{"version":1,"type":"rich","provider_name":"Libsyn","provider_url":"https:\/\/www.libsyn.com","height":90,"width":600,"title":"Celebrating the cultural tradition, past and present, of Palestinian Tatreez with artists \/ educators Lina Barkawi and Eman Toom & why sustainable fashion must include cultural sustainability","description":"Episode 316 features guests Lina Barkawi, a Tatreez practitioner, preservationist, and educator based in Brooklyn, alongside Eman Toom, a Palestinian Tatreez artist, teacher, sewer and crafter. \u201cPart of just doing tatreez, in my personal opinion, is a form of resistance because we\u2019re basically just existing and we\u2019re showing our Palestinian identity, but there have also been very explicit uses of tatreez as a form of resistance. And so you have thobes that came out of the intifadas in the \u201890s where the flag was banned and so these are very explicit uses of tatreez where they would stitch literally the Palestinian flag. Or different motifs, like new motifs that came out of representing national identity and things like that. So, I just wanted to mention that because there have been very explicit forms of resistance, but I think the more subtle ways is kind of where Eman and I are playing a very big role in \u2014 is thinking about how do we help just bring more Palestinians into this art form and help them reclaim this art form and use it, because just by doing that, no matter what your color preferences are, whatever your background is, that is just in and of itself a form of resistance against an occupier.\u201d -Lina \u201cThe technique and the skill that you\u2019re using to create these motifs \u2014 it is at its simplest form, a form of cross stitch. There\u2019s other forms of tatreez, but for the most part, it is that. But what I try to always remind people is that tatreez is so much more than that, in the sense that it is a record of our history. You know, the more that we study Palestinian embroidery, the more that we\u2019re studying tatreez, the more that we\u2019re studying the history of Palestine at the same time. You can\u2019t have one without the other, they go hand in hand.\u201d -Eman When we think about sustainability, what\u2019s the first thing that comes to mind? Perhaps curbing our addiction to consumption, mass manufacturing, and circular materials. But what about cultural sustainability, craft, connection to ancestral land, and challenging colonization through continuing to uplift centuries old traditions?  In this week's episode we learn from our guests about how Tatreez inherently IS sustainability. The motifs and symbols embroidered on cloth are a language of symbols documenting spaces in time, they tell stories of nature, the flora and fauna around the Women making them. We learn that the hand made process is the antithesis to homogeneous fashion - it is slow, considered and truly one of a kind.   In 2021 the art of embroidery in Palestine was recognized by UNESCO as an important intangible cultural heritage - an artform that connects the Palestinian people to their roots. Preserving culture is inherently and naturally, as our guests share - sustainability. It needs no labels, or commodifying - it is made up of the everyday rituals, traditions, craft and practices that celebrate identity.   Quotes & links from the conversation: \u201cThe Land In Our Bones\u201d by Layla K. Feghali, book Kestrel brings up briefly  Lina\u2019s Landing Page Listen to Tatreez Talk (Lina\u2019s new podcast) Eman\u2019s Website Follow Lina on Instagram Follow Eman on Instagram ","author_name":"Conscious Chatter","author_url":"http:\/\/consciouschatter.com\/","html":"