Connecting with Young Members

Nicole Giacomantonio, our young WARP member from Nova Scotia, shares her experience at the annual meeting in Decorah, her reasons for embracing our group of textile enthusiasts and her hopes for the future…Judy Newland

An Adventure in Iowa

Iowa was beautiful, and Decorah was truthfully a place I never expected to find myself. I thought it great to have the opportunity to go out of the way to spend time in such a lovely town. I loved experiencing the textile culture specific to the area, especially visiting the local yarn shop, I googled it before even arriving in Decorah. I probably spent 40 minutes in there agonizing over how many skeins of locally dyed yarn I could justify buying (I showed amazing restraint and settled on just one). I found the speakers this year to be very compelling. The Alice Brown Memorial Scholarship winners gave incredible talks, and hearing them speak was a highlight of the meeting for me.

The visit to the Seed Savers Exchange truly resonated with me – I have very strong family ties, and a lot of our tradition is surrounding food. Passing seeds on to family members is such a romantic tradition; I was inspired by the stories of veggies being brought overseas with moving families. I connect this with my interest in conservation as well. The seeds are important objects of cultural heritage that should be preserved for other generations to enjoy.

Why Weave A Real Peace? Support is Everything!

I was overwhelmed with the amount of support I received from the WARP organization and from its individual members in Oaxaca last year. The connections that developed during that meeting were, and continue to be, very inspiring and enriching as I explore the paths I can take in working with textiles in my own life. It was important to me to keep those relationships strong and to show my appreciation for the organization and the people that showed me so much love right from the beginning. Not to mention the fact that the meetings are so fun and engaging, with so many opportunities to learn from and along side those who share my passion for textiles.

The connections I made during the two conferences I attended had an incredible affect on me, and I was honoured to receive so much encouragement from WARP members. I want to stay involved in WARP for many reasons. I want to show WARP the same support that the organization has shown me over the past two years. I also want to help the organization to grow and adapt, to diversify and to usher in new and younger members. Being a member of WARP provides a great opportunity to explore the many and varying ways of working with textiles and cultural heritage, and to begin exploring ways I can act as an advocate for the preservation and conservation of textile traditions both at home and abroad.

Looking Ahead

I hope for growth and diversification of the WARP organization. I also hope to keep engaging in conversations about conservation, preservation, and the responsibility we as textile enthusiasts and artists have to the owners and makers of the ethnographic textiles and cultural heritage that we support and celebrate, but that is not necessarily our own. I hope that we as an organization work to celebrate these traditions of culture and art, but also think critically of our involvement in it.

I am in the middle of creating a naturally dyed quilt. I was hoping to finish it by the end of the summer… but here we are in mid August and I’ve barely finished the top. Oh well. However, I have almost finished knitting a sweater! So, cross your fingers that I finish SOMETHING by the end of August.

I’ll be moving to Scotland in the fall! I was accepted to the Master of Textile Conservation program at the University of Glasgow. A big move, but I am very excited.

Textile conservation students at the University of Glasgow.


Nicole is managing our Instagram account. Look for important information on this coming soon….


Weaving a Life and Connecting With A New Community

This month Hellen Ascoli is sharing her experience at the annual meeting in Decorah. She gave a wonderful presentation about her work as the Director of Education at Ixchel Museum of Indigenous Dress in Guatemala. She now lives in Madison, Wisconsin. Here is Hellen with new WARP friends and this is her story… (judy newland)


A couple months ago a friend, a fellow Madison Weaver’s Guild member, Char Thompson, sent me an email to apply for the Alice Brown Memorial Scholarship to attend this year’s WARP meeting in Decorah, Iowa. Having recently moved to Madison, WI from Guatemala this email and the following scholarship couldn’t have been better timed!

Let me tell you a little about myself:

From 2010 – 2012 I received my M.F.A. from the School of the Art Institute of Chicago.

I had applied with the precise purpose of returning to Guatemala, my home country, and putting into action what I had learned. My art practice centered around weaving on the back strap loom as a way to bring together my interests in identity and materiality. I balanced my work as Director of Education at Ixchel Museum of Indigenous Dress while also teaching art through diverse disciplines at Francisco Marroquín University and at Fundación Paiz (a private cultural foundation in Guatemala that offers classes in visual and performing arts and hosts the Paiz Biennial).

