This was an ethnographic study of the woven tent objects produced by the Bedouin Otaibah tribe in Najd, central Saudi Arabia; the study examines origin, techniques, character and significance of their weavings. A major objective of the researcher was to discern the relationship between the weavers' development of traditions and the factors of technique, medium and perceived meaning. The method used was investigative fieldwork that included techniques of face to face interviews and participant observation. Interviews with 50 Bedouin female weavers in Najd were conducted for 8 months. Background information on the Otaibah tribe and their traditional way of life was provided. The review of the literature of traditional arts, folk arts and art education illustrates that there is limited accessible information concerning the general history of traditional arts in Saudi Arabia. A discussion of the aesthetic value, definitions and roles of traditional art, tribal art and the differences between art and crafts was included. Analysis of data answered the study's questions through a presentation of the findings of the fieldwork. The Otaibah tribe has its own unique style of weaving. Information gathered from participant observation and documents from the Haifa Faisal Collection of Saudi Arabian Traditional Arts in Chicago supplements information obtained by interview. The findings indicate that as a result of modernization and settlement, traditional Bedouin weavings are gradually being replaced. Weavers find themselves forced to compete with a deluge of imported machine-made goods, a development changing structure of the culture from nomadic to semi--modernized creating a new foundation of social and economic life for the society. The.results of the study provide a curriculum base for art education in Saudi Arabia. Suggestions for further studies, recommendations and the implications for art education are included.

A detailed description of the technological features of the textiles found in funerary contexts and architectural hills of the latest occupational phases of the Lima Culture is presented. These materials were found as part of the Huaca Pucllana research project established by the Municipality of Miraflores and the Ministry of Culture. Preliminary results indicate that in funerary contexts one or two simple plain weave cotton textiles were used to bundle the bodies. In some cases complete fabrics were used while in other the bundles were formed by many pieces put together, with some fragments with evidence of darning and mending. On the other hand, the textiles found in votive oerings in the architecture are of cotton and wool made by the ringed technique both simple and interconnected knotting. Geometric designs as well as intertwined ash were made using cactus spine needles which have been used to make nets. ere is also evidence of textiles made using a backstrap loom which are commonly the 1x1 plain weave, woven face fabric warp and warp faced list. is evidence suggests that there were diferent types of weavers in the Lima society dedicated to the production of domestic and ceremonial textiles. / Ofrecemos información sobre las particularidades tecnológicas de tejidos atribuidas a las últimas ocupaciones de la cultura Lima, encontrados en contextos funerarios y rellenos arquitectónicos durante las excavaciones efectuadas entre 1996 y 2000, como parte del «Proyecto de Investigación, Conservación y Puesta en Valor de Huaca Pucllana», convenio Instituto Nacional de Cultura-Municipalidad de Miraflores. La muestra textil estudiada indica que en los entierros funerarios Lima, se usaron como envoltorios de los cuerpos, tejidos llanos de algodón compuestos por una o dos telas completas y telas formadas por la unión de fragmentos, algunas de estas últimas con remiendos y zurcidos, a diferencia de los tejidos depositados como ofrendas que tienen tratamiento especial y son un solo elemento, elaborados en lana y algodónmediante la técnica del anillado interconectado simple y anudado, con diseños de figuras geométricas y de peces entrelazados, en cuya manufactura emplearon agujas de espina de cactus, utilizadas también para la elaboración de redes. Los tejidos confeccionados en telar de cintura se distinguen por técnicas comunes de: tejido llano 1x1, tejido cara de urdimbre y tejido listado cara de urdimbre, lo cual sirve de base para sostener que en la sociedad Lima había diferentes clases de artesanos dedicados a la producción de tejidos.

Within Alinea, the purpose is to explore the use of bioplastic as unconventional yarn in the traditional technique of handweaving. The focus toward bioplastic as a design material and the technique of handweaving as the fabrication technique to generate broader alternatives for using bioplastic materials in woven textile design. Described through experimental and practise-based research, handwoven bioplastic samples have been explored to investigate the methods of structures and bindings, gradient colouring and print design within bioplastic and weaving. With the attempt to make bioplastic more accessible for the textile industry. The experimental design research resulted in scaled prototypes that showcase a collection of seven pieces that present various design possibilities and potentials regarding bioplastic within the textile weaving technique, including distinct structural tactile qualities bioplastics can offer to the field of textile. It can be concluded that bioplastic can play a role in becomes a desirable material steering textile design towards a more sustainable future in the textile design field. Furthermore, give handwoven materials new aesthetics by producing unique structures and tactile features.