Tinkuy 2017: A Gathering of Textile Arts in Cusco

Tinkuy 2017, celebrated in Cusco, Peru from November 8 until November 11, began with the much anticipated parade from the Centro de Textiles Tradicionales del Cusco to the Convention Centre, where the meeting was to be held. The colorful display of tradition and exuberance was clearly felt far beyond those attending the meeting. Citizens of the Cusco region and tourists alike stopped in their tracks to watch the prideful display of traditional textile techniques, many originating from far beyond the Peruvian border.

This, the third Tinkuy, came with notable additions. Formerly subtitled the “Gathering of the Weavers”, this year it was called the “Gathering of the Textile Arts”, which meant that embroiderers and specialty dyers were included in the celebration. Also, as if celebrating traditional techniques was not enough, this year the underlying theme included celebrating the continuation of tradition by including the youth. Lectures and discussion often involved ways that village members are transmitting technical information to the younger generation and also talking about how the social relevance is conveyed and maintained. Many young people attended the meeting, particularly on the last day of the conference which included a “Passing of the Torch to the Younger Generation”, a particularly poignant moment.

Every day’s packed schedule included guest textile artist presentations, which for me were particularly interesting. At this time, the artisans had an opportunity to talk about what they are doing within their communities as they move forward, how they have formulated their future plans, and how they intend to ensure that supplies will remain available and/or their deliberate return to traditional methods. They also talked about their young people and how they are tending to them and their commitment to maintaining tradition. It was humbling to listen to the effort that they are expending in keeping their creative lives meaningful for their children.

Teaching the youth.

The keynote addresses set the backdrop for the conference and tied the evidence that we were seeing around us to the textiles’ long and extensive history. That perspective really was essential, forcing the conference participants to take a deep breath and try to understand the magnitude of all that was around them.

The schedule included time for demonstrations and workshops every day. This time clearly pointed to the unspoken theme of Tinkuy – the cross pollination of ideas and techniques. This happened at so many levels – from one culture and/or village to another, from one specialty to another, from one fiber-type to another, from one country to another – and it was all truly magical.  People had come from many villages within Peru, as well as other countries within South America, such as Ecuador, Bolivia, Chile, Argentina, and Brazil. Traditional artists from Guatemala, Mexico, the United States, Canada, Afghanistan, India and Laos also attended.

People gave so much of themselves, often with so much thankfulness. Sometimes the gift came in the form of a song, sometimes in the form of a dance. Tinkuy 2017 was a special time of color, textiles, dance, music, learning and inspiration. Thank you CTTC and ATA!!

Thanks Teena for sharing your wonderful experience with all of us!

Textile Teena in her element!

Norma Schafer: Guide for the WARP Conference 2017 in Oaxaca Mexico

As we approach the 2017 WARP annual meeting in Oaxaca, I wanted to feature Norma Schafer on the blog. Norma is a cultural navigator who lives and works in Oaxaca. She has close relationships with indigenous artisans in her community and develops travel programs that are focused around textile traditions. And she is WARP’s cultural navigator for our 2017 meeting.

The annual meeting will run June 8-11 in Oaxaca. More information and registration can be found here.

Norma is both a fiber artist and photographer who has worked extensively in university administration positions. She has been the executive director of Oaxaca Cultural Navigator LLC since 2006. Norma is assisting WARP with the development of the two-day program which is posted on the WARP website. Highlights include keynote speaker Marta Turok, an applied anthropologist who focuses on socio-economic artisan development in Mexico. She is considered one of the foremost experts on Mexican Folk Art.

Norma has also arranged for a Saturday program of visits to artisan studios with demonstrations and discussion of the natural dye tradition in Oaxaca, Mexico. Participants will meet weavers of rugs, home goods, handbags and clothing in their home studios where we will see the weavers working on the flying shuttle loom and tapestry loom, as well as doing traditional carding, spinning and dyeing methods using cochineal, indigo and other local plant sources.

 

Norma writes:

“I am committed to preserving the arts and cultural traditions of indigenous people who have lived in the Oaxaca Valley for over 8,000 years. My vision is to facilitate intercultural exchange programs with Oaxaca artists and artisans and to broaden opportunities for visitors to have authentic, personal learning experiences in Oaxaca.”

