A Weaver Looks at Tinguian Blankets

Textile Volume 23 n Number 3 n Fall, 2011 Society of Symposium 2012 news on Page 2 America

A Weaver Looks at Tinguian Blankets Kathleen Forance Johnson with Yushan Tsai contents n 1898 the American they enjoyed some of the new Cole (1881-1961), to take up Commodore, George Dewey, amenities offered, but Benedict the challenge. Cole studied 1 A Weaver Looks at Tinguian defeated the Spanish fleet in deplored that their original cultures a group of isolated and little- Blankets I the Battle of Manila Bay, ending would never again be seen in known mountain people from 2 Symposium 2012 News the period of Spanish domination their undisturbed, natural settings. 1907-1908 during a stay of 16 3 From the President of the Philippines, and the Worse yet, those cultures months for the Field Columbian 4 TSA News, TSA Member News archipelago was annexed by had not been systematically Museum. the United States of America. In documented in those original Cole called these people 6 Conference Reviews the early years of the American settings by professional observers. Tinguian but they have always 10 Tinguan Blankets, Continued Colonial Period, anthropolo- referred to themselves as 14 Textile Community News gist Laura E Benedict was “Itneg” and that is how they working to document indig- are known in much of the 15 In Memoriam: Ardis James enous tribal cultures in the literature. Here we have 16 Book Reviews southern Philippines. In 1907 used the terms interchange- 17 Exhibition Reviews she wrote an urgent letter, ably. At Cole’s time, the now in the Field Museum Tinguian/Itneg were among 20 Calls for Papers, Calendar archives, to Dr. George the least known of the many 23 Tinguian Weave Draft Amos Dorsey, Curator of Philippine ethnic groups. They Anthropology at the Field were head hunters living in Museum in Chicago. In it the most remote mountainous she detailed the rapid disin- region of the Cordilleras in tegration of the lifestyle and the Abra district of Northern culture of hitherto pristine, Luzon. Thanks to the rugged “wild” tribal groups in her area. terrain and their habit of tak- Newly arrived American 1. Fay and Mable Cooper-Cole in the ing the heads of intruders, they planters and entrepreneurs Philippines, 1906. Photo Archives of were not settled into towns by The Textile Society of America, the Field Museum, Chicago. were establishing large plantations the Spanish or Christianized by Inc., provides an international to grow the lucrative “Manila early missionaries. forum for the exchange Miss Benedict made an impas- hemp,” abaca. Seeking plenti- Into this dangerous terri- and dissemination of sioned plea for a team of anthro- information about ful and cheap labor, they built pologists to study and record tory Cole was accompanied by textiles worldwide, whole towns for settlement by the endangered cultures of what his wife, Mable, and together from artistic, cultural, tribal groups who were lured in remained of the “wild tribes” of they made an impressive team. economic, historic, from their villages with promises the Philippines. Luckily, Dorsey Working together closely in their political, social, and of an easier and richer life. True, heeded the call and dispatched investigations, they each had technical perspectives. the tribes went willingly, and his able assistant, Fay Cooper- unique qualities to offer. Mable to p. 10 he United States’ capital is The hotel will extend the excel- Local and Regional Tours to submit proposals exploring ready to provide a beauti- lent Symposium room rates various facets of the Textiles & T TSA Symposium attendees will ful and dynamic setting for the to conference participants for Politics theme. Presenting at the also enjoy unparalleled access Textile Society of America’s three days before and after the Symposium provides you with to the Washington, DC metro 13th Biennial Symposium, Symposium. a forum to share your research, area’s museums and collections. which will take place Sept. work, projects, and enthusiasms, Special behind-the-scenes collec- 19-22, 2012, in Washington, Host Institution and whether you are a scholar, tions tours are planned exclu- DC. The theme of Textiles & Receptions researcher, artist, gallery or sively for TSA at: the Daughters Politics befits the Symposium museum professional, or textile The Textile Museum, as the of the American Revolution venue in the midst of a presi- lover. hosting institution for the Museum; Dumbarton Oaks; dential election year, and will Presentations from all textile- Symposium, will welcome us the Smithsonian Institution’s generate lively discussion about related disciplines and interdisci- at a reception on Friday eve- National Museums of the the myriad ways in which tex- plinary areas are welcome—from ning, corresponding with the American Indian, African Art, tiles pervade our lives. anthropology and conservation opening of the exhibition “The American Art, and American Throughout human history to mathematics and political Sultan’s Garden: Floral Style History; the Arthur M. Sackler and around the globe, whether science. The Symposium also in Ottoman Textiles.” The U.S. and Freer Gallery of Art; the as intimate artifacts of inter- offers several different types of Botanic Garden will host the National Gallery of Art; Hillwood personal relations or state-level presentations: individual papers; opening reception and will fea- Museum; the Sewall-Belmont monumental works, textiles organized sessions of three or ture an exhibition of fiber and House and Museum; and have been imbued with political four thematically related papers; dye plants especially for TSA Tudor Place. The Symposium importance. From trade goods panel discussions; and film/digital Symposium attendees. will also feature tours to out- to protest banners, textiles have media. For more detailed infor- The Textile Museum houses standing private contemporary been instrumental in generat- mation, please refer to the Call a world-renowned collection of fiber art collections and to the ing, supporting, and challenging for Papers published in the previ- over 18,000 textiles dating as far embassies of several nations, political power. Textiles & Politics ous newsletter and posted on the back as 3,000 BCE and is locat- which are not accessible to the will explore the ways in which TSA website, ed in Washington, DC’s Embassy general public. Additionally, politics influence the aesthetics, http://www.textilesociety.org/ Row. The U.S. Botanic Garden, Symposium attendees will have production, materials, uses, and symposia_2012.htm one of the oldest botanic gardens the opportunity to explore countless other aspects of tex- TSA members can also sup- in North America, is the brain- the rich textile offerings of the tiles (and vice versa). port the Symposium planning child of Thomas Jefferson and mid-Atlantic region through process by sharing the Call for James Madison, and has been in pre- and post-conference tours to Symposium Papers with colleagues who may continuous operation since 1850. Richmond, VA, Baltimore, MD, Headquarters be interested in participating. and the Winterthur Museum in We are accepting proposals The TSA 2012 Symposium Delaware. Organizing Committee is busy through October 1 at planning programs and events http://www.textilesociety.org/ to make this Symposium one Proposals Sought symposia_2012.htm of the most memorable. Our We hope you will plan to join us TSA members are a critical part headquarters is the Washington in Washington, DC to explore of the Symposium planning pro- Court Hotel, situated in down- the myriad ways textiles pervade cess. We invite TSA members town DC, in close proximity our lives and express political to the Smithsonian Institution messages. on the National Mall, other Left, The Textile Museum. Above, museums and galleries, his- Cushion Cover, Ottoman, Istanbul, toric monuments, transportation Turkey, 17th century, velvet. The Textile Museum 1.54, acquisition of hubs, and superb restaurants. George Hewitt Myers, 1951. Photo: Renée Comet.

