{"id":31807,"date":"2024-03-03T13:00:36","date_gmt":"2024-03-03T11:00:36","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=31807"},"modified":"2024-03-03T13:00:36","modified_gmt":"2024-03-03T11:00:36","slug":"the-story-of-the-keffiyeh","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/the-story-of-the-keffiyeh\/","title":{"rendered":"The Story of the Keffiyeh"},"content":{"rendered":"
Tracing the historical journey of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) from ancient times to its contemporary political significance, the subsequent exploration dives into its evolving identity, adapting to shifting socio-cultural norms. Furthermore, it examines its relevance in the context of cultural appropriation and gender identity while also addressing the contemporary challenges it encounters.\u00a0<\/span><\/h5>\n

 <\/p>\n

Rajrupa Das<\/h4>\n

 <\/p>\n

After much contemplation and hesitation, I have decided to delve into the topic of the \u201cPalestinian <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629)\u201d. Initially, I felt uneasy about writing on a subject I, like many non-Arabs, had limited exposure to. My understanding of the deep emotions attached to it was minimal. While I wholeheartedly support the Palestinian cause and recognise their enduring struggle, adversity, and dehumanising conditions, it is not a cause that directly impacts me. Consequently, it felt challenging and somewhat inappropriate for me to write about an article of clothing that has become symbolic of their suffering, resilience, hopes, dreams, and faith in a brighter future.<\/span><\/p>\n

Nevertheless, reflecting on my country\u2019s own history, marked by two centuries of colonialism, akin to apartheid treatment, and ruthless subjugation, I have come to recognize that I may possess some understanding through my collective experiences\u2014shaped by education, culture, and environment. This realization has given me the courage to proceed and pen down this article.<\/span><\/p>\n

The term Palestinian \u201c<\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629)\u201d may evoke images of a black and white striped kerchief styled around people\u2019s heads and necks. However, until the recent conflict, it remained relatively insignificant to non-Arab laymen. Amidst the current turmoil, the world has renewed its acquaintance with this black and white woven fabric, emerging as a symbol of the Palestinian cause and one of the region\u2019s most recognizable political symbols. Over the past 75 years, this fabric has witnessed pivotal moments, stirred controversies, and encapsulated a spectrum of emotions. In this article, we will provide a brief history and explore its cultural and symbolic significance while also introducing new arguments and raising pertinent questions.<\/span><\/p>\n

 <\/p>\n

Etymology and Ancient Origins<\/h4>\n

The story of the \u201cPalestinian <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629)\u201d is not a recent one, and neither is its association with Palestinian liberation. The <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) has deep roots that stretch back centuries in the Levant Arab landscape. Etymologically, the word \u201c<\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629)\u201d is a derivative of the name of the city of Kufa in Iraq, meaning \u201cfrom the city of Kufa.\u201d<\/span><\/p>\n

As such, its roots could be traced back to ancient Mesopotamia (c. 3100 BCE), when people living within the Tigris and Euphrates River system used to cover their heads to protect themselves from the elements. Its usefulness in the desert climate later percolated into every society across the diverse communities of the region.<\/span><\/p>\n

With its roots traced back to Mesopotamia, the head covering in Iraqi culture, particularly the shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121), carries various nuances, ultimately signifying prestige and status. Legend has it that the Sumerian fishermen, seeking protection from the scorching summer sun, ingeniously placed a fishing net on their heads, evolving over time into a distinctive headgear with its own unique name.\u00a0<\/span><\/p>\n

The shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121), with its fisherman\u2019s net design, water lines, and fish shells, is considered a talisman, believed to ward off evil even today, maintaining a connection to its Sumerian origins. Later worn by priests and kings who adorned white clothes and a black net made of sheep\u2019s wool symbolizing a fishing net, this headdress gradually merged with the shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121), known in the Iraqi dialect as the \u201cYashmagh.\u201d<\/span><\/p>\n

Over time, the Yashmagh transitioned from being an accessory of the ruling and sacred elite to becoming the most popular headdress in Mesopotamia and its neighbouring regions. It became an integral part of the cultural identity, symbolizing prestige and status for individuals across various Arab communities. Each community adopted the wearing of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) with their own interpretation and twist to it. In fact, until the turn of the 20th century, communities of all faiths and tongues from the region sported the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629).\u00a0<\/span><\/p>\n

