Highlight of the month

Rajih al-Salfeety, Sheikh of the Palestinian Zajjals

In the middle of a circle of women in the neighbourhood yard, Rajih al-Salfeety stands and performs songs, including special songs known as ahazij. His mother’s eyes go wide with pride whenever the women around her compliment her firstborn’s voice.

Al-Salfeety’s fate was to be born to a poor Palestinian family. It was also to lose his parents at a young age and step up to provide for his six siblings. Once a boy echoing his mother’s lullabies and signing in neighbourhood circles, with his beautiful voice, his joyful soul, and his good presence, he began singing at work, in his village, and at the surrounding villages’ weddings.

Rajih the Zajjal (a traditional oral strophic poet) grew like an olive seedling on the sides of al-Matwi and al-Sha’er valleys near the city of Salfit until he became the area’s best zajjal, even being mentioned in local sayings: ‘A wedding in Salfit is not a wedding unless Rajih is there’. He became known as the Sheikh of Palestinian Zajjals. Salfit, along with its troubles, continued to inspire him and lived within him, leading him to sing:

He who feels the troubles of people

If his emotions are described, becomes a poet

Oh, Paradise between Matwi and Sha’er

I would not trade you for the Heavens above

Al-Salfeety’s poetic conscience grew from the events taking place around him in Palestine, which affected his creations. Amongst those events were the al-Buraq Revolution and the 1929 execution of Muhammad Jamjoum, Atta al-Zeer, and Fouad Hijazi, three young men who participated and have since been immortalised in the famous popular song, Min Sijjin Akka (From Akka Prison). He was influenced by Nuh Ibrahim (to whom Min Sijjin Akka is commonly attributed), Ibrahim Tuqan, and other poets from that period.

Despite his young age and the great responsibilities entrusted to him, Al-Salfeety joined the ranks of the Great Palestinian Rebellion of 1936 and sang for and about it. He also volunteered in the war that broke out during the Nakba until he was severely injured by a bullet near his lungs; he later suffered from chronic lung diseases as a result.

As soon as the Nakba became the reality lived by Palestinians, and with the emergence of national and communist parties in Palestine, al-Salfeety became a part of the National Liberation League as one of its prominent freedom fighters and symbols. He was chased and imprisoned for it, especially since he was in opposition to the Baghdad Pact, as made clear by his derisions of the Pact in several poems.

During the 1950s, al-Salfeety snuck to Damascus and Baghdad and then Czechoslovakia, leaving Salfit and Palestine behind. He only returned to them during the early 1960s. He was made a fugitive again and left for Syria, returning to Palestine, at last, during the 1967 Naksa, never to leave again.

In the shadow of all this, al-Salfeety wrote about defeat, the Naksa, and settlements:

Oh, Naksa, day of misfortune, you will always remain a despicable witness

To the policy of annihilation and displacement

Even foxes roared at you

When no one useful was left standing

Rajih al-Salfeety lived an eventful life. He was arrested more than once, the first time in 1974 due to his patriotic activity, and the last time in 1988. In prison, he wrote several zajal poems, including ones he wrote in Nablus Central Prison, which other prisoners repeated, these words travelling from one prison to the next. Those poems included ‘In Memory of the Battle of Karameh; ‘In the Triumph of the Cambodian People’, ‘To My Son, Ahmad’, ‘In Memory of Ominous June’ and others.

In 1976, al-Salfeety decided to run for the elections of the Municipal Council in Salfit, where he established a national popular bloc with his comrade Khamis al-Hamad and several area notables. The bloc raised the unified slogan of all other national blocs in Palestine, which was ‘No to Civil Administration, Yes to National Unity.’ For the bloc, Rajih sang his chorus:

Oh, our popular masses

Oh, labour forces

Our national bloc

 Aside from the bloc, we have nothing

Aside from the bloc, we have nothing

Rajih al-Salfeety had a notable presence at Birzeit University, where he participated several times in its annual festival and various activities. He sang more than once and made his zajal present in its corridors. When the university was forcibly closed, al-Salfeety sang:

The universities have been closed, where is democracy

The doors were closed, students are scattered

A state with tanks, fleets, and planes

How is it scared of drawings on withering paper?

(From an archived voice recording)

The notebooks written by Rajih al-Salfeety and his daughter Duha are nearly filled to the brim with poems praising stones, shuhada, the Intifada and Land Day. Al-Salfeety wrote tens of poems and chants, and he sang for the Intifada at weddings. His voice resonated loudly until the chorus, echoed by youth before the old mulberry tree in his village square, ‘stopping the awl’ (see poem below) of the Civilian Administration officer when he cornered them there.

He sang, inspired by al-Ashiqeen Ensemble:

Oh world, bear witness to us and the Gaza Strip

Bear witness to the West Bank

Demonstrations immersed deep in the conflict

Against the armies of Zionism

In early 1988, Rajih al-Salfeety wrote and sang one of the most important folkloric poems titled ‘El-Kaf Elly Byekser el-Makhraz’ (The Palm that can Stop an Awl) which spread widely and was popular among Palestinians due to its simplicity and depth of meaning. In it, he says:

Oh, voice, rise and call to those with determination

 And leave those who found comfort in the allure of decadence

The news of massacres has echoed in the ears of nations

To shake their consciences and wake them up

He ended by writing:

We have learned much from our experience

Experiences are guiding beacons

The palm steady in the unity of class and determination

Can not only hit back against the awl of the treacherous

It will break the awl and the neck of its bearer

Al-Salfeety lived a long life of resistance and zajal, leading him to deservedly earn the sobriquet ‘Sheikh of Palestinian Zajjals’. His words resounded in many Palestinian rostrums in Nazareth, Haifa, Yaffa, Akka, Jerusalem, Ramallah, and Nablus, with renowned Palestinian writer Emile Habibi saying of him ‘I saw them holding a stone in one hand and the zajal of Rajih al-Salfeety in the other.’

The bullet al-Salfeety was shot with in 1948 haunted him for four decades, continuously affecting his health until he fell severely ill in 1990 and his nights felt longest: ‘Oh night-time, how long you are for those who are ill.’ This was one of the last poems he wrote before he passed away on the 27th of May 1990. His voice made its eternal departure from the world, leaving behind his four children, Yousra, Duha, Andaleeb, and Ahmad.

Al-Salfeety trotted between zajal verses like a stag in the Palestinian wilderness, to sing with a reed pipe player or a drummer; together they would produce a truly Palestinian tone. Behind them, the voices of the Palestinian villages’ youth would repeat the chorus of national unity with enthusiasm, making him stop them and jokingly say: ‘Listen, kids, if you keep jumping around and hurrying everything you will ruin the evening gathering for us. Overenthusiasm is more harmful than a gun.’