2 tsa newsletter tsa board of directors Planned for late August was course need financial and intel- OFFICERS a San Francisco event organized lectual support, along with all the

President by TSA Board member and volunteer efforts of our Board Elena Phipps From The artist, Barbara Shapiro, to see and our members. tel 212/349-4485 Korean textiles at the Museum of [email protected] President Craft and Folk Art, the Gertrude Symposium 2012 Vice President Stein exhibition (including her The 13th Biennial Symposium Matilda McQuaid tel 212/849-8451 famous vest) at the Jewish in Washington, DC, Sept 19-21, [email protected] Museum, and African quilts at 2012, will be the perfect place to Recording Secretary the African Diaspora Museum. converge with all of our perspec- Roxane Shaughnessy Dear TSA Members: Unfortunately, this event was tives and interests in global issues tel 416/599-5321 ext. 2226 cancelled. We would like to relating to textiles, and I look for- [email protected] This has been a very active sum- plan more events like these, and ward to seeing you all there! Treasurer mer for TSA. We have made the Mary Littrell would be happy to hear from Executive Committee transition, tel 970/491-5811 you about possibilities in your Best, [email protected] since Ruth Scheuing stepped regions. Elena down from her Presidency in Director of Internal Relations Elena Phipps, President, TSA Mary Anne Jordan the Spring. Matilda McQuaid Travel Opportunities [email protected] tel 785/864-3919 has actively filled the position of [email protected] This has been a difficult year for Vice-President, while I stepped Director of External Relations international travel programs, into the Presidency. This move Michele A. Hardy and sadly, TSA has had to cancel tel 403/220-4137 was earlier than planned, as both the India and Korea tour [email protected] normally, I would have come programs. Past President into the position at next year’s I had the opportunity to Patricia Hickman Symposium. With Christine travel to China in June, thanks to tel 845/947-8735 Martens appointment to fill the [email protected] a grant from the Asian Cultural Director-at-Large position for- Council, to examine archaeologi- DIRECTORS AT-LARGE merly held by Matilda, we are up cal textiles from the Silk Road. Gerry Craig and running! Thanks for every- tel 785/532-6605 During my travels to western one’s support and good wishes. [email protected] Uyghur regions, I also encoun- Joanne B. Eicher tered some silk spinners and ikat tel 651/645-2914 Regional Events weavers—a great learning experi- [email protected] These past few months TSA has ence for me. (See photo at right.) Sarah Fee moved forward into exploring tel 647/347-9246 Travel, with all of its difficulties, our regional resources with three [email protected] can be so rewarding, and seeing local events—a great way for Christine Martens firsthand craftspeople using their members to get together, look at [email protected] skills and creativity in traditional textiles with scholars and cura- Barbara Shapiro and contemporary environments tel 415/882-7401 tors, and to meet and talk. Our is truly a learning experience. To [email protected] event in Philadelphia was very that end, I hope that TSA will be Hotan, China. Craftswoman prepar- Ann Svenson successful; we met with Shelia [email protected] able to support some enriched ing silk cocoons for reeling. June, Hicks, who personally gave us an travel experiences—both to give 2011. Photo: Alan Finkel. exclusive tour of her exhibition TASK REPRESENTATIVES our US members opportuni- at the Institute for Contemporary TSA Website Coordinator ties to go abroad through our Susan Powers Art, after which we went to the [email protected] International Travel Program, TSA Headquarters University Museum to see the as well as for our international TSA Listserv Manager incredible ancient Chinese tex- Charlotte Cosby, Manager Lydia Fraser members and colleagues to be tiles from the Silk Road. TSA National Office [email protected] able to come to the US for our In NYC, Susan Brown and TSA Member Services TSA Newsletter Editor TSA events. We are working Karen Searle Matilda McQuaid organized PO Box 193 toward that goal, and I hope that [email protected] a great day-long event viewing Middletown, DE 19709 if any of you have ideas about TSA Bibliography Editor exhibitions at the Metropolitan tel 302/378-9636 Marlys McGuire how we can support this idea, Museum of Art (Andean Tunics) fax 302/378-9637 [email protected] you will feel free to contact me. and the Bard Graduate Center [email protected] 2010 Shep Award Chair We need your help and ideas (Knoll Textiles), with a visit to Jill D’Alessandro to grow this organization, and TSA Website: [email protected] the workshop of textile designer/ http://www.textilesociety.org are always looking for ways to printers Tillett and Rauscher. TSA Symposium 2012 Co-Chairs expand our programs, which of Your source for membership Sumru Belger Krody [email protected] forms, study tour information, and the latest news. Cecilia Gunzberger Anderson

Fall 2011 3 most important contributions to the Earthway Studio on KU’s Museo Textil de Oaxaca in the field in recent years. campus for his Senior Thesis proj- September: a weft Ikat workshop Given annually to a publica- ect. Goss used the outdoor studio, for the weavers who have partici- TSA tion judged the best book in the constructed entirely from foraged pated in the Indigo Project since field of ethnic textile studies, the tree limbs and found materials, as Sept 2010; a warp Ikat work- News award consists of a cash prize a workspace and a space to edu- shop for ten new Indigo Project funded by an endowment estab- cate the campus community about weavers; and a workshop on lished by R.L. Shep in 2000. The traditional craft practices such as Michel Garcia’s method of mak- award is offered to recognize and spinning, dyeing, weaving, basketry ing a reduction indigo vat. She reward exceptional scholarship and wheel-thrown pottery. is raising funds for this trip and 2010 R.L. Shep Ethnic in the field of textile traditions. to visit one of the last villages in Textiles Book Award There was strong competition Elin Noble received a finalist Mexico that produces indigo, to for the award this year, with 11 award from the Massachusetts interview the villagers and docu- he Textile Society of America books nominated, each one of Cultural Council for the Arts ment the indigo production from Tis pleased to announce the considerable merit. Fellowship Program. Her quilt, the field to the indigo cake. She recipient of this year’s R.L. Shep The Textile Society of “Fugitive Pieces 5,” appears in is writing a book on the indigo Ethnic Textiles Book Award: Five America administers the Shep Quilt National ‘11 Sept. 28-Nov. growers that documents this Centuries of Indonesian Textiles edit- endowment through its Awards 5 at the Dairy Barn, Athens, OH, process. She is also raising funds ed by Ruth Barnes and Mary Committee, composed this year and received a Juror’s award. Two to have her earlier publications, Hunt Kahlenberg, published by of Lee Talbot, Kate Irvin, and of her quilts are included in the Stories of Hope–Oaxaca and Stories DelMonico Books-Prestel. Chair, Jill D’Alessandro. 29th Annual “Fabric of Legacies of Hope–The Indigo Project trans- This comprehensive volume Nominations for the 2011 Art Quilt Exhibition” at Lincoln lated into Spanish. highlights Kahlenberg’s personal R.L. Shep Ethnic Textiles Book Center, Ft. Collins, CO, Oct. 7- http://www.blurb.com/ collection of over 350 Indonesian Award are due March 1, 2012. Nov.13. bookstore/detail/2132961 ceremonial garments and textiles The nomination procedure can http://www.fcgov.com/lctix/ https://www.fracturedatlas.org/ which she has assembled over be found on the TSA website. galleries site/contribute/donate/2928 a 30-year period. Kahlenberg http://textilesociety.org/awards has been at the forefront of the –Jill D’Alessandro Three works by Adrienne Lisio Foundation News: Eva study of Indonesian textiles. Chair 2010, R.L. Shep Ethnic Sloane are included in Textile Basile will represent the Lisio This handsome book chronicles Textiles Book Award Committee Biennale 2011 which runs Foundation, Florence, Italy, at a lifetime of work dedicated to through Sept. 11 at the Museum the upcoming European Textile both collecting and research. Rijswijk in The Hague. She also Network conference in Kaunas, She has brought together some has work at the Arrowmont Lithuania, Sept. 22-24. of the leading Indonesian tex- TSA Gallery, Gatlinburg, TN. During the upcoming CIETA tile scholars, including Ruth www.museumryswyk.org Conference in Copenhagen, Barnes, Traude Gavin, Roy W. Member www.arrowmont.org/galleries Oct. 3-6, TSA and CIETA Hamilton, Rens Heringa, Marie- member Julie Holyoke of the Louise Nabholz-Karatschoff, and News Member Lectures and Lisio Foundation will present a Toos Van Dijk, to present new Workshops joint paper with Barbara Czaya- findings. Szewczak, conservator at Wilanów Polly Barton taught a workshop Ruth Barnes’s essay addresses Palace Museum, Warsaw, on Member Exhibitions at Penland School of Crafts the scientific dating of early the reproduction of a ‘mirror’ Aug.14-26 on “The Rigors and Indonesian textiles and success- “Personal Landscapes,”an exhi- velvet. Dr. Czaya-Szewczak will Secrets of Ikat Dyeing.” fully challenges many previous bition of textile and art quilt discuss the historical context of www.penland.org assumptions. For the first time installations by Regina Benson, the project, whereas Holyoke will [email protected]. important evidence for the was featured at the Festival of document the reconstruction of an antiquity of some of the textiles Quilts in Birmingham, England, historical technique employed to Linda LaBelle was invited to is given, including a surprising Aug. 11-14. Benson filled a weave a mirror velvet for the teach three workshops at the 15th-century date on some of large gallery with her signature King’s bedroom at Wilanów Palace. the textiles. Each of the other discharged, rusted, burned, and The Fall workshop schedule contributors provided lively stitched works undulating off for the Lisio Foundation is listed essays on specific regional groups walls and ceilings. She presented on page 22. (Sumatra, Java, Bali, Borneo, Nusa, two lectures during the confer- http://www.fondazionelisio.edu Tenggara, and Maluku). Lavishly ence, each focusing on her illustrated with maps, historic and unique design, construction, and Neil Goss sits in the outdoor contemporary contextual images, mounting processes. Earthway Studio, a project he devel- and superb photography of oped to educate the University of Kahlenberg’s collection by Bruce Neil Goss, a senior at the Kansas community about fabric and ceramic production methods using White, this volume is one of the University of Kansas studying natural materials. textiles and ceramics, installed