“I’m excited to welcome WARP members to Oaxaca for this very special textile event. It’s going to be a great weekend that includes visits to artisan home studios where weavers work only in natural dyes. I want to add that despite the inflammatory political rhetoric flying around about Mexico from the newly elected US administration, Mexico is safe and welcoming. I am in Mexico City now, and everyone I meet in shops and on the street tell me how happy they are I am here. Oaxaca is very safe and secure. It is a walking town with large pedestrian avenues and depends on tourism to keep the work of our artisans vibrant. We have a robust ex-pat community and we all feel safe and supported.
I would encourage all who are thinking about coming to hesitate no further. It is a wonderful time to be in Mexico with the strength of the U.S. dollar. Our textile artisans welcome you and need your support.
Plus, we have an outstanding program that will stimulate your senses!
Bienvenidas,
Norma Schafer, Oaxaca Cultural Navigator LLC”

Textile Education in Public Schools

In November, my fellow CSU student, Joe, and I delivered an interdisciplinary textile education workshop to the Colorado Art Educators Association in Breckenridge.

 

Joe is about to complete his degree in Chemistry education, and I am half-way through my MFA in Fibers. We combined our interests in chemistry and textiles to create a lesson plan that art teachers can use in their classrooms for ages 10-18. The textile portion of this workshop was a lesson in dyeing with indigo and using shibori resist methods. Although textiles make up very little of most K-12 art classroom curriculum, many textile techniques are dynamically helpful for children to learn skills in math, science and design thinking.

 

In our workshop, Joe and I discussed the origins of indigo dyeing and explained the difference between indigo that is processed from the plant, and pre-reduced indigo. We chose to demonstrate the use of pre-reduced indigo because of its ease of use as well as the fact that it requires much less harsh chemicals.

This tension between ease of use and preservation of tradition, gave Joe and I the opportunity to suggest questions that art educators may ask their older students in order to look deeper into these issues. We discussed the effects of synthetic indigo on the economies of communities that used to produce plant-based indigo and how this affects the stability of the tradition in those regions.

 

 

My favorite part of teaching indigo dyeing is watching the faces of first-timers as the fabric is removed from the dye-pot and slowly turns from green to blue. During the workshop, I demonstrated stirring techniques that keep oxygen out of the dye-pot while Joe described why oxygen is reduced in the dye-pot, and how oxygen changes the color of the fabric when it is taken out of the dye-pot.

 

The art educators that came to our workshops were eager to learn and put our ideas into practice in their classrooms. I’m excited to see what students learn through the rich and challenging tradition of Indigo dyeing.

Textiles and Economic Development in Ghana

This month Jackie Abrams is our guest blogger. She writes about her work with textiles and economic development in Ghana and how it has impacted her basketry.

 

My earliest recollection of being intrigued with Africa was in 3rd or 4th grade. I built an African village as a class project. I remember one of the huts – cardboard wrapped with raffia. I kept that hut with me for many years but somewhere along the way it got lost.

 

In the 1970’s, I started to collect African baskets, and books of West African painted mud homes. They spoke to me in so many ways. Both the colors and the designs started to influence some of my work. One piece in particular caught the eye of a good friend and fellow WARP member, Steve Csipke. We recognized our mutual interest in Africa. He was the man who helped my dream of working in Africa become a reality.

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My first trip was in 2005. I had the incredible good fortune to make eight trips to Africa, most often to Ghana, primarily for the purpose of helping to develop micro-craft industries with women. My last three trips, in 2008 and 2009, were in the town of Pokuase, Ghana, teaching women to crochet bags using discarded plastic bags. The goal was for their crocheting enterprise to be sustainable and for them to be able to sell their work without being dependent on me. This project was possible because of the existence of Global Mamas which is a wonderful organization that supports women making handmade products. I would say we were moderately successful in achieving our goal.

 

I learned an enormous amount about fair trade, cultural mores, and how much I will never understand about Ghanaian culture. These trips changed my life and my (art) work. The word, “simplify,” best describes these changes. I could plainly see that having any kind of joy in one’s life was not dependent on ‘stuff.’ We need enough, but we don’t really need more than that. (Who can define ‘enough’?) I feel the same about my work. I have moved away from complex forms and techniques, challenging myself to express what I want to express with more simple / straightforward techniques and materials.

I was most intrigued by the women I worked with. Informed by their lives, fabrics, and stories,  my “Women Forms” series began to develop. Each vessel tells the story of a woman. Some of them stand alone, either in strength or in sorrow. Others rejoice in the company of other women – daughters, sisters, mothers, friends. The forms contain and are shaped by the woman’s layers of experience. The inside of each piece reflects her inner strengths – strengths not always visible, that may require careful looking.

 

Textiles and economic development in ghana
Jackie Abrams

I went to Africa with the hope of enabling the women I met to create better lives for themselves and their families. In the process, they did the same for me.