During those five years I was slowly building the life I had set out to make, one where I could weave together my interests between Art, Craft and Education. However, as many WARP members might know, Guatemala offers a lot of opportunities, but it can also be a hard place. Sadly in 2017, after the loss of my brother to violence, my husband and I made the difficult decision to move back to the United States. Regarding my practice I felt that leaving the country where so much of my work is embedded would just feel like another loss.

For several months I had been searching for a community in the United States that also wanted to have an integrated life. The community I wanted was made up of those that understood the richness that exists when different aspects of life are woven together and rooted in a place, a community or a tradition.

As I walked into the WARP conference, I immediately felt in the right place. The first person I bumped into was Deborah Chandler who I had briefly met through Museo Ixchel in Guatemala. It was exciting not only to see someone from home, but also to learn about the specific ways other’s work here in the United States is connecting to places like Guatemala. There were so many examples to draw from that creatively brought together aspects of craft and connected it to communities locally and globally.

Not even two days later after the conference I met Susan Weltman, Marilyn Anderson and Lynn Persson for lunch in Madison and they generously offered me ideas on how to keep growing professionally. As I sit down to type an email buzzes through from WARP member Nicole Giacomantonio, and I am excited to share my artwork with her and follow up on her travels. Another email dings in from Marilyn Anderson and I am exited at the prospect of interviewing her for a potential article. This past month I have looked at the notes from the WARP conference multiple times, connected with members and regained enthusiasm to start on a new “weave”.

Reach out to our new member and scholarship winner, Hellen Ascoli, through email, FB or Google Groups. WELCOME HELLEN

Sustaining Communities Through Museums

Museums have helped support cultural diversity in the US by collecting and preserving artifacts and documents from immigrants around the world. During the annual meeting June 7-10, we will visit the Vesterheim Museum in Decorah, which houses a collection of fine arts and folks arts made by Norwegian immigrants and their descendants.

Preserved History

The museum collection started in 1877 to assist Luther College students in their studies. Within a few years the faculty and alums of the college decided the focus of the collection would be the material culture of Norwegian immigrants. In 1964 the museum became an independent institution, The Vesterheim Norwegian-American Museum. History comes alive when you enter the main building and see an immigrant log house from 1853, fabulous woven tapestries and a 25-foot wooden sailboat.

Culture Change

Norwegian immigrants used the word “vesterheim” to refer to their western home in America when writing to those still living in Norway. Imagine how different their new life was in a little corner of Iowa. The museum has emphasized the diverse backgrounds and experiences of Norwegian emigrants, using the material culture from the old country and the new to tell a story of identity, faith and beauty. The objects, such as costumes, paintings, silver wedding crowns and carved butter molds, speak the colorful stories of the ancestors and those who journeyed into a new world.

Textile Treasures

Norwegian museums gifted important textile collections to the Vesterheim in 1925. The textile collection now numbers 5,500 and includes clothing, household textiles and decorative items. They came from rural and city areas and the collections reflect these differences. Examples include embroidered samplers made by young women attending needlework schools in cities, as well as bedding, weaving and spinning tools…and those wonderful mittens!!

Other collections and experiences at the Vesterheim Museum

In addition to textiles, one can view a diverse collection of decorative woodcarving, fine arts, Norwegian metalworking, rosemaling and decorative paintings. Many of these objects can be viewed online in the museum’s virtual galleries. Books, photos and archives relating to the art and artifacts round out the collection. The museum offers more than exhibitions of objects. Visitors can take fiber arts classes, attend textile symposia and even textile study tours to Norway.

Sunset on the old farmstead in north central Iowa where I grew up.

What does it mean to celebrate culture in Iowa?

I am an Iowa native and museum anthropologist, but no road has yet taken me to the Vesterheim Museum. Sometimes the best things are right in our own backyard and we miss them for all of the tall corn in the way! I left my Iowa farmstead years ago for the rolling hills of Eastern Washington. I have lived in five different states, Colorado twice. And yet, returning to the land where I grew up offers another new perspective on creating a connected textile community. We will learn about sustaining our environment, our multifaceted culture in the US and each other. Let’s get this show on the road! The Tradewind awaits our arrival…



Connecting to WARP Leadership

Our April blog introduces you to a new board member and two nominees. Janice G Knausenberger will fulfill the term left open by the resignation of Devik Wyman. Mariana Mace and Carrie Miller have been nominated to run for two open board positions and if approved by the membership in June, both will serve on the WARP board for three-year terms.