4 tsa newsletter Dr. Linda S. McIntosh, commerce and economics; vari- as by Lynn A. Meisch, and http://shop.yoshikowada.com/ Consulting Curator, will lecture ous patterning techniques used on contributions by five other Library/dvd-s on the Chulakathin Festival a wide range of beautiful textiles; scholars, has been published by Find more info about the DVD of the Phuthai on Sept. 15 at indigo’s continued presence in the University of Texas Press. and natural dye project at: Tilleke & Gibbins, Bangkok, folklore, art and alternative medi- The book assembles for the first http://naturaldyeworkshop.com Thailand. The talk is illustrated cine; and its iconic status as the time for any Andean country the with images from a recent dye that makes blue jeans blue. evidence for indigenous costume Member Tours festival, along with a special Release date: September, 2011. from the entire chronological Wendy Erd announces her viewing of Phuthai textiles from 272 pages, 150 color illus. range of prehistory and history. 2012 Summer & Fall Textile the Tilleke & Gibbins Textile ISBN 978-0-7141-5096-3, Sources include pre-Hispanic Tours in Bhutan. The tours, led Collection. The Chulakathin fes- Paper, £19.99, $US 30.95 representations on ceramics, by Wendy and a Bhutanese tival focuses on the production http://www. archaeological textiles from guide, offer a rare opportunity of monks’ robes in a 24-hour britishmuseumshoponline.org the Inca Empire in Peru, writ- interact with local weavers in a period of time. All steps of ten accounts from the colonial country uniquely governed for production, from collecting the Beverly Gordon announces period,19th-century European- gross national happiness, tucked cotton bolls, ginning, carding, the October publication of her style pictorial representations, into the folds of the beautiful, rolling, spinning, winding, dyeing, long-in process book, Textiles: and 20th-century textiles in rugged Eastern Himalayas. and weaving must be carried out The Whole Story (Uses, Meanings, museum collections. One conclu- East to West-Bhutanese within 24 hours. Members of the Significance), published by sion is that Inca garments had a Textiles of Home, Heart and community unite to complete Thames & Hudson. She says, remarkable longevity in Ecuador. Spirit, Jun. 22- Jul. 3, 2012. the robes to offer to a selected “My original title was The Fiber The book also addresses the Eastern Textiles of Bhutan: A monastery. It also a time of cel- of Our Lives: Why Textiles Matter, diffusion of the hybrid poncho Weaver’s Journey, Nov. 18-27, ebration, where the lay people which I still prefer, and which (from Chile) and rebozo (from 2012. For details: dress in their finest clothing in I will still be keeping alive on a Mexico) during the colonial http://www.sacredhimalayatravel. processions to honor the occa- blog. The book is both scholarly period, and the adoption of com sion. As the production of hand- and accessible, filled with 400+ some Spanish garments. It is the [email protected] spun and hand-woven cotton illustrations and sidebars--quite last of a three-book series by has decreased in Thailand, only beautiful.” Rowe and Meisch on Ecuadorian Stephanie Schneiderman a few communities continue to [email protected] indigenous dress and textiles. announces her fall “Tia Stephanie sponsor a Chulakathin. http://www.thamesandhudson. ISBN 978-0-292-72591-1 Tours” to Oaxaca. Follow the [email protected] com/newbooks.html 402 pages, 9 color and 194 links for full details. The Textile black & white photos, Traditions of Oaxaca: Coast, Karen Searle will be a speaker Joy Hilden, author of Bedouin 7 drawings, 8 maps, Isthmus & Valley, Nov. 18-27. at the International Seminar Weaving of Saudi Arabia and hardcover, $60.00 http://tiastephanietours.com/ of the Cheongju International its Neighbors, will lecture and http://www.utexas.edu/utpress/ more_info/trip23.html Craft Biennale, “The Identity of demonstrate Bedouin spinning books/rowcos.html Craft and its Future,” Sept. 24 in and weaving at Bookworks, Natural Dye Workshop with http://www.textilemuseumshop. Cheongju, Korea. Albuquerque, NM, on Oct. 16. Charlotte Kwon of Maiwa org/index.php?page=shop. http://okj.org [email protected], www. Handprints, Dec. 2-10. product_details&flypage=shop. beduinweaving.com http://tiastephanietours.com/ flypage&product_id=56&category_ Barbara Shapiro and Dr. Mary http://www.dukecityfix.com more_info/trip7.html id=28&manufacturer_ Ruth Smith will present an id=0&option=com_ Artist Talk and Demonstration Jacquard magazine, the bi- Serena Lee Harrigan announc- virtuemart&Itemid=28 on Sept. 17 in conjunction with annual magazine of the Lisio es her Textile Odyssey Tour [email protected] “Wrapping Traditions: Korean Foundation in Florence, Italy, to Northern Vietnam Hill Textiles Now” at the Museum of covers subjects related to figured Tribes, Jan. 3-12, 2012. This tour Under the umbrella of her Slow Craft and Folk Art, San Francisco. silk weaving, textile art and edu- visits one of the most fascinating Fiber movement, Yoshiko Wada http://www.mocfa.org cation, conservation, and historic regions in Southeast Asia, where has produced a new DVD: textiles. All articles are in English over 30 ethnic groups make their Natural Dye Workshop with Michel and Italian. The magazine is now homes. Isolated from outsiders Member Publications Garcia, Colors of Provence, Using distributed by Nardini Editore, until recently, many continue Sustainable Methods. Directed by Indigo: Egyptian Mummies to Blue specialists in cultural heritage and to make and wear handcrafted, Andrew Galli of Studio Galli, this Jeans by Jenny Balfour-Paul restoration. Subscriptions: distinctive costumes that clearly film shares Garcia’s knowledge as has been reissued with a new [email protected], identify their connection to an one of the leading natural dye final chapter. This invaluable Submission proposals: ancestral group. For more infor- experts in the world. He has resource examines indigo from [email protected] mation and photos: revised traditional European meth- all angles: the historical, agricul- http://www.textileodyssey. ods, once laborious and polluting, tural, and botanical origins of the Costume and History in Highland com/textileodyssey/Vietnam_ into simpler, safer modern recipes different plant sources; different Ecuador, edited by Ann Pollard January_2012.html sensitive to issues of sustainability. production and dyeing methods; Rowe with text by her as well [email protected]

