‘RBW&G’
Drawing inspiration from the words of the 13th-century Arab poet Safi al-Din al-Hili, which conveyed a sense of aspiration, honor, and resilience Red, Black, White & Green were selected in 1909 Arab nationalist 'Literary Club' in Istanbul.
“Ask the high rising spears, of our aspirations
Bring witness the swords, did we lose hope
We are a band, honor halts our souls
Of beginning with harm, those who won't harm us
White are our deeds, black are our battles
Green are our fields, red are our swords.”
In the late months of 1929, various proposals for the flag of Palestine emerged, showcasing a thoughtful reflection of the region's diverse and culturally rich landscape. The public discourse surrounding these proposals gained momentum through discussions hosted by the daily newspaper Filastin. This platform provided a space for the analysis of different flag designs and facilitated engagement with readers who shared their reactions and opinions on the proposed flags.
FILASTIN NEWSPAPER PROPOSAL, 1929
MUNIR DAKAK FROM JERUSALEM, 1929
Oranges were exported out of Palestine in the mid-19th century and are commonly associated with the port city of Yafa (Jaffa). Although the trade was disrupted in 1948, they remain a symbol of Palestinian art and literature. Here, MUNIR DAKAK merged Arab Nationalism with local Palestinian produce.
ASSMA TUBI FROM ACRE, 1929
Renowned Palestinian author, founder of the Arab Women’s Union, and radio host at FILISTIN, TUBA, has suggested a unique proposal for the Palestinian flag. Tuba recommends incorporating the symbolism of the Yafa Orange and the emblems representing Christianity and Islam— the predominant faiths among Palestinians— as central elements in the design. This proposition adds a distinctive cultural and religious dimension to the national flag, reflecting the rich tapestry of Palestinian identity.
HUSNI MIKDADI FROM BETHLEHEM, 1929
Agricultural Engineer and Intellectual, MIKDADI , Mikdadi emphasizes the broader regional context, asserting that the Palestinian flag should also reflect the spiritual and political connections with fellow Arab states. To encapsulate this shared identity, he suggested the adoption of an Arab flag featuring a distinctive 'Cross in the Crescent' emblem within the red triangle, while removing the ORANGE that was exclusive to Palestine.
‘ ARAB FROM HAIFA ‘, 1929
Emphasized the necessity of the ‘Cross in the Crescent’, signifying the Christian-Muslim Brotherhood of the native Palestinian population.
More in-depth history about the Palestinian flag, ‘Imagining Palestine in 1929’ research article written by Tamir Sorek
noor
PALESTINIAN-JORDANIAN FROM CHICAGO, began her musical journey influenced by a family of aspiring musicians. Her dream of becoming a singer emerged early on. Starting as a singer happened recently, with her first opportunity arising after meeting Eddy Mack in early 2024. Noor describes her music style as pop rap and R&B with Arab influences, shaped by modern R&B, pop rap, and alternative pop genres. Influenced by artists like Rihanna, Elyanna, and DaniLeigh, her creative process involves finding inspiration, starting with a beat, and emphasizing the layering of vocals during recording. Noor's music often revolves around themes of emotional encouragement, self-respect, and individuality. Her long-term goal is simple—to create music that resonates with people, offering both learning and enjoyment.