Janice shares her story…
I have always loved plants, nature, art and needed to keep my hands busy. I grew up in California, where I graduated from Cal Poly, San Luis Obispo, in Biology. I received my Master’s in Entomology from Virginia Tech. While there, I took short courses in basics of weaving and spinning, courses that helped change my life. We then moved to St. Croix, USVI, where we began raising our family. After a health crisis, weaving became my source of self-expression and creativity. I also taught weaving at a local high school.

In 2000, we moved to Kenya where I mostly worked with Kenyan weavers in techniques, production and design while I continued to produce new pieces on my own looms. I also consulted with ICIPE (International Consortium of Insect Physiology and Ecology) in Nairobi on silk. In 2008, Laura Lemunyete and my article on the Revival of Rendille/Samburu Baskets of Northern Kenya was published by the Kenya Museum Society. My years in Africa were filled with discovery, inspiration, and new friends.

In the summer of 2010, we returned to Maryland where I was later elected to be president of the Weaver’s Guild of Greater Baltimore. I continue to create art through my weavings, pushing limits and exhibiting and selling my work. I continue to travel to Kenya to see friends and consult with weavers there. I am energized when others share what they know in the fiber arts and love sharing what I know.

What I bring to WARP
I am most comfortable in groups of mixed ages and cultures. I embrace the fact that WARP reaches out to youth. I hope we can more heartily find ways to learn from and encourage groups who bring different ways of seeing the fiber arts and weaving. I am particularly interested in weaving from the continent of Africa…Janice


Meet Mariana Mace…
I have been a loom weaver for almost fifty years and a basket weaver for more than twenty. I enjoy collecting or creating the materials I use, going out in the woods to pull bark from cedar trees and grub in the dirt for spruce root or tules. The weaving that travels through my loom is inspired by my handspun or hand dyed yarns.

Working with my hands connects me to family – to the aunt who taught me to knit, the parents who encouraged me to bead, the daughter who wound skeins and balls of yarn for my weaving, and the granddaughters who learn basketry from me. Handwork also connects me to artisans of other times and other cultures. I’ve loved collecting and then re-gifting world textiles for a very long time. My goal is to respectfully use some traditional ideas, materials and techniques in my own way, in my own work, creating new art from old traditions.

My academic background is in anthropology, textiles, Native American art history and museology. I was a special Education teacher and testing specialist for fifteen years. Then I became involved with the Jensen Arctic Museum at Western Oregon University as a volunteer, board member and finally curator/director for fifteen years until I retired.

I became a WARP member very early on. I remember being totally awestruck at the breadth of experience and commitment that was evident from the first conference I attended. I’ve been a delighted witness to the influx of new and younger members, especially the students. It would be a pleasure to serve on the board…Mariana


Connect with Carrie…
Carrie Miller is a textile artist and sculptor currently living in Colorado. Her working process and material curiosity are the products of an untamed childhood that she hopes to pass on to her daughter. Growing up on a farm, Carrie was constantly exposed to new life, death and whatever could be accomplished in between. Her time was split between adventures in horseback riding, backwoods archaeology and whole days hunkered down behind her sewing machine. The rhythm of this lifestyle is the source of Carrie’s enthusiasm for the challenge to find and make tools, learn new techniques and manifest a plan.

Carrie was trained as a seamstress and she pursued design and art simultaneously throughout her undergraduate degree. She has been an art instructor, in a variety of capacities, to students of all ages. Carrie is the current Fibers Graduate Teaching Assistant at Colorado State University and will be graduating with her MFA in May 2018.

Her recent professional projects include assisting with the curation of a historic bridal exhibition at the Avenir Museum of Design and Merchandising and interning with the non-profit organization, Weave a Real Peace. Carrie was the 2017 recipient of the Charlie and Gwen Hattchette Creativity Scholarship and the Handweavers Guild of America’s HGA scholarship. Her work was recently featured on the cover of Shuttle Spindle Dyepot magazine and accepted to Scythia, the 12th Biennial International Textile Exhibition in Ukraine.

My Body at Home, 2017; organza, pigment dye, thread.

My interest in being a board member
Part of my internship with WARP was researching and writing a Young Members Initiative. Through this process, I was able to participate in a strategic planning meeting with the WARP board. I was very inspired by all the behind-the-scenes enthusiasm for the continued health of the organization.

