Weaving a Treasured Kentucky Handicraft Facilitator’S Guide

HSC-JB.001 FG

WEAVING A TREASURED KENTUCKY HANDICRAFT FACILITATOR’S GUIDE

RATIONALE PREPARATION Weaving is one of humankind’s most ancient of • Copy three publications: “Swedish Weaving” crafts. Women usually did early weaving, therefore (fact sheet with pattern); “Weaving – A Brief history considers it a woman’s craft. Weaving in History of a Treasured Kentucky Handicraft” Kentucky is a traditional form of old English and “Weaving Terminology” and Scottish sources. “Weaving Centers” led to • Gather weaving samples and portable the Appalachian Craft Revival to help a family’s looms such as an inkle loom, pin loom, financial situation. With the invention of power rigid heddle loom, or table loom. Have a looms, the Industrial Revolution led young women loom warped and ready to demonstrate the to work in factories. Today’s weaving is a popular weaving process. Pictures are included in the handicraft and art. Weaving is the focus for the PowerPoint, but having physical samples is 2019-2022 KEHA Cultural Arts and Heritage always good. Program of Work. • If demonstrating Swedish weaving, have huck toweling, embroidery thread, and needles for PROGRAM GOAL: To educate on the history each participant. (Monk’s cloth and yarn are of weaving, the process, and equipment used another option.) in weaving cloth (hands-on weaving activity is • Look at borrowing or purchasing a couple optional and dependent on the instructor) of linen testers or small magnifying glasses for participants to look at fabric structures PROGRAM OBJECTIVES closely.

1. To teach Extension Homemakers the LESSON INTRODUCTION history of weaving and its effect on Kentucky As the facilitator, share: 2. Explore basic weaving techniques as a foundation for more advanced work; Before the invention of the power loom, weavers participants will be able to identify different created all woven cloth by hand with simple fabric weaves weaving looms. During colonial days, weaving cloth 3. Learn about the types of weaving looms for household and clothing items was an everyday and their parts chore. Today, weaving is a handicraft enjoyed by both men and women, connecting them to their past and allowing for artistic expression. Modern FACILITY REQUIREMENTS AND LESSON day weavers may also grow their own fibers, as TIME well as spin and dye their own yarn. Today, we • Meeting room space with screen or will explore the history of weaving in Kentucky, projector capability for PowerPoint; enough different types of weaving, and the tools used to tables and chairs for participants with table weave yarn into cloth. space for optional hands-on activity • Lesson may take 60 to 90 minutes to complete, depending on the activities selected and the number of participants INTRODUCTORY ACTIVITY • Where is The Little Loomhouse? As the facilitator, share: ǹ Louisville • Who was its founder? Times have certainly changed, but many of you ǹ (Lou Tate Bousman 1906-1979) may possess family heirlooms that someone wove • What connection did Lou Tate have with by hand on a loom. Or some of you may be Eleanor Roosevelt? completing your own weaving projects. Raise your ǹ Slide 12 notes: Eleanor Roosevelt was an arts and crafts advocate. She hand if you own or have made the following: commissioned Lou Tate to weave a set of • A woven “rag” rug monogrammed napkins, placemats, and • A woven coverlet for your bed or couch table runner. • A woven potholder • A loom stored away in your attic Reinforce the concept that weaving, along with Chances are every one of you held your hand up at other heritage skills, is an important part of least once. Kentucky’s cultural history.

Objective 1: Teach Extension Homemakers the Objective 2: Explore basic weaving techniques as a history of weaving and its effect on Kentucky. foundation for more advanced weaving work. As the facilitator, share: As the facilitator, share: Open the Weaving PowerPoint and show slides 2 through 12 before doing. Refer to notes included Continue with the PowerPoint slides 14 through with each PowerPoint slide. You may choose to 24 before doing Learning Activity 2. Refer to notes hand out the Weaving History publication now, or included with each PowerPoint slide. wait until the end of the lesson Learning Activity 2: (pause at Slide 25) Identifying Learning Activity 1: (pause at Slide 13) What Do woven structures You Know? As the facilitator, share: As the facilitator, share: Take time to examine the weave structures of some Ask the group the following questions, leaving time commonly used woven cloth or other examples you between each question for individuals to respond have collected. Have on hand examples of plain, and discuss: twill, satin, basket weaves, and knit fabric samples for comparison. Talk about denim being a twill • How old are the earliest remnants of woven weave, muslin being a plain weave, etc. textile and where were they found? • Ask each participant to look at the fabric in ǹ 5000 B.C. in Egypt their clothing. • What kind of fibers were historically used in • Ask if they can determine whether the fabric spun yarns? is woven or knitted. ǹ Hemp, raffia, leaf fibers, hair, wool, strips • If you have linen testers or small magnifying of animal hide, fur glasses available, pass them around for • What about today? participants to get a closer look at their ǹ Similar, with the addition of manmade fabric’s structure. fibers such as polyester • Optional: Focus on Slide 22 - Talk about and • What region in Kentucky is known for demonstrate how to do Swedish Weaving weaving? on huck toweling or Monk’s cloth (refer to ǹ Appalachian Mountains and Berea Swedish Weaving publication).

