Academic citation systems often reinforce colonial frameworks of ownership, but Palestinian knowledge — our oral histories, lived experiences, and Indigenous storytelling — exists beyond written texts. In a world where libraries are destroyed and histories erased, social media has become a vital digital archive, a necessary tool for preserving firsthand accounts of Palestinian life, culture, and survival. Palestinian oral history has been spoken, written, recorded, and published — and neither the knowledge nor the oral historians who carry it should ever be erased. This is not about ownership; it is about preventing erasure in a time of genocide.

When writing, studying, or teaching about Palestinian embroidery and dress history, it is essential to cite your sources and honor the lineage of knowledge. Every thobe, every stitch, carries a story passed through generations. Failing to acknowledge these sources continues the violence of erasure, allowing colonial institutions and appropriators to strip tatreez of its context, its people, and its meaning.

Why Citation is a Form of Resistance

In an era where misinformation spreads rapidly, citing sources—especially within the digital archive of social media—is not just a courtesy; it is an act of resistance. Teaching and sharing about Palestinian cultural heritage is a responsibility that extends beyond aesthetics or personal interest. Here’s why:

Prevents Erasure — Traditional knowledge has lineage. This is an Indigenous concept. Uncredited tatreez patterns and stories risk being lost, distorted, or stolen. Offering citations—giving gratitude to those who have taught us—keeps Palestinian history intact and honored.
Protects Oral Histories — Many embroidery motifs are tied to specific families, villages, and historical periods. Citing names, dates, and even social media accounts ensures that these stories remain connected to their rightful origins. Family names are a crucial part of historical recordkeeping, not just for accuracy but for dignity and truth.
Demands Accountability — Without clear sources, misinformation thrives. Naming where knowledge comes from exposes theft, rejects falsehoods, and protects the cultural integrity of tatreez and Palestinian heritage. Even well-meaning people can perpetuate harm when they fail to cite properly.
Counters Appropriation — Palestinian and Indigenous embroidery has been exploited, repackaged, and sold without credit or context. Proper citation is a line of defense and a form of cultural restoration, fighting against the theft of our art and our history. Palestinians in the next generation are deserving of knowledge lineage: a type of empowerment that allows Palestinians to understand who said what, when, and why.
Strengthens the Archive — The digital world erases what it cannot trace. Without citations, future generations lose access to their own heritage. Proper attribution ensures that Palestinian children and grandchildren can find, learn from, and build on their ancestors' work.

How to Cite Palestinian and Indigenous Knowledge Ethically

Decolonizing knowledge means rejecting the colonial pursuit of ownership and instead uplifting the individuals, families, and communities who have safeguarded these traditions. Here are some practices to follow:

Name the speaker, teacher, social media account, museum, community, specific dress collection, and the setting in which you learned.
Attribute teachings with the intent to preserve family and knowledge lineage, not to claim ownership.
Recognize oral histories as living sources, not static references.
Date your sources—both when you accessed the information and when it was originally shared.

If you are speaking about Palestinian embroidery, ask yourself: Whose hands made this? Whose story does this design carry? Who taught me this knowledge? These are not rhetorical questions—these are ethical obligations.

The Tatreez Institute Citation TEMPLATES

E-Course: Wafa Ghnaim, “The Art Historical Timeline of Palestinian Embroidery,” Module 3. The Tatreez Institute (2021), accessed June 24, 2024, https://www.tatreezandtea.com/art-history.
Embroidery Made by Wafa: ‘Invisible’ (2019) by Wafa Ghnaim. The Tatreez Institute Collection; Washington, DC.
The Tatreez Institute Collection: Detail of dress, to be confirmed by Wafa through email]. The Tatreez Institute Collection; Washington, DC. Accessed on [day, month and year] at [www.tatreezandtea.com, Instagram @tatreezandtea @thetatreezinstitute].
Virtual/Live Lecture, Class, or Workshop: Wafa Ghnaim, [“Name of class or lecture,”], presented on [date of class or lecture], [Venue of class or lecture], [City and state of class or lecture].
Oral History Interview, Chat or Discussion: Wafa Ghnaim. Interview by [your name]. Conducted on [day, month and year of interview].
The Tatreez Institute Blog: Wafa Ghnaim, "Object Highlight: Ismail Shammout’s "A Salute to Bait Sahour" (1989),” The Tatreez Institute (blog), March, 12, 2025, https://www.tatreezandtea.com/tatreezing/2025/3/object-highlight-ismail-shammouts-a-salute-to-bait-sahour-1989.
For more oral history citation formats, please see this document, or this link.

CONCLUSION

Tatreez is a language of survival and resistance. When you stitch, teach, or share Palestinian embroidery in the diaspora, you carry the weight of generations who came before you and the dreams of those yet to come. This is not simply art to be admired or a ‘gig’ to be booked — it is an ethical responsibility to our people. One day, you will become an elder, entrusted with passing on these stories and sharing your own experiences.

You will hope that the next generation honors your story with the same care and integrity that you showed to those who came before.