Guided by a distinct more-than-human apprehension of the world, Weaving as Worlding Practices with Earth Beings (WeB) investigates design practices of co-creation in two communities. The I.N.S.E.C.T. community composed of western scholars, artists, designers, and biologists, and the Sarayaku people, an indigenous nation of the Ecuadorian Amazon with its committee of young activists, called Samaruta. Combining in situ and remote experiences, WeB creates modalities of learning and doing that emerge in shared moments with human and non-human beings and through tangible communication with clay, wood, skin, and textiles. First, artefacts transit across the two communities to demonstrate tangible, vibratory, and acoustic qualities of conncting different aesthetic worlds and the artefacts will remain in the two communities as a representation of our cross-cultural weaving.

By engaging with Sarayaku’s Kawsak Sacha (Living Forest) framework and Western scientific methodologies, WeB proposes an alternative model for knowledge exchange. This initiative does not seek to prove Indigenous knowledge through scientific validation but to create meaningful dialogues that support Indigenous environmental advocacy through interdisciplinary collaboration. Ultimately, WeB aims to establish an equitable and reciprocal mode of co-creation that challenges Western epistemological dominance and reconfigures the ways we engage with the more-than-human world.

However, despite the crucial role of co-creation in knowledge production, dominant Western frameworks often overlook Indigenous methodologies and more than-human perspectives in design and scientific research. Artefacts will travel between the Sarayaku and I.N.S.E.C.T. communities to serve as shared objects of inquiry, demonstrating vibratory, acoustic, and material properties that connect different aesthetic worlds. Rather than imposing Western scientific validation on Indigenous knowledge, WeB emphasises a reciprocal, ethical collaboration that respects the cultural frameworks of both communities. The initiative takes inspiration from the 
Sarayaku’s awana weaving tradition, recognizing it as both a craft and a knowledge system that encodes ecological and cosmological understandings.

By facilitating the movement of artefacts, WeB enables:

• Strengthening cross-cultural dialogue through material interactions.
• Demonstrating the interconnected nature of aesthetic and epistemic worlds.
• Creating educational programs that integrate Indigenous and Western knowledge 
  traditions.
• Challenging dominant European and Anglo-American models of design through more-than-human perspectives.

This initiative does not aim to translate Indigenous knowledge into Western scientific terms but to amplify and support Indigenous epistemologies through co-creative engagements and tangible exchanges.