The Displacement

The Displacement 

Published on March 29, 2024

By Qiz7a

Table of Contents

The Displacement Piece: Description

The Process: Idea and Meaning

Meaning Development

Choosing Motifs

Meanings

Used Materials

Embroidered Part

Beaded Part

The Making

Challenges

Description

"The Displacement" is a piece created by Palestinian artist Qiz7a, who hails from Jerusalem and Jaffa. This work was inspired by the teachings from the course Advanced Topics in First Peoples Studies: Wampum Belts by Nicolas Renaud, which took place from January to April 2024. The piece itself was completed over the course of two months and finalized on the evening of March 24, 2024. On March 28, 2024, the artwork was gifted to Nicolas Renaud, a filmmaker, installation artist, professor, and member of the Huron-Wendat First Nation of Wendake.

The dimensions of the piece are 19 x 2.8 inches, with an extension of beadless moose hide strips on the sides, making the total size 10.7 x 2.8 inches without the extension.

Just as Wampum belts have historically been used as records of treaties and agreements, "The Displacement" serves a similar function: it preserves the history and struggles of the Palestinian people, capturing:

• The ongoing displacement and scattering of Palestinians due to Zionist colonization.

• The presence of a displaced Palestinian individual on Tiohtià:ke (Montreal).

• The current genocide and displacement of Gazans.

• The Zionist apartheid occupation regime that persists across occupied Palestine, from the river to the sea.

• The environmental consequences of the Palestinian genocide.

The creation of "The Displacement" was profoundly influenced by the teachings on Wampum belts, which encourage approaching matters with a clear and mindful perspective. While grappling with the grief and losses caused by the ongoing genocide in Palestine, Qiz7a utilized the creative process as a means of reflection and resistance. This process required immense mental and emotional resilience.

The Process

Meaning Development

Choosing Motifs

The motifs for this work were selected from Palestinian Embroidery Motifs: A Treasury of Stitches 1850-1950 by Margarita Skinner, in collaboration with Widad Kamel Kawar. These motifs were carefully chosen to reflect the themes and significance of "The Displacement." The selected motifs include:

• Moon with Feathers (Qamar bi-Reesh) – Representing the Ramallah and Hebron areas.

• Bald Trees (Shajar Agra') – A symbol of the Jaffa area.

• Cypress Tree (Sarou) – A motif from Gaza.

• Road of Stars (Tareeq el-Njum) – Another motif from Jaffa.

• Chickpeas and Raisins (Humus wa Zbeeb) – A symbol found in all areas.

• Chest Panel Divider (Fawasel) – A motif used across all areas.

• Old Man's Teeth (Snan el-'Aiouz) – A universal motif found throughout Palestine.

Meanings

Embroidered Part

The embroidered section before folding represents the idea of two lands, which could be on the same continent or spread across different regions. The selected motifs carry the following meanings:

• Moon with Feathers: The moon is visible from various lands, symbolizing unity despite geographic separation.

• Cypress Tree from Gaza: A depiction of the tree in its original form, alongside another with a black line, signifying the separation of North and South Gaza, a consequence of Zionist colonization.

• Bald Trees: Representing the environmental impact of Zionist occupation, as a result of the destruction caused by bombs in Gaza.

• Road of Stars: The stars are depicted separately rather than connected, symbolizing the displacement of Palestinians and the hardships they face in reuniting with their families.

• Dividers: The physical barriers created by the Zionist apartheid regime, including walls and checkpoints, that limit the movement of Palestinians and sever their connection to their land.

• Chickpeas and Raisins: Symbolizing the resilience of the Palestinian nation and their unwavering creativity in maintaining ties to their land, which is integral to their identity and survival.

Beaded Part

• Elder’s Teeth: A representation of the passing down of the Palestinian cause from generation to generation. "Clenching your teeth on the cause" is a popular saying among Palestinian elders. "عض عالقضية".

• Two Central Rows: These represent six generations, with the seventh generation depicted by the actual hands that made the piece.

• Seven Rows: Three rows are placed above the "teeth" to symbolize the third generation after the Nakba (the 1948 Palestinian exodus), which is currently carrying the cause forward. Four rows are placed below the teeth, signifying the continuation of the cause across generations.

• Faded White: A representation of the environmental toll on Palestinian land due to Zionist colonization.

• Upside-Down Teeth: Symbolizing the adaptation of inherited knowledge through the generations, with an acknowledgment of the current realities under occupation.

Used Materials

Embroidered Part

• • Materials

  • Aida cloth canvas, 14 count, khaki color (closest match to moose hide).

  • Embroidery floss.

• Tools

  • Embroidery needle.

Beaded Part

• • Materials

  • Glass tube beads, size 7mm, in white, purple, and faded white.

  • Fishing wire.

  • Moose hide (provided by Nicolas Renaud).

• Tools

  • Beading needle.

  • Beading loom.

The Making

The embroidered part was completed first. The first side of the beaded section was created separately, then sewn into the embroidered part. The embroidered piece was sewn shut on three sides, leaving one side open to attach the second beaded section. The second beaded part was made while it was already attached to the embroidered piece. Once completed, the open side was sewn shut, and both embroidered and beaded sections were joined from the inside of the folded embroidered section. Both sides – beaded and embroidered – are visible, whether viewed from the front or back.

Challenges

• Errors in embroidery required undoing and redoing certain sections.

• As a first-time beader, the process took longer than anticipated.

• Small beads often flew out while being threaded, leading to several lost beads.

• The moose hide was wider than the beads, requiring adjustments such as cutting the hide in half.

• Prolonged hours of beading and embroidery caused back and neck pain.

• Maintaining the beaded piece’s stability while sewing it into the embroidered section proved difficult.