving food and drink.
Archaeological excavations have revealed that the earliest Palestinian pottery was made during the Neolithic period, around 8000 BCE. The pottery of this period was mostly crude and simple, with designs consisting of simple geometric shapes such as lines, dots, and triangles.
During the Bronze Age (3000-1200 BCE), Palestinian pottery became more refined, with artisans using the potter's wheel to create symmetrical vessels with intricate designs. The pottery of this period was often decorated with geometric patterns, animals, and human figures.
In the Iron Age (1200-586 BCE), Palestinian pottery continued to evolve, with artisans introducing new techniques such as slip painting and the use of multiple colors. The pottery of this period was often adorned with scenes from daily life, as well as religious and mythological imagery.
During the Hellenistic and Roman periods (332 BCE- 636 CE), Palestinian pottery was influenced by Greek and Roman styles, with artisans producing finely crafted vessels with delicate designs and elegant shapes.
Overall, ancient Palestinian pottery is known for its diversity of styles, techniques, and motifs, reflecting the region's rich cultural heritage and long history of artistic expression.
Soap making:
Nabulsi soap (ṣābūn Nābulsi) is a type of castile soap produced only in Nablus in the West Bank, Palestine. Its chief ingredients are virgin olive oil (the main agricultural product of the region), water, and an alkaline sodium compound. The finished product is ivory-colored and has almost no scent. Traditionally made by women for household use, it had become a significant industry for Nablus by the 14th century. In 1907 the city's 30 Nabulsi soap factories were supplying half the soap in Palestine. The industry declined during the mid-20th century following the destruction caused by the 1927 Jericho earthquake and later disruption from the Israeli military occupation. As of 2008, only two soap factories survive in Nablus. The old Arafat soap factory has been turned into a Cultural Heritage Enrichment Center. 36
Wrapped Palestinian Nabulsi soap.
History:
Nabulsi soap was traditionally made by women for household use, even before the appearance of small soap-making factories in the 10th century. Trade with Bedouins was indispensable for soap-making, both in Nablus and Hebron, since they alone could furnish the alkaline soda (qilw) required by the process. By the 14th century a significant soap-making industry had developed in Nablus and the soap, reputedly prized by Queen Elizabeth I of England, was exported throughout the Middle East and to Europe. 37 38 39
The 19th century saw a major expansion of soap manufacturing in Nablus, which became the center of soap production throughout the Fertile Crescent. By 1907, the city's 30 factories were producing nearly 5,000 tons of Nabulsi soap annually, over half of all soap production in Palestine. John Bowring wrote of Nabulsi soap in the 1830s that it was "highly esteemed in the Levant," and Muhammad Kurd Ali, a Syrian historian, wrote in the 1930s that "Nablus soap is the best and most famous soap today for it has, it seems, a quality not found in others and the secret is that it is unadulterated and well produced." 40 41 42 43
The soap industry in Nablus began to decline in the mid-20th century, caused in part by natural disasters, especially a 1927 earthquake, which destroyed much of the Old City of Nablus, and later on by the Israeli military occupation. Israeli military raids during the Second Intifada destroyed several soap factories in the historic quarter of Nablus. Several soap factories remain in Nablus; currently, products are sold primarily in Palestine and the Arab countries, with some fair-trade exports to Europe and beyond. On the continuing problems both in terms of the soap's manufacture and its export, the General Manager of the factory owned by the Touqan family commented in 2008 44:
Before 2000, our factory used to produce 600 tons of soap annually. Due to the physical and economic obstacles we face now because of the Israeli occupation – and especially the checkpoints – we produce barely half that amount today. 37
Stacks of Palestinian soap, Nablus.
According to the United Nations Office for the Coordination of Humanitarian Affairs, the checkpoints and roadblocks set up throughout the West Bank have created problems in the transportation of supplies and material to and from the factories as well as making it difficult for workers to get from their homes to the factories. However, Nabulsi soap is still widely sold in Nablus and the West Bank. It is also exported to Jordan, Kuwait, and Arab cities in Israel proper such as Nazareth. 37 45
Considered an important aspect of Nablus's cultural heritage, the preservation of the Nabulsi soap-making industry has been the focus of several local projects, including the restoration and conversion of the old Arafat soap factory into a Cultural Heritage Enrichment Center. The center has research and exhibition facilities and includes a small model soap factory that makes Nabulsi soap using traditional methods. Project Hope and other local non-governmental organizations market the soap in the West to raise funds for their other community projects. 37
Production process:
Like Castile soap, the chief ingredients of Nabulsi soap are virgin olive oil, water, and an alkaline sodium compound. The compound is made by mixing the powdered ashes of the barilla plant (qilw), which grows along the banks of the River Jordan, with locally supplied lime (sheed). The sodium compound is then heated with water and olive oil in large copper vats over fermentation pits. The solution of water and sodium compound becomes increasingly concentrated in a series of 40 cycles repeated over eight days. During that time, an oar-shaped wooden tool known as a dukshab is used to stir the liquid soap continuously. The liquid soap is then spread in wooden frames to set. After setting, it is cut into the classic cube shape of Nabulsi soap and stamped with the company's trademark seal. The soap cubes then undergo a drying process that can last from three months to a year and involves stacking them in ceiling-high structures resembling cones with hollow centers that allow the air to circulate around them. 46
The finished product is ivory-colored and has almost no scent. (Perfumes are never used in Nabulsi soap.) Before leaving the factory, the individual cubes that are to be sold locally are wrapped by hand in paper that is waxed on one side. Cubes that are destined for export are left unwrapped and usually dispatched in stiff sacks to protect them from damage. 46
Bamboo furniture:
The Palestinians have a long history in creating both furniture and household objects. This skill was handed down for generations, although has dwindled in recent years. Bamboo made its way to the area from the Far East along the Silk Road and was processed by the buyers. The bamboo is boiled, scraped, burnt and then dried in order to harden it into shapes. No machines are used in the production of Palestinian furniture, it is completely man-made. 47 48 49 50
Zakariya al-Mathloum makes bamboo furniture in the workshop his father established in the early 1960s.
