Craft and Folk Art
Museum Hosting the Munayyer Collection
"Sovereign Threads: A History of
Palestinian Embroidery" opened to the public at the Craft and Folk Art Museum in
Los Angeles on Saturday,
2006. Coming less than three months after the successful exhibition "Threads of
Tradition: Palestinian Bridal Costumes", Sovereign
Threads is the latest of PHF activities to show the American public and our own
Arab-Americans the beauty of Palestinian embroidery,
motifs and symbols stitched on these stunning garments representing now-vanished
Palestinian villages, and the women that wrote
Palestinian history with needle and thread.
The exhibit includes selections from
the pristine collections of the Palestinian Heritage Foundation and that of
Hanan and Farah Munayyer. This historic display is the first of its kind in a Los Angeles museum and
comes almost twelve years after "Out of the East" exhibited for three months at the Mingei Museum of Folk Art at La Jola, San Diego.
Items on display include dresses
representing Bethlehem, Jerusalem region, Hebron region, Ramallah region, Jaffa
region, Gaza region, Galilee,
and the Southern and Coastal regions. In addition to the dresses, there are
veils, headpieces, jackets and jewelry. Complementing the antique
garments on display are contemporary cross stitch embroidery in the form of
pillows, wall hanging, runners, scarves and other items, made
by young women of the Palestinian refugees of INAASH in Lebanon.
Hanan Lectures at the Craft and Folk Art
On Saturday, July 16, 2006 Hanan Munayyer was a guest
speaker at the Craft and Folk Art Museum as part of
the museum activities to celebrate Sovereign Threads: A History of
Palestinian Embroidery. Using slides from her own collection of antique embroidered costumes,
headdresses and jewelry, Hanan demonstrated how traditional textile arts of
the Middle East have changed relatively little over the millennia. This lecture
was attended by about fifty people.
Sovereign Threads: A
History of Palestinian Embroidery
Sovereign Threads is an exhibition
about both art and cultural identity. Given the current displacement of
Palestinians, at first glance, the title
may seem a misnomer. The term "Sovereign"
describes self-rule, autonomy, and independence - all still painfully absent for
the political sphere. However, from a cultural perspective, the term takes on a
more comprehensive meaning.
Anthropologically speaking, even the
tiniest tribe in the most remote corner of the globe enjoys cultural sovereignty
as demonstrated in shared language, faith and tradition. National identity
manifests itself most sublimely in folk tradition.
As these threads of tradition are passed through generations, they weave a
fabric of cultural cohesiveness that testifies to the fact that neither war, conflict, nor displacement can erase
dress from Lifta , circa 1930s.
The costumes and embroidery on display
are living records of Palestinian "cultural sovereignty." The threads in these
objects literally meld an idyllic past with a turbulent present and endeavor to create a brighter future.
The image of women sitting in circles
chatting and creating beautiful bridal wear is a universal one. Whether Native
American, Ukrainian, Vietnamese, Ethiopian or Palestinian, women have always been the preservers of
ancestral rituals. As they revive a culture in peril, the Palestinian women who create contemporary embroidery in refugee camps are also preserving their
own imperiled dignity. War afflicts the deepest scars upon women,
so it is remarkable that it is women who seek to beautify their world even in
the most dire conditions.
It is an honor to share these treasures
with you. May this visit stir your minds and hearts.
A History of Palestinian
The first museum exhibition of
Palestinian embroidery and costumes hits Los Angeles this Summer. The
exhibition, co-curated by Hanan Munayyer, co-founder of the Palestinian Heritage Foundation, and by the Palestinian
social service organization In'aash, opens July 16 and runs until October 8, 2006. The exhibit focuses on the struggle to sustain a cultural
heritage and identity. Featured will be costumes from different villages in the regions of historic (pre-1948) Palestine, including
Ramallah, Jerusalem (Al Quds), Bethlehem and Galilee (Al Jalil), from the collection of Hanan and Farah Munayyer.
throws the spotlight on wedding dresses, which are prepared several years before
the bride's engagement, worn at the wedding and worn
again throughout the marriage on ceremonial occasions. Each cluster of
villages has its own style of traditional costume; the specific
colors, stitches, and patterns in the dress easily distinguish it from
those of a different region. On display are bridal dresses and
accompanying headpieces and jewelry from the 1860's to the 1940's.
|Guests at opening
reception ( photo courtesy of Terence
Textile arts have been of
unique importance in the Middle East since antiquity. From the
pre-biblical era and with each passing phase of history, the traditions of spinning, weaving, dyeing and embroidery have been held
in high esteem. The effects of modernization and social issues have threatened the continuity of this legacy.
