Rebecca Kaddy was born on Mer (previously Murray Island) in the Torres Strait and is one of many who left for mainland Australia in the 1960s and 1970s to seek better living conditions. Woven fans or totwam were prevalent during Kaddy's upbringing and, as is the tradition, her two elder sisters taught her weaving.

Totwam are traditionally constructed in a large variety of shapes from woven pandanus and coconut palm leaf. In addition to the coloured warp or weft created by dyeing the palm leaf, gathered seeds, feathers and beads are used for further decorative effect. In the works by Kaddy in the Queensland Art Gallery's Collection (Acc. nos 2003.189-190), raffia and coloured wool have been used as the warp and weft, together with commercially bought feathers, to create a striking fringe.

Author Lindsay Wilson has pointed out the importance of trade and that many of the cultural objects and traditions considered kastom, such as the totwam, are most likely to have originated in other cultures of the south-west Pacific region. The design, construction, and use of contemporary woven items, such as Kaddy's totwam, flows from a tradition based on innovation and exchange.

The environment is influential in determining the choice of materials. Seasonal change, an unforgiving environment, and overpopulation affect the availability of resources. It is difficult to access traditional natural fibres in Townsville, Queensland (where Kaddy lives) as the hot, dry climate prevents the lush growth of coconut and pandanus. In contrast, mass produced materials are readily available and are now popular amongst many Torres Strait Island weavers because of their uniformity in size, durability and range of bright, attractive, light-fast colours.