Pastoral heritage

Traditional Weaving in Southeast Tunisia: Craftsmanship and Social Dynamics
Traditional weaving constitutes a fundamental element of Tunisian material and immaterial culture, particularly in the central and southern regions of the country. It remains an important activity, giving rise to a wide variety of items that touch upon various aspects of community, group, and individual life: blankets, costumes, flat-weave rugs adorned with parallel bands of "Klim" and "Margoum" patterns, and decorative objects.
This craft has been documented since ancient times, as evidenced by the mosaic known as "The Spinner," dating back nearly sixteen centuries, recently discovered in Tabarka in the northwest of the country. Traditional weaving is only the visible part of a much broader culture and ecosystem, as it developed within a pastoral society that engaged in raising cattle, goats, and camels, which provided the weaving material. Indeed, everything begins with the wool obtained mostly from shearing (zez), which takes place in spring amidst a festive atmosphere marked by various rituals.
To transform the fleece into a finished product, the wool must undergo a series of processing stages: sorting, washing, and carding, which is done using handheld frames. Then comes the spinning process, which involves stretching and twisting the wool fibers to obtain a continuous and regular yarn. Sometimes, the wool is dyed using natural plant-based dyes before the actual weaving process, which relies on the loom. In southern Tunisia, there are two types of looms: the vertical loom, which is the most common and typically used by women, and the horizontal loom, which has become less common and is associated more with men.
To create woven pieces, an ancestral technique is employed, involving the interweaving of the weft and warp threads. With the help of a thin and rigid stick, the weaver passes her fingers between the warp threads to flatten the weft threads and adjust the tension.
As for the decorative aspect, it is characterized by geometric forms such as triangles, diamonds, and chevrons, arranged according to a combinatorial system based on shared plastic principles, which are carefully preserved in collective memory. Marked by family solidarity and social cohesion, weaving covers a wide range of products, with each object carrying an identity that stems from the weaver as an individual and as a member of a community.
The transmission of knowledge and know-how related to weaving is part of the traditional educational system, where each family ensures that their daughters learn this craft. Additionally, civil society associations and cooperative groups have been engaged in this process in recent years, offering training workshops specifically designed for young girls. This dynamic around weaving is also evident in the remarkable presence of weavers at fairs, festivals, and events promoting and showcasing handicraft products.
In addition to planned safeguarding measures implemented by relevant government authorities, initiatives have been undertaken by various NGOs to enhance the visibility of local and regional weaving, contributing to its valorization as a generator of sustainable development and a cultural marker that fosters social cohesion.
Imed B. SOULA
Anthropologist
Research Director at INP

Video Galleries

Under construction

Under construction

Under construction

Bibliography