Fall 2011 5 tribes and various sub-tribes that yielding shellfish) would seriously a part of many cultures. At the inhabit the Chhattisgarh forest in endanger many species. Over- same time, the search for greater central India. It was a pleasure harvesting has extinguished or environmental integrity in con- Conference to hear them speak with great severely endangered species in sumer products is driving many respect of the intimate knowl- the past. Eber Lopes Ferreira people to ask if natural dyes Reviews edge these indigenous peoples from Etno Botanica in Brazil can be standardized and scaled have of the properties of the reported that between 1500 up for industrial use in foods, plants in their environment, and 1800 more than 350 bil- cosmetics, textiles, and clothing. and to hear them report that lion brazilwood trees were felled These two tracks—preserving we can learn from these tribal for the European dye market. ethnic knowledge and modern- ISEND 2011 peoples not only the particular Brazilwood is now nearly extinct izing it—are not contradictory, properties of specific plants, but in its original range. There were but, integrating these directives is his year, with a special grant also from their knowledge of many voices at the conference one of the challenges ahead for Tfrom The Reed Foundation, “how to use the forests.” Others insisting that if these colorants natural dyers. TSA was pleased to offer seven spoke of knowledge irretriev- are to be used in industry, they Conference attendees, TSA members travel funds to ably lost in contact with the must be cultivated. But, Jashenko not surprisingly, came from all enable them to participate in colonial and modern worlds. and others warned, there are over the world—58 countries, I the international dye conference Tiwari and Vankar joined other dangers inherent in introducing believe—with backgrounds in eth- ISEND 2011 in La Rochelle, voices in speaking of the urgency new flora or fauna into an unfa- nobotany, etymology, anthropol- France. The conference, which to record inherited indigenous miliar ecosystem. Close at hand ogy, art, craft, social justice, tex- had over 500 participants from knowledge before it is lost. was the devastation of the oyster tile conservation, fashion, media, 85 different countries, was an Natural colorants–sources beds near La Rochelle by the education, and more. Conference incredible experience for all. and issues of sustainability. purple-dyeing shellfish Ocenebra proceedings included many ses- For more information about the Universities, research institutes, inornata, inadvertently introduced sions with multiple presenters, conference, participant lists, lec- and independent artists and from Japan to the Atlantic coast films, poster presentations, a day tures, videos, etc., please see the artisans across the globe are of France in 1994. of excursions, and each after- website: experimenting with new sources An exciting series of presen- noon, a vibrant marketplace and http://www.ISEND2011.com of natural colorants and re- tations discussed the use of by- dyeing demonstrations. Below are some excerpts from examining old ones. Anne de products and other waste materi- Many of the sessions in the the reports of the TSA grantees. la Sayette reported that CRITT als to produce dye extracts, even first days of the conference were Horticole has analyzed more on an industrial scale. largely case studies of natural Mary Dusenbury than 50 species of madder to dyeing operations and initiatives Elaine Lipson around the world. Most are On Apr. 25, 524 people from find the ones best suited for local relatively small-scale operations 56 countries gathered at Espàce cultivation. Dr. Roman Jashenko In all, the conference was an that focus on providing living Encan, a handsome conference from the Institute of Zoology inspiring overview of the state of wages in developing countries. center on the Old Harbor of La of Kazakhstan informed us that natural dyeing in the 21st cen- Indigo, as the most well known Rochelle France. We gathered there are over 57 species of car- tury. With a legacy of thousands and widely used plant dye, had to consider the place of natural mine scale insects (2 just recently of years of colorants made from its own roundtable, led by Jenny dyes and pigments in our world identified), with more than 30 in plants, insects, seashells, and Balfour-Paul, author of Indigo today—and to explore the possi- Central Asia alone. other natural materials, the natural (British Museum Press, 1998). bilities of a greatly expanded use The industrial-scale use of dyeing community seeks to pre- Mary Lance, director of Blue in the future. We also gave some wild colorants (from plants, serve the indigenous knowledge Alchemy: Stories of Indigo, attend- attention to the archaeological mushrooms, scale insects, purple- of natural dyeing methods that is and historical study of ancient colorants and the information —technical, social and cultural— embedded within each... The following are Iwo of the many themes that emerged dur- TSA Reed Grantees ing the conference: with Elena Phipps, TSA Indigenous knowledge of President, at the recent properties of dye plants–a rich ISEND conference on natu- but endangered resource. Dr. ral dyes. Missing from the picture is Linda LaBelle. Subhash Chandra Tiwari from the Department of Forestry in Front row, Carissa Carman, Bilaspur and Dr. Padma Vankar Elaine Lipson. from the Indian Institute of Back row, Ivy Haliimaile Andrade, Mary Dusenbury, Technology in Kanpur, India, Fran Dorsey, Elena Phipps, for example, spoke of the eight Wendy Weiss.

