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September 2016 Member Appreciation!

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September 2016 Member Appreciation! Newsletter September 2016 Member Appreciation! Special “Members Only” Event Next Meeting: September 10, 2016 9:00 am The Point at CCYoung 4847 W Lawther Dr, Dallas, TX 75214 Dallas Bead Society Welcomes Glynna White For our September Meeting Project Our next meeting will be Saturday September 10th (second week due to holiday weekened). For this members-only event, DBS is having Glynna White, of Beadoholique Bead Shops, join us, teaching the bracelet shown. There is no charge to you (unless you would prefer to buy a bead kit from Glynna)! And… we’re providing lunch too! CLASS BEGINS AT 9:00AM!! Glynna will have 50 bead kits available, priced at $25 - $27, depending upon colorway. To help ensure that all who want a kit can get one, these will be limited to one per person until after lunch. Read on for kit colorways, supply details and important business meeting information! More September Meeting Details… Glynna’s kits (beads, rivolis, and wire only), will be available in the colorways shown. Come early to make sure you get your choice! To provide your own supplies, you’ll need: 1 foot of 12 G aluminum wire Delica Beads 2 or 3 Colors of size 11° Beads 2 or 3 Colors of size 15° Beads 2 twelve or fourteen millimeter Rivolis 75-85 2mm Glass Pearls or Fire Polished Beads 8 lb Fire Line or Nano Fil Size 11 or Smaller Needles Beading Surface Magnification Glasses Cutting Plier for Aluminum Wire (very soft wire) Needle Nose Plier We will conduct our business meeting while on lunch break. This will include voting for upcoming Carol Cypher classes (see additional article) and selecting our nominating committee. Please consider accepting a position on our Board! From the President’s Corner: Our Board has been working hard to plan our jam-packed fall. Can't wait to see everyone on September 10 at 9:00am. This is our party for YOU, our members. Yes, we need to start early, we have so much to do that day. Glynna White will teach her wonderful flower bracelet and I'm already looking forward to wearing it. A few rules to keep in mind: • One kit until after lunch. This assures all attendees of a kit. • Ballets and voting deposits to be turned in after lunch. We will post the winning projects on Facebook and Yahoo. I don't know if everyone knows it but we have open beading at Wild Beads, every other Tuesday (on the 1st and 3rd Tuesday). On the first Tuesday, everyone arrives about Noon and we spend several hours beading together. On the 3rd Tuesday, there is the Wild West Bead Society meeting that night, so everyone arrives about 2:00pm. Some stay for the meeting and some don't. I would like to put in a plug for the WWBS because they have great teachers and a wonderful program. Cheryl Chase is teaching a cute bracelet there on September 20. Check it out. We'd love to have you. I want to explain the voting. In the past, we've had members vote for classes when they weren't planning to take classes. Therefore, we have asked for a $20 deposit just to show your seriousness when voting for which Carol Cypher classes you want. If the class you want is planned on a day you cannot come, you will get your money back. I'm so bummed. I'm going on a cruise and I'll still be gone that weekend so cannot attend. If you have any questions, please don't hesitate to call or email me. I want to know what our members are up to and how they feel about the direction and leadership of DBS. Gina Whitlock President Upcoming Carol Cypher Classes Carol Cypher will be with us on November 12 & 13. We will be voting from the following options during our September meeting. Cosmic Waves Necklace Dreaming in Color Bracelet/Necklace Unnamed #1 Unnamed #2 Just Before Blooming Class costs will be $95 per day class or $180 for both classes. To show your commitment to the class, we ask that you bring a $20 deposit (cash or check) to accompany your vote. Should your selection not be chosen, or offered on the one day that you can attend, your $20 deposit will be refunded to you. Once the winners have been announced, you may leave your registration with Janice in an envelope. To help ensure that Janice is able to focus on the Glynna White class, registrations may not be recorded until following class (you understand!). American Indian Beadwork, New and Old By Michele Owsley Part I: Periodical, Cowboys & Indians The last couple of months have brought new information about my first seed bead passion – American Indian