Thus, the iconic black and white Iraqi shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121), also known as Yashmagh, <\/span>Ghutrah<\/span> (\u063a\u064f\u062a\u0631\u064e\u0629), Cheffiyeh (\u0686\u0650\u0641\u0651\u064a\u0629), and Jamadani \/ Jimidani, serves as a living testament to this rich heritage, transcending geographical boundaries and becoming a symbol of cultural identity for the Palestinian people in their struggle against British occupation since the 1930s.<\/span><\/p>\n

 <\/p>\n

\"\u201cKeffieh,\u201d
\u201cKeffieh,\u201d by Mona Hatoum (Palestinian, b. 1952), human hair on cotton, 1993-1999. The life and work of Mona Hatoum is deeply influenced by the experience of exile. Her artistic practice is at once political, poetic and autobiographical. It conveys an underlying difficulty in defining herself as irremediably stateless (courtesy Pinault Collection).<\/figcaption><\/figure>\n

<\/h4>\n

A century-old tradition<\/h4>\n

Traditionally crafted from cotton and wool and worn by Bedouins and villagers in the Ottoman-controlled Levant Arab region, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) evolved into a symbol of class struggle embedded in the psyche of the local people much before the Arab-Israeli conflict. While the affluent upper and middle-class Arabs embraced symbols of Ottoman style like the \u201c<\/span>Tarbush<\/span>\u201d or \u201c<\/span>Fez<\/span>,\u201d individuals from modest backgrounds favoured the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629). Many Jews, Christians, and Muslims in the Levant, such as in Palestine and Iraq, chose the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) to mark their authentic local connection, setting themselves apart as \u201csons of the soil\u201d within the Ottoman and later British-controlled Palestine.\u00a0<\/span><\/p>\n

In the initial decades of the 20th century, Palestine underwent significant transformations that laid the foundation for the contemporary identity of the black-and-white fabric. In the 1930s, during the British mandate, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) emerged as a unifying national symbol, supplanting the Ottoman\u2019 <\/span>Fez<\/span>\u2019 with widespread support. Concurrently, it became a potent emblem of resistance against British rule. As Palestinian freedom fighters, known as \u201cfid\u0101\u2019\u012bn,\u201d predominantly from the rural areas, prominently wore the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) during their anti-British activities, a pervasive desire for a liberated Palestine spread across the entire population, regardless of class or economic status. This collective sentiment led to the widespread adoption of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) by the general populace, serving to conceal the identity of the freedom fighters and facilitating their seamless integration with the rest of society.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

20th Century Political Symbolism<\/h4>\n

Following the establishment of the state of Israel in 1948 and the subsequent displacement of thousands of Palestinians, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) began its evolution as a symbol of resilience against occupation and the escalating mistreatment of the local population. Worn by both those who were displaced and those who remained, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) swiftly became emblematic of the Palestinian cause. In the 1950s, a seemingly arbitrary decision by British officer General John Glubb to designate the black and white fabric for Palestinian soldiers, distinguishing them from their Trans Jordanian counterparts wearing the red and white shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121) in the Arab Legion, ultimately solidified and popularized one of the most visually distinctive political symbols of the 20th century.\u00a0<\/span><\/p>\n

It is intriguing to observe that during the British mandate period, the red and white Trans Jordanian kerchiefs, commonly called shemagh (\u0634\u064f\u0645\u064e\u0627\u063a \u0161um\u0101\u0121), were produced in British cotton mills and served as the standard headwear for the British colonial police force in Palestine. Over time, these head coverings found adoption within the Sudan Defence Force and the Libyan Arab Forces, too.\u00a0<\/span><\/p>\n

In the subsequent years, as the occupying government prohibited the display of the Palestinian flag (1967-1993), the black and white <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) underwent a transformation, becoming the unofficial flag of Palestine. This shift in symbolism gained prominence through the actions of the Palestinian resistance and prominent political figures, notably the late Yasser Arafat, former chairman of the Palestine Liberation Organization and President of the Palestinian National Authority. Internationally, other political figures, such as former South African president Nelson Mandela and the late Cuban revolutionary and president Fidel Castro, were known to don the black and white <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) as a demonstration of solidarity and support for the Palestinian cause.<\/span><\/p>\n

