Local Weavers Research Articles

Ethnomathematics: Learning Geometric Transformation Through the Formation of Lagosi Motif

The Lagosi motif, a prominent design in the traditional fabric of the Wajo district, is well-known but increasingly rare among local weavers. This motif, drawing inspiration from natural elements such as flowers and stems, holds significant philosophical and cultural meaning for the Wajo people, serving as a key element of their endangered cultural heritage. Despite its cultural importance, the motif has been minimally explored in the context of ethnomathematics. Consequently, this study investigates the mathematical concepts inherent in the design of Lagosi motifs, aiming to utilize them as educational tools for students and to support cultural preservation efforts. Employing a qualitative research methodology with an ethnographic approach, data were collected through observations, interviews, and documentation. The validity and reliability of the data were ensured through triangulation and confirmability. The study reveals that geometric transformations, specifically translation and reflection, play a central role in the creation of Lagosi motifs. These findings highlight the natural emergence of mathematical concepts within local cultural practices, offering potential for their integration into contextualized mathematics education. Furthermore, the results aim to instill a sense of cultural pride in students, thereby contributing to the preservation of Wajo's cultural heritage. The study also underscores the opportunity to leverage Lagosi motifs as culturally relevant educational tools and to foster interdisciplinary collaboration between mathematics and cultural studies.

CULTURAL HERITAGE PRESERVATION: THE ART OF TRADITIONAL WEAVING IS APPLIED NOT ONLY IN CLOTHING

Traditional weaving has long been an integral part of Indonesia's cultural heritage. However, over the years, this art form has not only been used to make traditional clothing. However, it has also been applied in various other fields. This research aims to understand the history and cultural context of the art of weaving, examine the techniques and materials used, encourage sustainable use, bridge between generations, and identify threats and challenges facing the preservation of traditional weaving arts. The method used in this research is qualitative research, where the author observes local weavers at Penenun. The ages of these weavers range from teenagers to adults. This is then continued with a study of social theory and a literacy study of related phenomena regarding traditional weaving arts which are applied not only to clothing as part of efforts to preserve the nation's cultural heritage. This article analyzes how weaving can be applied in various fields, such as decorative arts, interior design and other products. This shows the flexibility and relevance of weaving in a modern context. The conclusion of this article reflects hope for the future of traditional weaving arts.

Approach towards service design process for heritage preservation and sustainability of Bodo Dokhona

PurposeThe purpose of this study is to understand the perception of the local weavers amongst the Bodos, a tribe of the North-east (NE) India. Towards this a concept of a service pipeline process in the field of heritage attire preservation of Bodo Dokhona was focused that would endorse the local weavers' community for its wellbeing and sustainability.Design/methodology/approachThe design approaches have been framed after interactions with the local weavers through a survey conducted for understanding the issues pertaining to weavers. Towards sustaining the Bodo heritage attire Dokhona, a service design pipeline for better management system was developed in three phases. Interactions with the local weavers through survey and validation for its feasibility were undertaken.FindingsThis research paper focuses on publishing innovative survey research and practice related to cultural heritage management of the Bodo traditional wear Dokhona and sustainability conservation of the pipeline process. Therefore, developing both skill and knowledge for the weavers' community of the region.Social implicationsThe design pipeline approach in this paper has been shared with the local weavers' for easy understanding of the step-by-step process of weaving a Dokhona made of eri silk. A progressive Bodo weaver will gain skill training which would lead to weavers' empowerment.Originality/valueDeveloping and documenting an innovative service design approach. In this context, an insight for women empowerment leading to preservation of Bodo heritage is valued.

Inka Unku: Imperial or provincial? State-local relations.