Highlight of the month

The Palestinian Museum Digital Archive

Embroidery: From Palestine to the World

Just when the Israeli Occupation intensified its systematic colonial attack to erase, steal and distort our national identity, and with the attempts and endeavors to isolate and seize components of the Palestinian heritage, the United Nations Educational, Scientific and Cultural Organization “UNESCO” listed Palestinian Embroidery within the Representative list of the Intangible Cultural Heritage of Humanity, as one of the Palestinian national elements during the sixteenth session of the Intergovernmental Committee for the Safeguarding of Intangible Cultural Heritage of UNESCO held on Wednesday, 15 December 2021 in Paris. This serves as an important step to perpetuating and strengthening the presence of Palestine and empowering the united national identity in international and local forums, as well as averting all obliterating and forging attempts against the practices and social rituals of Palestinians and their civilizational and cultural heritage, wherever they are. It also affirms the depth of the connection of Palestinian heritage to its wider scope and its Arab and regional surroundings, extending from Sinai in the south, to Lebanon and southern Syria in the north, and the Jordan Valley in the east.

Since the Palestinian Museum Digital Archive has been concerned, since its launch in 2018, with approaching various patterns of behavior and indigenous practices and accompanying customs and traditions, embroidery has been present therein among many archived models of the daily life of Palestinians and the photographs and documents PMDA documents in support of producing a parallel Palestinian narrative, far from the exclusion imposed by metanarratives, power relations and their elite social and political networks. The Palestinian Museum has also recently succeeded in restoring and retrieving about 245 heritage pieces, including 90 embroidered Palestinian thobes, donated by their owners to the Museum, which worked to collect and settle said pieces within its flanks, forming an important part of the PM’s permanent collection. This monthly highlight constitutes a main and essential component of approaches targeting the need to preserve and protect the contents of Palestinian identity, defend it and pass it on to future generations, and respond to every claim that would target it with obliteration, marginalization, forgery and pollution. The highlight displays a collection of photographs documented by PMDA, showing many models of embroidered thobes that reflect the permanent presence of embroidery in various contexts and occasions.

0001.01.0042 A Photograph from the Ali Kazak Collection, PM’s Collection Room
“We Have Our Heritage and Civilisation”, a Poster Published by GUPPA, 1984

A poster published by the General Union of Palestinian Plastic Artists (GUPPA) in 1984 for the 17th session of the Palestinian National Council, features an artwork by Palestinian artist ‘Abd ar-Rahman al-Muzayyen. The piece depicts a woman, in a thobe bearing names of Palestinian cities, carries a hand-shaped vase over her head engraved, “Palestine” and “al-Quds”.

0159.01.0086 A Photograph from the Musa Allush Collection
Butrus el-Abed and Shafa al-Khoury, 1920

Taken on 20 October 1920, this photograph shows Butrus Issa el-Abed and his wife Shafa Khaleel al-Khoury where el-Abed is seen wearing a Tarbush and the traditional Qubmaz and associated belt, while al-Khoury is seen standing next to him in embroidered Palestinian thobe and headcover. 

0097.01.0018 A Photograph from the Ramallah Friends School Collection
A Studio Portrait of Ellen Audi, 1930

Taken in 1930, this portrait shows Ellen Audi seated at a studio while carrying hay made basket and wearing the Ramallah traditional embroidered Palestinian thobe and associated headcover.

0162.01.0025 A Photograph from the Najeh Burbar Collection
Musa Awwad and Jamila Burbar, Jifna, 1933

Taken in 1933, this photograph shows Musa al-Khoury Odeh Awwad and Jamila Ayoub Hana Burbar from Jifna, where Awwad is seen seated and wearing the traditional Qumbaz and associated belt, while Burbar is seen standing next to him in the embroidered Palestinian thobe and headcover. 

0159.01.0228 A Photograph from the Musa Allush Collection
Musa Sa’d and Hilwa Dawood, Birzeit, 1939

Taken in 1939, this photograph shows Musa Soliman Sa’d and his wife Hilwa Mitry Saleh Shahin from Birzeit, where Sa’d is seen seated and wearing a suit, a necktie, and a Tarbush while Shahin is standing next to him wearing the embroidered Palestinian thobe and headcover while holding a flower bouquet.

0159.01.0127 A Photograph from the Musa Allush Collection
Radi and Aziza Burbar on their Wedding Day, 1944

Taken on 13 August 1944, this studio portrait captures Aziza Bshara Burbar carrying a bouquet and wearing the Palestinian thobe and the traditional headcover standing next to her husband Radi Ibrahim Burbar in a suit and a necktie on their wedding day.

0161.01.0001 A Photograph from the Nadia Qatato Collection
Ibrahim Qatato and Nadia Kayleh in Palestinian Traditional Clothing, 1949

Taken in 1949, this photograph shows Ibrahim Qatato “Abu Issa” and Nadia Kayleh “Umm Issa” from Birzeit in Palestinian traditional clothing on their wedding day, where Kayleh is seen in the Ramallah embroidered thobe and headcover while Qatato is seen in the traditional Qumbaz and the Hatta and Agal.

0096.02.0001 A Photograph from the INAASH Association Collection
A Palestinian Embroidered Piece Handmade by Women of the INAASH Association, Lebanon, the 1970s

This photograph shows a handmade piece embroidered by Palestinian refugee women; members of the INAASH Association for the Development of Palestinian Camps in the 1970s. Following 1968, INAASH has come to the fore at the hands of Huguette Caland el-Khoury; daughter of the Lebanese President Bechara el-Khoury, and other Lebanese women to break the isolation of the Palestinian refugee camps and empower the Palestinian refugee women to help their husbands in the face of the Lebanese law that casts a veto over the Palestinian refugees in the Lebanese labour market. At a later stage, INAASH gained the support of Sirin al-Husseiny and other Palestinian women.

0028.01.0307 A Photograph from the Emile Ashrawy Collection
Fatima Yousef Sewing a Palestinian Thobe, Kobar-Ramallah, the 1970s

Taken in the 1970s by Emile Ashrawi, this photograph captures Fatima Yousef from the village of Kobar- Ramallah, seated on the ground with her back to the wall wearing a Palestinian embroidered thobe while sewing another with two girls standing next to her.

Highlight of the month

The Palestinian Museum Digital Archive

The Muhammad Fahd Hammoudeh Collection


The Palestinian Museum Digital Archive has been, from the outset, responsible for retrieving historical realities and representing the marginalized beyond the social dominance theory, traditional knowledge structures, and metanarratives. All by reexamining the relations of power and control, the system of values ​​and perceptions, the networks of social relations and the interaction between the different groups of society and through allowing the “ordinary” people to contribute to the production and formulation of narratives about Palestine, its culture and society through lived experiences, models of daily life, customs, traditions and self-patterns of behavior- also known as history from below.

Since this approach allows the study of the biographies, events, places and interactions of individuals and groups from the point of view of those whose behavior is not followed by researchers and scholars, and do not have the freedom to define their daily lifestyle and the distinctive and different history of their societies, this blog sheds light on an archival material that includes a report written by Muhammad Fahd Hammoudeh, born in 1927 in the village of Lifta in Jerusalem. In his report, Hammoudeh referenced many features of the social history of the Dayr Dibwan village in Ramallah and their patterns of behavior, all after he returned to the town as an immigrant, where he continued to write until he fell ill and stopped his work on the report until his death in 1980.