Bandage, 2017, handwoven yarn, rust dye, acid dye.

As a WARP board member I would look forward to being a liaison to other young members. I have several ideas for projects that could build on the Young Members Initiative. One of these ideas is writing a grant to fund a textile education project that young members would lead in their local neighborhoods. The goal would be to provide funding for young professionals to gain experience while they facilitate WARP’s mission of creating connected textile communities. I feel purposeful and comfortable in the WARP community and would be so honored to be a board member of this organization…Carrie

Carrie Miller





The Making of THREADS: Kantha Behind-the-Scenes in Bangladesh

This month I would like to share a blog I recently wrote for ClothRoads about the documentary film project our WARP member, Cathy Stevulak, produced in Bangladesh. Cathy has an article in the current newsletter.

The film THREADS is a story of kantha cloth and women. Kantha is an ancient form of hand-stitch embroidery originating in the Indian sub-continent (Bangladesh, West Bengal and Bihar regions). Kantha refers to the indigenous quilt form and to the running stitch itself, which gives the cloth the wrinkly appearance that is characteristic of kantha. We thought it might be fun to take you behind the scenes to see how this documentary film evolved.

The Making of a Documentary Film

Did you ever wonder how documentary films are made? The vision just seems to appear on the screen as if by magic. The film, THREADS, tells a story of inspiration, determination and liberation about how one woman, Surayia Rahman, transformed the lives of artisan women in Bangladesh. But the production of the film THREADS is also an inspired story put together by a group of dedicated people who succeed through hard work and a little serendipity. This documentary film, by Canadian filmmaker Cathy Stevulak, has an intriguing behind-the-scenes production story.

Finding the story

Good stories do not just fall in one’s lap. Cathy first heard about “ a woman with gray hair who does remarkable embroidery work” from a museum volunteer in a gift shop. She eventually found Surayia during her stay in Bangladesh, but it was years later, after a suggestion by a professor that Cathy began to think about creating a documentary film to help raise awareness of the importance and impact of global artisanship.

Filming in Bangladesh

Challenges were daunting despite having collected a talented and experienced film crew from Bangladesh. One of the biggest was the fact that Surayia was quite elderly and not in the best of health. She rarely left her house or her favorite chair, so action shots were not in the cards. Gathering the artisans she worked with meant juggling schedules and navigating politically motivated strikes. Surayia’s modest home was surrounded by constant city activity and the noise in Dhaka was ever present. Some sound recording had to be done at night after much of the day’s activity was over.

Searching the world for art

Most of the art Surayia and the artisans had made over the decades had been sold to foreign visitors or gifted by the Government of Bangladesh to dignitaries of other countries. Tracking the art down took four years of detective work. But enough artwork was eventually found on five continents to provide the high quality art images needed for the film. As with so many projects, serendipity came into play time and again. Letters arrived in the mail at just the right time and patrons were found who filled out the storyline.

Why does it matter?

Screenings across the world have inspired others through the story of Surayia and her dedicated group of women artisans. At a screening in Dhaka, a young girl from a poor area wondered if she could learn how to do this “famous kantha”, envisioning a future where she might control her own fate.


Thanks to Cathy and her talented team for this inspiring story.
Read the ClothRoads November 2016 blog to learn more about kantha cloth. And many thanks to ClothRoads for letting me share this wonderful story with WARP members.

Spotlight on St. Louis ArtWorks by Kelsey Wiskirchen

Apprentices at St. Louis ArtWorks in the Textile Studio

St. Louis ArtWorks is a job-training program combining art and life-skills education to create opportunities for high school students through a vigorous program using the arts as a vehicle for gaining multiple skills. Teens are hired as apprentices, working closely with a teaching artist to become immersed in a specialized artistic discipline.

In-Progress Batik
Apprentice Cutting Batik Fabric for Sewing

I teach textiles, and apprentices begin by learning dyeing techniques such as batik and itajime shibori. In the first few weeks, they produce a large collection of fabrics exploring a variety of patterns and color schemes.

After creating their collections, apprentices learn machine sewing for construction and hand embroidery for embellishment. Finally, the fabrics are combined to develop a line of home goods, accessories, and decorative wall hangings. Through the processes of designing, dyeing, cutting, sewing, and finishing, each item created contains the work of multiple apprentices.