2 Reinforce that weave type can affect the end use or Little Loomhouse in Louisville and The Woolery performance characteristics of the fabric. teach weaving classes. The Kentucky Sheep and Wool Festival, held annually in May at Lexington’s Objective 3: Learn about the types of weaving Jacobson Park features yarn vendors and a list of looms and their parts. classes that often include weaving. Shaker Village sometimes holds weaving demonstrations. As the facilitator, share: Marketing idea Continue with the PowerPoint slides 26 through 42 Just 200 years ago, weaving cloth was a daily activity before doing Learning Activity 3. Refer to notes for many families. If you are interested in learning included with each slide. more about weaving and its rich history, join us at the (Insert) County Extension Office. We will be hosting a lesson on (Date), (Time), at (Location). Learning Activity 3: (pause at Slide 43) Identify The lesson will include a brief history of weaving the different types of looms in Kentucky and a basic overview of weaving terms As the facilitator: and equipment. We will demonstrate select weaving techniques if time permits. Ask the group if they have used any of the featured looms or tried any style of weaving. If you have actual looms, demonstrate how to PROGRAM EVALUATION weave on them. Have participants change the shed Available as a separate document and pass the weft yarn through the warp yarns. Remember to keep an eye on the clock and allow Program Indicators enough time to summarize and pass out remaining Available on KERS after 7-1-20 publications. Under “Clothing & Textiles” (non-Master Clothing Reinforce that weaving can be done with minimal Volunteer) equipment. Report number of individuals with increased understanding

SUMMARY Report number of individuals with intent to apply knowledge or skills Show Slide 44 As the facilitator, share: Report number of individuals who participated in (Hand out the “Weaving Terminology” publication.) the Program There are a multitude of weaving resources online for learning how to weave on the various looms and other hand weaving techniques. (Although we cannot endorse a particular business or source, you can mention the following as examples.) The Woolery is a catalog showroom located in Frankfort, Ky., which sells weaving and spinning supplies. The

3 REFERENCES • https://thevintagetraveler.wordpress.com/2019/09/04/fireside-industries-handwovens-in-berea-kentucky/ • https://www.appalachianhistory.net/2014/08/churchill-weavers-berea-ky.html • http://littleloomhouse.org • Alvic, P. (2003). Weavers of the Southern Highlands. Appalachian Studies. https://uknowledge.uky.edu/upk_ appalachian_studies/4 • Broomfield, S. S. (2006). Weaving Social Change: Berea College Fireside Industries and Reform in Appalachia https://digitalcommons.unl.edu/tsaconf/297/ • Held, S. E. (1978). Weaving, A Handbook of the Fiber Arts, Saunders College. • Tate, L. (1938). Kentucky Coverlets https://www2.cs.arizona.edu/patterns/weaving/monographs/tl_kcov.pdf • Wilson, K. C. (2001). Textile Art from Southern Appalachia: the quiet work of women. The Overmountain Press. For an information on inkle loom weaving go to this link: • https://www.thebeginningartist.com/inkle-loom-weaving-beginners/ • https://www.ashford.co.nz/images/download_pdfs/learn_to/learn_to_weave_on_the_inkle_loom.pdf

For information on pin loom weaving, check out these links: • https://handwovenmagazine.com/weaving-on-a-pin-loom/ • https://www.mielkesfiberarts.com/pin-loom-weaving-a-photo-tutorial/ • http://www.pinloomweaving.com/p/blog-page.html • For an explanation of overshot weaving go to this link Overshot Handbook by Madelyn van der Hoogt: http://magazines.interweave.com.s3.amazonaws.com/cdtv/January%202015/Overshot%20handbook.pdf