6 tsa newsletter framed the discussion in contem- that holds 2,500 liters of indigo. in research, creativity, industry porary terms. While there were The vat is a tall cylinder reached and design. After the six days of varying opinions about the need by a set of stairs going up to a dense and informative presenta- for standardization, regulation, platform. The star frame is raised tions, we let loose to dancing and labeling, there seemed to be and lowered by a pulley system. and feasting on the last night. consensus that we greatly need Once the equipment was The international language of education for end users about built Axel returned to teach the rhythm was evident, as indigo natural dyes and their benefits. youth how to work with the dyers and weavers, naturalists, Also on Friday afternoon, frame and maintain the vat. The and chemists took to the dance Barbara Bigler, a dyer and indigo vat is made up of indigo floor. ISEND was a powerful and weaver from Switzerland, and from Tamil-Nadu, ferrous sulfate inspiring event. Marie Marquet of France told and lime. The recipe was handed In the coming months, with the audience about The Rainbow down to Axel and he has now the tools provided to me by the Project, a forthcoming collabora- passed it on to Aranya! The use conference contacts and con- tive platform and online database of a star frame allows yardage versation, I will embark on the of natural dye knowledge. The to be evenly dyed in the indigo facilitation and development of a Elena Phipps and Jenny Balfour-Paul. audience was enthusiastic, as this vat. A rice paste resist is screened natural dye session on immersion was one of the more concrete onto fabric to create designs dying and silkscreen in the Print ed the conference and showed next steps for the natural dye prior to dyeing. and Dye Course at Concordia her film. Speakers also shared community. On the second day of ISEND University. information and experiences with Finally, I would be remiss Axel Becker held a workshop, the many other natural dye sub- not to mention the very diverse “Indigo Dye- Dyeing with Indigo Fran Dorsey stances available, from seashells exhibition of naturally dyed art from Tamil Nadu, India using the As we probably all realize, the (for purple shades) to safflower, textiles and garments on display European Star Frame.” global textile industry is one of woad, cochineal, and many less all week, which included many the most polluting. Producing familiar dyestuffs. beautiful and ambitious works Carisa Carman the cloth we consume requires In the final two days of the by attendees and speakers at the ISEND was an incredible experi- fantastic amounts of water, herbi- conference, the conversation conference. The conference orga- ence. I arrived as a fresh and cides and acreages, offers terrible shifted from historical reviews nizers, led by Dr. Dominique youthful grad student from working conditions for vulnerable and case studies of traditional Cardon, a senior researcher at Concordia University, Montreal, labourers, and generates a chemi- uses of natural dyes to recent the National Centre of Scientific Canada. In my second year of a cal soup from dye manufacture advances in the selection, bio- Research in Lyon, France (and three-year graduate program, I and processing waste that has chemical study, production, a keynote speaker at the 2010 attended ISEND to exhibit a col- not, historically, been well man- and application of dyes, to the TSA Symposium in Lincoln, NE), laborative video, Color Rhythm. aged. If I could identify one economic and social impact of also provided a truly wonder- This three-screen video focuses major question that I arrived natural dye use in global com- ful luncheon each day—in true on the innovations and perfor- with, it would be around this: munities, and to marketing and French style, with delicious, beau- mative act of the cultivation of what role can natural dyes play education. In some ways, I would tifully presented food, generous dye plants. Showcasing our video in our real, concrete, future have liked to see the marketing amounts of wine, and inspired maquette to the specialized and world? and education session come ear- conversation as we looked out internationally diverse audience As an artist and teacher lier in the week, as it effectively at the boats in the La Rochelle was eye-opening and informative. working with dye and cloth, the harbor. Our experience in cultivat- conundrum of exploring ideas ing plants became the topic that while doing the least harm pos- Linda Labelle instigated many conversations sible has been a knotty and on- I had an opportunity to sit down amongst textile industry and going dilemma, so I was eager with Ratna Krishnakumar artisans alike. Discussions of suc- to learn how this huge challenge (founder of Aranya Naturals in cessful latin species, mordanting was being tackled elsewhere. Munnar Kerala, Southern India). variations, concentration of dye I came away appreciating the http://www.aranyanatural.com extracts, production of plant common threads of logic that Axel Becker of Norway has extracts, and application of natu- link people from diverse disci- paid two visits to Aranya. The ral dye silkscreen peppered my plines, as they struggle to find a first visit was to look over the conversations over lunchtime way to get beautiful, light- and space in order to design the banter, oyster dinner lines, breaks, wash-fast, sustainable, predictable equipment they would need to workshops, and field trips. color onto and into cloth in an build in order to use the star The diverse and brilliant economically viable way. And, frame technology for indigo dye- multi-disciplinary audience was I came away both hopeful and ing. A stainless steel vat was built intermixed with notable present- inspired. ers, sharing their innovations

Dyer demonstrating Indigo vat dye.

Fall 2011 7 First on the program was draft. The tie-ups for many of the Sandra Swarbrick with “Mary patterns presented problems of E. Snyder: The Threads of interpretation, and Hilts found her Life.” A nationally known it necessary to rearrange them weaver, Snyder spent most of into modern form in order to her weaving career in southern generate patterns from the drafts. California. In 1996 she moved to The manuscript is still owned by Clayton, NY, where she became a King family descendant, and a beloved local celebrity and is now on loan to the National eventually willed her papers Museum of the American and books to the Handweaving Coverlet in Bedford, PA. Museum. Swarbrick traced Rebecca Arkenberg’s talk, Snyder’s remarkable weaving and “Very Costly Things: 19th- teaching career. She began by Century Letters Referring to doing custom work and eventu- Textiles,” focused on the letters ally wove items for department of Susan Edwards Johnson of Yoruba indigo specialist Gasali Adeyemo showing his textiles. stores like Macy’s. At one time, Stratford, CT. Johnson’s letters she worked at weaving 16 hours from 1792-1851 provide a lively Wendy Weiss reduce, re-use, recycle. Students per day, seven days a week. In picture of the role played by used stitched and clamped resists the early 1950s she began to textiles in 19th-century life. The I learned from Martine to create apparel and upholstery teach weaving, and, in 1958 she letter writer was a granddaughter Boulanger-Penduff, of New fabric, with their end product made a notable teaching tour of theologian Jonathan Edwards, Caledonia, that while teaching exquisitely presented on design across the US. From 1964-1976, and both of her grandfathers about the environment and sus- boards. During the three-week Snyder taught at the Chataqua were presidents of institutions tainability, students in a profes- class, students researched a set of Institution. In 1968—at age 61— of higher learning (Princeton sional secondary school program natural dyes, developed modifica- she began a fine arts degree at and Columbia). She was a pro- for fashion and apparel learn tions in hue and shade, recorded the University of Kansas, which lific correspondent who wrote to salvage raw material waste test results for crocking and light she finished in record time. Mary to many friends and family from local sources, including: and wash fastness, as well as Snyder loved life and people and members. In addition to gossip by-products from gardens and examined historical antecedents. had a great spirit of adventure. and advice, her letters contain household use, post-typhoon Karen Urbanek presented Lois Wyndham spoke numerous references to textiles felled branches, residue from a moving and visually dynamic about “The Role of ‘La Dame and clothing. Among the textiles light industry, flowers, intrusive commentary on her work with a La Licorne’ in the tapestries mentioned are dimity, India book plants, etc. These students discov- a community organization that of the Middle Ages in France.” muslin, white “lute string,” and ered dye material in their envi- provides art-making opportuni- Wyndham focused on a set of green chintz. She also purchased ronment and recorded how they ties to adult artists with physical unicorn tapestries woven in the a tablecloth from local weaver used these resources, including and developmental disabilities. late 1400s and discovered at Silas Burton. extraction, mordant application Through Karen’s program, these Chateau Lussac in the 19th cen- The last morning paper was and colors obtained. This pro- individuals have recently started tury. The tapestries are now at by Mary Underwood, “Teachers gram has the potential to provide working with the natural color the Cluny Museum. Wyndham Teaching Teachers Teaching local tailors with naturally dyed palette she developed with her compared them with other uni- Teachers.” In this presentation, fabric for value-added product own natural-dye water-color corn tapestries and explored the Underwood continued her development, while providing an paints and dye sticks. She for- symbolism in the six panels, each work on Canadian weaving integrated platform to educate mulates her own pastel crayons of which appears to depict one book author Oscar Beriau. He students about global issues at from beeswax, soap, corn starch, of the senses. All of the tapestries was deeply involved in the a local level. Students from the and pigments. feature a flag with three cres- Canadian government’s effort Lycée, along with their fashion cents, the coat of arms of John to promote home industries designs, participated in the sym- de Viste. and was instrumental in found- posium. Weaving History Patricia Hilts reported on ing L’École Provinciale des Arts Sandy Heffernan of Massey Conference the recently discovered weaving Domestiques.” The focus of University in New Zealand Clayton, NY, manuscript of John King, who the talk, however, was on the presented a talk about a short May 14-15, 2011 lived and worked near Bedford, teachers at this school. Through course on an application of PA. King began his pattern book study of a large class photo in t the Handweaving natural dye that she developed in 1839 at age 25. He continued early editions of Beriau’s Home Museum’s 2011 Weaving specifically for presentation at A weaving until the 1850s. The Weaving, Underwood was able History Conference, a record ISEND 2011. The design brief pattern book contains many to trace one US weaving teacher, number of enthusiastic attendees she gave students asked them drafts for double-cloth coverlets Esther Hoagland Gallup, from crowded the meeting room at to work with natural dyes to and includes specific instructions the Snow Loom Company. She the Clayton Opera House to develop a product that in some for arranging colors within each had been trained there, and had way addresses the theme of hear Saturday’s nine speakers.