Jackie Abrams just ended her term as a WARP board member. After many years as a travelling instructor, she now focuses her time on her studio practice.

Please enjoy more information about Jackie’s beautiful work at- www.jackieabrams.com

And many more stories at- http://www.jackieabrams.com/africa.html

Catharine Ellis at Growing Color-Natural Dyes Symposium

WARP member, Catharine Ellis, will speak at the event Growing Color- Natural Dyes From Plants Symposium in North Carolina.

 

The Growing Color Event

This event will be hosted by the North Carolina Arboretum. Here’s how to get involved if you are near Asheville!

Where: The North Carolina Arboretum, 100 Frederick Law Olmsted Way, Asheville, NC 28806-9315

When: November 5, 2016

Timing: 9:00 am – 4:00 pm

Admission: Registration Fee: $70 Member/$75 Non-Member

Catharine, Sarah Bellos and Ashley Case are the featured speakers for this event. Anne de la Sayette is the keynote speaker. Along with the speakers, there will also be vendors and exhibits. Find out more and register here.

A little bit about Catharine

Catharine taught the professional textile program at Haywood Community College for 30 years. Since retirement she has continued to learn and to teach, researching and developing new applications for the use of natural dyes in her own textiles and her classes.  The study of natural colorants has taken her to France, where she has assisted in the filming of the Natural Dye Workshop DVD’s with Michel Garcia, to India for a natural dye master class with Maiwa Handprints, and to China, where she recently completed a residency at the Jinze Art Center.

Natural Dyes

Catharine has always combined both weaving and dyeing in her work and is the author of Woven Shibori, with a new, updated version of the book focused on natural dyes, released in 2016.

After attending the 2012 WARP conference in Boulder CO Catharine and Donna Brown, in collaboration with Debra Chandler and Mayan Hands, began a project to teach natural dying in Guatemala. More details of that project can be read in an article published by The Journal for Weavers, Spinners, and Dyers.

http://www.ellistextiles.com/media/journal_natural_dye_project.pdf

Catharine serves on the Board of Directors of the Textile Society of America in addition to being the founder of the Western North Carolina Textile Study Group. Currently, Catharine is working on a book on natural dyeing, with co-author, Joy Boutrup. It is intended to be a handbook for the studio dyer.  Schiffer Press will publish the book.

Where to find more of Catharine’s Work

Website: http://www.ellistextiles.com/resources/ 

Blog: https://blog.ellistextiles.com 

 

Traditions of Slow Clothing in Central Mexico

This is a guest post on slow clothing by author and textile collector Sheri Brautigam.

The concept of slow clothing – hand-made artisan clothing – has been a reality for most of the world until very recently. Commercial goods either weren’t available or too expensive for people in developing countries to buy, so making your own garments from cloth you had woven, or even further back, animal skin you had scraped and cured was the norm.

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Natural Dyers Gather around the Dyepot. Photo Credit Sheri Brautigam

Has it become a buzz word now because we have become aware of the realities of sweat shops in Asia, employing mostly women, who work long hours under wretched conditions to be paid very little per piece they construct? All this so we can buy a dress for $19.99? Our American culture has the luxury of asking these questions because we have options. But the real question is: Are we willing to pay a fair wage to someone to construct our clothing and are we willing to wear it day in and day out like most of the world?

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Mazahua women in Naturally Dyed Quechquemitl Capes. Photo credit Sheri Brautigam

Either it was pure luck or my destiny to end up in an area of central Mexico with spectacularly dressed Mazahua indigenous women, who appeared at the market and on special religious holiday occasions. After several such encounters I decided to find out who they were and found my way out to their little town. Unbeknownst to me, I was about to experience ‘REAL slow clothing’. Were these brightly dyed handwoven embroidered garments for sale? I was told they were very difficult to make and probably weren’t for sale, but there was a revival project going on to teach some of the techniques necessary to make the elaborate and heavy costume.

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Regina being tied into her skirt. Photo credit Sheri Brautigam

This visit turned into a several month documentation of a very old ‘traje’/costume made of hand spun wool, which was then dyed with natural indigo, cochineal, and wild marigolds. The skirt length was easily 3 yards long, woven on a back-strap loom and weighed close to 15 lbs. The top was a small poncho type caplet called a ‘quechquemitl’ – very unique to central Mexico but with antecedents way back to pre-Columbian times. The Mazahua ladies were on the verge of losing the skills necessary to make these ‘trajes’ which are an important part of their cultural identity but worn now mainly for their ceremonies and festivals.

