Traditional Loom Research Articles

An Innovatively Woven Totemic Ewe Kete with Lace Effects for Unity and Identity in the Volta Region, Ghana

The purpose of this study was to identify and generate motifs from Ewe totems to be used in the design and construction of Ewe kete with "lace effect'' (or breathable) to symbolise the unity and identity of the Ewe people in Ghana. As an art studio-based practice, the study employs Adobe Photoshop, the computer graphics software that aids in easily manipulating images for textile designs, as a main design tool for generating the designs. Motifs were developed from various clan totems in the Anlo state and finally used to weave the Ewe kete with a Traditional loom. The research was based on a qualitative approach using studio-based practice and descriptive research methods. A purposive sampling technique was used to determine the sample population of chiefs, linguists, kete weavers and kete sellers. Observation and unstructured interview guides were the main instruments used for data collection. The study revealed that clan totems from Agbozume, Klikor, Anloga, Keta and Anlo-Afiadenyigba and the adjoined communities from Ketu South Municipality and Anlo-Keta Municipality could be fused or embedded into Ewe Kete. This study concluded that totems and other traditional symbols can be used for textile design (weaving) with relevant computer-aided software. It emerged from the study that the woven Kete fabric can educate the youth and identify and unite clans and the weaving industry in the region. The researchers, therefore, recommended that a chart of the traditional Ewe totems, as well as the abstracted ones made by the researchers, should be displayed in museums, libraries, and cultural and social centres for identification and education.

Modifying 3D composite textiles as functional panels

Honeycomb fabric-reinforced composites have been widely used recently, due to their prominent properties, when compared to other materials. This is because they are lighter in weight and stronger than other materials. Thus, they can absorb different types of energies, such as mechanical and thermal energies. A multi-layer fabric is developed by creating a unique fabric structure, to enable the presence of air voids within the panels produced, which diminishes the heat transfer rate through the material. The structure applied in samples used in this manuscript is novel, as it consists of a 3D fabric produced using a traditional loom with a special technique, by dividing the warp yarns into four layers. A skin of textile, produced from textile wastes, is applied, along with the technique of hardening the 3D fabrics to keep the open areas in the structure with the aid of pre-designed pins and a resin. The composite panel was produced with the pins used to open the fabric’s structure, and the resin was applied as a matrix holding the structure and keeping its dimensions. Panels of the 3D fabric-reinforced composite obtained from cotton and polyester yarns were produced, to achieve thermal insulation and good mechanical properties, which enable the use of the fabric in various applications. The fabric has two panels of each material, one with skin and the other without skin. This skin consists of low-quality fabric, mainly made from textile wastes. The physical and mechanical characteristics of the developed panels were measured. Functional performance, such as thermal and sound properties, were also measured. Testing thermal conductivity, it was found that panels made of cotton had higher conductivity than panels made of polyester. In addition, the presence of the skin improved the thermal insulation and mechanical strength of the panels compared to those without skin. In mechanical testing, polyester-based panels showed better mechanical properties than panels based on cotton. In sound absorption testing, all samples reached the limits for sound absorption. The number of layers affected the sound absorption coefficient (SAC) and the noise reduction coefficient (NRC). Also, the presence of the skin improved NRC. Finally, all samples had an aesthetic appearance, due to the presence of surface waves, but the sample containing the polyester material, with double layers, and the laminated skin made of waste fabric had the highest functional panel performance, in terms of radar chart areas. This means that it can be used in the field of architecture as a façade panel or as an indoor wall used for isolation, which do not require paint.

Silk weaving business sustainability as a cultural heritage of Indonesia: a case study in Wajo Regency, South Sulawesi

This study was designed to probe into the sustainability of the silk weaving business as a cultural heritage in Wajo Regency, South Sulawesi, Indonesia, which is seen from the aspects of opportunities and challenges. To enact such a purpose, a case study was used in this research. Participants involved were silk entrepreneurs in Wajo Regency, South Sulawesi, Indonesia. Data were garnered through three stages: 1) observation, 2) documentation, and 3) semi-structured in-depth interviews. Findings suggest that the silk weaving business as a cultural heritage continues to grow and gives an identity to Wajo Regency as a city of silk and a centre for selling silk fabrics in Indonesia. This is evidenced by a large number of silk weaving business units and the large number of workers absorbed, especially women, who can contribute to regional income and economic growth. This finding is influenced by several factors that provide opportunities, such as family economic education which continues to be passed down from generation to generation, capital assistance from banks, gender equality for weavers, and the adaptability of silk entrepreneurs. However, there are challenges in the sustainability of the silk weaving business in terms of limited local raw materials and the use of the Gedogan traditional loom which is rarely used even though it is a typical loom in silk weaving and is a cultural heritage in weaving. Based on the findings, the study suggests adaptive skills training for silk entrepreneurs and making silk weaving as an educational tourbe.

