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First Hand: Arts, Crafts, and Culture Created by PEI Women of the 20Th Century

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First Hand: Arts, Crafts, and Culture Created by PEI Women of the 20Th Century arts, crafts, and culture created by PEIof the 20womenth century Prince Edward Island Interministerial Women’s Secretariat Prince Edward Island Advisory Council on the Status of Women first hand: arts, crafts, and culture created by PEI women of the 20th century PDF edition for Women’s History Month 2017 unupdated & uncorrected. Originally published in 2000 at www.gov.pe.ca/firsthand and as a CD-ROM Created by Partners The PEI Advisory Council on the Status of Women and Canadian Rural Partnerships Pilot Project Program the PEI Interministerial Women’s Secretariat Prince Edward Island Millennium Fund PEI Minister Responsible for the Status of Women Researchers PEI Culture, Heritage, Recreation, and Sport Division Ann-Louise Beaumont PEI Francophone Affairs Division Sandy Kowalik PEI Department of Development and Technology Jane Ledwell PEI Department of Education Sasha Mullally PEI Multimedia Services Anne Nicholson Confederation Centre of the Arts Tiffany Sark Institute of Island Studies Edie Zakem University of Prince Edward Island Carrefour Infotech Research Coordinator: Sasha Mullally Jane Ledwell And we thank ... Publication Coordinator: Robert Arsenault Pierre Masson Boyde Beck Cover Art & Launch Coordinator: Sandy Kowalik Catherine Matthews Ann Braithwaite Carol Mayne Pierre Masson Translation: Margaret Creamer Russ Melanson Bill Cross Kellie Mulligan Committee Members Odette Cyr Lisa Murphy Vicki Allen-Cook Yannie Ennis Baxter Ramsay Sandra Bentley Nick Grant Brian Simpson Chrystyna Holman Darren Hatfield Marilyn Thomsen Nancy Murphy Patrick Ledwell Becky Tramley Janet Marshall Simon Lloyd Verna-Lynn Weeks Heidi Rankin Ed MacDonald Claudia Yi León Contents 5 Introduction Rags and Bags: Functional Art from Jane Ledwell and Sasha Mullally Sacks and Worn Clothing, Hooked Mats of Prince Edward Island 55 Mi’kmaq Baskets: Our Living Legends 9 Anne Nicholson Tiffany Sark Introduction 57 Introduction: Monuments 11 What is mat hooking? 57 Early History and Economy 11 The History of Mat Hooking 58 A Mi’kmaq perspective 13 Prince Edward Island mat hooking 58 Early history of basket weaving 14 Collectors’ Items 58 Economy of basket weaving 15 The Hooking Renaissance on PEI 61 Baskets and Daily Life 17 Island Matters 62 Mi’kmaq camps on PEI 17 Helen Johnston 62 Baskets at mid-century 18 Hélèn Gallant 64 Baskets for work, baskets for display 20 Florence Gallant 65 Conclusion: Women as Educators 22 Shirley Hennessy 66 Acknowledgements 23 Marjorie Judson 67 Jackie O’Connell 69 Freeing Verse and Liberating Stories: Conclusion 71 Literary Writing by Prince Edward Acknowledgements 72 Island Women of the 20th Century 25 Jane Ledwell Perspective Is Everything: Women Introduction: Modernism 27 Photographers of 20th-Century Prince Edward Island Writing and Modernism 27 Prince Edward Island 73 Professionalization of Writing 28 Sasha Mullally Turn of the Century 28 Introduction 75 Democratization of Poetry 31 Pictorialism and Professionalization 75 Mid-Century 33 L. M. Montgomery as a photographer 76 The New Professionals 34 Pictorialism and photography 77 Resisting the Trends 35 Mildred (Millie) Gamble 77 L. M. Montgomery 35 Gamble’s posed portraits 78 After L. M. Montgomery 36 Rural PEI through Gamble’s lens 79 From Oral to Written Tradition 38 The Camera Clubs 80 Finding the Local Voice 38 Professional photographers emerge 80 Acadian Writing 40 Margaret Mallett 81 Homegrown Publishing 43 Mallett’s vision of rural PEI 81 Modernism Takes Hold 43 Edith Robinson 82 Women publishing/publishing women 46 Robinson’s Professional Career 84 Conclusion 50 Robinson’s representation of Island life 85 Acknowledgements 51 Conclusion 86 Acknowledgements 87 Pieces of History: 20th-Century Quilting in Prince Edward Island 89 Ann-Louise Beaumont and Edie Zakem Introduction 91 Quilting in the 20th Century 92 Women’s role in quilting 93 Quilting on PEI 96 Acadian Quilting 96 Mi’kmaq Community 98 Shore Quilts 100 Quilts associated with L. M. Montgomery 101 International interest in PEI quilting 102 Exchanges with the USA 102 PEI Women’s Institute and quilting 103 Creating and Preserving the Art Form 104 1900–1925 104 1925–1950 105 1950–1975 106 1975–2000 106 Conclusion 108 Acknowledgements 109 Home Is Where the Art Is: 20th- Century Women Visual Artists of Prince Edward Island 113 Sandy Kowalik Introduction 115 The Sojourners 116 Mary Allison Doull 116 Alma Buote 117 Helen Marguerite Haszard 118 Georgie Read Barton 119 The Transplants 120 Frieda Creighton Creelman 120 Elaine Russell Harrison 122 Gwen Johnston Fichaud 122 Daphne Butler Irving, RCA 123 The Back-to-the-Landers 124 Erica Rutherford, RCA 124 Hilda Woolnough 126 Terry Dunton Stevenson 127 Conclusion 128 Acknowledgements 128 Introduction by Jane Ledwell and Sasha Mullally 5 introduction Introduction Why was this project worth In “Sing Your Own Songs,” Prince Edward Island visual doing? artist and writer Elaine Harrison reminds readers that Why should