An explanatory study of Kuwaiti youths' knowledge of Sadu heritage: their appreciation of Sadu and its contemporary expression in textile

Abstract

The purpose of this study is to answer the following research questions: How can the new generation of Kuwaiti youth (those aged between 15 and 21) communicate their rich heritage and instinctive awareness of the cultural craft form known as Sadu? To what extent are they aware of this vital craft form? Are young Kuwaiti women interested in wearing textiles that include Sadu? How can one take advantage of Sadu heritage and translate it into proper modern designs for contemporary Kuwaiti women? To answer these questions, the researcher used two research methods: questionnaires and interviews. The questionnaires focussed on 120 young Kuwaiti women aged 15–21 from each of the six districts of Kuwait, after which the researcher conducted interviews with twelve young women from the same sample (randomly selected from all six districts) in order to gain deeper and more comprehensive answers to the research questions. Three hypotheses emerged from the results that were presented that will be verified in this discussion, as follows:
• H1. Young women aged 15–21 who are aware of Sadu are more receptive to textiles that are mixed with Sadu than other young women.
• H2. Some young women will wear textiles mixed with Sadu because this will help them reclaim their cultural heritage and traditions.
• H3. Some young women who are aware of current contemporary textiles will wear textiles mixed with Sadu because such textiles are part of a new design.
Data was collected through two questionnaires; the following results were concluded:
• The sample‟s awareness of Sadu was less than average;
• Their awareness of contemporary textiles and trends was greater than average;
• Their readiness and acceptance of wearing textiles blended with Sadu was less than average.
Looking at the correlation between these three topics, it was evident in the first survey that the correlation between awareness of Sadu and readiness and acceptance to wear textiles blended with Sadu was average; the second survey, however, showed that this correlation was weak (almost zero). Conversely, the correlation between awareness of contemporary textiles /trends and readiness to wear textiles blended with Sadu was very weak in the first survey (no correlation was identified between them) and average in the second survey. Based on the above information, the thesis makes a series of detailed recommendations. These include that:
1. The raw materials and natural dyeing used in Sadu should be preserved, its techniques and developed in a scientific and simple manner, and that the heritage of Kuwait should be connected with the ongoing rapid changes elsewhere throughout the world;
2. Educational films on traditional contemporary textiles and accessories should be made and incorporated into a contemporary textiles -design curriculum and developed as a source of innovation, and that Sadu should be incorporated as a subject in different school curricula, thus raising Kuwaiti females‟ awareness of the country‟s environment and heritage;
3. A museum should be established that would preserve traditional Kuwaiti textiles and accessories;
4. Awareness of Sadu in Kuwaiti society should be raised through the gateway of contemporary textiles; field trips should be offered to female students to visit handicraft and heritage sites.
5. Ethnographic museums should be established that will document the country‟s cultural and scientific material;
6. The Kuwaiti government should promote traditional crafts and the work of master weavers through the opening of training institutes and exhibitions; and
7. The media should take on a greater role in highlighting and publicising these crafts. Future research should be conducted into attempts to market Sadu within European contemporary textiles in a manner that conforms to Arabic traditions, implements Arabic and traditional contemporary textiles blended with Sadu, and remedies the limitations that were experienced during this study by avoiding the problem of the sample being influenced by the implemented contemporary textiles. Finally, this study recommends that new techniques should be developed that will provide increased opportunities for experimentation and innovation and the promotion of creative skills and innovative artistic solutions, and that our full attention should be given to cultural embellishments, as these have educational and economic importance for society at both the scientific and practical levels.

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