8 tsa newsletter also learned from a Swedish blankets with knotted lace fringe, Sunday morning was devot- also gave space to discussions weaver. Gallup was one of three cottonade checks in cream, blue ed to a “round robin” tour of of systems of restoration and teachers that Beriau hired to and natural brown cotton, and three exhibits. At an exhibit of conservation of robed statues—a train the future weaving teachers, beautifully textured all-white cot- Mary Snyder’s weavings owned particularly complex subject, in who would then teach weaving ton spreads. by the Handweaving Museum, which the different materials of throughout Quebec. Through Virginia Gunn’s “The Sandra Swarbrick acted as tour their composition, the alterations a long and unlikely chain of Coverlet Corridor of Ohio: New guide. Heidi Smith introduced a carried out over the years, and events, Underwood was able to Insights on Jacquard Coverlet display of textiles created by fiber the layered signs of passing time find and interview Esther Gallup, Weavers” focused on the four artist Clara Cherepov. Sandra all have to be taken into account now aged 104, still sprightly and “backbone” counties of Ashland, Rux brought a fine selection of in deciding the objectives and involved. Recorded selections Richland, Stark, and Wayne in Paisley shawls for her presenta- methods to be adopted. from Underwood’s interview central Ohio. These four counties tion, “Paisley in Portsmouth.” The Proceedings of the with Gallup were a highlight of boasted more than 80 coverlet –Patricia Hilts “Study Day” will be issued in the conference. weavers. Most of the weavers e-book form, published by the The first afternoon paper was were of Pennsylvania German Fondazione Lisio and Nardini Marjie Thompson’s “It’s Late, But descent, came directly from Lisio Foundation Editore, to create a permanent We’re Still Weaving.” Thompson Germany, or were born in Ohio Study Day record of the important contribu- documented some of the hand- of German parents. The earliest tions generously shared by schol- weaving that continued after the dated coverlet was from 1832. “Dressed Religious ars and conservators. Civil War. Rag rugs remained The peak of coverlet production Statues” Any readers who have important items, but other tex- was 1839-1853, and the latest already published studies con- tiles, including a few coverlets, dated coverlet was from 1902. n May 21st, 2011, the cerning this subject are warmly were also woven. Among the The sessions concluded with OFondazione Lisio organized invited to communicate details post-Civil War weavers was Martha Reeves’s “Bead Leno-A a “Study Day” at the Instituto to the Foundation, which will be David Bender, who learned Textile to Wear.” Reeves earned degli Innocenti in Florence, with happy to promote these via its to weave in Pennsylvania, and her Handweavers Guild of the intention of creating a forum website and in Jacquard maga- whose account book began in America Certificate of Excellence for exchange of knowledge zine. We hope to receive news 1846. Bender moved to Iowa with an advanced study of bead about clothed sacred statues. from TSA members of com- and continued to weave cover- leno. Leno is formed by cross- The typically Catholic custom pleted or ongoing research on lets and other fabrics until the ing warp threads, and hand- of clothing religious statues was, the subject of dressed religious 1880s. The Ontalaunee Woolen manipulated leno is known from and continues to be, widely statutes. Please contact: Mill near Allentown, PA, con- 168 B.C. In loom-controlled observed throughout Italy, with [email protected] tinued to make coverlets and leno the warp threads can be archival evidence going back other goods from 1867-1900. made to cross by using special several centuries, and many still Handweaving declined greatly heddles called doups, or with existing examples in centres both TSA Listserv after the Civil War, but, it did beads threaded on warps. Leno, large and small. not die out entirely. or gauze weave, is usually an A program of in-depth stud- The mission of the TSA list- Judith Rygiel’s “A Louisiana open-work fabric, but Reeves ies, new discoveries and inter-dis- serv is to provide a venue for Weaving Lagniappe: Sarah Avery wanted to make a closer texture ciplinary debates made for a day ongoing dialogue among our Leeds and Acadian Weavers in that could be used for clothing. of genuine interest as regards the diverse and globally dispersed South Louisiana, 1884- 1917,” After experimenting with a vari- artistic and historical study of tex- textile community. Listserv traced the influence of two ety of “beads—sections from soda tiles, dress and sculpture (in vari- members engage in conversa- socially minded sisters, Sarah straws, grommets, pony beads ous materials such as wood and tion about research; share Avery Leeds and Margaret and jump rings from jewelry, papier mâché), and for research information about particular Avery Johnston, in promoting Reeves succeeded in making a into anthropological and religious textiles, techniques, people, Acadian weaving in the late 19th tightly woven wearable fabric. aspects of the subject. and regions throughout the and early 20th centuries. Much Saturday’s events con- The program included 13 world; announce publications Acadian weaving was marketed cluded with after-dinner speaker presentations, some with more and exhibitions; and share through the New Orleans-based Tom Gentle, on “Twenty-five than one speaker, made by research in progress. Christian Woman’s Exchange Years at Frank Lloyd Wright’s scholars from various Italian Subscribe to the Listserv consignment store, which in Fallingwater, a Conservator regions. Research and investiga- by using the form on the 1892 sold 1,429 yards of cloth Looks Back.” Gentle detailed the tions highlighted devotional prac- TSA website and join in the valued at $2,500. The Avery many tasks involved in maintain- tices that were deeply rooted in conversation! local traditions, and yet featured sisters were also instrumental in ing Wright’s masterpiece, and Subscribe at: interesting similarities as well as bringing two Acadian weavers, in particular, solving the serious http://www.textilesociety.org/ differences between regions. Madam Dronet and Madam structural problems of the cantile- resources_listserv.htm Broussard to the 1893 Chicago ver system that supports the ter- As well as the contributions – Lydia Fraser, World’s Fair. Rygiel showed races that jut out over the water. dealing with anthropological and Listserv Coordinator pictures of Acadian boutonné devotional studies, the program

