Hands On Heritage-Navajo Loom and Backstrap Weaving

A documentation detailing the journey of discovering and crafting a Navajo loom and engaging in backstrap weaving using materials laying around.

As a component of the course Woven Design Project guided by Ms. Aditi Jain in my fourth year at the National Institute of Design, Andhra Pradesh, we embarked on a hands-on exploration of traditional loom techniques practiced around the world. Over the course of four weeks, I chose to delve into the realms of Navajo loom weaving and traditional backstrap weaving. This article documents the journey and experiences encountered throughout this project.

WEEK 1

During this week, I engaged in research to determine the type of weaving to explore. Simultaneously, I worked on developing a prototype for the loom, delving into its mechanics and understanding its functionality. Additionally, I dedicated time to source the necessary materials for the upcoming project.

NAVAJO WEAVING

Navajo weaving is a centuries-old tradition rooted in the culture of the Navajo people, indigenous to the Southwestern United States. The art form involves creating intricate patterns and designs using a vertical loom and various types of yarn but traditionally it is the locally sourced wool. This project aimed to appreciate and learn from this rich tradition while attempting to replicate the process with limited resources.

The objective was to gain insights into the traditional art form of Navajo weaving, understand the intricacies of the craft, and create a woven piece using a makeshift loom.

Traditional Navajo weaving in New Mexico. img: permanentstyle.com

Traditional Navajo rugs. img: permanentstyle.com

Residing in Andhra Pradesh, India, and having recently discovered the art of Navajo loom weaving, I found myself relying extensively on online resources to understand how to set up the loom. Leveraging my knowledge from my fourth-year in college, which included conventional frame and table loom weaving, I recalled a frame loom project from our second year. This particular frame loom featured a rectangular frame measuring 24"x15" with nails hammered onto two sides. Recognizing the potential for reuse, I decided to repurpose this frame for this project.

Parts of the Navajo loom and its symbolic meanings

To better understand how much yarn I’d need and how to weave, I made a basic loom using whichever yarn I could find lying around. I used two thick branches from a fallen tree in our apartment garden for the main frame and two thinner branches as sticks. I also found a shuttle, a wooden lease (I could use as a heddle), and a steel rod from college table looms.

Materials Required:

• Shed sticks, Heddles: 2–3 thin dowels (2mm dia) (1 flat)
• Tension rod: one heavy stick
• Loom bars

Due to the frequent breakage of the cotton yarns I initially used for the warp, I opted for a thicker jute yarn as an alternative to assess its viability. I proceeded to create a prototype of the Navajo loom, where the weaving took place. However, the process wasn’t as seamless as expected, and errors surfaced during the initial setup, considering it was my first attempt. Armed with this learning experience, I am confident that the next loom setup I undertake, with the appropriate yarns, will result in a smoother and more successful weaving process.

After considering moving on to experimenting with the backstrap loom, I had successfully obtained the appropriate yarn for warping. Despite facing its unique set of challenges, the setup for the backstrap loom was much easier and quite successful compared to the previous Navajo loom I made right before, with only minimal errors encountered in the process.

BACKSTRAP WEAVING

Backstrap weaving is a traditional technique where a portable loom is attached to the weaver’s lower back using a strap. This method is practiced globally, notably in Guatemala, Mexico, Peru, Laos, Cambodia, Ethiopia, Tanzania, Uzbekistan, Kyrgyzstan and among Native American communities in North America. Backstrap weaving is practiced in several regions of India, including the northeastern states (Manipur, Nagaland, Assam), Himachal Pradesh, Rajasthan, Uttarakhand, and parts of Andhra Pradesh and Telangana. It is esteemed for its cultural significance, intricate patterns, and the high level of skill required, contributing to the preservation of diverse cultural heritage.

Backstrap weaving done in New Mexico. img:cfm.ork

Backstrap weaving of Nagaland, also called Loin weaving. img: asiainch.com

The key parts of a backstrap weaving loom include:

• Backstrap: Wraps around the weaver’s lower back to create tension in the warp threads.
• Heddles: Separate warp threads, aiding in the passage of the weft.
• Warp Beam: Horizontal rod around which warp threads are wound, maintaining tension.
• Shed Stick: Creates openings between warp threads for the passage of the weft.
• Weft: Horizontal thread woven through the shed to form the fabric.
• Shuttle: Holds the weft thread, passed through the shed for weaving.
• Beater or Reed: Combs or reeds used to push weft threads tightly against the woven rows.
• End Bars or Rods: Rods at the ends of the loom securing warp threads and maintaining tension.