 <\/p>\n

The K\u016bf\u012byah (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629): Gender Issues and Pop Culture<\/h4>\n

The <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) evolved into a symbol embraced by Westerners as an emblem of solidarity with the resistance movement. It swiftly became an iconic representation of anti-war activism during the peak of the Cold War throughout the 1960s and 70s. However, the hijacking of a TWA flight in 1969 by the first woman hijacker, Leila Khaled, cast a shadow over the <\/span>K\u016bf\u012byah<\/span>\u2019s (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) image in the Western consciousness. Ironically, as media outlets circulated images of Khaled, a Palestinian refugee and former militant, brandishing an AK-47 and sporting a <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629), the gendered perception of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) was challenged. No longer confined to being worn solely by men for a cause, it emerged as an accessory suitable for both men and women.<\/span><\/p>\n

Fascinatingly, the kerchief, a headgear in the Arab world, has consistently been a gender-neutral accessory, embraced by both men and women across centuries. Referred to as \u2018hatta (\u062d\u064e\u0637\u064e\u0651\u0629),\u2019 \u2018<\/span>Futah<\/span>,\u2019 and other regional names, its styles and materials vary for women, showcasing regional and communal distinctions.<\/span><\/p>\n

 <\/p>\n

\"Mahmoud
Mahmoud Abbas<\/a>, “Starving in Gaza,” 2023 (courtesy Art of Occupied Palestine).<\/figcaption><\/figure>\n
<\/h5>\n

 <\/p>\n

<\/h5>\n

Cultural Appropriation or A New Identity: A Debate<\/h4>\n

In the 1980s, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) underwent a paradigm shift in the West. Transitioning from its origins as a symbol of the Palestinian cause and anti-war sentiments, it transformed into a broader emblem of liberalism and anti-authority. Embraced by pop culture icons, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) became a distinctive accessory within the \u2018hipster\u2019 subculture by the early 2000s, frequently spotted in crowds at music concerts alongside Che (Guevara) T-shirts.\u00a0\u00a0<\/span><\/p>\n

While the fashion industry globally witnessed the widespread and unapologetic appropriation of the distinctive black and white patterned fabric throughout the 2000s, the <\/span>K\u016bf\u012byah<\/span>\u2019s (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) transformation into a popular fashion accessory by various brands ignited intense debates too.<\/span><\/p>\n

It is intriguing to observe the incorporation of symbolism from ancient Mesopotamian fishermen of the Tigris-Euphrates Valley into a Mediterranean context. While the fishnet pattern retains its resonance with the coastal roots of Palestine, the substitution of fish scales with rows of olive leaves holds significant meaning. These leaves symbolize perseverance and endurance, establishing a profound connection to the Palestinian soil and vegetation\u2014an emblematic representation of the region. Additionally, the bold lines, once representative of rivers in the Iraqi context, now take on a new meaning as symbols of robust trade routes in Palestine. Positioned at the crossroads of Europe and Asia since ancient times, these lines encapsulate the historical significance of trade integral to the region.\u00a0<\/span><\/p>\n

These observations extended beyond concerns of mere appropriation, delving into complex questions about whether such usage inherently disrespects the political and historical context associated with the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629).\u00a0<\/span><\/p>\n

This prompts the inquiry of whether the donning of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) for a cause by non-Arabs today constitutes cultural appropriation or transforms the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) into a broader global symbol of freedom and liberation. An analogy for this debate can be drawn from UNESCO\u2019s declaration of February 21st as International Mother Language Day, which commemorates the 1952 massacre of students in Dhaka, Bangladesh (then East Pakistan), during a rally advocating equal rights for Bengali alongside Urdu in the Pakistani Parliament.\u00a0<\/span><\/p>\n

Against the backdrop of a declining Palestinian industry, the Hebrawi Textile factory in Al Khalil\/Hebron stands as the solitary producer of authentic Palestinian <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) today, operational since its establishment in the 1960s. As local industries face challenges, the global demand for <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) is predominantly met through the power looms of China. Should this reduce the importance of the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) as the symbol for the Palestinian cause?<\/span><\/p>\n