• Marjorie M. Baker, MS Extension Associate for Clothing and Textiles December 2019

• Current Contact: Jeanne Badgett Senior Extension Associate for Clothing and Textiles May 2020

Educational programs of Kentucky Cooperative Extension serve all people regardless of economic or social status and will not discriminate on the basis of race, color, ethnic origin, national origin, creed, religion, political belief, sex, sexual orientation, gender identity, gender expression, pregnancy, marital status, genetic information, age, veteran status, or physical or mental disability.

4 WEAVING TERMINOLOGY

When talking about any creative handicraft, Harness: Loom part that holds all the heddles. Also a knowledge of basic terms is important. The art referred to as the shaft. The plain weave requires a of weaving has its own vocabulary that you should 2-harness loom; 4- and 8-harness looms are needed become familiar with to understand the process for more intricate patterned weaves. The harness behind the art form. Below is a list of weaving- raises and lowers sets of warp yarns creating or related terms, followed by pattern drafts and loom changing the shed. diagrams. . Heddle: Loom part that holds an individual warp Back strap loom: A portable loom where the warp yarn. Generally, it is made from thin strips of metal yarns are secured around the waist of the weaver on but can be made of thread. one end and around a fixed object such as a tree at the other end. The weaver creates tension on the Inkle loom: A simple loom used for weaving warp by bending or leaning backward. narrow bands of warp-faced fabricLoom: Apparatus used to weave cloth. It consists of a Basket weave: A variation of the plain weave where framework to hold warp yarns in a fixed position 2 or more warp yarns pass over and under 2 or while the weft yarns are interlaced. more weft yarns. Monk’s cloth is an example. Overshot: A weave characterized by weft floats on a Beater: Loom part containing the reed used to plain weave ground done on a 4-harness loom. compact the weft or fill yarns against each other Pick count: The number of weft yarns per inch in a Dent: Spaces in the reed that the warp yarns are woven fabric; abbreviated PPI threaded through Pile weave: A weave characterized by an extra set Draft: Spaces in the reed that the warp yarns are of weft yarns protruding from the surface of the threaded through fabric. Extra yarn may be loop or cut.

EPI: Short for ends per inch; refers to the number Pin loom: A wooden frame with nails in groups of of warp yarns per inch in a woven cloth three around the four outer edges. Yarn is wrapped around the nails to create the warp and weft before Float: Any portion of a warp or weft yarn that the final weaving is done with a long needle. extends over two or more of the opposite yarns with a woven pattern Plain weave: A weave characterized by an extra set of weft yarns protruding from the surface of the fabric. Fill yarn: Same as weft yarn Extra yarn may be loop or cut. Reed: Held by the beater, the reed separates the the treadle(s) with their feet. Table looms will individual warp yarns. often have a hand lever to operate the raising and lowering of the harness(es). Rigid heddle loom: A simple frame loom where every other warp yarn passes through a hole in the Twill weave: A basic weave characterized by rigid heddle while the other warp yarns are free diagonal lines floating. The weaver controls the heddle by raising or lowering, thus changing the shed for the weft Warp: The lengthwise yarns that are secured to a yarns to be woven. loom for weaving

Satin weave: A basic weave characterized by long Warping frame or board: A wooden frame with floats on the surface pegs used for measuring and preparing warp yarns prior to putting the warp on the loom Selvage: The finished edge along the lengthwise edges formed by the fill yarns wrapping around Warp-faced: Weave in which the warp yarns are during the weaving process predominantly seen

Shed: The open space between warp yarns, created Weaving: The process by which two sets of threads when the warp yarns are spread apart or yarns are interlaced at right angles to form cloth

Shuttle: The vessel to carry the weft or fill yarns as Weft: The crosswise yarns, also known as fill yarns, they are woven which intersect the warp yarns on the loom during the weaving process Tapestry: A weft-faced plain weave in which the weft yarns create a decorative pattern using multiple Weft-faced: Weave in which the fill yarns are most types and or colors of yarn prevalent. A tapestry weave is weft-faced, as is an overshot weave. Treadle: Floor loom part used to raise and lower the harness(es) during weaving. The weaver operates

