The Libyan Jard holds a unique position within intangible heritage elements. It is a living expression of cultural and social identity. It acts as a bridge. It connects traditional craftsmanship with popular knowledge. This knowledge has been passed down through generations. This craft faces challenges threatening its continuity amidst modern transformations. Calls for its protection and enhancement are growing.
Dr. Amira Ibla’u explained this context. She is a faculty member at the College of Education, University of Benghazi. She stated that the Jard is hand-woven. It uses natural wool threads. This makes it more than a traditional costume. It is a cultural vessel reflecting Libyan society’s history. It also showcases its social and aesthetic values.
She added that this craft represents a traditional household economy aspect. This is especially true in mountainous regions. Jard production supports families through spinning and weaving activities. These activities occur within a family framework. Women’s gatherings reflect a spirit of cooperation.
She also highlighted the Jard’s aesthetic dimension. Natural colors are extracted from wool. No artificial dyes are used. This reflects the local environment and suits the climate. The Jard also has functional properties. It is suitable for various climatic conditions in Libya.
Ibla’u emphasized that preserving the Libyan Jard requires a comprehensive approach. This approach goes beyond it being a traditional costume. It must be integrated into school curricula. Educational units should cover its history and manufacturing techniques. They should also address its cultural significance. Vocational training programs should be launched. These programs would focus on wool spinning. They would also cover loom preparation and hand-weaving techniques. Local artisans should be involved. This ensures the transfer of authentic knowledge. It also enhances employment opportunities, particularly in rural areas.
She stressed the important role of universities. Universities should document this craft. They should study it within applied arts and heritage studies specializations. Scientific research and academic projects should be encouraged. These projects should address raw materials and production techniques. They should also cover its social and economic dimensions. Workshops and educational exhibitions should be organized. These events allow direct interaction with this heritage.
She concluded by affirming the success of these efforts. Success depends on integrated roles among various parties. It also requires adopting a strategic vision. This vision would make the Libyan Jard a living and renewed practice. It contributes to enhancing cultural awareness. It preserves this legacy within the national memory for future generations.
Source: Libyan News Agency