Handwritten between the late 1950s and early 1960s, this report follows the financial and social habits and norms of the Dayr Dibwan citizens and their professions during the period of documentation, in addition to their activities and lifestyle in the country side. The report also follows their traditional clothing, such as the Qumbaz, Kufiya and Agal for men and embroidered silk thobes for women. On the other hand, the report examines the new generation where men started wearing suits; and following the close geographical distance to the city of Ramallah, ease of transportation and the widespread of education among girls, the report states that women started wearing dresses and modern garments. As for agriculture, poor families depended on olive trees in their livelihoods along with other kinds of seeds while others survived on bread made with pure wheat and olive oil; baked in the Taboon or ovens, before food varied due to the development of the village.

Families of Dayr Dibwan naturally consisted of the father, mother and children, and either the father or the elder brother is considered the one responsible for fulfilling the duties of the family along with his wife. Women, on the other hand, were second to their husbands in responsibility besides their work in tidying and cleaning the house, and cooking. The report shows that relationships between families were based on blood before the relations of marriage and social integration. It also discusses marriage where most men were satisfied with one wife, but some would “have to” marry a second or a third for familial or infertility reasons. Moreover, the report mentions the habit of “exchange”, where a man would marry off his sister or female relative to a man, who in turn would do the same as a sort of marital exchange. Hammoudeh sees that this habit causes some of the worst issues in the village, where if one of the men had a dispute with his wife and sought a divorce, the second man would have to follow suit and divorce his wife even if they were on good terms.

The report also sheds light on many social habits and behaviors, such as the celebration of Mawlids, considering them spreading widely in the village, specifically when a villager moves into a new house, where he does not move until he invites the “Dervish people” to beat their drums as he sacrifices sheep, makes feasts and celebrates until after midnight, which Hammoudeh detests and wishes it stops. He also mentions that villagers would hold “luxurious” celebrations for the Mawlid and bring sweets, as well as another custom like the Mawlid which involves the fulfillment of vows where if a vow comes true, sheep are sacrificed, and people are invited to feast.

The report details the rituals of funerals and their customs, where when a notable person in the village passes away, the neighboring villagers are invited to the funeral, which is attended by men and women, as the deceased is carried to the mosque for prayer after being washed and shrouded, then the men would walk at the beginning of the funeral march and the women would follow, after the burial, another family prepares the food for the mourning family and those who offer condolences from other villages. After the funeral, women start weeping for a month while wearing black silk clothes. The custom is that the family of the deceased does not cook for one or two weeks, where food is sent to women at home while men are invited to dine at a different house every time. The report clarifies that these rituals only apply to deceased men, but not women, where they would just be buried.

Another custom deemed good is the “Aqd” or “house Aqd”, which is finishing the construction of the house roof, where villagers offer to help the homeowner as some of his relatives sacrifice sheep and help him with food, and the rest of them would offer rice and juice or help with finishing up the work. Usually, a white flag is held on top of the house to signify ending the construction of the roof. The report also mentions that the “construction chief” is served a plate full of bread chunks and meat. Another good custom is the “Qowad”; known in Dayr Dibwan and neighboring villages, which is hospitality, where sheep are sacrificed, and food is served on many occasions including death, Hajj or diasporic return. It also points another good custom known as clan courts, where clans aid in resolving most internal issues.

As for education, the report mentions that there is a school for boys in the village which was built as per modern standards with the financial support from the village’s residents and those abroad. Housing eleven teachers, the school teaches all grades up to the third secondary grade (high school). Hammoudeh also says that there is a school for girls, built one year prior to writing this material, from a loan from the Palestinian Economic Council for Development and Restoration (PECDAR). Housing six teachers, the school is surrounded with a big plot of land; of which a block was used as a park and another as a basketball court.

Finally, the report mentions that many poor people acquired their livelihoods, while most of the youth immigrated during the last ten years (prior to writing the report) to the United States of America (USA) along with other neighboring villages. This, the report states, participated in increasing the standards in the village, aided the construction of tall buildings, and led the village to be among the richest In Ramallah. Accordingly, several literary works focused on the financials of immigrants, their impact on the socio-economic changes and urban transformations that the villages and cities of the region have witnessed). It also points out the generosity the village was known for, still up until the writing of these very lines; however, it has been noticeably fading away due to the development and sprawling of the Dayr Dibwan village towards the city.

Highlight of the month

The Palestinian Museum Digital Archive
Vaccination Certificates: The Living Archive

It is certain that the sudden and rampant spread of the emerging coronavirus, since early 2020, has turned the tables and opposed expectations on various levels. Plus, the ambiguity surrounding the management of the pandemic, the acceleration of its transformations, and the uncertainty of its elimination raised many questions, the most urgent and interactive of which are the questions about the nature and origin of the virus, about the feasibility of vaccines, and the extent to which all of this is related to the conspiracy theory and the integrity of the various policies of countries and institutions. All due to the pandemic affecting daily life, penetrating social, economic and cultural boundaries, contributing to the reconfiguration of class structures and affecting many human and institutional practices and behaviours, so much so that vaccination certificates; issued by the competent authorities of any country, became a required necessity for many daily life activities, up to the point that such certificates started to hold control over the freedom of movement, transportation and travel.

Given that the Palestinian Museum Digital Archive, since its inception, has held the responsibility to recovering historical facts and contributing to the production of narratives about Palestine, its culture and society by reviewing lived experiences and retrieving models of daily life, customs, traditions and self-patterns of behavior – known as social history from below, this blog highlights a set of vaccination certificates and cards issued in Palestine, or to Palestinians by different authorities since the Ottoman rule of Palestine.

Ottoman Certificate of Vaccination Against a Contagious Disease, 1911
The Yaffa Cultural Centre Collection

Dated on 1329 Ah, corresponding to 1911, this document shows a certificate of vaccination, against a contagious disease, issued by the Ministry (Nazaret) of Interior and the Department of Royal Medical Affairs and Public Health in Palestine during the Ottoman rule. It is noteworthy that the cholera epidemic had swept the region in that period and caused heavy losses.

Farid Azar’s Vaccination Certificate Issued by ICRC-Nablus, 1949
The Ghassan Abdullah Collection

Issued by the International Committee of the Red Cross in Nablus on 21 September 1949, this archival material documents a vaccination certificate for Farid Yusef Azar, stating that he is from Haifa and holds a refugee card bearing no. 19011, and that he was vaccinated for Smallpox and Typhoid.

The Abdullah Affaneh Collection
Smallpox International Vaccination Certificate for Abdullah Afaneh, 1953

Issued on 25 August 1953 by the Ministry of Health in Nablus, this document shows an International Health Certificate confirming that Abdullah Abdelqader Affaneh was vaccinated for Smallpox on 17 August 1953. Bearing the Jordan Red Crescent Society stamp and the Hashemite Kingdom of Jordan import stamps, the certificate states that it is valid for three years.