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Spinner using a drop spindle to process wool. Photo Credit Sheri Brautigam

The story goes, that a young Mazahua girl, in order to take her place in the community as a woman/adult, needed to hand-spin the wool for her traditional ‘traje’. This probably took a bit of time as the two pieces weigh close to 15 lbs. She didn’t necessarily need to know how to weave but needed to promise something in return ‘treque’ /exchange- some thing she could do or had, perhaps (chickens?) to trade the woman weaver. Then it needed to be sewn together and embroidered on the edges. Perhaps her grandmother did that for her. After all it was 18 feet and had to be finished at each end. A ‘traje’ went through ‘mucho manos’/many hands and usually took at least a year to make.

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Weaver using a back-strap loom to weave skirt panel. Two panels of this size will be sewn together to create the full skirt. Photo credit Sheri Brautigam

Today very few young girls are drawn to learning the skills to make this costume, so they borrow their relatives older pieces for the fiestas. Sadly there is acrylic knock-off material that mimics the fine stripes and colors of the heavier hand woven skirts. It’s now popular and the go-to material if you need a skirt as they are so much lighter to wear and so affordable.

Will REALLY slow clothing survive in this Mexican Mazahua village? There will be a semblance of the highly complex and laborious costume because after all this is how they identify themselves and their community from other Mazahua.

 A years worth of labor passing through many hands to make one spectacular costume!

REALLY slow clothing. Would you be willing to pay to have them made?

Sheri Brautigam is a collector, and documenter of traditional textiles of Mexico. She was training Mexican English teachers when she first started following her textile passion and visiting many famous Fiestas, artisan fairs and markets all over Mexico.

cover-webShe has just published: “Textile Fiestas of Mexico – a travelers guide to Celebrations, Markets and Smart Shopping” – THRUMS – available on Amazon.

Visit her blog to learn more about slow clothes and Mexican Textiles: 

 http://livingtextilesofmexico.wordpress.com

Etsy Shop for collector textiles:

www.etsy.com/shop/livingtextiles

Tajikistan Bound Part Two: The Program

This is part two of a post by Cindy Lair’s, Chair of the WARP board, efforts to get a loom to Tajikistan. In the previous post, Cindy talked about helping to get a donated (nonfunctioning) loom to Tajikistan. The loom was destined to assist a group of rural women who weave incredible mohair blanks. Before she tackled the loom project, she wanted to learn as much as possible about the program that would ultimately make use of the loom. By studying this one project, Cindy gives us an insight into the intricacies of international development. To see more photos from the project, visit our Pinterest Page.

Tajikistan shepherds show off their colored angora goats.  Photos Courtesy of Marilyn Murphy
Tajikistan shepherds show off their colored angora goats. Photos Courtesy of Libra Brent

The project in Tajikistan focused on a small group of shepherds in the mountainous regions of the country. An effort to improve their breeding stock for fleece weight and quality and to establish small scale fiber processing was started by Dr. Liba Brent, a sociologist from Madison, Wisconsin, under the auspices of the International Fund for Agricultural Development (IFAD).

Fleece for sale.
Fleece for sale.

Hang with me here, there are a lot of long names and complicated cooperative relationships. The IFAD is a specialized agency of the United Nations dedicated to eradicating rural poverty in developing countries. The IFAD has many different grant programs available to fund agricultural related development. One of the available grants is the Community Action in Integrated and Market Oriented Feed-Livestock Production in Central and South Asia. The International Center for Agricultural Research in Dry Areas (ICARDA) is part of a global partnership under the umbrella of the Consultative Group on International Agricultural Research (CGIAR) applied for and received the Feed-Livestock Production grant. ICARDA’s involvement in the region attracted the attention of the Mountain Societies Development Support Programme, a branch of the Aga Khan Development Network dedicated to improving the life of the people of the mountainous oblasts of Tajikistan.

Collectively, all these complicated funding, research, and development agencies and organizations were seeking to promote the rights of women through increased skill development and access to global markets and income opportunities. In particular, one focus of ICARDA’s is value chain management for sheep and goat farming communities in Central Asia. Value chain managment—also called value added agriculture—focus on creating more value at the “farm” gate, so that producers receive more money for their good. Value is added transforming raw goods into finished projects by increasing the quality of the goods that may already be in production.

A spinner transforms mohair fiber into yarn.
A spinner transforms mohair fiber into yarn.