anyone be interested in doing or reading “Art is an adventure for you alone to experience first a history of women in the arts and crafts? The history hand.” First Hand: Arts, Crafts, and Culture Created of what women do is interesting because women by PEI Women of the 20th Century is a history of did it, because it builds upon our knowledge and women’s contributions to arts, crafts, and culture in understanding of the roles and daily activities of all Prince Edward Island meant to initiate readers into the our historical forebears—what they did and what they adventure of art by introducing the accomplishments of thought, what they discarded, and what they valued and women artists and artisans who have contributed much held dear. to their small communities and the broader world. It is also interesting for more concrete reasons. There Why “First Hand”? are particular cultural economies that formed the fabric of Prince Edward Island life that were exclusively Throughout the past century, women’s hands carried feminine domains. Quilting bees, for instance, out a variety of important tasks: from kneading bread organized a female artisanal tradition around a lively to hoisting children, from typing memos to building social ritual that bound together the craft tradition houses; from playing pianos to knitting, to mat hooking, and, simultaneously, created ties of friendship and to painting, to sculpting, to basket weaving, to shooting community. Hooking parties or frolics not only fostered photographs, to writing poems, to making quilts. In fact, development of a craft and a sense of neighbourliness the list of tasks that have busied women’s hands is as but also maintained a traditional female sphere of endless as work itself. economic activity. The hooking of rags into mats stands The historical modules that follow explore some of the as a metaphor for the crucial role women played creative work of women’s hands. This work is often in contributing to the viability of Island household a first hand account of their experience and their economies as they wove, used, reused, and occasionally imagination, transformed into words, photographs, sold textiles that kept their families warm and their quilts, baskets, or mats. The modules also include homes beautiful. In particular, Mi’kmaq women who some of their first hand narratives of the struggles and wove baskets preserved communal ties and made challenges they faced to become women artists and money for their families, but also exported aboriginal artisans. culture to white society. They thus disseminated a record of Island Mi’kmaq tradition, which would help This history fills a gap in our public knowledge of future generations resist assimilation and ensure a women’s contributions to arts, crafts, and culture. By degree of cultural survival with every carefully woven telling the stories of women’s creative production, this strip of wood. history hopes to be a first hand extended to the women artists and artisans of the past century: a hand that Then, there are art forms that have always been will draw them out of obscurity, that will draw back dominated by male artists and artisans—such as curtains that have been closed over their work, that the writing of prose and poetry, the shooting and will join other hands in applauding their remarkable developing of photography, and the visual arts of achievements. painting and printmaking—where women enriched and enlivened the traditional canons they challenged and of May many hands follow this first one. And may many which they became a part. Women artists and writers Prince Edward Island women take Elaine Harrison’s were in the vanguard of late-20th-century revivals challenge to venture into the arts themselves, to of folk art and the publication of local literatures. As experience it “first hand.” photographers and painters, they have also played a critical role throughout the century as educators and purveyors of their art forms. 3 first hand They were the heart of mid-20th-century “camera displayed in galleries and public spaces; functional items clubs,” which they organized and to which they lent such as baskets, mats, and quilts make homes more both their enthusiasm and their technical prowess, beautiful and find their ways into displays in provincial giving instruction on the creative ways to make and exhibitions, museums, and galleries. develop images. It was also mainly young women artists who embarked on journeys to the “centres” of their Women’s work in arts and culture does much more than cultural universes, bringing the excitement and the “pretty up” the community. It creates the community cultural riches of these worlds back to our province. by forming bonds among individuals. It provides one The “sojourner” immigration patterns of certain young more means and many different media for people to women at the beginning of the last century were links share their experiences, hopes, and dreams. It defines that brought the work and the influence of some of the the community by providing outlets for individual and most accomplished artists of that time to Prince Edward collective stories.
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