The Omar al-Qasem Collection
Smallpox Vaccination Certificate for Omar al-Qasem, 1962

A certificate issued by the Ministry of Health in the Hashemite Kingdom of Jordan stating that the shaheed Omar al-Qasim; residing in al-Sharaf Neighborhood in Jerusalem, has received the vaccine against smallpox on 27 May 1962 at the age of 21 years. The bottom of the certificate bears a note stating that it is a local certificate- not valid for travel outside the Kingdom.

The Jawad Hiwwary Collection
Cholera International Vaccination Certificate for Jamal Hiwwary, 1966

Issued by the Ministry of Health in Nablus, this document shows a Cholera International Vaccination Certificate for Jamal Abdelaziz Yasin Hiwwary, stating that he received two shots of the vaccine on 24 and 31 August 1966. Bearing the Hashemite Kingdom of Jordan import stamps, the certificate states that it is valid for six months.

The Nakhleh Qare Collection
International Certificates of Vaccination for Khamis al-Qare, 1969

Issued by the Royal Dutch Airlines (KLM), in accordance with the sanitary regulations of the World Health Organization, this international certificate of vaccination shows that Khamis Nakhleh al-Qare, a resident of Ramallah, was vaccinated against Smallpox on 16 October 1969, at the Ramallah Central Health Department at the age of 23. 

The Deya Misyef Collection
International Certificate of Vaccination Against Cholera and Yellow Fever for Jamal Misyef, 1970

Stamped by the Health Directorate of Health in Jericho and printed on 19 August 1970 in English and French and filled in with Arabic, this document shows an international certificate of vaccination or revaccination against Cholera and Yellow Fever in the name of 32 years old Jamal Hasan Misyef.

The Abdelhamid al-Hiwwary Collection
A Vaccination Card for Jihad al-Hiwwary, 1970

Issued by the Ministry of Health in Nablus 1970, this document shows a vaccination card against communicable and infectious diseases, including Smallpox, Poliomyelitis and Measles for Jihad Abbas Yasin Muhammad al-Hiwwary; born in Sebastia-Nablus on 1 December 1969.

The Jawad Hiwwary Collection
International Vaccination Certificates Against Smallpox for Fatima Hiwwary, 1972

Issued by the World Health Organization on 10 December 1972, this document shows international vaccination certificates against contagious diseases including Smallpox and Cholera for Fatima Rafiq Hiwwary.

The Arab Development Society Collection
International Certificates of Vaccination for Mousa al-Alami, 1978

Issued by the Deutsche Lufthansa, in accordance with the sanitary regulations of the World Health Organization, these international certificates of vaccination show that Musa al-Alami was vaccinated against Smallpox at Palestine Hospital on 1 June 1978. 

Highlight of the month

The Palestinian Museum Digital Archive
Prison Notebooks and Movement’s Archive

When colonizers exclude the colonized indigenous memory from the historical record, it is inevitable that other fields of inquiry are affected, causing a gap between the hegemonic authority and knowledge production, which enables colonial powers to dominate and loot the archives of colonized countries, consolidate control, and obliterate the identity and historical narratives of the indigenous.

In this context, this blog post highlights the experience of the Palestinian Prisoners Movement by manifesting its presence in the archive as one of the most prominent components of the Palestinian historical narrative and its emancipatory content, apart from contexts of theoretical coercion.

The colonial authority persists in suffocating Palestinian prisoners in various ways, such as by denying them family visits and preventing them from taking souvenir photographs with their families. However, prisoners managed to obtain this right after conducting numerous strikes in the mid-nineties, whereby they became authorized to take photographs with their relatives once every five years after they reached the age of fifty. In 2019 however, the Israel Prison Service withdrew this right in response to pressure from some Zionist organizations following the publication of a photo showing prisoner Omar al-Abed; accused of murdering three settlers, smiling with his mother on a prison visit. Photographs were then taken by the Israel Prison Service photographer and were restricted to relatives suffering from terminal diseases, provided that the prisoner pays for them and that they are kept with prisoners inside the prison.

Zakaria Zubeidi and Yasser Arafat in Jenin, 2002
Joss Dray Collection

Taken in 2002, this photograph shows Zakaria Zubeidi with Yaser Arafat at the Jenin Municipality during Arafat’s first visit to the city after the end of the Israeli siege of the Presidential Headquarters in Ramallah, the ” Mukata’a”. 

Clippings from ash-Shaab Newspaper on the Arrest of Bassam Shakaa, his trial, and hunger strike, 1979
Bassam Shakaa Collection

This archival item shows a paper with three glued clippings from ash-Shaab Newspaper, two of which are dated 21 November 1979. The first mentions Bassam Shakaa, the former Mayor of Nablus, continuing his hunger strike at Ramla Prison, while the second mentions the Israeli Occupation Forces imposing restrictions on the movements of resigned mayors. Dated 29 November 1979, the third clipping included a title pointing out the beginning of Shakaa’s trial. 

Prisoners Abdel-Alim Daana, Ribhi Haddad and Badran Jaber before the Supreme Court of Israel, 1989
Abdel-Alim Daana Collection

Taken in 1989, this photograph shows three leaders of the Popular Front for the Liberation of Palestine (PFLP), Abdel-Alim Daana to the right, Badran Jaber to the left and behind them in the middle is Ribhi Haddad, while two Israeli soldiers walk behind them in front of the Supreme Court of Israel during one of their court sessions. 

A Letter from prisoner Nael al-Barghouthi to “Umm Assef”; wife of his brother Omar, 1998
 Omar and Nael al-Barghouthi Collection

Handwritten on 4 April 1998 AD corresponding to 7 Dhu al-Hijjah 1418 AH, this decorated card shows an Eid greetings letter from prisoner Nael al-Barghouthi to “Umm Assef”: wife of his brother Omar, and her children, during his imprisonment in room 9 of section 2 in Askalan Prison. 

Brothers and Prisoners Omar and Nael al-Barghouthi at Askalan Prison, 2004
Omar and Nael al-Barghouthi Collection

Taken at Askalan Prison in 2004, this photograph shows prisoner Nael al-Barghouthi from Kaubar village in Ramallah with his brother prisoner Omar al-Barghouthi. They were jailed as a result of an operation they conducted that ended with the killing of an Israeli soldier, through a military cell they formed with Fakhri al-Barghouthi in 1978. Omar was released within the prisoner exchange deal carried out by the General Command of the Popular Front for the Liberation of Palestine (PFLP) in 1985, after which he was re-arrested multiple times. Nael was released in 2011 within the prisoner exchange deal known as the “Gilad Shalit Exchange” to be re-arrested in 2014. 

