“Luminous Threads” is an exhibition opening on October 9th, 2026, in Beirut, dedicated to the women of Baalbek and their renowned embroidery technique, “Tarq”. The project is powered by Creative Dialogues, curated by Majal Design School, and researched by Sage Archives (Valeria Zubieta Lupo).
Why would a Bolivian who lives in the USA want to move to Lebanon and be interested in its textile heritage?
I was initially drawn to the history of silk in Lebanon, the textile industry that was built around it, and the geopolitics surrounding it. I quickly realized that there was very little documentation and trustworthy references online. Therefore, I decided to come to Lebanon myself. I began reaching out to people, and I was blown away by what I saw. Craftsmanship is embedded in everyday life and is easily accessible. It exists on the streets and is practiced openly. I have also met with museum curators who showed me remarkable pieces hidden in storage due to a lack of funding. This stood in contrast to my experience in Turkey, where the government’s financial support plays a major role in the preservation of craft and heritage.
When did you have the “aha” moment that made you decide to be part of a project in Lebanon?
When I realized that this wonderful heritage risks being lost, because neither the government nor the public really are taking steps to ensure long term preservation. Knowledge was passed down only through word of mouth. It was in this context that I felt I could mobilize my skillset as a historian to contribute something meaningful, document, preserve, and promote what I had discovered.
This project is “Luminous Threads”. It focuses on Baalbek’s “Tarq” embroidery. What drew you to that craft and technique, in particular, rather than something else?
I was visiting the museum of the “University of Balamand”, and the curator showed me some dresses from the archives. One of them was from Baalbek and embellished by “Tarq” embroidery. Funny enough, just a couple of days earlier, I had visited Baalbek, and as a historian, I had to see the temples! However, I didn’t really see anything related to “Tarq” during my stay. So, I started inquiring about the artisans … and here we are today!
What is the first step of the conservation process? How are you planning to approach it?
Step one is researching and documenting all the stitches, patterns, and tools used in “Tarq”. We are also aiming to tell the stories of the women who practice it. At the same time, we are working to authenticate the provenance of five different pieces that we hope to present in the exhibition.
How are the “Tarq” artisans reacting to all this attention?
They are excited and happy to see interest in their work, but they are a little bit cautious and worried, and understandably so. They want to keep this craft within the community, because it is their identity at the end of the day. It is very intimate for them, and they don’t want to squander this heritage away. The tradition of passing the skills down from one generation to another, from a mother to a daughter, holds a significant weight. For these reasons, we reassured them that we are here to give them visibility, to promote their work, and not to make a profit off their backs.
What can we, the public, do to support these women?
Spread the word about the exhibition. Mark your calendars and visit us to discover and learn more about this craft that is still very much dynamic and alive. We will be waiting for you!