In the wake of escalating global Islamophobia post-9\/11, the West has unabashedly associated the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) with symbols of terrorism and animosity. Amidst ongoing protests and demands on both sides, since the recent clashes starting October 7th, 2023, there has been a growing trend of anti-Islamic sentiments directed at individuals wearing the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629), contrasting with the comparatively unscathed acceptance of the blue and white flag. This situation prompts a crucial question, perhaps the most critical question of all: Does the black and white kerchief exclusively symbolize the cause (liberation from suffering and struggle) of a specific faith community in Palestine?<\/span><\/p>\n

In conclusion, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) continues to transform beyond geographical and material constraints, prompting questions about its meaning and global significance. Much like the watermelon, a symbol echoing the Palestinian flag, the <\/span>K\u016bf\u012byah<\/span> (\u0643\u064f\u0648\u0641\u0650\u064a\u064e\u0651\u0629) has ventured into new realms of expression. Despite restrictions on its use in political rallies in the West due to perceived \u2018provocative imagery,\u2019 it persists in evolving, finding alternative channels like tattoos and henna for its continued expression.<\/span><\/p>\n

 <\/p>\n

This article was first published in the the Zay blog<\/a> as “The Story of Keffiyeh,” Part 1 & 2.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Amidst the carnage in Gaza, the world has renewed its acquaintance with the region’s most recognizable political symbol, writes Rajrupa Das.<\/p>\n","protected":false},"author":531,"featured_media":31973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[12,3392],"tags":[3395,3396,3394,3399,1288,1321,3398,3397,3400],"coauthors":[3393],"class_list":["post-31807","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essay","category-tmr-39-burn-it-all-down","tag-kaliyah","tag-keffiyah-ghutrah","tag-kuffiyah","tag-kuffiyeh","tag-palestine","tag-palestinian-resistance","tag-political-symbols","tag-shmagh","tag-war-on-gaza","entry"],"acf":[],"yoast_head":"\nThe Story of the Keffiyeh - The Markaz Review<\/title>\n<meta name=\"description\" content=\"Amidst the carnage in Gaza, the world has renewed its acquaintance with the region's most recognizable political symbol, writes Rajrupa Das.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/themarkaz.org\/oldsite\/the-story-of-the-keffiyeh\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Story of the Keffiyeh\" \/>\n<meta property=\"og:description\" content=\"Amidst the carnage in Gaza, the world has renewed its acquaintance with the region's most recognizable political symbol, writes Rajrupa Das.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/themarkaz.org\/oldsite\/the-story-of-the-keffiyeh\/\" \/>\n<meta property=\"og:site_name\" content=\"The Markaz Review\" \/>\n<meta property=\"article:published_time\" content=\"2024-03-03T11:00:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2024\/02\/Keffiyeh-tanks-generative.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1091\" \/>\n\t<meta property=\"og:image:height\" content=\"728\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Rajrupa Das\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Rajrupa Das\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/\"},\"author\":{\"name\":\"Rajrupa Das\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#\\\/schema\\\/person\\\/9eff1692467b3bd2179d9768161e5cc5\"},\"headline\":\"The Story of the Keffiyeh\",\"datePublished\":\"2024-03-03T11:00:36+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/\"},\"wordCount\":2132,\"commentCount\":6,\"publisher\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/wp-content\\\/uploads\\\/2024\\\/02\\\/Keffiyeh-tanks-generative.jpg\",\"keywords\":[\"Kaliyah\",\"Keffiyah Ghutrah\",\"Kuffiyah\",\"kuffiyeh\",\"Palestine\",\"Palestinian Resistance\",\"political symbols\",\"Shmagh\",\"war on Gaza\"],\"articleSection\":[\"Essays\",\"TMR 39 \u2022 BURN IT ALL DOWN\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/\",\"url\":\"https:\\\/\\\/themarkaz.org\\\/oldsite\\\/the-story-of-the-keffiyeh\\\/\",\"name\":\"The Story of the Keffiyeh - 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