Silk weaving business sustainability as a cultural heritage of Indonesia: a case study in Wajo Regency, South Sulawesi

This study was designed to probe into the sustainability of the silk weaving business as a cultural heritage in Wajo Regency, South Sulawesi, Indonesia, which is seen from the aspects of opportunities and challenges. To enact such a purpose, a case study was used in this research. Participants involved were silk entrepreneurs in Wajo Regency, South Sulawesi, Indonesia. Data were garnered through three stages: 1) observation, 2) documentation, and 3) semi-structured in-depth interviews. Findings suggest that the silk weaving business as a cultural heritage continues to grow and gives an identity to Wajo Regency as a city of silk and a centre for selling silk fabrics in Indonesia. This is evidenced by a large number of silk weaving business units and the large number of workers absorbed, especially women, who can contribute to regional income and economic growth. This finding is influenced by several factors that provide opportunities, such as family economic education which continues to be passed down from generation to generation, capital assistance from banks, gender equality for weavers, and the adaptability of silk entrepreneurs. However, there are challenges in the sustainability of the silk weaving business in terms of limited local raw materials and the use of the Gedogan traditional loom which is rarely used even though it is a typical loom in silk weaving and is a cultural heritage in weaving. Based on the findings, the study suggests adaptive skills training for silk entrepreneurs and making silk weaving as an educational tourbe.

The Use of Composite Textile Techniques as Upholstery Fabric for Interior Furnishing

This is an art studio Practice-based study that employed the creativity of using Ikat technique, Embroidery technique, leather material, and woven Kente fabric from cotton and rayon yarns to create the design for the production of artistic Upholstery for interior furnishing, using yarn dyeing, traditional loom, and sewing and embroidery techniques in textiles. While plain cotton and synthetic materials for Sofa production abounds in Ghana, the study found the combination of Ikat technique, embroidery, woven kente and leather as a composite material in the production of upholstery in Ghana not exploited in the Upholstery industries. Descriptive and studio/practice-based research methods were employed under the qualitative research approach as the research design for the study. The study presents systematic processes involved in the production of upholstery design for sofas. The study proved that the medium chosen is good for upholstery design for sofas in interior furnishing. Weaving techniques were used to generate a well-defined weave structure from dyed yarns which was augmented by leather material woven in a twill structure with embroidery stitches. All the techniques combined yielded a good design for Upholstery.

청양춘포짜기의 전통기술 재현과 전승의 대안

Chunpo is a woven textile with ramie threads in the weft and silk threads in the warp. Cheongyang Chunpo is registered as Intangible Cultural Heritage of Chungcheongnam-do and the techniques preserved. However, its traditional techniques are no longer conducted for more than 20 years, and its’ traditional technique succession has stopped. Chunpo weaving consists of the silk-related weaving process, the Mosi-related weaving process, and Chunpo’s character. Chunpo weaving’s main character is its yellow starch on silk warp during warping process to make its finish vivid yellow color from gardenia seed dyed starching process. For the revival of Chunpo traditional weaving, reeling silk cocoon techniques and yellow starching process plus traditional loom weaving silks are essential points to achieve. For Mosi threads, Hansan Mosi threads can be used, and for silk reeling techniques, Doosan village, which is silk weaving National Intangible Cultural Heritage can be acquired. Also for traditional loom weaving techniques can be acquired from Doosan village. Through this study and weaving trials from 3 ways, it is proved or favorable to success Cheongyang Chunpo’s traditional weaving techniques to be transmitted afterward. The first trial was in Cheongyang, the second trials were in Doosan silk weaving village, and the researcher did the third. Above all, weaving Chunpo in Doosan village or using Doosan silk weaver’s skill and after transmission from Doosan to Cheongyang would be the best and practical solution for Cheongyang Chunpo traditional technique revival.