The creative work done at STL ArtWorks is a vehicle to in-depth real-world job training. For many apprentices, this is the first experience with applying to and interviewing for a formal job, receiving a paycheck, and being accountable to a work environment. The program is structured to incorporate extensive professional development – everything from introducing themselves and shaking hands when visitors come the studio, to presenting design concepts and receiving critical feedback at a client meeting. Additionally, the program includes life-skills training sessions on topics such as fiscal literacy, health and nutrition, and resume writing.

Hand-Batik Fabrics Sewn into Pillows

As stated by the organization, “The mission of St. Louis ArtWorks is to broaden educational and career opportunities for youth in the St. Louis Region through apprenticeships in the arts and through community collaborations. The organization’s goal is to create positive educational opportunities through art for youth through paid apprenticeships.” It has been incredible to witness the empowerment and confidence developed within the framework of this program. As a teaching artist, I have seen how the experience of working in this apprenticeship directly impacts the apprentices, manifesting in pride for the quality of their work and pride in themselves.

More about STL ArtWorks can be found online here.

Table Runners Made from Hand-Dyed Fabrics
Batik Fabric with Hand-Embroidery



Indigo Dyed Placemats



Apprentices Hand-Embroidering Batik Fabrics

This article was written by Kelsey Viola Wiskirchen, and shared by Judy Newland.

Kelsey Viola Wiskirchen is a textile artist & educator living in St. Louis, Missouri. She has been a member of WARP since 2010, when she was a graduate student at Arizona State University and received the Alice Brown Memorial Scholarship to attend the annual conference.  Kelsey currently teaches textiles at St. Louis ArtWorks & community workshops from her studio in St. Louis.

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!

Chiapas to Oaxaca – Textile Connections Changing Lives

For many of us a whole new world opens up when we travel. Weave A Real Peace helped two young Maya women, Claudia Pérez Pérez and Celia Arias Pérez travel from Chenalhó, Chiapas to Oaxaca for the annual meeting in June. This was only the second trip for both young women outside of Chiapas and they were deeply moved by the hugs and good feelings generated during their time with WARP members.

During our Friday meeting one of the topics we discussed was the pros and cons of outsiders wearing traditional clothing, including the huipiles of Maya tradition. Here are Claudia’s thoughts, in her own words.

We feel very comfortable when we see a foreigner wearing our blouse. We think that she isnt an egotistic woman, that she doesnt feel that she is better than us. I feel very happy to see that she wears it on her body, that she has a good heart for us. We think that she honors us, that she has great caring for us, that she gives us a lot of support.
                                                            Claudia Pérez Pérez of Tsobol Antsetik, Chiapas, México, June 2017

Both Celia and Claudia gathered ideas from our Saturday tour to several Zapotec weaving and dyeing families in Teotitlan del Valle, including new ways to talk to visitors who come to their co-op’s meeting house in Chenalhó and how they might develop a museum in their meeting house. Christine will give them a boost by returning textiles she has collected from the coop since the 80s to build a collection. I am waiting in line to share my background in museum anthropology and exhibit design – can you see my hand waving?

Upon their return to Chiapas Claudia gave an hour and a half long report on the trip. In a very Maya way she gave an hour-by-hour rundown for the entire 5 day schedule! Claudia since has taken a major step to continue her education. Since dropping out of middle school at 14 to marry she has regretted that decision, but on Saturdays she now attends a school in San Cristóbal, studying computing and English. She loves the experience and Christine is confident Claudia will become a leader of women in her community, following in her mother’s footsteps.

Celia and Claudia were a delight – new friends from Mexico to support and cherish for the work they do in their communities. Christine Eber has spent years working with the women of Chiapas and continues to offer support to them in many ways, including establishing Weaving For Justice in Las Cruses, New Mexico. We thank Christine for sharing this story of how our members create and support connected textile communities. The photos were also shared by Christine.

Celia and Claudia enjoying the Oaxaca experience.

Next month we will learn more about Weaving for Justice, a volunteer non-proift organization in Las Cruses, created to assist the members of the cooperatives in Chiapas to continue living on their ancestral lands in sustainable ways that respect their lands, language (Tsotsil), and traditions.

In the meantime, think about how you create a connected textile community – local, global or in-between and share your story with us on the WARP blog!      Judy Newland, WARP board member