Similarly the Aymara community of the Coroma region of Peru has initiated the location and ultimate return of their sacred textiles that had been removed (stolen) from them in the 1970s. They have brought up the issues of cultural and intellectual properties of indigenous peoples that apply equally to Native Americans and many others. Coromas traditional forms of social and religious organization include the essential role played by ancient sacred garments, which are said to contain the spirits or souls of their ancestors.

This conference will discuss the weaving of some Indian textiles as an act of worship, the ritual use of Indian textiles amongst the Kalabari of Nigeria, the use of embellishments which go beyond beauty to protective beliefs in dress and adornment, Iban textiles specially woven for use in traditional rituals associated with the eclipse of the sun and the moon, the use of the khataq as the most ubiquitous sacred symbol, shared by both Buddhist and Muslim communities of Ladakh and the recurrent themes in the symbolism of Thai textile patterns, where the physical and spiritual worlds become one, creating an art form with a unique blend of power, myth and realism.

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Weaving: An act of Creation - Jasleen Dhamija (Delhi)

The act of spinning and weaving has been associated in many civilizations with the origin myth, as well as with the phenomenon of life.  In the Rig-Veda, the warp and weft are seen as day and night.  In fact Indian philosophical terminology originates from textile terms.  Many of the weaver communities believe that they are closely linked to the sacred for the act of creation is a form of worship.

The back strap loom is closely connected with the prana, while the Padmasalis and Devangas believe that, their progenitors were linked to the Lord of creation.  This talk examines the Sufi expressions, of weaving and the rhythm of creation.  There is a close link of the rhythm of weaving and felt making with dikr, with simran, jap and litany.

It is in this context that we see the creation of fabrics, whether made as an offering to the deity, to protect the loved one, to fulfill a vow or to ensure a bright future.

The Sacred Use of Indian Textiles by the Kalabari of Nigeria - Joanne Eicher (U.S.)

The Kalabari people living in the Niger delta of Nigeria prize imported Indian madras of specific color combinations, primarily red and indigo (called injiri or “real India”).They execute, in addition, an unusual design by subtraction (called pelete bite) on this cloth, perhaps, a tradition 200 years old. Other Indian textiles, such as velvet embroidered with silver and gold thread (called India), heavy striped cotton cloth (gom), and striped silks (loko bite) are also used. The Kalabari ritual occasions for these Indian fabrics include a new mother wearing injiri during a sequestering period and loko bite or India at the end of seclusion, a presentation of injiri at an infant’s naming ceremony, the covering if a masquerader’s face with pelete bite, and the wearing wrappers using the array of Indian textiles at a funeral or decorating funeral beds. Although a few West African textiles are incorporated at rituals, Indian ones predominate. Possible reasons for preoccupation with Indian textiles for so many years will be discussed.

Joanne B. Eicher, Regents Professor Emerita of the Department of Design, Housing and Apparel at the University of Minnesota specializes on the cultural aspects of dress and textiles with special interest and expertise in Asia and Africa. She has conducted research in West Africa, particularly Nigeria, and in India relating to the textile trade between India and Africa. She is Editor-in Chief for the ten-volume Berg Encyclopedia of World Dress and Fashion to be published May 2010.  She has lectured in the US, Europe, Africa, and Asia. She co-authored a text on the significance of dress, The Visible Self, edited Dress and Ethnicity, and co-edited Fashion Foundations: Early Writings on Dress , Beads and Beadmakers, Dress and Identity, and Dress and Gender. She wrote an introduction to National Geographic Fashion and co-authored Mother, Daughter, Sister, Bride: Rituals of Womanhood for them. She is consulting editor for Berg Publishers for the Dress, Body, Culture book series and an Associate Editor for Scribner's three volume Encyclopedia of Clothing and Fashion.

The Sun and the Moon - Mystic Iban Textiles of Malaysian Borneo - Edric Ong  (Malaysia)

Sarawak Iban ‘Pua Kumbu’ warp ikat weavings are the most well known Malaysian textile amongst international collectors and museums. Described as 'Woven Dreams' as indeed the symbols and patterns of tradition were given by the weaving goddess Kumang to master-weavers through dreams, the ancient cloth was specially woven for rituals and festivals. The Iban woman's status in her community was traditionally dictated by her ability (or otherwise) to weave! 

Since 1988, a revival in natural dye weaving of 'pua kumbu' has been initiated by Society Atelier Sarawak; and the introduction of silk yarn to Iban weavers. The successful accomplishment of silk 'pua kumbu' in natural dyes woven in the traditional backstrap floor loom has won them the UNESCO Craft Prize in 1998 and the UNESCO-AHPADA (ASEAN Handicraft Promotion and Development Association) Seal of Excellence in 2000.

Such old ‘Pua Kumbu’ textiles with the ‘buah matahari’ and ‘buah bulan’ motifs was specially woven for use in traditional rituals associated with the eclipse of the sun and the moon! It is said that when such an eclipse occurs, the shaman of the longhouse will bring out such ‘Pua Kumbu’ with the sun or moon motif. She will wave the cloth along the ‘tanju’ or longhouse deck so that the power of the wind from the cloth will sweep away the evil forces that are ‘swallowing up’ the sun or moon! 

Contemporary textiles of the sun and moon motif woven in silk are still being woven by the Iban weavers of Rumah Garie longhouse, along the Sungai Kain (River of Cloth) in Ulu Kapit District of Sarawak, Malaysia. 

