Abstract

The art of Sadu weaving is defined by UNESCO as “…a traditional form of weaving practiced by Bedouin women” in the Gulf region. 1 The woman weavers created many articles that were essential for the survival of the Bedouin lifestyle, which was pastoral and nomadic in principle. 2 These articles included, “… the nomadic Bedouin tent or beit al sha’ar (house of hair) and all the interior furnishings, such as rugs, storage bags, cushions, and dividing curtains, with hand-spun yarns on simple horizontal ground looms.” 3 Goat hair, Camel hair and sheep’s fleece were used for spinning and producing yarn. The yarn was later dyed and woven. As for colors, these heavily depended on the availability of natural dyes, however, “…bright reds and oranges with the natural brown/ black and white/beige color’s” were dominant across the Gulf Region. 4

In 2011, UNESCO inscribed Sadu weaving on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding. 5 In fact, in Shelagh Weir’s 2013 review of Totah Hilden’s “Bedouin Weaving of Saudi Arabia and its Neighbors”, she writes “For thousands of years the nomads and semi-nomads of Arabia and other desert regions of the Middle East and North Africa have made articles vital for their everyday lives from the hair and wool of their goats, sheep and camels. Now the almost entirely female crafts… have greatly decreased as nomads settle… animal herding reduces, and massmanufactured objects and synthetic materials replace traditional articles made from natural products.” 6 Indeed, due to the globalization and the discovery of oil and gas, Qatar has transformed from a medium-sized port, with a population of around 12,000 at its pre-oil peak 7 , to a metropolitan city with 1.7 million inhabitants, most of which are expatriates or migrant workers mainly from South, South-East Asia, and the Middle East and North Africa (MENA) region. 8 Since the 1950s, Bedouins have migrated from the desert and settled into the cities. 9 With it, the position of Bedouins handicrafts, which includes Sadu weaving, in society changed from a utilitarian necessity to a cultural and historical artefact. In a country where the nationals are estimated to be as few as 15% of the population. 10 and the carriers of Sadu weaving today are almost entirely made up of senior citizens, 11 the likelihood of losing this tradition in the future is very high.

This proposal aims to preserve and revitalize the Sadu weaving tradition in Doha, which can become part of the sustainable, social and economic development that Qatar has set in its vision for the year 2030. 12 Cultural preservation and revitalization can be achieved through spaces that educate the local community about this art and showcase works of or relating to, this technique of weaving. This proposal is intended to benefit the youth and young adult population in Qatar, specifically ages 12-30, by reconnecting them to their textile and material heritage. The Sadu House and Al-Sadu Weaving Cooperative Society offer a direct example of Sadu preservation in Kuwait. The Sadu House is a museum that “…promotes a deep cultural understanding of the Bedouin weaving heritage of Kuwait through different representations of the craft and iconic pieces like the House of Hair, men’s cloak…” etc. The museum also hosts live weaving demonstrations and workshops, where visitors can learn first-hand about Sadu. 13

The proposal will also explore community educational facilities focused on tactile and material learning. This will not only open up a discourse of material and textile history in Qatar but also equip the young adult population with a practical knowledge that can propel the Sadu weaving technique from the traditional and into the contemporary.

1 , 5, 11

“Al Sadu, Traditional Weaving Skills in the United Arab Emirates,” accessed September 7, 2020, https://ich.unesco.org/ en/USL/al-sadu-traditionalweaving-skills-in-the-unitedarab-emirates-00517. 2

Franz Boas, Primitive Art (New York: Courier Dover Publications, 1955). 3 , 4

Canavan, Keireine, and Alnajadah, Ali. «Material Symbols of Traditional Bedouin Al-Sadu Weavings of Kuwait.» Textile 11, no. 2 (2013): 152-65. 6

Weir, Shelagh. «Bedouin Weaving of Saudi Arabia and Its Neighbors, Joy Totah Hilden.» 11, no. 2 (2013): 208-10. 7 , 10

Eddisford, Daniel, and Carter, Robert. «The Vernacular Architecture of Doha, Qatar.» Post-Medieval Archaeology 51, no. 1 (2017): 81-107. 8

Rizzo, Agatino. «Rapid Urban Development and National Master Planning in Arab Gulf Countries. Qatar as a Case Study.» Cities 39 (2014): 50-57. 9

Cole, Donald Powell. «Where Have the Bedouin Gone?» Anthropological Quarterly 76, no. 2 (2003): 235-67. 12

“QNV30.” GCO, August 1, 2019, https://www.gco.gov. qa/en/about-qatar/nationalvision2030/. 13

“Sadu House.” Saduhouse. http://alsadu.org.kw/. 14

Mitchell, Jocelyn Sage, and Scott Curtis. “Old Media, New Narratives: Repurposing Inconvenient Artifacts for the National Museum of Qatar.” Journal of Arabian Studies 8, no. 2 (2018): 208–41. https:// doi.org/10.1080/21534764.20 18.1556873.