Tight-Knit Work ëFabricí First Large U.S. Exhibit of Important Moroccan Weaving by Carolyn Chapman When Niloo Imami-Paydar, curator of textiles and costumes at the Indianapolis Museum of Art, began studying Moroccan weavings and acquiring them for her museum, there was little interest in and knowledge about these weavings in America, and there were almost no books written in English on the topic. ìMoroccan textiles have always been more popular with Europeans than Americans,î she said. ìBut in the past four or five years, there have been a few exhibitions, and Moroccan textiles have been starting to find their place in museums, which is richly deserved.î However little knowledge there may be about Moroccan weavings and textiles in the Washington, D.C., area, which is home to more than 20,000 Moroccans, that should not last long, thanks to a new exhibition at the Smithsonianís National Museum of African Art. ìThe Fabric of Moroccan Lifeîóorganized by Imami-Paydar and the Indianapolis Museum of Artóis the first large-scale exhibition of its kind in the United States and features one of the most important collections of Moroccan textiles in the country. Adm . Albert Niblack from Indiana amassed most of the collection in the early 20th century when he was stationed in Gibraltar. His collection includes more than 4,000 pieces, 350 of which are from Morocco and were made between the 18th and early 20th centuries. The Smithsonian exhibition features nearly 70 pieces that illustrate the wide-ranging Moroccan styles and textile uses and includes rugs, tent hangings, saddlebags, clothing, scarves and shoes. Textile weavings are not only artistically and economically vital in Morocco, but they are also an important cultural tradition reflecting the countryís Islamic and Berber customs, as well as Jewish, African and Mediterranean influences. Weaving is womenís domain in Morocco, and intricate designs are a source of pride for Moroccan women, passed down from generation to generation. Creating textiles also serves a social purpose by bringing women together to exchange ideas and technical expertise. Although Moroccan weaving styles vary widely, there are two general styles: urban and rural. ìWhat is really intriguing about Moroccan textiles is that they are so varied from city to city,î said Imami-Paydar. ìEvery city and Berber group has its own recognizable style.î Almost all urban textiles in Morocco are embroidered, which is an art form that developed in cities because of influences by foreigners and foreign trade. The use of exotic fabrics, elaborate decoration and intricate designs was a sign of wealth in urban areas, and women collected pieces throughout their lifetimes to be worn or displayed on special occasions. Rural areas are populated mainly by the once nomadic Berbers (the indigenous inhabitants of Morocco), whose daily lives are dominated by textile production. Berber weavings vary regionally, with each region using specific color combinations, patterns and designs. Although most designs are composed of simple geometric shapes, such as triangles, diamonds, zigzags, stars, crosses, and symbols from Islamic and other African cultures, the Berber designs possess a rich variety. What is most amazing about these textiles and others like them is that they were not only displayed on walls or hung in closets but were also worn and used in daily life. Whether thrown over horses that rode through dusty deserts and mountain ranges or placed on the floor where they were walked upon in family homes, Moroccan weavings served practical functions. Although to us, these textiles look too attractive and elegant to be used in such mundane, daily routines, they were originally created for these functions. In fact, their creators probably never imagined that they would some day be hanging on museum walls. ìThe Fabric of Moroccan Lifeî runs through Sept. 21 at the National Museum of African Art, 950 Independence Ave., SW. For more information, please call (202) 357-4600 or visit www.nmafa.si.edu. There are a host of free programs, such as films, musical performances, and childrenís programs and workshops, running in conjunction with the exhibition throughout the summer. Carolyn Chapman is an arts writer for The Washington Diplomat.