Although the majority of Palestinian
women today wear modern dress, many enjoy wearing an embroidered jacket, abaya,
shawl or scarf for special occasions. Old patterns are also kept alive in items for household
decoration such as cushions, tablecloths and wall hangings.
Huguette Caland, artist and In'aash
co-founder, who has her studio in Venice, California, has been instrumental in
organizing this international collaboration. "The motifs in Palestinian costumes and embroidery are some
of the most beautiful in the world and have influenced textile and fashion designs for years," says Caland.
PHF: ALO HAYATI is a high
quality magazine and we thank them for this gesture.
The Washington Report on
Middle East Affairs
Palestinian Embroidery Exhibition
By Pat McDonnell Twair
"Sovereign Threads: A History of
Palestinian Embroidery," a world class exhibition of 1,500 pieces of 19th
century and contemporary hand-sewn objects, remains on view through October 8 at the Craft and Folk
Art Museum, 5814 Wilshire Blvd., Los Angeles.
of Palestinian bridal and regional dresses, wall hangings, jackets, pillow
cases, headpieces and scarves is on loan from Farah
and Hanan Munayyer, founders of the Palestinian Heritage Foundation. The museum
gift shop is also offering embroidery work
sewn by Palestinian women in refugee camps. Proceeds will go to the women, who
are struggling to preserve their culture and
heritage despite living in a displaced and fragmented society
Jackets from the
Bethlehem and Jerusalem region
Palestinian embroidery can be traced
back to the 8th century. Its designs, unique to each village, have been passed
down from mother to daughter over the generations. The Los Angeles exhibition features
pre-1948 gowns of Bethlehem, Ramallah, Jerusalem and the Galilee.
workshops on embroidery techniques are slated for Aug. 26 and Sept. 9 at the
museum. A panel discussion by anthropologists, political scientists and historians will examine the
effects of war and displacement on cultural traditions and notions of national identity. The panel will take place
Sept. 17 at the Goethe Institute, from 4 to 7 p.m.
Dresses from the
Museum hours are 11 a.m. to 5 p.m.
Monday, Wednesday and Friday; 11 a.m. to 7 p.m. Thursday; and noon to 6 p.m.
Saturday and Sunday. For more information, call (323) 937-4230.
THE JEWISH JOURNAL
of Greater Los Angeles
August 25, 2006
Can Artwork Mend Fences?
An exhibition of Palestinian
embroidery at the Folk Art Museum
garners visitors, raises questions
by Naomi Pfefferman
Before the Beirut airport closed during
Israel's recent war with Hezbollah, a shipment of pillows, shawls and jackets
sewn by Palestinian women living in Beirut refugee camps was sent off to Los
Angeles' Craft and Folk Art Museum.
These objects, all exquisitely
ornamented, were destined to become part of the exhibition, "Sovereign Threads:
A History of Palestinian Embroidery," where they would share space with richly
decorated fare dating from 1830 to the 1940s.
The show opened last month as Israel fought Hezbollah in Lebanon and Hamas near
the Gaza Strip border.
While images of bombed cities and
wounded and suffering victims on all sides dominated the news, "Threads" offered
window into the region: a rare opportunity to view Palestinian embroidery,
considered among the finest in the world, in what is perhapsthe first show of its kind in Los Angeles. The dazzling work -- traditionally
created by women -- emphasizes the female life cycle.
On display are gowns embellished with
vivid crimsons and detailed geometrical designs, symbolizing a girl's maturation
for marriage (muted clothing is reserved for matrons).
A married woman's headdress from 1930s
Bethlehem sports a tall, conical cap studded with Ottoman coins, coral beads and
embroidery -- all connected to the delicate silver jewelry that was intended to
hang over her dress.
Other gowns glow with wide swathes of
multicolored, iridescent silk or cotton cloth, covered with stitching so vibrant
it appears to
undulate. The colors include magentas, oranges, reds and gelds; the meticulous
patterns resemble Cyprus trees, double-edged combs
or acanthus leaves and cup (symbolizing health and happiness), among other
designs. Five circles on chest pieces from the once-Christian
city of Bethlehem represent Jesus and the four Apostles.