Standardized Inka tunics, or unku, were created under the auspices of the state as symbolic expressions of its expansionist power. To ensure these textiles acquired the status of effective insignias of power and territorial control, the Inka established and imposed technical and stylistic canons for their production (techne) by means of highly-skilled state weavers. In the provinces, social groups that came under imperial rule, local expert weaving agents adopted the conventions of the state and included meaningful symbolic elements of the idiosyncrasies, traditions, and experiential knowledge of the local community (metis). We therefore propose that this was not a unidirectional process and that the Caleta Vitor Inka unku (hereon referred to as the CV unku), presented here, reflects a syncretism promoted by local weavers. In terms of methods, we have developed a decoding tool for the unku, with the aim of distinguishing state from local hallmarks, thereby revealing the syncretic complexity of these iconic tunics. This methodological tool is based on a series of standard analytical parameters and attributes linked to morphological, technological, and stylistic features, which we applied to the CV unku. Unlike others, this unku does come from a looted tomb but was scientifically excavated in a cemetery located in the Caleta Vitor Bay in northern Chile. By deconstructing the CV unku we determined the steps in the chaîne opératoire at which local technical and stylistic elements were incorporated, thus affecting or transforming, in part, its emblematic imperial imagery. This study also marks a step forward in our understanding of a syncretic landscape that combines the state worldview and organized production system (imperial Inka) with craft-production practices that were rooted in provincial and local communities (provincial Inka).

Interrelations of Ancestral Textile Handicraft Weaving and Tangible Vernacular Karkhanehs (Workspaces) in the Historic Destination of Yazd, Iran

This research studies the traces of an ancestral textile produced in karkhanehs (workspaces) located in the historical city of Yazd, Iran. The case study undertaken here demonstrates how an intangible heritage of textile weaving through generations of families in Yazd, Iran, interrelates with tangible vernacular architecture and tourism at three different scales: (i) in everyday life in karkhanehs at home, (ii) in the neighborhoods, and (iii) the UNESCO World Heritage city of Yazd. The three scales related to the enactment of this vernacular handicraft are examined using architectural methods to examine structures ranging from 90 to 600 years in age. This was complemented by discussions with local weavers and residents, as well as direct observation in domiciles, neighborhoods, and the city. Actor-Network Theory helped to trace the networks of actors and relationships between the tangible built architectural heritage and intangible cultural practices of weaving, showing how different genders, ages, worldviews (beliefs) and practices came together to produce this heritage textile. Actor-Network Theory also helped to study the relationships between economy, culture, society and tourism, with respect to the evolution and transformations of the historic urban dwellings, vernacular architecture and vernacular weaving handicrafts through the three scales examined. Implications for sustaining and conserving this ancestral tradition of textile weaving and managing tourism’s positive as well as disruptive influences on cultural heritage conservation are discussed.

PECULIARITIES OF SURKHANDARYA ETHNOCULTURAL CLOTHING

This article analyzes the peculiarities of ethnocultural costumes of Surkhandarya oasis. National dress is a manifestation of material culture. The bright colors of the nation, the beautiful art of local weavers developed under the influence of national traditions, the artistic ornaments on the fabrics are reflected in the dress, which is based on the unique centuries-old traditions of each region. Like other regions of Uzbekistan, in the late XIX and early XX centuries, the Uzbek national costume was almost formed in the Southern Surkhandarya oasis. It was revealed that women’s clothes are sewn according to their age, differ in color and type of fabric. Each nation has its own national dress, the formation of which depends on the lifestyle of the peoples and the geographical environment is based on scientific analysis.

Ways of Life and Works of Weaving and Dyeing in Okinawa: Toward a Possible Solution of Carry on Concern

Okinawa, Japan’s southernmost insular prefecture, has a rich variety of weaving and dyeing traditions, but it is in the midst of issues including an aging local population and depopulating rural communities. Thus, one of the most vexing concerns is how to carry on the weaving and dyeing traditions. This study aims to find ways to ameliorate the condition in Okinawa by analyzing how the lives of Okinawa people relate to the traditional weaving and dyeing in the modern era and by understanding the current significance of them to people’s lives. This study uses nineteen cases from all over Okinawa, and the analysis is made in terms of connections between the traditions and local ways of life, the people’s exploration of their local cultural history and assets, and the search for economic feasibility. The connection between weaving and dyeing traditions and people’s lives is clear in the cases of Motobu, Miyako, Kohama, Kume and Yonaguni, in which local weavers and dyers are managing the balance of work and life well, and the work of weaving and dyeing is mingled into family life and community activities. The cases of Ohgimi, Okinawa City, Tarama, Uruma, Yomitan, Naha, Urasoe, and Tomigusuku show respectively that their people attempt to understand the local history and cultural features, so they express their sense of locality through weaving and dyeing in their own ways. The cases from Haebaru, Ishigaki, Taketomi, and Iriomote illustrate that seeking economic feasibility goes hand in hand with seeking the meaning of the weaving and dyeing activity and, thus, the activity becomes a source of people’s fun and IKIGAI (worthiness of living).