Weaving Traditions of Daboya and Yendi Communities in Northern Ghana

Narrow strip weaving has been an art and one of the traditional occupations in the northern part of Ghana, which has contributed significantly to the economic development and well-being of the people. Even though strip weaving is common in the North, Daboya and Yendi have unique weaving traditions with regards to the origin, types of yarns or materials, tools, processes and marketing strategies hence the focus of this paper. Field research design was used to observe, participate and have face-to-face interaction with weavers, smock makers and retailers in their natural setting. Interview was used for the collection of data during the study tour. The outcome revealed that traditional strip weaving in Yendi and Daboya has contributed immensely to tourism, the socio-economic and cultural heritage of the indigenes. Findings further indicated difference in design and loom types (traditional and modernised loom in Daboya and traditional loom in Yendi) with similar yarn types used in weaving. The study recommends intensive education for craftsmen to understand the need to welcome new technologies in their occupation to boost their production levels and increase their earnings. It is therefore incumbent on government, academia and the appropriate agencies to facilitate research to modernise the weaving tradition.

한산모시와 에치고조후·오지야치지미 제직 비교

Mosi is ramie in Korea and jofu is the one in Japan. ‘Weaving of Mosi(fine ramie) in the Hansan region’ is registered as Intangible Cultural Heritage and the techniques preserved. Ojiya-chijimi, Echigo-jofu also same in Japan. Both are UNESCO Intangible Cultural Heritage of Humanity. The materials same but the process and the final result are different. Main difference is that Hansan Mosi weaves no pattern, it’s either natural or white plain weave. Whereas Echigo-jofu mainly weaves stripes or kasuri with delicate patterns, Ojiya-chijimi has overall wrinkle surface due to high twist applied on weft ramie threads. Hansan Mosi focuses on making delicate threads with special tools and all possible methods to present clean and half transparent ramie surface, the technique level required without twist as bast fiber for weaving is high. Due to applied twist, Echigo-jofu·Ojiya-chijimi threads preparation becomes to have silk threads characters after twist process. Both weaving culture face difficulties in transmit the techniques to next generation thus have special programme of weaving, this study includes how they make efforts to preserve and transmit and the main differences between the programmes. Hansan educate overall process from fiber extraction to weaving, focusing on modified modern type loom. Echigo-jofu·Ojiya-chijimi devide process into threads making, Kasuri pattern course and weaving course with traditional loom.

Peranan Sanggar Watu Bo dalam Produksi Tenun Ikat Tradisional Desa Kajowair

Watu Bo institut server as container of eduction and preserves by reproducing traditional woven cloth passed down from the ancestor using natural substance and dyes as well traditional loom loms, not machines (ATMB). The problem formula in this research covers (1) how was the traditional binding processin the Watu Bo Workshop?, (2) what is the Watu Bo’s strategic role in the existence of traditional Weaving?. As for the purpose of this study is (1) to know the traditional weaving works in the Watu Bo cage. (2) to identify Watu Bo’s strategic role against traditional weaving.The theory used in the study, the theory of production and the theory of role, because weavers in Watu Bo industries play a part in this traditional weaving work. But among the concepts that are used: roles, Watu Bo cage, and the production of zip looms. In this study the method in use is qualitative descriptive, with primary and secondary data sources, with data collection techniques through observation, interviews, and library studies.Results found in studies suggest that a Watu Bo clinic produces traditional weaving, using natural materials and dyes and using loom equipment instead of maschines to produce colth. Production products are sold booth local and foregin communities. Watu Bo’s cage plays strategic role in the traditional weaving of weaving; help to boots the family economy, preserving cultural heritage, passing on the rising generation, absorbing the peach of work, tourism, and helping to preserve the environment

우리나라 근대 직기에 관한 연구

This study researched the use of looms in Korea from the early 1910s, when the looms showed the most changes, to 1945, the end of the Japanese colonial period.BR Looms vary widely with regard to the type, the texture of the fabric, the shape and structure of the loom, the method of operation, the material of the loom, and the area of the loom. In this study, we focused on fabric weaving looms in Korea and classified them as handlooms or power looms depending on the driving force of the loom. We also classified handlooms as manual, Yo-gi (腰機, Back-strap loom), semi-automatic, and Jog-dab-gi (足踏機). We separated and distinguished Jacquard looms from handlooms and power looms; the figured fabric is woven after the Jacquard device is installed on the handloom and power loom, and therefore this type of device was classified as Jacquard shedding or Dobby shedding depending on the machine that wove the tissue of the fabric.BR Among the types of handloom classified to operating structure, Korean traditional loom belongs to Yo-gi. Manual handloom is Tu-sa type (投梭形) loom that throws the shuttle based on the stepped handloom with the stepping board. The Go-gi (高機) and Gu-gi (厩機) from Japan are this type of manual handlooms. A semi-automatic handloom is a loom in which a stepped handloom is attached to a Batten device that operates by pulling a string connected to a shuttle. Jog-dab-gi is the most developed handloom in which all three movements—the shedding motion, picking motion, and bearing motion—are performed.