This handicraft involves weaving strips of dried palm leaves or reeds into various items such as baskets, mats, and screens. The technique is similar to bamboo weaving in that the strips are first soaked in water to make them pliable, and then woven together to create the desired shape.
The weaving process is often done by women, who have passed down the skill from generation to generation. The resulting products are durable, lightweight, and environmentally friendly, as they are made from natural materials and do not require any industrial processes.
Palestinian bamboo weaving is not only a traditional handicraft, but also an important source of income for many families in rural areas. The finished products are sold locally and exported to other countries, helping to support the local economy and preserve the cultural heritage of Palestine.
Footnotes:
- Jacobs et al., 1998, p. 72.
- Ghada Karmi, 2005, p. 18.
- Pollock and Bernback et al., 2004, p. 76.
- Craft Traditions of Palestine". Sunbula.
- Garrison, 2008, p. 261.
- Spaulding and Welch, 1994, pp. 200-201
- Vases". Holy Land Handicraft Cooperative Society.
- "Hebron Beads".
- Nazmi al-Ju'bah (January 25, 2008). "Hebron glass: A centuries' old tradition". Institute for Middle East Understanding (Original in This Week in Palestine).
- Beard, 1862, p. 19.
- Perrot, Chipiez and Armstrong, 1885, p. 328
- Comay, 2001, p. 13.
- Simmons, Gail. 2013. "Hebron's Glass History." Saudi Aramco World.
- Vitry, 1896, pp. 92-93
- Fabri, 1893, p. 411
- Volney, 1788, vol II, p. 325
- Seetzen, 1855, vol. 3, pp. 5-6. Schölch, 1993, p. 161
- Irby and Mangles, 1823, p. 344
- Sears, 1849, p. 260
- Delpuget, 1866, p. 26. Quoted in Schölch, 1993, pp. 161-162
- Quoted in Schölch, 1993, pp. 161-162
- Perrot, Chipiez and Armstrong, 1885, p. 331.
- Loret, 1884, p. 327
- Thomson, 1861, p. 584
- Weir, 1989, pp. 192, 193.
- Weir, 1989, p. 194.
- Weir, 1989, p. 201.
- Weir, 1989, p. 230.
- Browne, 1799, p. 303
- Arkell, 1937, pp. 300-305
- Carving out tradition in Palestine Archived 2013-09-28 at the Wayback Machine Institute for Middle East Understanding.
- Weir, 1989, pp.128, 280, n.30
- "there are many Christians here: they live by making not only crosses and beads of wood, inlaid with mother of pearl, but also models of the Church of the holy Sepulchre, and of the several sanctuaries in and about Jerusalem"; Pococke, 1811, p. 436
- Needler, 1949, p. 75.
- "PACE's Exhibit of Traditional Palestinian Handicrafts". PACE.
- "Palestinian Industries".
- Michael Phillips (March 11, 2008). "Nablus' olive oil soap: a Palestinian tradition lives on". Institute for Middle East Understanding (IMEU).
- "Craft Traditions of Palestine". Sunbula.
- Krämer, 2008, p. 50.
- Philipp and Schäbler, 1998, p. 284.
- Doumani, 1995, Rediscovering Palestine
- "Nablus Soap: Cleaning Middle Eastern Ears for Centuries". Suburban Emergency Management Project. September 20, 2006.
- Le Strange, 1890, p. 513
- Wiles, Rich (8 April 2016). "Crafting traditional olive oil soap in Palestine".
- "Simple Pleasures". Al-Ahram Weekly. 8–14 June 2000.
- Rawan Shakaa (March 2007). "Natural ... Traditional ... Chunky!". This Week in Palestine.
- "Gaza's dying bamboo crafts industry - Al-Monitor: the Pulse of the Middle East". Al-Monitor.
- Dumper, Michael; Stanley, Bruce E. (2007-01-01). Cities of the Middle East and North Africa: A Historical Encyclopedia.
- "Cheap Arab Labor May Prove Costly For Israel". tribunedigital-chicagotribune
- "Report of the United Nations High Commissioner for Human Rights" (PDF). Report on Palestine and other occupied Arab territories. Human Rights Council (22).
Links and references:
1- Palestinian crafts|Sunbula.
2- Glassblower in Hebron Prepares for the Christmas Season|Al-Bawaba
3- Despite the hurdles, Hebron glass makers keep the kiln fires burning by Par Katie Miranda.
4- Growing the traditional art of Palestinian ceramics by Celia Peterson and Eloise Bollack.
5- Handblown Palestinian glassware.
6- Jewellery and Palestine|The art of Arab dress.
7- Bethlehem’s olive wood carvers by Rich Wiles.
8- Ceramic studio Prague.
9- The Heritage of Soap Factories in Nablus by Véronique Bontemps.
10- Crafting traditional olive oil soap in Palestine by Rich Wiles.
11- Bamboo furniture-making tradition, brought from Jaffa, survives in Gaza by Rami Almeghari.
12- The Palestinian woman hoping to preserve tatreez embroidery for future generations by Nadda Osman.
13- Palestinians’ rich archaeological heritage at risk by Mohamed Omer.