Beadwork. The August/September issue of Cowboys & Indians devotes almost 22 pages to the subject. The first article, written by Lois Sherr Dubin, discusses The Visual Language of Beadwork. I’m still grateful to Teresa Salas for organizing a DBS visit to the Dallas Museum of Art to meet Ms. Dubin and see the Diker beadwork collection a few years ago. In this article, Ms. Dubin struggled to select articles to illustrate her point that the beadwork represents both the cultural and spiritual beliefs of the (usually) women who created it. She selects a Creek shoulder bag from 1810-1830 that was inspired by British soldier’s ammunition pouches; a Piegan (Blackfoot) man’s buckskin shirt from the late 1800’s with large medallions; a James Bay Cree woman’s beaded hood from the 1860’s that incorporates Sky, Earth, and Lower Worlds imagery; a beaded and fiber-twined bag from 1870-80 whose pouch is only 3 inches long but whose strap represents the universe; and an 1875 Cheyenne cradleboard that reflects the maker’s wish for the baby to gain the valued traits of deer. The next article is called, “The Beading Circle.” It tells the story of a family of six Crow women, ages 17 to 79, in Montana who meet in their homes to bead together and share stories. The Crow began doing beadwork before 1805, when they only had enough beads to outline their traditional quill work. After a trading post was founded in 1806, their access to beads began to improve. Each woman brings her own project to work on, but is proud to share the piece around the table for the others to admire. The photographer/writer notes, “It’s not just about beading. It’s about togetherness and the wisdom that is shared, and it’s about a lifetime of perfecting your soul, your art, your story.” I’ll talk about the next article, “A Beading Heart,” later in this article. “Every morning, Marcus Amerman takes his coffee with him and sits down on the far right side of the sofa in the living room to go to work. The light is best there, and it’s directly across from the television, which is also important, so he can refocus his eyes from time to time to avoid eyestrain.” Thus begins the story of “Beadman.” He is quoted as saying, “It’s almost like I’m addicted to it.” I’ve seen a piece of his work in process: he applies beads in rows on top of a photograph, liberally interpreting the colors of beads to use. His subjects reflect his social-political side, such as the burning Twin Towers of 9/11 with Indians on horseback in the foreground, or soldiers jumping from helicopters in a war zone with a portrait of Crazy Horse in the center (two pieces that are in both the Smithsonian). “Beading Tradition” covers five contemporary native artists, each with a unique voice. Jamie Okuma won Best of Show at the 2000 Santa Fe Indian Market with a doll that featured miniature, historically accurate, regalia and beadwork. The story also features a picture of beaded Louboutin high heels. Karis Jackson began beading as a child and continued through a degree in the health field. Pictured with her story are striking gauntlets with her interpretation of Old Coyote’s image. Ken Williams Jr., creates beadwork that can be described as whimsical and energetic. Today he uses old techniques and materials, but shakes up the expected with, for example, the antics of SpongeBob SquarePants. Martha Berry’s beadwork “is distinctive yet classic,” incorporating the silk ribbon and wool used by her Cherokee ancestors while keeping, “the beadwork practices alive – one tiny bead at a time.” And lastly, Teri Greeves, a well-known Kiowa beader. “Even as Greeves continues to be inspired by her predecessors, she inspires others with her work and is passing the torch of an evolving tradition to artists finding both their own creative heritages and their own voices – a stringing of beads across generations.” American Indian Beadwork, New and Old (con’t) Part II: Book, A Beading Heart Inspired by the article that I skipped above, I bought a copy of A Beading Heart, The Bob and Lora Sandroni Collection. I was happy to get a first edition copy that is now out-of-print. By the time Bob Sandroni retired, he had amassed a huge collection of Plains Indian culture in his 9,000 square foot home in Lake Arrowhead, California. In 2007 fire swept through the area and claimed the house and its contents. They looked ahead and moved forward. Since then the Sandroni’s have collected, in addition to Eastern Sioux and Great Lakes articles, a wealth of Plains and Plateau beadwork from the late 1800’s and early 1900’s.
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