Additional new works are for sale in
the museum's gift shop, with all proceeds to go toward human services in
Palestinian refugee camps,
museum director Maryna Hrushetska told The Journal.
"Threads" (which closes on Oct. 8) has
proven so popular, she added, that museum attendance is up more than 25 percent.
latest success for an official who has helped put her once-imperiled institution
on the map on Wilshire Boulevard's Museum Row,
with well-received exhibitions, such as the current "Tigers and Jaguars: L.A.'s
Asian-Latino Art Phenomenon" (through Oct. 29), which
burst stereotypes about folk art. "Sovereign Threads" follows suit -- but it
weaves a story that may raise eyebrows for some in the Jewish
community. While the show does not overtly refer to the recent fighting near the
Gaza Strip, or to the Israeli-Palestinian conflict in general,
it subtly but unmistakably depicts the conflict from the Palestinian point of
The exhibition begins with a map of the
region that makes no mention of Israel (it notes "Palestinian subdivisions
according to the British
Mandate," 1917-1948). A timeline in the show does not mention the ancient
Israelite kingdoms, or the subsequent (and significant) Jewish
presence in the Holy Land. Nor does it describe Arab offensives that
precipitated at least two wars, as described by an analyst for the
American Israel Public Affairs Committee.
The omissions are significant, several
analysts explained. "All this effectively deligitimizes the historical Jewish
presence in the land of Israel,"
said Yehudit Barsky, director of the division on the Middle East and
international terrorism for the American Jewish Committee.
Barsky added that one exhibition
sponsor, the A.M. Qattan Foundation also funds organizations such as the Arab
Committee and Orient House, "the symbol of Palestinian aspirations for autonomy
and solidarity in Israeli Occupied Jerusalem," according
to the Web site, orienthouse.org. Even the title of the exhibition -- and
Hrushetska's take on it -- suggests it crosses cultural boundaries into
the realm of advocacy for the Palestinians and their cause.
"The term 'sovereign' describes
self-rule, autonomy, and independence -- all still painfully absent for
Palestinians in the political sphere,"
Hrushetska wrote in the "Threads" brochure. "However, from a cultural
perspective, the term takes on a more comprehensive meaning....
The costumes and embroidery on display are living records of Palestinian
'cultural sovereignty'.... As they revive a culture in peril, the
Palestinian women who create contemporary embroidery in refugee camps are also
preserving their own imperiled dignity."
When asked whether the show is biased,
Hrushetska doesn't entirely say no. She ties "Threads" to a continuing debate
over what has come to be called "the politics of representation": Just who gets
to tell a people's story? The debate emerged in sharp focus
when museums attempted to describe Native American history from a United States
perspective some years ago, Hrushetska said.
"As a curatorial policy, if I'm going
to show somebody's culture, I will show it from their perspective -- that's the
only authentic way,"
Hrushetska said. "If we did a history of Israeli embroidery, how would the
Jewish community feel if Palestinians narrated it?"
Hrushetska, who grew up in Chicago and
is in her late 30s, is quick to acknowledge that she is an unconventional museum
Her background is in international relations, not art history or museum
management. She believes that most people mistakenly view
folk art as "quaint, nostalgic or something their grandparents used to do."
She wishes to help reframe traditional
art in a contemporary, relevant light, while promoting cross-cultural
understanding in Los Angeles
and around the globe.
Yet such issues were far from her mind
when she caught her first glimpse of Palestinian textiles 18 months ago, around
the time she arrived
at the museum. The setting was the ultramodern Venice home of 75-year-old artist
Huguette Caland -- daughter of Lebanon's first president,
Bishara al Khuri -- who is known for her own artwork, as well as for opening her
home to salons frequented by Los Angeles' cultural community.
In a corner of Caland's vast studio, Hrushetska spotted a brown velvet chaise
lounge covered with pillows embroidered by Palestinian women in
Beirut refugee camps.
Hrushetska, a Ukrainian American who
grew up in a house filled with her grandmother's embroidery, immediately assumed
the pillows were Ukrainian. "Even though I consider myself a globalist, I defaulted to my own
heritage," she said.