Bamboos for weaving and relevant traditional knowledge in Sansui, Southwest China

BackgroundTraditional bamboo weaving has been practiced for centuries in Sansui, a county dominated by the Miao people, in Guizhou province of Southwest China. Sansui bamboo weaving represents an intangible cultural heritage as defined by UNESCO, but, like many other traditional handicrafts in China, it has suffered a downfall in this period of rapid development. Sansui bamboo weaving is now experiencing a renaissance due to the joint efforts of the local government, bamboo weaving companies, and individual bamboo weavers. However, what bamboo species have supported the traditional bamboo weaving in Sansui keeps unknown up to now. The traditional knowledge and technology associated with bamboo weaving have not been reported. In addition, the resumption of the local bamboo industry may provide some valuable experiences for other downfallen traditional handicrafts or local communities. Thus, an ethnobotanical study on Sansui bamboo weaving has been carried out.MethodsThis study mainly used ethnobotanical methods, including key informant interviews and participatory observations. Different stakeholders were selected by applying the snowball method as our key informants including 6 officials, 37 bamboo weavers, and 17 bamboo and bamboo weaving product merchants. We also went into the local weavers’ houses to visit the whole weaving process. The bamboo and dye plant species for bamboo weaving were identified by taxonomists and referring to online databases available.ResultsBased on field investigations, 17 bamboo species used for weaving were recorded. Different bamboo species were woven for different purposes based on their own characters. Phyllostachys heteroclada is the most popular species locally. Bamboo strips are usually dyed by using Platycarya strobilacea and Rubia cordifolia to be made for different images. In recent years, the size, functions, and materials of local bamboo weaving crafts as well as their market mode have been changed to adapt to new development trends and to cater to the market. In addition, the cooperation among bamboo weavers, bamboo companies, and household workshops has provided great support to the local bamboo industry and to reboot the economy of the local community. Some suggestions for the sustainable economic development of Sansui bamboo weaving and other Chinese traditional handicrafts are proposed.ConclusionIn the present study, the bamboo weaving-associated traditional knowledge was collected by means of ethnobotanical methods. The recent renaissance of the bamboo weaving business in Sansui can be attributed both to government support and the innovations of the bamboo weaving industry itself. The developing mode (“Internet + intangible cultural heritage + poverty alleviation”), which combined the internet, poverty alleviation, and intangible cultural heritage, is valid and worth being promoted.

Invention of a Portable Bobbin Winder for the Ghanaian Indigenous Weaving Industry

Weaving consists of the interlacing of warp and weft yarns at right angles to form a fabric. Fabric is usually woven on a device known as a loom. Before weaving is carried out on the loom, the warp and weft yarns are prepared using some special devices. The warp yarns or ends are prepared using the warping mill while the weft is prepared using the bobbin winder. In Ghana, different versions of the bobbin winder exist. A cursory glance at the types of bobbins in Ghana reveal that manually operated bobbin winders used by local weavers are slow and yarns produced from them slough off very easily due to uneven tensioning during winding. Aside that, the use of automatic bobbin winders is limited to only places where there is electricity and they are too big and heavy to carry around. This study is therefore aimed at producing an efficient and portable bobbin winder to be used by students and local artisans in the field of weaving for weft preparation. The descriptive research method was employed for the study. A major finding of the study is that a number of bobbins were prepared within two minutes using the three gear train device. It is therefore recommended that more gear trains are introduced into the machine to enhance the speed and efficiency of winding.