DRAFT EXAMPLES

Plain Weave Twill Weave Satin Weave Basket Weave

2 LOOM DIAGRAMS

Permission granted for loom examples, courtesy of: https://textilelearner.blogspot.com/ • Compiled by: Marjorie M. Baker Extension Associate for Clothing and Textiles December 2019

• Revised by: Jeanne Badgett Senior Extension Associate for Clothing and Textiles May 2020

3 WEAVING - Weaving – A Brief History of a Treasured Kentucky Handicraft

Weaving is almost as old as human civilization. William G. Frost, the third president of Researchers have unearthed remnants of plain- Kentucky’s Berea College, started what came woven textiles in Egypt that date back as far as to be known as Fireside Industries to provide 5000 B.C. Cotton and linen textiles woven in Appalachian women an outlet for selling their the Middle East date back to 2500 B.C. Ancient handwoven coverlets and other handicrafts. Fireside pottery and wall paintings depict the use of looms. Industries became part of Berea College’s effort to Even the Old Testament refers to three types of fund the education of Appalachian youth. Weaving weavers: plain weavers, multicolor weavers, and “art was a central part of Fireside Industries when weavers.” Early weavers likely used hemp, raffia, leaf Anna Emberg, a master weaver from Sweden, was fibers, hair, wool, and strips of animal hide and fur hired in 1911, serving as superintendent for the for early spun yarn. next 25 years. Students were trained to be weaving teachers who would then return to their home Fast forward to Colonial America. Weaving communities as instructors. The Pine Mountain was a common household chore in rural Europe and Hindman Settlement schools were two of the during the 17th century. As settlers made their way mountain schools that benefited from this program. to America, they brought with them their looms Both settlement schools still exist today, however and patterns. Individual families produced clothing, weaving plays only a minute role in current-day blankets, bed and table linens. Early settlers used programming. linen as their most abundant fiber. Even though Columbus brought sheep with him on his second In 1931, Berea College stopped buying items voyage in 1493, wool did not become a weaving from mountain weavers and sewers, turning its material until colonists imported Merino sheep attention to using student labor alone to supply from Spain during the 19th century. gift shop sales. During this time, Berea College was adapting its weaving production to keep up The most common textile item remaining from with the competition generated by local business the 1800s is the coverlet. Although woven on a Churchill Weavers. Churchill Weavers settled simple loom, they displayed a high level of artistry. in Berea in 1922, employing dozens of nearby Many weavers used the overshot weaving technique residents, and quickly became one of the nation’s in which they could create intricate patterns. most successful hand-weaving companies. At its The art of weaving plays a significant role peak, Churchill Weavers operated as many as 150 in Kentucky’s history, especially in the southeast looms of various sizes and configurations, supplying portion hidden away in the Appalachian retailers across the country, as well as internationally Mountains. Before the industrial revolution, in Europe and Asia. However, in 2007, Churchill weaving cloth was a daily activity. It was also Weavers closed its doors because of economic losses. a source of income and artistic expression that The Kentucky Historical Society has preserved its continued for years even after manufactured goods 85-year history through The Churchill Weavers became the norm. This was in part, but not entirely, Collection, which includes 32,000 fabric samples. fueled by the Arts and Craft Revival that spread The samples range from special commemorative across Europe and North America in the last decade pieces to experimental “space cloth,” not to of the 19th century. mention the traditional coverlets the company is known for. Rebecca Boone carriage throw, 1975. Courtesy of the Kentucky Historical Society, a part of the Churchill Weaver’s Collection.

A discussion of Kentucky weaving would not be complete without the inclusion of Lou Tate Bousman (1906-1979), known professionally as Lou Tate. Born in Bowling Green, Ky., and later moving to Louisville, Lou Tate attended Berea College earning a Bachelor of Arts degree and later earning her Master of Arts in History from the University of Michigan. She became interested in weaving when “Miss Nan Owens” gave Lou Tate her collection of weaving patterns, called drafts, which dated back more than five generations. Furthermore, Lou Tate began collecting additional drafts from other parts of Kentucky and documenting the rich weaving lore for generations to come. You can read about some of these in Lou Tate’s Kentucky Coverlets published in 1938.