A Clipping from al-Quds Newspaper Documenting Palestinian Prisoners Led to the Courtroom, 1998
Omar and Nael al-Barghouthi Collection

Issued on Wednesday 16 September 1998 AD corresponding to 25 Jumada I 1418 AH, this document shows a clipping from al-Quds Newspaper featuring a photograph of Israeli soldiers leading Palestinian prisoners; of the Abu Mousa Group dissident faction (from Fatah,) to the courtroom in the Bet El settlement. The group members were arrested in Hebron in July 1998 on charges of conducting operations against Israelis. 

Prisoners Marwan al-Barghouthi and Ahmad Sa’adat at Hadarim Prison
Marwan al-Barghouthi

Undated, this photograph shows prisoners Marwan al-Barghouthi, a Fatah leader, and Ahmad Sa’adat, Secretary-General of the Popular Front for the Liberation of Palestine (PFLP), during their imprisonment at Hadarim Prison, where al-Barghouthi was arrested on 15 April 2002 and sentenced to five life sentences and 40 years.  Sa’adat was arrested on 14 March 2006 and sentenced to 30 years. 

Prisoners Nasr Jarrar and Omar al-Barghouthi with Cellmates at Megiddo Prison
Omar and Nael al-Barghouthi Collection

Undated, this archival item documents a photograph; the top right corner of which was cut. Likely taken between 1994 and 1998, this photo shows Nasr Jarrar, killed on 14 August 2002; to the right, and Omar al-Barghouthi, who passed away on 25 March 2021 of Covid-19, seated on the ground and having a meal with their cellmates at Megiddo Prison. 

A Wreath from the Askalan Prison Prisoners Raised at the Funeral of the Shaheed Omar al-Qasem, 1989
Omar al-Qasem Collection

A wreath from the “Prisoners of the Palestinian Revolution at Askalan Prison” raised at the funeral of the shaheed Omar al-Qasem who was killed on June 4th, 1989.

Highlight of the month

The Palestinian Museum Digital Archive
Poet Abdulrahim Mahmoud Collection

Since its launch in 2018, the Palestinian Museum Digital Archive continues to discover personal and familial archives and put together the pieces of the Palestinian archive in Palestine, Jordan and Lebanon. The project deals with different archival items including photographs, documents, and audio-visual records which shed light on personal experiences, behavioral patterns and social practices during the last two decades.

This blog highlights the Abdulrahim Mahmoud Collection, which the PMDA team succeeded in finding and acquiring – in addition to the many diverse archival collections of Palestinian poets, writers and artists. Work is currently underway to complete the digitization, archival and translation of the collection, so that at a later stage it will be displayed and made available to the public of researchers and those interested on the PMDA website, to complete the material published on the “Palestine Journeys” website – a joint project of the Palestinian Museum and the Institute for Palestine Studies.

Abdulrahim Mahmoud was born in 1913 in Anabta-Tulkarm where he completed his elementary school at the al-Fadiliyah School before moving to an-Najah National School in Nablus where he completed his secondary education and met poet Ibrahim Tuqan. He then worked at the same School as a teacher of Arabic Literature, up until his resignation in 1936 to join the ranks of the freedom fighters before emigrating to Iraq, where he joined the Iraqi Military Academy, graduating with the rank of lieutenant, then returned to Anabta and resumed work at an-Najah School.

In 1947, Mahmoud joined the Arab Liberation Army and fought several engagements against the Zionist forces before he died a martyr in the Battle of the Tree on 13 July 1948. Buried in the city of Nazareth, Mahmoud is considered one of the most prominent Palestinian poets and a pillar of Palestinian resistance literature. Mahmoud left a massive legacy of patriotic poems, of which is a poem titled “The Shaheed (The Martyr)”, starting with one of his most celebrated verses that read “I shall carry my soul on the palm of my hand and toss it into the pits of death”.

A Studio Portrait of Abdulrahim Mahmoud, 1943
Taken in 1943 by Studio Rashid in Tulkarm, this studio portrait shows Abdulrahim Mahmoud wearing a Tarbush, a suit, and a necktie.

Abdulrahim Mahmoud with the Anabta Sports Club Football Team, 1928
Taken in 1928 by Cairo Studio in Nablus, this photograph shows Abdulrahim Mahmoud with his colleagues at the Anabta Sports Club Football Team in their uniforms which represent the Palestinian flag. Mahmoud is seen (second to the right; first row) laying on the ground with the ball next to him.

Abdulrahim Mahmoud with His Teacher and Colleagues at an-Najah National School, Nablus, 1931
Taken in 1931, this photograph shows Abdulrahim Mahmoud with his teacher and poetry enthusiast colleagues in the Arabic Language Club at an-Najah National School. Seen in the photograph in the first row, seated right to left, are Tayeb Bennouna from Morocco; as it was common for students to come from Morocco to study at an-Najah School, Abdulrahim Mahmoud, Nuweihid-al-Hout; High school Arabic language teacher following Ibrahim Tuqan, seen in a Tarbush and seated on a different chair, Dawood abu Ghazaleh, and Burhan ed-Din al-Aboushi from Jenin. Standing in the second row, right to left, are Wasif as-Saliby, unknown, Rouhy al-Ahmad, unknown, Muhammad Sa’ed as-Santarisy, Muhammad al-Fasi, Hamad Benjelloun from Morocco, and Shaher ad-Damin from Nablus.

Abdulrahim Mahmoud with His Teacher and Colleagues at an-Najah National School, Nablus, 1931
Taken in 1931, this photograph shows Abdulrahim Mahmoud with his teacher and colleagues at an-Najah National School in Nablus. Signed by Dr. Saeb Erekat; Director of the Public Relations Department at an-Najah National University for four years between 1982-86, the photograph was gifted to the family of Mahmoud as a souvenir from the ANNU. Seen in the photograph in the first row, right to left, are Musa al-Khammash, Jawdat Tuffaha, Qadri Tuqan; the mathematics and physics teacher at the School, Thabet ad-Dabbagh, Nasuh Haidar, and Jawad abu Rabah. Standing in the second row behind the table are, right to left, Poet Abdulrahim Mahmoud, Muhammad al-Adham, Hussein Khoury, Adel Abatha, Taj ed-Din Arafat, Samih an-Nabulsi, As’ad Hashem, Subhi al-Azzouni, Burhan ed-Din al-Aboushi, unknown, Muhammad Sa’ed as-Santarisi, Sadeq Bushnaq, a man from the al-Budairy Family, and Dawood abu Ghazaleh.

A Letter from Abdulrahim Hanoun to Abdulrahim Mahmoud, 11 March 1933
Handwritten in Arabic on 11 March 1933, this archival document shows a letter from Abdulrahim Hanoun to Abdulrahim Mahmoud addressing his gratitide upon receiving a previous warm-hearted letter from Mahmoud. In the letter, Hanoun wishes Mahmoud success and safety from the envious, as well as reporting brief familial news from Anabta and Tulkarm. He also clarifies that the letter was written in a hurry and that a detailed letter will follow.