In the past three years, these collective efforts, have raised the income of participating families by as much as 50%. For example, in 2010, Dr. Brent arranged for semen from the top buck at the 30th Annual Angora Goat Performance Test Sale in Texas. This buck’s clean fleece weight produced 13.1 pounds of fiber with a lock length of 7.2 inches! This hearty fellow helped improve the fiber of the Tajik goats. In turn, the women of the village transform the improved fleece into yarn that they used to weave higher quality blankets. These efforts enhanced women’s standing in their families by enabling them to become wage earners.

As I learned more about this project it became closer to my heart, since a large portion of the project involved not just weaving, but spinning, as well. It motivated me to do my part to get them better tools to support their families.  Since they only had one loom that ten weavers had to share, sending them an additional loom essentially allowed them to double their production.  How’s that for impact, and all of this was accomplished without every leaving my community.

To purchase yarn from Tajikistan, click here.

For more information about the funding agencies, visit these websites:

IFAD www.ifad.org

ICARDA www.icard.org

Aga Khan Foundation www.akdn.org

To learn more about projects like these, like WARP’s Facebook page. To learn more about WARP, visit our website. To see more photos from Tajikistan, visit our Pinterest page.

The Road from Guatemala to Santa Fe

Recently the Cooperativa de Alfombras de Mujeres Maya en Guatemala (Maya Women’s Rug Hooking Cooperative of Guatemala) was accepted into the 2014 International Folk Art Market, July 11 – 14. We spoke to one of their delegates to this year’s market. Reyna Pretzantzin is thirty-one years old and attends Rafael Landivar University studying for her bachelor’s degree in Business Administration. She divides her time between managing the Cooperative, running a bookstore in her hometown, and working as a consultant connecting highly skilled artisans to exporters specializing in craft development. Reyna has over five years’ experience of working in product development and fair trade with indigenous Maya women. She speaks English, Spanish, and Kaqchikel fluently. Here is what she said about getting to Santa Fe. 

Rug Hookers Meet in Panajachel
Rug Hookers from the many different groups that make up the Guatemalan Rug Hooking Cooperative meet in Panajachel, Guatemala. Photo by Rachel Green

How did you learn about the Folk Art Market?
Artisans from Guatemala have been participating in the Folk Art Market (FAM) for many years now. We learned about it from other weavers and embroiderers.  It is one of the most prestigious folk art events in the world, and it has been a dream of ours to participate and share our hooked rugs with the world.

Was applying for the Market difficult?
Since I speak English, Spanish, and Kaqchikel fluently, the women could share their thoughts and ideas with me, and I could incorporate them into the application.  We know that the organisers are very selective, so we worked very hard on our application and are delighted that we have been chosen.

What is the history of the Cooperative?

The Cooperativa de Alfombras de Mujeres Maya en Guatemala grew from Mary Anne Wise and Jody Slocum’s, co-founders of Cultural Cloth (www.culturalcloth.com), original rug hooking project in Guatemala. Mary Anne Wise gave her first rug hooking workshop in Guatemala in June 2009. Its success led to other workshops where she taught students more advanced techniques. In 2012, the Delta Foundation supported a  Rug Hooking Teacher Training Program. A core group of seven women were trained to teach others rug hooking techniques. Today, over fifty women from six highland villages are rug hooking, and we have organized ourselves into a cooperative. Our folk art combines the art of rug hooking with design elements and colors inspired by motifs present in the traditional clothing, folklore, and culture of Guatemala.

Yolana Calgua Delegate to the Folk Art Market
Yolanda Calgua (left) discussing design with a new student Estella Alvarado from the Totonicipan rug hooking group. Photo by Rachel Green

Tell us a bit about your other delegate.

Yolanda Calgua is thirty-four years old, married with two children. She lives in the rural community of Quiejel, Chichicastenango. She has helped many women in her community realize their potential. She believes strongly in the power of women to bring about positive social change. Everyone who has met Yolanda has been struck by her energy, vitality, and motivation, she is truly an inspiring woman. Two years ago potable water came to her village. Income from the sale of her rugs allowed her to buy  the faucets and piping for six families to tap into the pipe.

Of rug hooking she says, “it is a privilege to be a rug hooking teacher and bring this opportunity to women in other communities. My hope is that they can make a better life for themselves and their children.” She still remembers hooking her first rug; it was made in memory of her grandmother and incorporated designs she remembers from her grandmother’s huipil (the traditional blouse worn by indigenous woman in Guatemala).  Rug Hooking is also something that fits around her life as a wife and mother.

 The Guatemalan Rug Hooking Cooperative is working on setting up a website.  If you would like to get in touch e-mail rughooking.guatemala@gmail.com. To see their work visit, Cultural Cloth’s website.