Parts of the Loin loom. img:indiainch.com

First, I gathered materials by finding straight branches and twigs for building the backstrap loom parts. It was a fun experience, and I did this task with my classmate Pankaj, who was also making his own loom.

We primarily collected thin bamboo sticks and think stems from the Nerium oleander shrub.

To create a warping frame, I repurposed a discarded shelf frame and added two sturdy bamboo sticks as supports for the warp. I attached the bamboo sticks to the frame using nylon yarn, ensuring they were spaced apart based on the desired length of my warp.

I secured the sticks in place firmly using the square lashing method.

The warping involved consistently going over the stick and wrapping on both sides, creating a cross of yarns in the middle for added stability.

I opted for a 3/10s cotton yarn to warp around both bamboo sticks.

After creating the cross of yarns, I inserted the shed sticks and secured them by knotting the ends. This ensured that the shed sticks remained in place and didn’t fall out during the next step.

Ensure that the crisscross of yarns is in the correct order to prevent any mistakes during the weaving process.

The next step involves dividing the warp into equal sections and attaching the loom bars, which consisted of a stick and a steel rod in this case, to both ends of the warp. This process secures and separates the warp groups, holding them in place. Attaching the loom bar to the warp entails knotting a yarn to the bar, coiling it around the sections firmly, and repeating the process on the other end. This ensures that the warp remains taut and well-distributed for the weaving process.

In this step, I divided the warp into uniform sections, each comprising six ends.

The lease stick is attached above the shed stick in the warp, while the heddle sticks are positioned below. To attach the heddle, use two sticks and a cotton yarn to create 8-shaped loops around them, simultaneously collecting each end with the loop. Secure both the ends of the heddle sticks and the ends of the lease stick with yarn to prevent any accidental detachment during the weaving process. This ensures stability in the arrangement and maintains the integrity of the warp and heddle configuration.

Following these preparations, the warp is taken off the warp frame by holding onto both loom bars. This step signifies the readiness to commence the weaving process, with the warp now positioned for engagement with the weft thread in the chosen backstrap weaving setup.

This is how my weaving setup looks: I attached one end of the loom bar to the frame of my window and secured the other end to a chair. To prevent any sliding, I placed a suitcase under the lease stick. This arrangement provides stability for the weaving process, ensuring that the warp and heddle configuration remains secure and ready for the next steps.

As weaving begins, the shed sticks can be removed, leaving only the lease and heddles.

The interlacement involves lifting the heddle for the upward movement and pushing down the lease for the downward movement. This coordinated action facilitates the weaving process, allowing the weft thread to pass through the created shed in a controlled and intentional manner.

Heddle(left) is pulled up and lease(right) is pushed down.

To create the backstrap, I utilized a shawl to tie the ends of the loom bar, measuring it to fit my body.

With this personalized backstrap in place, I commenced the weaving process, leveraging the coordinated movements of the heddle and lease sticks to interlace the weft thread through the warp.

I made a shuttle using a paper roll and used a plastic comb to press each weave into position. For the weft(left), I have used a chenille yarn while I stared with a cotton weft.

I noticed some mistakes in the weaving process. On the right side, there was an issue with the interlacing of warp ends 1–2, possibly due to an incorrect heddle or a problem with the warping of that specific warp end. Additionally, the rightmost warp end wasn’t getting interlaced. However, the rest of the warp was weaving correctly, with only these two areas presenting challenges.

WEEK 2

Throughout this week, I plan to set up both the Navajo and backstrap looms correctly. I’ll be delving into experimenting with various weft options and exploring dyeing techniques. Simultaneously, I’ll be engaging in creative ideation to chart the course for the next steps in this weaving project.

To support the backstrap, the loom bar can be attached to various objects like a heavy chair, a pillar, or a window. I chose a window, allowing me to enjoy the rain while weaving, creating a relaxing atmosphere. However, it’s important to be cautious if your room faces the direction of the rain, as it may potentially wet the warp.

As the sample is woven on a flat warp, it’s necessary to roll the woven part onto the loom bar attached to the backstrap to continue with the rest of the sample.

