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….

 

Creating Connected Communities Through Seed Saving

Weavers, spinners, fiber artists and anyone working with natural fiber and cloth rely directly on seeds for fiber plants like cotton and flax. Seeds are vital in the food production for wool-producing animals like sheep and alpaca. So it is easy to imagine the importance of safe-guarding access to seeds. Seeds are the first step in our food and fiber systems.

Why seed saving is important

Saving seeds and sharing them with others has been a critical practice that helped sustain us as a species for thousands of years. Through seed saving practices, gardeners, small-scale farmers, agriculturalists and eventually small, independent seed companies specialized in open pollinated plant and crop varieties that were well suited to local environments. These practices also created a vast array of crop varieties and allowed communities to conserve, preserve, grow and promote local seed diversity and cultural heritage.

Decorah, Iowa in 2018

Attendees to WARP’s annual meeting in Decorah, Iowa (June 2018) will have a chance to visit Heritage Farm, part of Seed Savers Exchange (SSE). For over 40 years the SSE has been caring about seeds through their mission to… “conserve and promote America’s culturally diverse but endangered garden and food heritage for future generations…”. Seed Savers Exchange accomplishes this by collecting, growing and sharing heirloom seeds and plants at the farm and through a seed exchange program.

The farm curates more than 25,000 heirloom and open-pollinated vegetable, herb and plant varieties, including over 1,000 varieties of heritage apple trees. Backyard gardeners from around the world can share and exchange home-grown seeds with one another through membership in the a kind of “seed swap-meet” known as the Seed Exchange facilitated by SSE.

The importance of crop diversity

The work of SSE in maintaining plant biodiversity is vitally important today, especially in the US where a decline in crop diversity since the early 1900’s is between 75%-90%! Maintaining biodiversity is like having an insurance policy against extinction. This loss of diversity is due in part from advances in biotechnology resulting in GMO (genetically modified organism) and hybrid seeds. Multinational corporations absorb independent, regionally based seed companies to gain monopolies on seed and seed distribution. Corporations then use the notion of intellectual property rights to gain patent rights on crops containing modified traits. This directly affects farmers who no longer are allowed to exercise control over seeds produced in their fields without patent infringement and other consequences such heavy fines, lawsuits or in some extreme cases, imprisonment.

Photo courtesy of Seed Savers Exchange.

In contrast, organizations like SSE and seed libraries across the country rely on a network of growers to advance their mission as they work to keep seeds in the hands of as many people as possible. We can all create connected seed saving communities where we live.

FUN FACTS: Seed Savers Exchange currently offers 8 varieties of cotton seed (brown, green and white) and 2 varieties of rare flax seed.

READ MORE about seed saving in the October 2015 WARP blog and check out these resources:
Josie Jeffery, 2012, Seedswap: The Gardener’s Guide to Saving and Swapping Seeds, Ivy Press Limited, UK.
Suzanne Ashworth, 2002, Seed to Seed: Seed saving and growing techniques for vegetable gardeners, Seed Savers Exchange, Iowa.
Cindy Conner, 2014, Seed Libraries and Other Means of Keeping Seeds in the Hands of the People. New Society Publishers, Canada.

Special thanks to Shea Conlan of Seed Savers Exchange for her assistance with this blog.

Gail Ryser is an Andean archaeologist specializing in paleoethnobotany. She is a seed saver, gardener and active water-harvester. She will miss attending the annual meeting this year because she will be teaching students about archaeology, plants, and people during the months of May and June in Arizona and New Mexico.

 

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

 

 

 

 

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

 

Weaving Through a Garden

Weave a Real Peace members visited the Oaxaca botanical garden in June during the 2017 Annual Meeting

 Guest post written by Gail Ryser

…..

The thing that I love about visiting a botanical garden is how easily the landscapes and vistas transport you across space—to different climates and other places around the world, sometimes familiar– sometimes not. And the really cool thing about visiting an ethno-botanical garden is that you can be transported across space and time, because this kind of garden also showcases plants used by people. Such was my experience while visiting the Jardín Etnobotánico in Oaxaca City, Mexico. This city is a perfect place for such a garden; it is a UNESCO city of Culture, and is in one of the most bio-diverse regions of Mexico.

The only way to visit this garden is to be part of a guided tour. As our fabulous guide Georgina Rosas led us on winding paths through the 2 plus hectares, we learned that the creation of the garden was a collaboration between artist Francisco Toledo and anthropologist Alejandro de Ávila Blomberg; it is part of the Santa Domingo Cultural Center.

The garden is a showcase of plant diversity organized by climate zones, and of innovative and practical installation features that are prime examples of cutting edge sustainability. Renovation of the church grounds and building of the gardens included a passive rainwater catchment system that directs rainwater from the roof of adjacent buildings to an underground cistern (below a huge plaza) with a capacity of over 1 million liters. In an experimental setting a large geothermal temperature-controlled glass-greenhouse with roof access through a central stair, protects several species of plants and trees.

There is another story expressed in the plantings of the garden; one that reflects regional history and intentionally symbolizes cooperation and resistance experienced by native peoples. Domestication of corn from a grass known as Teosinte and squash began in this region around 10,000 years ago. Today, 47 of the 57 varieties of native (non-GMO) corn are in the State of Oaxaca. We are told that the garden also hosts rare and endangered species (perhaps the reason plants are not labeled). Georgina also takes us through a forest of prickly pear cacti ‘guarded’ by walls of columnar cacti. Prickly pear supports cochineal, a small insect that produces an intense red dye. The dye played a major role in the economic development of Spain during the 16th century. Only silver was a larger export from the New World to Madrid.

Thank you to Alejandro, the director of the Oaxaca Botanical Garden, for allowing WARP to use these photos.

 

Gail Ryser lives in Tucson, is an archaeologist specializing in paleoethnobotany and perishable fibers. Her research area is the central Andean coast. She is an active water-harvester, seed saver, and gardener.

PO Box 87351 Tucson, AZ 85754 glryser@gmail.com

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.

ladies-dying-web
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?

mazahua-natural-dyed-quechquemitls_capes-web
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.

regina-web
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.

spinning-web
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.

skirt-in-progress-web
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

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Thrums-1Thrums Books is a world of textiles in books and other media. Which do we love more: traditional publishing or traditional textiles? It’s a draw. Tangible books —well made, made to last, beautiful photos, thoughtful page design, deep content—we love making them. Handmade cloth—expressions of people and cultures and the timeless touch of human hands—that’s what our books are about. Thrums Books are available through our sister company, www.clothroads.com.