“The Shaheed”, a Poem by Abdulrahim Mahmoud, al-Amali Magazine, 1939
Printed in Arabic, this archival document shows a poem by Abdulrahim Mahmoud titled “The Shaheed (The Martyr)” that read “I shall carry my soul on the palm of my hand and toss it into the pits of death” published in the Okaz Column of the 21st issue of al-Amali Magazine; a weekly culture magazine. Published in Beirut on Friday 20 January 1939 corresponding 29 Dhu al-Qidah 1357 AH, the issue sold at five Syrian piastre and featured another poem titled “Qalbi (My Heart)” by Abdelqader Hasan from Marrakesh.

Abdulrahim Mahmoud with Students and Colleagues at an-Najah National School, Nablus, 1942-43
Taken at an-Najah National School in Nablus, this photograph shows students with their teachers, including Abdulrahim Mahmoud during the school year 1942-43. The teachers seen seated right to left in the second row, behind the students seated on the ground, are Aladdin an-Nimry, Abdelwadood Ramadan, Muhammad Ali al-Khayyat, Adel Tuffaha, Sheikh Zaki abu al-Huda, Adib Mihyaar; seated on a different chair as the Principal of the School, As’ad Sharaf, Khalil al-Khammash, Abdulrahim Mahmoud, Muhammad Bushnaq, and Qadri Tuqan. The teacher seen in a Tarbush standing to the far right is Muhammad Rushdi al-Khayyat, while the one on the far left in a Tarbush, a suit and a necktie is Muhammad Sa’id as-Santarisi.

“Palestine Poetry Festival”, an Invitation, 14 November 1946
Printed in Arabic, this archival document shows an invitation to the biggest poetry festival titled “Palestine Poetry Festival” held by the Dajani Scientific Committee and sponsored by Judge Aziz Bek ad-Dawody; Dean of the Dajani Family Council. Held at 04:00 PM on Thursday 14 November 1946 corresponding 19 Dhu al-Qidah 1365 AH at the Young Men’s Christian Association in Jerusalem, the Festival featured teachers; the names of which are either printed or handwritten on the invitation, including Sa’ed al-Isa, Kamal Naser, Meneh Khoury, Muhammad Hasan Aladdin from Jerusalem, Muhammad al-Adnani and Ahmad Yousef from Yafa, Hasan al-Buhairy from Haifa, Seif ed-Din Zaid al-Kilany, Abdulrahim Mahmoud, Waheeb al-Bitar, and Abdelqader as-Saleh from Nablus.

The Palestine Poetry Festival, Jerusalem, 14 November 1946
A photograph taken during the Palestine Poetry Festival held on 14 November 1946 by the Dajani Scientific Committee at the Young Men’s Christian Association in Jerusalem. Featuring Palestinian poets, the festival was broadcasted live by al-Quds and the Near East radio stations. Seen seated to the right are Amin Hafeth ad-Dajani; Secretary of the Dajani Club Cultural Committee, Hasan al-Buhairy, Abdulrahim Mahmoud, Waheeb al-Bitar, Abdelqader as-Saleh, Ahmad Yousef, Mustafa ad-Dabbagh, Muhammad al-Adnani, Sa’ed al-Isa, Seif ed-Din Zaid al-Kilany, Meneh Khoury, Muhammad Hasan Aladdin, Kamal Naser, and Musa ad-Dajani; compere of said Festival. Aziz ad-Dawody is also seen in the photograph delivering a speech on behalf of the Dajani Family Council. Appearing in the background is the Flag of Syria with the flags of Lebanon, Kingdom of Iraq, Kingdom of Egypt, Kingdom of Saudi Arabia, and the Arab Kingdom of Syria to its left.

The Nablus Municipality Official Letter to Name a Street After Abdulrahim Mahmoud, 12 August 1976
Printed in Arabic on 12 August 1976, this document shows an official letter from Bassam Shak’a, Mayor of Nablus, to the Nablus Municipality engineer requesting that he abides by the Municipal Council’s resolution no. 6 put forward during the 10 August 1976 session regarding naming the offramp street leading to the Hamzeh Toqan’s house through Rafedia Main Street after the shaheed Abdulrahim Mahmoud.

The Family Album ألبوم العائلة

  المتحف الفلسطيني يستكشف صوراً مميزة من الجليل
 تاريخ الحزب الشيوعي في عرابة البطوف في “ألبوم عائلة” إبراهيم شمشوم

Family Album Ibrahim Shamshoum, Arrabeh

[لقطة تجمع عدد من رفاق الحزب الشيوعي واصدقاء ابراهيم شمشوم عقب بناء منزله. عرابة البطوف، الجليل، 1965. منألبوم إبراهيم شمشوم. © المتحف الفلسطيني]

جنان أسامة السلوادي

“أنا عربي مسيحي شيوعي، عربي لأن أصلي عربي، مسيحي لأن أبويّ وجدودي مسيحيون، وشيوعي لأنني اخترت هذا الطريق”.يبدأ إبراهيم شمشوم، ابن بلدة عرابة (البطوف) في الجليل، عائداً بذاكرته إلى أكثر من 60 عاماً، حيث بدأت ولادة الحزب الشيوعي. إبراهيم شمشوم، أول سكرتير للحزب الشيوعي الفلسطيني، يروي تاريخ البلدة ونضالات الحزب للمتحف الفلسطيني ضمن مشروع “ألبوم العائلة”، الذي يستكشف الكنوز الفوتوغرافية التي يحتفظ بها الفلسطينيون في بيوتهم، ويوثق صورة بصرية جمعية لجزء من التاريخ والحياة والثقافة والمجتمع الفلسطيني من خلال إجراء مقابلات مع أصحاب هذه الصور، ومن ثم رقمنتها وحفظ نسخ عنها ضمن أرشيف خاص.

أرفض الظلم

“بدأت العمل في سن الخامسة عشر بسبب فقر عائلتي، فتوجهت إلى الناصرة، وتحديداً إلى المسكوبية، وبدأت العمل في مقهى،كان صاحب المقهى مثقفاً؛ يقرأ يومياً جريدتي الدفاع وفلسطين”، يعلق شمشوم: “ما كنت رح أصير مثقف لولا صاحب القهوة”، مضيفاً: “تعلمت منه الكثير وأثر ذلك على شخصيتي وتفكيري، ومنه عرفت عبد القادر الحسيني”. عام 1948 بدأت المدن الفلسطينية بالسقوط الواحدة تلو الأخرى على يد قوات الاحتلال؛ فسقطت طبريا ثم حيفا”، يقول شمشوم: “خاف أبي علي وطلب مني العودة إلى عرابة، فتركت العمل وعدت إلى البلد مشياً على الأقدام وقد علا صوت الانفجارات”، وأضاف: “وصلت إلى البلد وكان صوت الرصاص يشتد يوماً بعد يوم، وفي يوم وفاة عبد القادر الحسيني أطلق الفلسطينيون الرصاص في الهواء لخسارتنا هذا البطل، فوقعت رصاصة داخل “اللجن” الذي كنت أغتسل فيه”.