At one point, while working at the Dark Hollow Mountain School in Virginia, Lou Tate became acquainted with Lou Henry Hoover, first lady and wife of President Herbert Hoover. Looking Lou Tate’s mother purchased a cabin complex for a weaving project suitable for Girl Scouts, Mrs. in Louisville in what is now the Kenwood Hill Hoover collaborated with Lou Tate to develop the neighborhood. Shortly thereafter, her mother Lou Tate Table Loom (the Little Loom pictured passed away leaving the complex to Lou to set up on the right). A dentist in Louisville built the first her weaving business. Thus The Little Loomhouse “Little Loom,” which was sold commercially for 20 was born. After visiting The Little Loomhouse, years. Some can still be found in use today. Eleanor Roosevelt began sponsoring students through a fellowship program for those wishing to learn how to weave. The picture above shows Later in 1934, first lady Eleanor Roosevelt, an Lou Tate and Eleanor Roosevelt admiring a avid proponent of arts and crafts, commissioned Kentucky overshot coverlet. (Photos courtesy of Lou Tate to weave a monogrammed luncheon set littleloomhouse.org) of 12 napkins, 12 placemats, and a table runner. She was paid $16.75 for the set in 1935. In 1938,

2 The Lou Tate Foundation operates The Little Loomhouse and cabin complex to this day. Its mission is “continuing the legacy of its founder, Lou Tate, master weaver, by ensuring the preservation of The Little Loomhouse landmark cabins and by educating students of all ages about the history of weaving and textile arts through diverse programs, residences and community partnerships.”

Sources and Additional Reading: https://thevintagetraveler.wordpress.com/2019/09/04/fireside-industries-handwovens-in-berea-kentucky/ https://www.appalachianhistory.net/2014/08/churchill-weavers-berea-ky.html http://littleloomhouse.org Tate, L. Kentucky Coverlets https://www2.cs.arizona.edu/patterns/weaving/monographs/tl_kcov.pdf Broomfield, S. S.Weaving Social Change: Berea College Fireside Industries and Reform in Appalachia https://digitalcommons.unl.edu/tsaconf/297/ Wilson, K. C. (2001). Textile Art from Southern Appalachia: the quiet work of women. The Overmountain Press. Held, S. E. (1978). Weaving, A Handbook of the Fiber Arts, Saunders College.

• Compiled by: Marjorie M. Baker Extension Associate for Clothing and Textiles November 2019

• Revised by: Jeanne Badgett Senior Extension Associate for Clothing and Textiles May 2020

3 WEAVING PROGRAM EVALUATION

TOPIC: WEAVING LESSON Thank you for your participation today. Your help is requested in providing vital feedback on the program you have just completed. Please take a moment to fill out this evaluation. Information will be kept anonymous.

LEVEL OF UNDERSTANDING For each of the topics listed below, please rate your LEVEL OF UNDERSTANDING before and after your participation. Use this rating key: 1 = Poor 2 = Average 3 = Good 4 = Excellent LEVEL OF UNDERSTANDING BEFORE PROGRAM AFTER PROGRAM Familiar with the history of weaving and its 1 2 3 4 1 2 3 4 relationship with Kentucky Familiar with the various weave types such as “plain” 1 2 3 4 1 2 3 4 or “twill” and weaving techniques Familiar with the many types of looms and tools 1 2 3 4 1 2 3 4 used for hand weaving

INTENTIONS / BEHAVIOR CHANGE For the following statements, please check the box that best describes your thoughts as a result of this program. BEHAVIOR CHANGE YES NO I am interested in learning more about the history of weaving and its impact on Kentucky’s history and culture I will use what I learned to explore or try new weaving techniques on my own

SATISFACTION Please check the box that best describes your thoughts on today’s program. STRONGLY STRONGLY SATISFACTION DISAGREE AGREE DISAGREE AGREE The subject matter was relevant for me

The information was practical for me

Overall, this was a very educational program

What is the most significant concept or idea you will apply?(You may list more than one)

Please provide any additional comments on the back. Thank you for your time. Educational programs of Kentucky Cooperative Extension serve all people regardless of economic or social status and will not discriminate on the basis of race, color, ethnic origin, national origin, creed, religion, political belief, sex, sexual orientation, gender identity, gender expression, pregnancy, marital status, genetic information, age, veteran status, or physical or mental disability.