Edric Ong is the President of Society Atelier Sarawak, the Arts and Crafts Society of Sarawak in East Malaysia. He is also the Immediate Past President of the ASEAN Handicraft Promotion and Development Association (AHPADA) 

An architect by training, he has designed several landmarks such as the Sarawak Cultural Village and the Kuching International Airport in Sarawak, East Malaysia. His interest in the heritage of his country has inspired him to write several books including. Sarawak Style, Pua-Kumbu-Iban Textiles and Woven Dreams-Ikat Textiles of Sarawak.  

A noted speaker at International conferences, he has set up the World Eco-Fiber and Textile (WEFT) Network to further the cause of natural fibers and dyes. He was the Convenor of the WEFT Forum 1999, 2001, 2003 and 2008.  

He has won several awards including the Malaysian Designer of the Year 2009; ASEAN Silk Textile Awards 2009; Aid to Artisans Advocate Award 2006; Penyokong Kraf Negara (National NGO Award); Australia Culture Award; Pegawai Bintang Sarawak; and received Seals of Excellence from UNESCO-AHPADA and the Japanese G-Mark for many of his designs in the arts and crafts. 

He has curated many exhibitions in Malaysia, Singapore, Thailand, Philippines, Korea, Australia, Japan, India, France, Sweden, United Kingdom and USA. He is on the Panel of Experts for UNESCO and a Jury member for the UNESCO Award for Excellence for Handicrafts.

The Power of Nature and Faith in the Patterns of Thai Textiles  - Michele Archambault (France)

Each pattern used in the weaving of the traditional textiles from Thailand has an individual meaning: they illustrate the beliefs and anthropology of the weavers - mostly women who are first farmers, weaving only after their work in the rice-fields is finished and the rice crop has been harvested.  Traditionally, the woven Pha Sin (woman's tube shape skirt) were used for the family's clothing as well as for offerings to the "Wat", Buddhist Temple.  Nature and religion are the two most important and recurrent themes in the symbolism of Thai textiles patterns.  The farmer/weaver represents the power of the natural world around her as well as the symbols of a mythical and religious world. 

Theravada Buddhism is the official religion of Thailand and the weavers are deeply committed to it. Their social life revolves around the Buddhist Temple's activities, but they still retain their common older pattern of belief in a world of local spirits and ancestor's worship, so they often combine their popular ancient worship and myths with Buddhist mythology and faith in their woven patterns. 

Most of the examples chosen were woven in ISAN (North East Thailand) in the Ikat (Mud Mee) technique. We will see that the physical and spiritual worlds become one, creating an art form with a unique blend of power, myth and realism. 

Michele Archambault spent 18 years in Thailand where she started collecting textiles from village weavers, learning from them the names and meaning of the patterns.

She then extended her collection to nearby countries in Asia where she travelled extensively. She has exhibited pieces of her collection and gave talks on Thai textiles in Bangkok, Tokyo, Mulhouse (France), New York and Delhi. She has published articles in the Siam Society Journal (Bangkok), and a catalogue "Tissus Royaux, Tissus Villageois de Thailande" (Musee de l'Impression Sur Etoffes, Mulhouse). 

She gives part of her collection to different Museums in the USA where she lives, hoping many people will be able to study and enjoy them. Michele has studied Chinese in Paris and Hong Kong and has been practicing Chinese Calligraphy for many years. She exhibits her work yearly in New York City.

Sacred Textiles of Ladakh - Monisha Ahmed (Mumbai)

Legend has it that when King Trhisong Detsen declared Buddhism the state religion of Tibet he invited the Abbot of Nalanda, Shantarakshita, to teach the dharma there.  But unable to go the Abbot requested the King to invite Guru Padmasambhava instead.  The King and Padmasambhava met near the river Yarlung-tsangpo, but both waited for the other to pay homage first.  Finally Padmasambhava raised his hand as if to offer a salute but instead a fiery ray of light emerged, singeing the King’s garments and making him realise Padmasambhava’s powers.  The King prostrated in respect but stifled by the smoke he pulled at a scarf around his neck and offered this to Padmasambhava.  The latter accepted the scarf then draped it around the King’s neck as a blessing.  And so it is said in Tibet, that in a land of few flowers, Padmasambhava established the giving of khataqs – white ceremonial scarves – as a gesture of respect and consecration. 

In Ladakh the khataq is probably the most ubiquitous sacred symbol, shared by both Buddhist and Muslim communities.  Generally white in colour and woven from cotton or silk, they may be plain or embossed with the eight auspicious signs of Buddhism.  They are offered to deities and the clergy, new-born infants and their parents, to the bride and her groom, to visiting officials and respected elders.      

This presentation looks at the role of sacred textiles in Ladakh, where both Buddhism and Islam are practiced.  It discusses the extent and use of these textiles as markers of ceremonial and sacred space.  Finally, it examines the contemporary status of these textiles and their continued importance in the lives of Ladakhis.  

Monisha Ahmed is an independent researcher who has been visiting and writing about the Himalayan region of Ladakh since 1987.  She has a doctorate in Social Anthropology from the University of Oxford.  The subject of her dissertation developed into the award-winning book Living fabric - weaving among the nomads of Ladakh Himalaya.  Since then she has continued her research on the textile arts of Ladakh with essays published on silk-brocades, trade in pashmina, textile production in Kargil and changing trends amongst the region’s weavers.  She has co-edited with Clare Harris “Ladakh – culture at the crossroads” and with Janet Rizvi authored “Pashmina – The Kashmir Shawl and Beyond”.  She is the co-founder and Trustee of  Ladakh Arts and Media Organization, an NGO.

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