Application of anthropometric approach in lessening disorders and stress-related issues

Local weaving is an occupation of making a local type of clothing in the South Western and some part of North-central Nigeria using local methods of weaving. This kind of clothing is called “aso-òkè”. This method is an age-long one, which persist until today. However, due to the shortage of white collar jobs and there is little or no production of clothing materials by the nation’s several textile companies coupled with the desire for the traditional wears as a form of social class, the number of youths involved in this vocation as a means of livelihood has increased considerably over the last few years. In consideration of previous studies, which have reported many health disorders and stress that arises from the uncomfortable sitting positions and unsuitable seats at work, anthropometric data obtained from some of the male local weavers in Ilorin, North-central Nigeria were analyzed. This study was designed to determine the ergonomic suitability of local weavers’ seat and to propose ergonomically viable dimensions that will lessen disorders and pains. A standard dimension of an ergonomic chair that will help ease the disorder and stress-related injuries and illness experienced by these workers was proposed. A total of 100 male local weavers participated in this study. The data were analysed using descriptive statistics of mean, standard deviation, range and percentile. The results showed that there was a significant difference between the former seat being used and the anthropometric variables measured. The proposed dimensions from the study include Seat Height (40.3- 46.2 cm), Seat Breadth (36.5-41.8 cm) and Seat Backrest (49.6-60.2 cm). It was concluded that the seat being used by the local weavers in carrying out their daily work is not ergonomically suitable. Further studies that will include female weavers as well as weavers and other professionals from the South Western part of the country is envisaged. Apart from proposing standard dimension, this study presents several anthropometric data from North Central Nigerians, which could help production companies in the developing and developed world in designing appropriate workstations, worktables, office chairs for use in some part of the country.Kathmandu University Journal of Science, Engineering and TechnologyVol. 13, No. 1, 2017, page: 45-55

Carpets Design and Map Investigation of Baluch of Khorasan (Case Study of Areas Taibad and Khaf)

<p>Application design and role in carpets from different regions of Iran, represents the effects of nature and each region according to the customs, different doctrines, attitudes, different ideas and perceptions that to the design and creation deals. Region of Khaf and Taibad of southern Khorasan are rural conception graph of nature and beliefs of people of the region that are appeared as geometric and semi-geometric. In the study the attempt is to present motifs and colors in the southern regions of Razavi Khorasan carpets that are less explored, examined, and derivate. According to the initial hypothesis carpet designs of carpet in the areas are influenced by neighboring nations. The research questions that will be addressed in the study include: what are the common motifs in South Khorasan carpets, especially in the regions Khaf and Taibad? To what extent the pattern has root in neighboring ethnic groups and immigrants' carpet weaving?</p><p>In this descriptive and analytical study based on fieldwork and librarian study, first a significant number of contemporary carpets were observed and photographed in the area index motifs has derived and then the motifs were named based on local weavers' information and accommodation of neighboring ethnic motifs and categorized by content.</p><p>The results indicate that geometric patterns affected by ethnic Baloch and Turkmen motifs and semi-geometric patterns by Arabs Afshar and central regions of Iran. Many of the acquired maps have no clear name and identity and require rooting in neighboring cultures, especially in Sistan and Turkmen carpet. </p>

Dressing Miss World with Balinese Brocades: The “Fashionalization” and “Heritagization” of Handwoven Textiles in Indonesia