Fall 2011 9 Tinguian from page 1 color and motif, and fine preci- interaction, including similar tex- made friends with the women, sion in execution and finishing tile traditions and technology.5 and perhaps because of her influ- which went into their creation. Some of the blankets I looked at ence, we have a detailed account To see such beautiful works of in the Field Museum were actu- of the processes of weaving, textile art woven on the simplest ally Ilocano but fit well with the spinning, garment production, of looms is both awe-inspiring Tinguian part of the collection. and other domestic activities. The and humbling. Cole treats the Tinguian and couple developed a respectful, Ilocano as two branches of the friendly, and accepting attitude The Blankets: Owes same people, rather like the story toward the people they were The mountainous region of of the country and city mouse living among and studying., and Northern Luzon, The Philippines, cousins. Both have made adjust- were even made honorary mem- is known as the Cordilleras. At ments to their different bers of the tribe! Largely because the time the Coles visited the circumstances. of this, they left the Tinguian Tinguian, these people shared The patterns in the blankets having made many friends, and the region with a number of reflect the natural environment: with their heads and lives intact. other tribes. The Kankanay, mountains, forest, plants, celestial A colleague working in a nearby Bontoc, Gaddang and Ifugao bodies, animals, insects, birds and tribe was not so lucky. were weavers, while the Isneg, people. The folklore traces the The Coles amassed a wealth Illongot, and Ibaloi were not, origins of many of these patterns of information, a sizable col- so they had to trade for their back to the dreams and visions lection of artifacts, and many textile needs with their weav- of an old, blind weaver, Apo interesting photographs taken ing neighbors. In either case, all 2. Tinguian figured ceremonial Kisamay.6 These patterns were in difficult circumstances. All of groups valued the textiles in their blanket similar to one in the Field made using the pinilian tech- Museum collection. Photo: Fay this material was brought back lives and used them not only for nique, meaning “selected.” This Cooper-Cole Negative archive to the US, where it is still housed utilitarian purposes (Figs. 2 and #29170, Album 1, “Man wrapped in continuous supplementary-weft in the Field Museum, Chicago. 3), but for many rituals marking a blanket, Lagangilang N.” 1907. technique uses two wefts: a thin Their considerable contributions life events from birth to death, Field Museum, Chicago. one for the ground weave, and helped to establish one of the and beyond. Whether self-man- large variety of pillows, for no a thicker one for the pattern. To largest and most comprehensive ufactured or traded, fine textiles Tinguian house is complete with- select warps she wants to skip Philippines collections in the bestowed status upon the owner. out a number of these. The other in order to make pattern, the Western Hemisphere. The publi- Considering the amount of time, house furnishings, consisting of weaver places them on a “pickup cations of their findings provided skill, and resources the women a spinning wheel, loom, coconut stick,” weaves the pattern shot, a valuable snapshot of an ancient devoted to weaving them, it is not rasp, and clothes beater find and then weaves the ground- culture that changed rapidly surprising that they constituted a space along the other wall.”4 In a weave shot (Fig. 4). once contacts with the outside form of wealth in a mostly non- sparsely furnished house, textiles When using this technique world were opened. Mable pub- 2 monetary society. and textile-related items were a the weaver has almost infinite lished her own memoir, Savage 3 Blankets are called owes sizable part of the inventory. design possibilities at her dispos- Gentlemen, in 1929. It gives us a in Itneg, and they comprise an The mountain dwelling al, limited only by time, patience, lively sense of her feelings and important, large category of Itneg and their neighbors, the imagination, and aesthetic sen- perspectives on their experience Itneg textile production. Some more settled and Christianized sibility. Even the simplest back- with the Tinguian, and makes are plain utilitarian types, while coastal dwelling Ilocano, shared a strap loom can produce designs fascinating reading. Luckily, many others are lavishly patterned and good deal of cultural affinity and of great beauty and complexity, of these publications, long out were used primarily on ceremo- but it is very time-consuming. of print, have now been digi- nial and ritual occasions. Cole A good patterning and labor- tized and are available online at describes the inside of a typical saving device may be made by Gutenberg Books.1 Tinguian house where textiles using a series of pattern heddle The Cole collection of were much in evidence. “At one sticks, one for each shot of the Tinguian/Itneg material culture end of the room a set of pegs, pattern (Fig. 5). The warps to be includes a group of magnificent deer horns, or a cord supports used for pattern are selected and hand-woven ceremonial blankets a variety of clothes, blankets, a attached to the stick by a string and the looms on which they woman’s switch, and perhaps heddle made by winding string were created. I am grateful to a man’s belt. The sleeping-mats between warp and heddle stick. have had the opportunity to either hang here or occupy a When raised one after the other examine and photograph the rack of their own. Below the for each shot of the pattern, textiles, weaving equipment, and cord stand chests secured in early these sticks pull up the required original photo albums from this years through trade with the collection at the Field Museum. Chinese. In these are the family 3. left, Binakul blanket pattern simi- As a practicing weaver, I can lar to the one in Fig. 2 and in the treasures, valuable beads, coins, Cole collection in the Field Museum, appreciate the masterful weav- blankets, ceremonial objects and Chicago. Photo: Cole, The Tinguian, ing skill, aesthetic composition of the like. Piled on the boxes is a plate #LXXIV.

10 tsa newsletter inserted and the whole their daily lives. Most were of is tipped out and hung handspun, naturally white cotton up, ready for weaving in plain weave or twill. These as in Figs. 4 and 5. blankets were composed of two In the finished setup, or three narrow panels, usu- warp threads pass ally no wider than the weaver’s through a reed, which shoulders, joined by neat stitches Yushan Tsai, based on at the seams. Simple cotton blan- 4. Tinguian impaod loom set up for weaving piniiian patterns on a plain weave ground. It her work with Taiwan kets were used for many pur- is set up with a series of 16 pattern sticks, plain weave ground sticks, a warp spacer (top) aboriginal weaving, poses in daily life. Even a popu- and reed. The baliga or weaving sword is shown closest to the weaver after the shuttle. lar dance, the “tadek” or “horse The baliga was considered a weaver’s talisman. The Field Museum, Chicago. “Tinguian back-thinks may open from 10 strap loom, Field Museum #108907,1908.1060, code 3456) the top. This way the dance,” was performed on warp threads can be many celebratory occasions by threads for each shot. The warp to weave on this kind of loom evenly distributed in the spaces couples who flapped and waved shed is then changed to one of from an old, accomplished Atyal between reed bars. This helps to their blankets as they advanced the ground weave sheds, and the weaver when I lived in Taiwan. space the warps and keep them and retreated to the horse-like thinner weft passed through to The continuous warp is wound in order, preventing tangles. Also rhythm of a percussion accom- create the plain weave ground. simultaneously with the forma- note in Fig. 5 the intersecting paniment (Fig. 7). The horse is The weaver beats the weft into tion of heddle loops on heddle bamboo poles on the ground in a symbol of power, grace, and place with the shed sword, sticks, gorod. The warp control- front of the weaver and under bravery, and there is a large cat- Baliga, which was considered a ler rod, leteta, is also wound to her loom. The side poles are egory of blankets which uses the weaver’s talisman by the Itneg. keep the threads in order and to braced against the wall and the motif. These seem to be among The group of women in Fig. help control the tension of indi- cross beam provides her with a the most valued of the figured 6 are working at spinning and vidual warp threads.8 It is a very secure foot brace, as well as a blankets. The pattern commemo- warp winding, and their apparent ancient technology dating back clever way to extend the possible rates the death of a nobleman working methods are of special to pre-historic China, but effi- weaving length of the warp. A or warrior.11 It also makes refer- interest to me. The technology cient, and so has changed little in T-shaped arrangement of the brace ence to the god of agriculture, involved in the warp preparation the intervening centuries.9 is also used by the Itneg, and I saw Indadaya, who is highly revered and loom setup appears to be When all is ready, two thick an example of this in the Field and invited to every ritual or virtually the same as that used by rods, which act as cloth and Museum collection. feast, especially those related to the Atayal in Taiwan.7 I learned warp beams respectively, are agriculture (Fig. 8). Ceremonial Blankets Cole describes one type of The Tinguian made and used blanket which was believed to be a variety of blankets, owes, in possessed by a spirit. The Inálson is “a sacred blanket made of white cotton. A blue or blue and red design is formed, where the breadths join, and also along the borders” (Fig. 9).12 Another interpretation of this textile calls it inal-alsong and describes it as “A white cotton cloth with dark blue trim- mings featuring warp float designs of Xs, and diamond forms represening rice mortar

5. Woman weaving on the backstrap loom, inlaod. Notice the bamboo warp extender/ foot brace and multiple pattern heddle sticks. She is weaving pinilian. There are eight pattern sticks as well as the four set up for plain-weave ground. The pattern appears to be the famous kinarkaryan ken banbantay, or rivers and mountains, including man and horse on near borders. 6. Tinguian women spinning, right and back, and winding a warp with heddles in preparation for weaving on the backstrap loom. Cole negative #29155, “Spinning and measuring thread for the loom. Patok,“ 1907-8, Field Museum, Chicago. 7. Above, Cotton blankets being used while dancing the tadek. Cole negative #28679, The Field Museum.