Weaving a flat warp requires moving closer to the window as the rolling progresses.

I experimented with the weft by using strips of polythene bags, providing a creative way to breathe new life into discarded single-use plastic bags.

Due to the thicker nature of the polythene bag strips and the absence of gaps between the warp ends, the sample resulted in being more warp-faced in its appearance.

After completing the weaving of the sample, I trimmed off the excess ends and secured the weaving with knots. The initial part of the sample was removed by detaching the yarn that connected it to the loom bar. This is the overall look of the entire sample.

First sample done by experimenting with a flat warp on a backstrap loom.

CIRCULAR WARP-BACKSTRAP WEAVING

I learned about circular warps from my faculty, Arnab, who likely encountered them in parts of North East India. Circular warps in backstrap weaving offer the advantage of enabling weavers to create longer samples without changing their position. As the circular warp is rolled, the entire warp rotates on the two loom bars, allowing the weaver to remain stationary during the weaving process.

Backstrap weaving in Nagaland

To initiate a circular warp, I modified the earlier warp frame by adding three smaller sticks in the middle. Two sticks were placed side by side, where each end would interlace up and down. An additional stick, optional but helpful, was placed on the other side of the frame to facilitate keeping the yarn separated from the first two sticks, making the warping process more manageable.

Using a shifting loop to initiate the warp allows for the adjustment of tension, enabling both tightening and loosening of the warp as needed during the weaving process. This technique provides flexibility and control in managing the tension for a more precise and adaptable weaving experience.

The warping process involves looping the yarn from one of the thick bamboos and threading it through the smaller two sticks, alternating over and under, until it reaches the other thick bamboo. Then, it goes over the smaller stick and back to the starting point. The next loop goes under and over the small sticks, repeating this sequence until the warp is completed.

The frame I used proved to be very convenient as I could lift it, allowing me to warp based on my comfort and sitting position. This flexibility added to the ease and adaptability of the weaving process.

The final warp end follows the same looping process, ensuring consistency and completeness in the overall arrangement of the warp threads.

Following the completion of the warping process, two thin shed sticks are inserted, and they are securely tied in place.

Shed sticks tied at the ends so that it does fall out.

Circular warp with reed- Nylon weft, cotton warp

After weaving a few inches, the lower section of the fabric is cut and subsequently re-tied, without passing the reed in the process.

NAVAJO LOOM

Trial 2

Exploration with palm leaves for weft and addition of a reed

Reed 8 is used and I added it below the heddles

Dried palm leaves of different sizes

Also used black jute yarn a swell at the end to have a secure woven sample

WEEK 3

BACKSTRAP -SAMPLE 2

Circular warp with reed

Nylon used for weft

Interlocking done where the weft colours are intersecting

Different exploration with fancy yarns.

BACKSTRAP -SAMPLE 3

Product ideation- circular warp without reed

Circular warp with varied dent gaps and 3 sticks inserts as weft made into a lampshade.

Three separate warps were woven at the same time.

Without the reed it was difficult to keep ends from twining with each other

WEEK 4

BACKSTRAP -SAMPLE 4

Product ideation- circular warp without reed

NAVAJO -SAMPLE 2

Navajo- Paper, farbic yarns and jute yarn

Inspiration

Weft is scrutched up brown paper, white paper, butter paper, strips of fabric and jute yarn

NAVAJO -SAMPLE 3

Navajo- White cotton yarn and leaves from the garden

As the leaves dry, there will be gaps created within

NAVAJO -SAMPLE 4

Warp bleached jute cotton blend yarn, weft cotton, jute variations-Weft yarns not interlocked

Origami inspired concept. The two weft colour don’t interlock

NAVAJO -SAMPLE 5(WIP)

Thin nylon Warp , weft thicker nylon-Weft yarns not interlocked and also insertion of linear material within the gap

USER MANUAL FOR A DIY BACKSTRAP PROJECT

My fellow classmate, Pankaj and I delved into experimenting with backstrap weaving. Despite the absence of concise and credible online resources, we managed to learn the craft from scratch by piecing together information from various internet links. Our hands-on experience became our primary teacher in a lengthy but enriching process. We consolidated our insights to craft a comprehensive guide for anyone eager to embark on the journey of backstrap weaving.

How the heddles work in weaving