But she learned that her connection
wasn't completely off mark: Eastern Orthodox Christians (including Ukrainians)
reportedly made pilgrimages
to Bethlehem, via Ramallah, from the 15th century onward. Some purchased
embroidery samples as souvenirs of the Holy Land, which later
entered the visual language of Ukrainian decor.
Caland told Hrushetska her pillows were
created in workshops sponsored by the Association for the Development of
Palestinian Camps (best
known by its Arabic language acronym, INAASH), a United Nations non-governmental
organization co-founded by Caland in 1969. INAASH
provides refugee women with embroidery materials so they can supplement their
incomes through international sale of their handiwork, Caland said.
"Because I'm very sensitive to the
plight of women in conflict and war, I decided we need to show this work,'"
Hrushetska told The Journal. She believes
the work deserves to be shown, as well, because "Palestinian embroidery and
costumes are known as some of the most beautiful in the folk art world."
Through Caland and other Arab American
contacts, Hrushetska obtained funding for the exhibition (she declines to name
the amount) and a curator,
Hanan Karaman Munayyer, who has studied and collected Palestinian costumes
(along with her husband, Farah) since 1987.
The exhibition concludes with a video
depicting women sewing in an INAASH workshop: "Our financial situation is hardly
bearable, that's why we are
working," one participant says on camera.
"After six or seven hours, I can hardly
hold the needle," another woman says. The museum gift shop has already sold
almost $15,000 worth of their
handiwork, Hrushetska said; a number of items remain for sale, although the
embroiderers ceased working during the recent fighting and were unable
to send additional fare while the Beirut airport was closed. (It has now
So how can prospective buyers be sure
their money will not fund anti-Israel causes? Hrushetska responds that INAASH is
recognized as a U.N.
-sanctioned organization. (The group did sign onto a letter calling for the
Palestinian right of return, according to the Web site administered by Al-Awda
-- The Palestinian Right of Return Coalition.)
When asked if "Threads" could be
perceived as unfair, even irresponsible during a time when Israel is at war with
Hamas and Hezbollah, Hrushetska
emphasized that the show was conceived long before the current crisis.
"But enough of this," she added. "I
know the history of the region, and this and that U.N. resolution, and I'm tired
of it. These conflicts will only diminish
when we start to humanize each other.... I think that this is an important
exhibition for people to see so they start to humanize Palestinians.
"This show is not about the history of
blame," she added. "It's about recognizing the dire situation that these women
are in, not making a judgment on how
they got there. It's saying, 'These women deserve to be recognized, because
they've created something beautiful and relevant.'"
A panel discussion, "Culture, Conflict
and Identity," in conjunction with the "Threads" exhibition, will take place
Sept. 17 at the Goethe-Institute,
5750 Wilshire Blvd., Suite 100, Los Angeles. (323) 937-4230.
LOS ANGELES TIMES
September 25, 2006
A Craft and Folk Art Museum
embroidery show displays ancient Palestinian designs ó
and a couple's devotion to
By Scarlet Cheng,
Special to The Times
Munayyer fell under the spell of Palestinian embroidery in 1987, when she saw a
collection of dresses and accessories brought
to New York by an antiques dealer. She and her husband are of Palestinian
descent, but she says, "The beauty of the embroidery
on these early 20th century dresses ó we saw it for the first time in that
The dealer intended to sell off the 65
dresses piecemeal. But Munayyer, along with her husband Farah Joseph Munayyer,
thought the collection was too important to be split apart. Embroidery, says
Hanan Munayyer, is "one of the strongest expressions
of Palestinian culture, and we were interested in promoting the Palestinian
cultural image in a positive way." So the couple took
out a home equity loan and bought the entire lot. Once in possession of it,
Munayyer says, "I knew there was so much we didn't know."
Dress from Beit Dajan at CAFAM ( photo courtesy of Terence
Munayyer, a molecular biologist, put her research
skills to use to dig into the history of their new possessions ó through books
(only a handful
were available then), textile experts and trips back to the Middle East.
Today the couple have collected more
than 400 dresses, some dating to the 19th century, along with 1,100 other
objects, including jewelry,
headdresses, jackets and shawls, many embellished with the unique embroidery of
the region. Highlights of the collection, including 35 dresses
dating from the mid-19th century to mid-20th century, are on display at the
Craft and Folk Art Museum in "Sovereign Threads: A History of
Palestinian Embroidery," curated by Munayyer, along with the Assn. for the
Development of Palestinian Camps, or INAASH.