On the basis of extensive field research in a weaving village located in Eastern Bali, Indonesia, the present study aims to explore the changing meanings and practices involving handmade textiles in Indonesia, especially those of Bali, within the spectrum of the producing and consuming ends in relation to the framework of “fashionalization” (the process of appropriating traditional, non-Western dress styles or materials by fashion experts) and “heritagization” (the process in which the diverse elements constituting the cultural pluralism of Indonesia are consciously put together to create a category of common heritage).The cloth to be discussed is called songket: a supplementary weft ikat with metal-wrapped thread, woven on a traditional handloom and constituting the special ceremonial attire of local Balinese. While deeply embedded in local cultural norms and hierarchies, its production and consumption were subject to external forces such as economic change, the formation of national as well as regional identity, and the dynamics of contemporary fashion. In the course of the development of the tourist industry, this sumptuous cloth became particularly appealing for the urban well-to-do, precisely because of its historical link with aristocratic prestige and its expensive price. By clothing themselves and their families with songket at ceremonies, they could demonstrate their economic standing in “respectable” ways and express their identity as Balinese.The more recent expansion of the market for songket beyond Bali, due to the renewed interest of Indonesian designers in appropriating local textiles into their creations, may jeopardize historical and cultural ties between local weavers and urban consumers who shared cultural traditions in which they both understood the meaning and original purpose of the cloth being produced.

Exploring Weaving Structures in the Andes: Reflections on the Creation of a Digital Archive

In this article, we describe the challenges encountered in creating a digital archive for Andean textiles.1 Developed at Birkbeck, University of London, within a three-year Arts and Humanities Research Council (AHRC)-funded project (2009–2012) titled “Weaving Communities of Practice. Textiles, Culture and Identity in the Andes: A Semiotic and Ontological Approach,” this archive goes beyond providing a mere repository for digital documents. Our focus has been to improve accessibility by enriching the data related to textiles' production (consisting of texts, images, and videos) with information describing the social, historical, and cultural contexts. This allows researchers in the area of textile studies to gain new insights that go beyond the immediate functional utility of cloth. We have also addressed practical aspects, such as providing a platform for museums to manage and showcase their collections, introducing local weaving repertoires into educational curricula, and offering regional weavers a venue to protect their cultural patrimony from piracy. At the heart of the system is a knowledge base, the core of which is an ontology mapping the knowledge of domain experts into a machine-readable format. The development of the ontology is crucial for the provision of contextual information, which on this scale is new for Andean textiles. Other important components of the system, the editors Sawu-3D and InaSawu, are tools for modeling, visualizing, and capturing the semantics of the complex patterns found in Andean textiles. While traditionally art historians have focused their analysis on the iconography of textiles, this project's emphasis on local weavers' techniques opens up new ways of understanding and classifying textiles. This system is our contribution to preserving the rich cultural heritage of Andean weaving.

Craft Production and the Challenge of the Global Market: An Artisans' Cooperative in Oaxaca, Mexico

In 1987 the Artisans' Society of Santa Ana was founded to bring the global market for handmade woolen textiles to Santa Ana del Valle, Oaxaca, a rural Zapotec community. Santa Ana is part of Oaxaca's well-documented treadle loom industry, but remains in the shadow of its economically dominant neighbor, Teotitlan del Valle. The Artisans' Society was established in response to Teotitlan's control and was generally well supported by villagers. However, the cooperative has not accomplished its goal of gaining better market access for local weavers. Over the last decade the Society has struggled, nearly collapsing in 1995. The example of the Artisans' Society allows an opportunity to examine the advantages and disadvantages of cooperatives as avenues toward economic development. The problems facing Santanero weavers are not solely local. The evidence presented suggests our anlysis must take account of the control and flow of information and market knowledge; the place of the cooperative in regional, national a...

Guild or Union? A Case Study of Rural Dutch Weavers, 1682–1750

SummaryThis article discusses the defensive actions taken by a group of weavers in the rural eastern Netherlands in response to changing economic conditions; in particular, how they successfully re-established their weavers' guild to protect them against aggressive local merchants who were out to lower payments for woven cloth. A guild, by organizing many individuals into a group, could wield much more power than separate weavers on their own. But that was not all. Local weavers were aware that economic circumstances had changed, and that a new charter would have to be adapted so that it addressed the problems they faced. Hence, the charter they drafted provided for a guild that had the outward appearance of the old form of craft organization. However, in addition to the usual regulations it contains clauses that are more reminiscent of a trade union than a guild. The result was an organization that the weavers could use effectively to fend off their growing dependence on and subordination to merchants.