Keffiyah: The humble symbol of Palestinian struggle
In the face of Israel’s cultural appropriation, aspects of Palestinian identity take centre stage
The keffiyah, the checkered black and white headscarf, has come to symbolise the Palestinian struggle, immortalised by the late leader Yasser Arafat, who made it an indispensable part of his image as the Palestinian leader.
“It is not for us (Palestinians) only, and we find it in Syria, Lebanon and other places,” said Rashid Abdul Hamid, a Palestinian designer and architect.
“But it became a symbol of Palestine. The moment people see it, they think of Palestine. It became a logo, a visual identify for the Palestinians,” Abdul Hamid told Gulf News in a telephone interview from Ramallah.
He is also the co-founder and artistic director of Alhoush. com, a website dedicated to the sale and promotion of art and design.
It is believed the keffiyah originated in Kufa in presentday Iraq; its name is a reference to the Iraqi city. The headscarf was used by Bedouins and farmers. Among its different Arabic names are the ghutrah, shemagh and hattah. ■
During the late 1930s, when Palestinians revolted against British rule, it became a symbol of Palestinian nationalism. In the struggle that lasted from 1936 to 1939, those fighting for independence used the keffiyah to cover their faces.
And, with the advent of the Arab-Israeli wars, the keffiyah’s association with the Palestinian cause was complete.
These days, even Israeli designers are using the keffiyah in their clothes, Palestinians said.
Today, there is only one factory in the West Bank that produces the fabric used to make keffiyehs.
Palestinians, and the other Arabs, accuse Israel of cultural appropriation. They say Israel is claiming their famous dishes as its own. This includes felafel, which Israel calls ‘Israeli burger’, and ‘Ka’ek’, which is like baguette bread but covered with sesame seeds.
Palestinians and other Arabs counter Israeli claims that some famous Arabic appetisers like hummus and tabbouleh are ‘Israeli’ dishes. They have stressed, through Guinness World Records attempts, for instance, that these are Arabic dishes.
“It is part of the conflict,” said Jihad Harb, a West Bankbased Palestinian columnist and political analyst. Israeli attempts to adopt “the region’s heritage and culture are just another way of giving the impression that the Israelis have cultural links to this land and they are not outsiders,” he told Gulf News.
Abdul Hamid has given the keffiyah a new look. Alongside the black and white checks, he introduced flowery and coloured fabrics. Today his designs are being sold in European markets, next to renowned Italian and French brands.
But he has faced criticism. “Some people said this (keffiyah) is a symbol and you shouldn’t change it. Like in architecture, there are people who say you cannot mix modern and Islamic designs. This is their view, but not mine,” Abdul Hamid said.
Culture, art, and music can become very effective soft power tools, said Abdul Hamid, who has established a brand titled ‘Made in Palestine Project’. It produces films, remixes of traditional Palestinian melodies and other cultural products.
“We do many things. We do anything that is creative and would benefit Palestine. We are doing our best to present ourselves in the best possible light. Art could have a very noticeable impact,” Abdul Hamid said.
The image of the Palestinians abroad is that they are sitting in refugee camps throwing stones, he said.
“So when they (people in the world) see Palestinians producing colourful keffiyehs and making movies and music, they open their eyes and say, ‘They are humans like us and they deserve to live and have everything we have’. In the end, we (Palestinians) want to live like the others. We want to live, love and be happy.”