" 'Sovereign Threads' is an exhibition
about both art and cultural identity," writes Maryna Hrushetska, the museum
director, in the introduction
to the exhibition brochure. "As these threads of tradition are passed through
generations, they weave a fabric of cultural cohesiveness that testifies
to the fact that neither war, conflict nor displacement can erase national
Munayyer, speaking by telephone from
her home in West Caldwell, N.J., describes embroidery as "very much a woman's
art and a woman's
history." For Palestinian women, she says, embroidery is a tradition handed down
from mother to daughter, a means of displaying skill and status,
and a reminder of both ancient and near history.
It has also become a source of income.
One section of the exhibition includes contemporary embroidery gathered by INAASH, an organization that,
among other efforts, works to improve conditions in the camps by helping women
there to sell their embroidery.
To promote Palestinian culture, the
Munayyers have set up their own nonprofit, the Palestinian Heritage Foundation
For centuries the basic female
garb in the region has been the thob, a long dress with long sleeves and
on the chest, sleeves
and skirt. These embroidered panels were made
separately, generally by the women in a family, then
stitched onto the dress, although occasionally, more elaborate pieces
were purchased from professionals. Simple embroidered
dresses were worn day to day, even when working in the fields. The
elaborately decorated garments, which could take a
year to make, were kept for special occasions, as they are today.
Motifs have been passed down, some for 3,000
years. Typically, the designs are created with colored threads using
both cross-stitching and
in which a strand of thread is put down and then stitched in
place by a thinner thread worked over it.
"Every region has its own distinctive
style," Munayyer points out. "In the past, people didn't travel so much, so
villages were relatively isolated."
She divided the exhibition into six
main regions ó Jerusalem, El Khalil, Ramallah, Bethlehem, Jaffa / Lydda and
Majdal / Gaza ó reflecting
variations in motifs, fabrics and even the cut of the dresses. Fabrics were
purchased from commercial weavers ó varying from basic cotton
and linen to silk and velvet ó and sometimes were pieced together in a striking
manner. One outstanding example is a 1930s "heaven and hell"
(janeh-w-nar) dress from Jerusalem, which alternates vivid strips of green and
"Traditionally, in the Muslim religion,
green represents heaven," says Munayyer, "and red represents hell."
Of course, there are also shared
attributes among works from different areas. The chest panel of the "heaven and
hell" dress is made up
of an arrangement of five circles, one in the center and four around it, a motif
found also in thob from Bethlehem. This pattern evokes a vase
with five flowers in it, and also refers to the Tree of Life.
Some motifs have readily recognizable
references, such as birds, flowers, and trees. Others are highly stylized and
such as "Pasha's tent," which might be a bird's-eye view of a square tent, or
"tall palms," which looks like stacked arrowheads. The latter,
says Munayyer, refers to the scales on the sides of palm trees after older
fronds have fallen off.
Another ancient motif is the acanthus
leaf and cup, running on vertical panels on the lower half of a 1930s dress from
El Khalil, on the
Here, a stemmed cup, referring to the cup of plenty, emerges between
two leaves with baroquely curved edges. "It's a very
old pattern and has been found in decorations in tombs and architecture from as
early as the 6th century in such places as Jericho, Palestine
and Syria," Munayyer says.
Over two decades of dedicated research
and collecting, what has struck her most? "The diversity and richness, even now
Munayyer says. "We never thought there would be so much in such a small area."
In response to the article
published in the
I read the article published by the
Jewish Journal of Greater Los Angeles more than once. At first, my reaction was
indignation and even inside
rebellion at the wording of ideas, or at the links made between totally
unrelated but synchronous events, such as "the show opened last month as
Israel fought Hezbollah in Lebanon and Hamas near the Gaza Strip border".
Another one was "can prospective embroidery buyers be sure their
money will not fund anti-Israel causes"? This is a total exclusion of
events from their real context, and a distorted association of these facts in a
way directed towards false propaganda for Israel.........