 لم يكن شمشوم يعي، كباقي الفلسطينيين، ما كان يجري من أحداث متتالية، وبسقوط عرابة فهم ما يجري، ويقول: “في تاريخ 29-10-1948 احتلوا عرابة، وفي هذه الليلة لم أنم، وقررت أن أنحاز لشعبي الذي تحول معظمه إلى لاجئين ومظلومين”، مبيناً أن أهالي عرابة الذين صمدوا ولم يخرجوا من قريتهم خذلهم جيش الإنقاذ، وهو الجيش العربي الذي شكل عام 1947 للدفاع عن فلسطين، ولم يقدم لهم الدعم الكافي”.

“لأني أرفض الظلم وأقبل العدل اخترت الحزب الشيوعي الفلسطيني”؛ يقول شمشوم، ويضيف: “في انتخابات عام 1951 طلب منا الخوري أن نصوت لقائمة (ي د)، أي لسيف الدين الزعبي، لكن، وأنا في طريقي إلى المدرسة من أجل الانتخاب، شاهدت عدداً من الناس يضربون شخصاً وهو يصرخ ويقول: “ليش بتضربوني …لأني شيوعي؟” ومن هنا قررت انتخاب الشيوعيين، فدخلت إلى المدرسة وإلى خلف الستارة واخترت رمز حرف “ق”، أي الحزب الشيوعي، ومنذ ذلك اليوم لم أصوت إلا للحزب الشيوعي”.

Family Album Ibrahim Shamshoum, Arrabeh

[مجموعة من أهالي القرية وعدد من أغضاء الحزب الشيوعي، يتناولون البرتقال عقب الإنتهاء من بناء منزل إبراهيم شمشوم. عرابة، الجليل، 1965. من ألبوم إبراهيم شمشوم. © المتحف الفلسطيني]

إضراب الزيتون وإلغاء ضريبة الرأس

“عُرفت مرحلة الحاكم العسكري بالظلم والاستبداد، فقرر عدد من الشباب تشكيل هيئة إدارية وانتخبوا سليم كناعنة عضو هيئة إدارية، وبعد فترة تكونت خلية شيوعية في عرابة، ثم تأسس فرع الشبيبة الشيوعية في البلد. كنت أنا أول من قدم طلب انتساب لها، ثم انتخبوني سكرتيراً للشبيبة الشيوعية لمدة 15 سنة”.

وعن أهم محطاته في الحزب قال إبراهيم شمشوم: “منذ بداية تأسيس الشبيبة قررنا أن نحمل همّ الناس وكان هدفنا الدفاع عنهم، فكان العمل الأول للحزب هو الدفاع عن عمال الزيتون في البلد؛ حيث كان ملاك الأرض يستغلون العمال ويعطونهم أجوراً أقل من المستحق، فقمنا بمنع العمال من التوجه إلى الأراضي وأضربنا مدة 15 يوماً، حتى رضخ لنا ملاك الأرض وتفاوضوا معنا. ومنذ ذلك الوقت يتم تحديد أجرة العامل قبل الذهاب إلى العمل”. وأضاف: “العمل الثاني بعد إضراب الزيتون كان إلغاء ضريبة الرأس؛ فقد قامت دائرة المعارف عن طريق الحاكم العسكري بفرض ضريبة الرأس، وهي مبلغ من المال على كل من يحمل هوية، فأعلن الحزب الإضراب”، لتخرج في تاريخ 11-3-1954، ولأول مرة في عرابة، مظاهرة شارك فيها معظم أهالي البلدة احتجاجاً على ضريبة الرأس. ويوضح أن الأهالي انتخبوه ومحمد شاكر خطيب، وكايد خليل، وسليم كناعنة لمقابلة الحاكم العسكري لنقل الاحتجاجات له. ويعلق: “ما لبث البوليس أن اعتقلنا وحجزنا في مركز مجد الكروم في توقيف إداري لمدة 34 يوماً، ومن هنا اكتسبنا ثقة الناس لأنهم أدركوا أن الحزب الشيوعي هدفه الأساسي الدفاع عن الناس”. شعبية الحزب كانت تزداد يوماً بعد يوم، يستطرد شمشوم، “خاصة وأن الخطب التي كان يلقيها إميل حبيبي وتوفيق الطوبي في اجتماعات الحزب أمام الأطفال كان لها أثر واضح عليهم؛ وكانوا عند بلوغهم السن القانوني للانتخاب يصوتون للحزب. ويقول: “انطلاقة يوم الأرض كانت من عرابة،وأولئك الشباب والأطفال هم الذين خرجوا ضد الظلم، “لأن صوت عرابة وأهلها كان دايماً عالي”.

لو عاد الزمن سأبقى شيوعي

ما زلت أذكر كلمات أبي وهو يوبخني قائلاً: “يا ابن المحروق، والله ليذبحوك والذبان الأزرق ما يستهدي عليك”، وأتذكر موقف أمي عندما اعتقلني البوليس بسبب نشاطي في الحزب، عندما زحفت على يديها ورجليها من كنيسة البلد بالقرب من منزل آل كناعنة وحتى حارة الحلو، لاعتقادها بأنني مت، وعلى الرغم من كل ذلك، لو عاد الزمن بي سأختار الحزب والشبيبة الشيوعية مجدداً، وسأبقى شيوعياً أدافع عن الناس ضد الظلم”.


[إبراهيم شمشوم أثناء المقابلة مع المتحف الفلسطيني]

The Family Album ألبوم العائلة

صور من النشاط الرياضي في الستينات والسبعينات

يستعرض المتحف الفلسطيني صوراً تسلط الضوء على النشاط الرياضي في جامعة بيرزيت، منذ أن كانت كلية في الستينات. وتظهر مجموعة الصور المختارة، من فترة الستينات والسبعينات، النشاطات الرياضية المتنوعة التي انخرط فيها الشبان والشابات في تلك الفترة، من منافسات رياضية، ومهرجانات وعروض سنوية تشمل الجمباز والتمارين الإيقاعية والاستعراضية والرقص الحديث والفولكلوري وتمارين اللياقة البدنية
تم اختيار هذه الصور من ألبوم كمال شمشوم،  الذي كان مسؤول برنامج التربية الرياضية في كلية بيرزيت، ثم رئيساً لدائرة التربية الرياضية في الجامعة. ونرفق الصور بشروحات بناء على رواية صاحبها

Kamal Shamshoum, Ramallah

بطلة الجمباز في جامعة بيرزيت سمر قسيس، تؤدي عرضاً على جهاز الحلق خلال استعراض رياضي في جامعة بيرزيت، 1978
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

طالبات من جامعة بيرزيت يؤدين تمارين إيقاعية باستخدام الدف. بيرزيت، 1978
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

