I recently had my first weaving lessons in Dukgång and Halv Krabba. I have been studying the history of Swedish weaving, and I am from the province Skåne in Sweden, the name dukagång is a dialectical denominations from Skåne that has been universal widespread.
In dukagång the pattern may either be threaded or laid in on a stick in front of the reed, generally under 3 threads and over 1 thread throughout the warp, it is then raised against the reed and a new stick is inserted in the shed that has come up behind the reed. Rase this and move the shed behind the heddles where a broad lease stick weaving sword is placed. When a design is to be laid in this weaving sword is raised on edge quite close to the heddles, and one sees the shed that has come up in front of the reed where the inlay is made. When tabby shots are called for the weaving sword is pushed to the rear in a horizontal position to permit the treadling of tabby sheds.
HALV KRABBA, with simple geometric shapes are usually stars, diagonal squares, and a few men women more often woven in a dukagång technique. The pattern is picked up on a close shed and alternating with a tabby on a opposite shed.
On wall hangings that has been preserved and kept in archives at Stiftelsen Skånsk Hemslöjd, combinations of weaving techniques are being used as of dukagång, halvkrabba, röllakan and krabbasnår. These art weaves are very time consuming and they are becoming increasingly rare. In their present form they lack the opulent character of the original weave. Both are fill out techniques that approach röllakan in richness and variety of design. The preserved wall hangings, bed covers, or bench covers are very handsome, their surfaces completely filled in with richly worked designs. In our modern world the weaving are done with spaced designs that cry out to each other across an otherwise filled surface.
A wonderful weaving book by Gunvor Johansson Stiftelsen Skånk Hemslöjd,
Väv Skånska Allmogeävnader, this book is being translated into English and soon will be published