Well, in short, my first reaction was
anger, but a second reading revealed a confession drawn as if in spite of the
will of the author, on different
points, to the effect of authentic praise! And coming from the Jewish Journal,
it is worth a lot.
Reading between the lines, anyone can
see that this acknowledgement, admitted unwillingly in spite of the author, of
Palestinian embroidery being
considered "among the finest in the world, the richest in color and design, the
story it relates of our people, an art expression of the developmental
stages of womanhood in Palestinian society, the preservation of the identity of
a people displaced, and in so forth and so on -- traditionally created
by women -- emphasizes the female life cycle, other gowns glow with wide swathes
of multicolored, iridescent silk or cotton cloth, covered with
stitching so vibrant it appears to undulate"... is a forced acknowledgement of
the aspects of beauty and value in this art, which the author actually
did admit. I think any reader with average common sense and a critical mind can
realize how biased some of the observations are.
Well, in brief, the article gave me a
sense of victory, pride, and well being which I suppose is the complete opposite
of the message the author tried
to convey in the article. When so much beauty is produced by 'demons', I think
this compels any reasonable person to rethink whether the description
of the 'demon' is appropriate. This message has great importance especially
Humanity should be proud of what is
being done here: this work is a tacit but very powerful message to humanity of
what Palestinians really are.
Maryna Hrushetska, CAFAM Director,
should be commended on her daring step to host such a cultural and artistic
collection and for her excellent
answers in response to the biased author.
PHF and CPPH Coordinate
Efforts in Support of Palestinian Culture
The Palestinian Heritage Foundation and
the Washington based Committee to Preserve Palestinian Heritage have
been coordinating their efforts in promoting Palestinian art and culture to the
American public through art displays and
exhibits. Most recently, PHF had utilized several items of CPPH's collection in
the exhibit "Sovereign Threads: A History
of Palestinian Embroidery" currently on display at the Craft and Folk Art
Museumin Los Angeles, CA.
The Committee to Preserve
Palestinian Heritage was established in 1987 by the late Dr. Hala Salam
Maksoud and Malea Kiblan Esq.
to promote Arab and more specifically Palestinian art and customs. The
Palestinian Heritage Foundation is pleased to join CPPH in
promoting shared cultural goals.
Jerusalem Dress on loan
In response to the historic Palestinian exhibit at the Craft and Folk Art Museum
in Los Angeles, California.
I have read the news and
details about the exhibition your foundation will have in Los Angeles
on July 15 for three months. I believe
that is a great achievement and an excellent cultural promotion for the
Palestinian heritage and a great cause. Congratulations for the
great success you have had, and for the good friends you are gaining in the
Samih and Samira Darwazah, Jordan
Dear Farah and Hanan,
First, this e-mail is overdue, I meant
to write and let you know how happy I was to finally meet you and Hanan and to
the lovely tour of the CAFAM subset of your wonderful collection. I have
returned to CAFAM twice since then to admire again
the extraordinary collection. Thanks again.
I bought your video and enjoyed
watching it very much. The models are very pretty, and elegant, and the narrator
is she your daughter? Again, thank you very much for
collecting this magnificent collection and for researching it. I hope to have
the pleasure of meeting
Dear Hanan and Farah,
Thank you very much for the link below.
The article is very interesting. Politics touches even embroidery...I am an
in my free time, so I know how it is hard to make something from nothing... But
I live in a peaceful place, without any dangers, opposite
to these brave Palestinian women.
BTW, did you give my e-mail address to
Clive May? I am very glad to have a contact with him, thank you.
Iwona Rychter, Poland
Thank you for emailing this link to the
article. It is obvious that the museum Director was subjected to a lot of
pressure when she
was interviewed by the reporter. The reporter even attempted to question her
credentials. It is truly frustrating to see people in the
American Jewish media propagating the notion that Palestinian embroidery is
nothing but a byproduct of ancient Israelite heritage.
This museum exhibit presents a challenge to this false notion and I commend you
and Hanan for your great efforts serving our cause.
Salem Mikdadi, NY
This is what I always asked about.
They used to sell Palestinian pillows in the Ukrainian Cathedral in Washington,
DC - and I
actually have a Palestinian dress and would love to have an opportunity to buy
more. My daughter's closest friend is a Palestinian
girl, who would love to have items from her ancestral culture as well ... but
they never seem to be available. I'm grateful for this article.