طالبات في استعراض إيقاعي باستخدام الشريط الثعباني ضمن أحد المهرجانات الرياضية في كلية بيرزيت، 1973
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

الطالبة في كلية بيرزيت، وفاء بشناق، تؤدي حركات جمباز على جهاز خشبة التوازن، 1974
من ألبوم كمال شمشوم. © المتحف الفلسطيني

The Family Album of Kamal Shamshoum, Ramallah

سباق دراجات هوائية في كلية بيرزيت، 1974. من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

رئيس ومؤسس كلية بيرزيت موسى ناصر (يساراً) ومحافظ بيت لحم آنذاك يقومان بتوزيع الجوائز على الفائزين في أحد العروض الرياضية. بيرزيت، 1966
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

عرض رياضي يتضمن تمارين حفظ التوازن لمجموعة من طلبة كلية بيرزيت،1967
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

عرض رياضي في كلية بيرزيت، 1966 . من ألبوم كمال شمشوم. © المتحف الفلسطيني

The Family Album of Kamal Shamshoum, Ramallah

مجموعة من طالبات كلية بيرزيت يقمن بأداء تمارين إيقاعية بالمناديل الملونة، 1967
من ألبوم كمال شمشوم. © المتحف الفلسطيني

Kamal Shamshoum, Ramallah

طالب من كلية بيرزيت يؤدي عرض جمباز على الحصان الخشبي، 1966
من ألبوم كمال شمشوم. © المتحف الفلسطيني

The Family Album ألبوم العائلة

المشاركة في معرض البيرة الأول للمقتنيات التراثية 

شارك المتحف الفلسطيني ومن خلال مشروع ألبوم العائلة في معرض البيرة الأول للمقتنيات التراثية في 23 و24 و25 آب، وعرض خلالها مجموعات مميزة من صور مشروع ألبوم العائلة، توثق لجوانب متنوعة من حياة الفلسطينيين عبر مراحل زمنية مختلفة



11889426_875727155875966_2616711933056101632_n 11889614_875727245875957_5116082427801718999_n


11926392_875726805876001_3023171883202464790_n 11949472_875726222542726_4573962004071616280_n 11951275_875727079209307_7090443745940085931_n 11953032_875726752542673_8697283984572522122_n


The Family Album ألبوم العائلة

من مشروع ألبوم العائلة
المتحف الفلسطيني يستعرض صوراً توثق التصوير الفلسطيني المبكر

تعود بدايات التصوير الفوتوغرافي في فلسطين إلى القرن التاسع عشر ويُرجئ الباحث عصام نصّار في كتابه “لقطات مغايرة: التصوير المحلي المكبر في فلسطين 1850 – 1948” أنّ التصوير الفوتوغرافي جاء إلى فلسطين على أيدي مصورين أوروبيين كجزء من المشروع المعرفي الأوروبي و الاستعماري أيضاً، لكن تطوره كصنعة محلية كان من مظاهر القرن العشرين حيث بدأت تظهر أستديوهات التصوير في عدد من المدن الفلسطينية أهمها يافا والقدس، تلتهما حيفا والناصرة وبيت لحم ورام الله.

ويبدو أن تركيز التصوير المحلي كان على المجال الاجتماعي  وأنّ الغالبية العظمى في أول عقدين من بدايات التصوير المحلي تنتمي إلى فئة البورتريهات وقد يَعزى ذلك إلى أن العمل في تلك المرحلة كان منحصراً في المحترف أو الأستوديو إلى حد كبير، ولذلك فإن إنتاج الصور العائلية كان الأكثر شيوعاً.

يستعرض المتحف الفلسطيني في هذه المجموعة ومن خلال مشروع ألبوم العائلة صوراً مختلفة بنمط البورتريه التي كان يتم التقاطها  في الأستوديوهات في النصف الأول من القرن العشرين، تم جمعها من عائلات فلسطينية مرفقة بشروحات بناءً على روايات أصحاب الصور. 

صورة رقم (1)

صورة لمصلح أبو عواد بعد تخرجه من الشرطة في فترة الانتداب البريطاني، التقطت له في القدس عام 1934
من ألبوم وليد عواد.
© المتحف الفلسطيني

صورة رقم (2)

صورة لـ سليم عازر بربار، الذي شغل لاحقاً منصب مدير ميناء البصرة
في العراق في فترة حكم الرئيس العراقي صدام حسين. بيرزيت، 1936
من ألبوم ناجح بربار.
© المتحف الفلسطيني

 (3) صورة رقم

ماريكا غانم من رام الله تحمل ابنتها ليلى في صورة التقطت لهما في يافا عام 1935
من ألبوم إبراهيم غانم.
© المتحف الفلسطيني

 (4) صورة رقم

ربيحة الحسيني (إلى اليسار) مع معملتها في مدرسة الشميدت في القدس، التقطت ما بين عام 1930 و 1939
من ألبوم جميل الحسيني.
© المتحف الفلسطيني

(5) + (5a) صورة رقم  
Janet Mikhael, Ramallah Janet Mikhael, Ramallah

صورة مهداة إلى جميلة حنا ميخائيل من صديقتها كتبت عليها من الخلف: ” إليك جميلة قد أهديت رسماً…يقوم مقام تذكار الوداد…ولم أطلب مبادلة عليه…لعلمي أن رسمك في فؤادي”، إلتقطت عام 1935 (المكان غير معروف)
من ألبوم جانيت ميخائيل. © المتحف الفلسطيني

 (6) +(6a) صورة رقم 
The Family Album of Khalil Jaraisy, Nazareth

The Family Album of Khalil Jaraisy, Nazareth

صورة مهداة إلى أحد أقارب عائلة جرايسي من الناصرة، وكتب عليها من الخلف أبيات
من الشعر في العام 1921 (المكان غير معروف)
من ألبوم خليل جرايسي.
© المتحف الفلسطيني

صورة رقم (7)

صورة لـ زكريا نصر وزوجته نصرة يعقوب الخوري وأبناءه  في يافا عام 1946
حيث كان يعمل في شرطة الانتداب البريطاني
من ألبوم قسطندي نصر.
© المتحف الفلسطيني

 (8) صورة رقم
The Family Album of Raja Samman Daoud, Ramallah

صورة لعائلة داوود البلاط من رام الله التقطت في أستديو كيركوريان في القدس عام 1919
من ألبوم رجا سمعان داوود.
© المتحف الفلسطيني

صورة رقم (9)

The Family Album of Saadeh Irshaid, Al-Kufeir, Jenin

صورة لأطفال من عائلة الطاهر من يافا التقطت ما بين عام 1930 و1939
من ألبوم سعادة ارشيد.
© المتحف الفلسطيني

(10) صورة رقم

صورة للناشط السياسي والاجتماعي عبد السلام البرقاوي من جنين وزوجته المصرية زهيرة المهندس وإخوتها،
التقطت في القاهرة ما بين عام 1920 و1937
من ألبوم وفا مرعي.
© المتحف الفلسطيني