Cami Huk, NJ
Dearest Munayyer family,
I love it! It's wonderful to know more history of your brilliant collection.
Warmest congratulations to you all!
Naomi Shihab Nye, TX
I was finally able to get a hold of
the museum today. I spoke with the lady who is in charge of sales at
the museum's gift shop.
She had not thought about carrying your videos. When I explained that I
knew people who wanted them, she remembered the
video and was very enthusiastic about carrying them.
Cynthia Horne, LA
Thank you so much for e-mailing me
back, I really appreciate it, and please add me to your mailing list , I
would love to stay in
touch with the events that your organization do, maybe one day you will be
somewhere close to Texas and I can come and check
out the show.
It is stunning. Overwhelming.
You have done a great job!
Anne Marie Weiss-Armush, TX
Thank you and Hania for including and sending me the information on
Palestinian Heritage. I enjoyed reading about it and will pass
the website link to friends. You are doing a great job. It is
fantastic. I'm so proud of your work.
Aida Hafez, DC
Dear Hanan and Farah,
I am so pleased to be on your
mailing list. The website and the work you do is so impressive.
Thank you for caring for my
Palestinian textiles these last years. I think that it is time for them to
become part of your permanent
collection. It is a privilege to make the donation and be in some small way,
a part of your efforts.
Dear Mr. Farah
Thanks for the prompt response and
I appreciate the great work youíve done to preserve the Palestinian Heritage
and our traditional
dress. I am Palestinian currently working in Dubai and Iíve always admired
our traditional dress. I was searching in Google for
information about our traditional dress and thatís how I heard about your
organization and the effort you are making to preserve our heritage.
Currently I have a project
regarding our traditional dress but still discussing it with some friends
and resources, and once the idea is
clear and starts heading towards the implementation phase I might need some
help or may be partnership from your side. And that is
why I need the DVD now to help me in my planning for the project.
Hanadi Awad, Dubai, UAE
Dear Hanan and Farah
I did see the Jewish Journal
article, which I found complimentary in their own way. I also attended a
fabulous panel discussion that
CAFAM organized yesterday.
Farah and Hanan
Attached is a link to an article
published in the LA Times about the excellent work that you and Hanan have
been doing for a number
of years. We are all proud, Farah Bey. Thanks for your dedication.
Victor & Emmy Abboud, Canada
I was able to view the link,
enjoyed it and found it very impressive. No doubt u must b very proud of
your accomplishment. I hope
it was well attended as it truly deserves the attention.
Farah and Hanan, I really didnít know much about both of you until I
read articles about your background. Really, what
you have done in the United States is not only FANTASTIC, but you fought
well to be visible. I really envy you and wish I were
closer to be able to be visible of my roots. Whatever we do is always
not enough. What you have created Hanan is for life. You have
risen what was being buried. You have shown the history of our
I have to
thank you for letting me share all the great moments with you.
The Los Angeles Times article was very interesting,
and thanks for sending it. For a change it was nice to see the analytical
historical approaches respected and carried on without any political bias as
was the case in the other journal. We visited the museum
with a group of friends a weekend ago, and as I expected, it was a great
reflection of our wonderful heritage. Again, I am so proud of
who you are and what you do, both Farah and yourself.
Hanan and Farah
It goes without saying that the LA Times article is
a fairly honest article. It gives credit to the beautiful collection and to
the hard and
diligent work and vision you and Hanan silently contributed through many
long years and it elevates the collection to its proper dignity
I had forwarded this website to
many of my friends with a short introductory note trying to juxtapose the
image your collection presents
to the biased image usually offered by the US media about "the culture of
death" and showing the proof that Palestine always existed,
despite all the false claims, and had a fine culture that has been copied by
many in the western world through visitors and pilgrims to the
Holy Land since the Middle Ages. May God bless you, Hanan, your family and
Dear Auntie and Amo,
What a wonderful article. The journalist really did
a good job of capturing the reason (your passion) for Palestinian heritage
and how that
plays such a big role in the work you do. The exhibition room in The Craft
and Folk Art Museum looks beautifully done. We are so proud
of your work! I am forwarding this article on to friends and family;
especially encouraging my family in California to visit the museum!
Palestinian Costumes &
Embroidery: A Precious Legacy
A Video Review By Shira
For the video review by Shira click the