Fall 2011 11 9. Detail, Inalsong textile with “rice and mortar pattern,” and showing stitched joining of panels, collection Rolando Go, Baguio, Abra. 10. Shaman performing a ritual involving the sacrifice of a pig, and a display of treasured family blankets to 8. Horse and man motif, Itneg blanket, cot- please the spirits. Some of the same patterns appear in the blankets Cole collected and are now in the Field ton, red and black, #108888, Field Museum, Musuem in Chicago. Cole Negative #29168,” Album 1, ”Medium making diam over yhe pig at Bakid Ceremony. Chicago. Manabo”, 1906-08. and rice grain respectively. It is who were often middle-aged occasions, most often to be dis- only two were being worn by especially used by the priestess in women. Thus, the unseen but played in ceremonies which con- people (men). The clearest, and after-harvest rituals.”13 Another not unheard spirits were able to nected the people to their belief in my opinion most noteworthy informant reports that it was participate in important life-cycle in a parallel universe of the spirits. photo is that of the handsome worn during after-harvest rituals. rituals, healing, fertility, spirit During the funeral of an young warrior from Lagangilang, It may have had multiple applica- propitiation, and magic-making important man, “The corpse wrapped in a geometric figured tions. This only points to the fact along with the living human was richly laid out in all his best binakul blanket, shown in Fig. 2.17 that textile culture is dynamic participants. attire with gift offerings arranged A photo of a blanket and changes with time, place and The Tinguian funerary setting around him. It was believed that with the same pattern as the one individual weaver. in Fig. 11, like the event pictured he would symbolically take these worn by the warrior from Although the Tinguian did in Fig. 10, featured a textile dis- possessions and textiles with him Lagangilang appears in The not bury their dead in treasured play in this case, mounted above as gifts to his future home with Tinguian as plate #LXXIV textiles as some of their neigh- the corpse. The number and the ancestors in Maglawa.”15 (shown in Fig. 3). A similar or bors did, their multicolored, quality of blankets on display The blankets were thought the same blanket is in the Cole figured blankets were important were an indicator of the wealth to also have had a protective collection at the Field Museum. family heirlooms which were and status of the deceased and function. Beneficial spirits were Cole mentions in passing that passed down through generations. his family.13 In other ceremonial pleased by the display of beauti- valuable figured blankets such as During rituals, the presiding contexts, such as healing of a ful blankets. While evil ones this were “much in evidence” dur- medium, shaman, or spirit doc- family member, the blanket dis- might be drawn to the occasion, ing the head-hunting treaty cer- tor was possessed by the anito play performed a similar status they were prevented from doing emonies between the Tinguian spirits while in a trance state. The function. The patterns, like the harm because before doing so, and their neighbors, and Aquino scene in Fig.10 shows the setting blankets themselves, were passed they were compelled to count all reaffirms this tradition through for one such occasion, perhaps down through generations of the threads in the blankets, holes her interviews of modern Itneg a healing ritual. The spirits regu- weavers.14 The most valuable in the fishing nets, and hairs in weavers.19 larly spoke through these spe- blankets were brought out of their the switches. By the time they Blanket Weaves cially trained mediums, alopogan, storage chests only on special had completed that task, the ceremony was probably over, and The geometric red, white, and no harm had been done.16 dark blue blanket in Fig. 12 In looking through all of is cotton woven in the loom- Cole’s Tinguian photo albums in controlled binakul technique. For the Field Museum, I only noted this, a loom is set up with a warp a few images of the figured blan- of two colors, one light, one kets in use, and among these, dark, which are threaded into the dents in the reed in pairs. The 11. Field Museum negative #29171, “Funeral of Malakay at Patok. pl. threads of the warp form two Funeral Ceremony.” Note the display layers: dark on top and light on of family textiles on the line above bottom. These are on two differ- the corpse. This display declares that ent shafts or heddle sticks, and the family is wealthy and has many are raised in alternating order dur- valuable ceremonial figured blankets as well as more utilitarian textiles for ing weaving. The pattern areas are clothing and accessories. arranged to form “blocks.” 12 tsa newsletter 12. Detail showing front and back was neither double weave nor the There is an interesting of cotton Tinguian blanket, Luzon. structure known as “summer and account of how one weaver Rep weave. Warp, thin white thread winter.” The warps were densely from a different tribal group r and thicker blue-black thread, red spaced and along the selvedges, started a new weaving tradition stripes along borders and grid, no fringe, three panels, white embroi- thin dark threads alternated with in her area. “Since the Ibaloi did dered joins, weft thin black/indigo, a heavier thicker light thread in a not weave, Isinai blankets import- thick white hand spun. Early 1900s. plain-weave structure. This could ed into this area were not copied Field Museum, Chicago, Catalog only be warp “rep,” or “rib” weave. or assimilated into any previously #108894. I was able to confirm this existing tradition. Around 1940, weave structure after spending however, in the Kankanay area, each edge. The joined edges of several months in the Philippines, a weaver living near Kayan is the two panels are embroidered where I collected samples, and known to have begun translat- in a decorative motif in a thicker, did an analysis with a weaver ing Isinai ikat motifs into the a contrasting thread. Our blanket friend. By counting warp and weft laid-in technique after repairing also has embroidery all around its threads and graphing their inter- a badly damaged Isinai burial outside edges. lacements, we could determine blanket. Subsequently, she found The first block is threaded I first saw the Tinguian blan- that this was, indeed, a two-block a ready market for this textile in in light/dark order; at the sec- kets in The Honolulu Academy rep weave. A full report of this the area around Bugias, where it ond block, the threading order of Fine Arts in 2003, and was analysis appears on my web page, was highly valued and used as a becomes dark/light until the next fascinated with the geometric http://www.travlinweaver.com funerary blanket.”20 block begins, when it reverts to patterns of the binakul blankets— The method of designing While the world of the light/dark, and so forth across the some of them seemingly produc- with block pattern areas is a very Tinguian as Cole knew it has warp. The weft threads are of ing optical illusions. There was old system, usually associated long since vanished, the beautiful two different thicknesses. The first something oddly familiar about with the multi-shaft loom. How it blankets still speak to us across is the lighter, thicker weft which those patterns. The binakul pat- came into use by a tribe of isolat- time and space. The old blankets shows up the pattern in a high terns were reminiscent of certain ed headhunters in the mountains are preserved in museums and ribbed effect, and the other is geometric block pattern profiles I of Luzon is still a mystery. among private antique textile usually darker and creates a low am familiar with from my study Yushan Tsai is a professor collections, still providing delight filling row in which the pattern of early American coverlets. I in the Department of Textiles to the beholder and possible does not show. The color domi- had met similar pattern layouts and Fashion Design at the Fu inspiration to future weavers and nance changes from one side of called “weaver’s profiles” in old Jen Catholic University in Taipei. textile artists. the textile to the other, making a weaver’s pattern books and man- She is a master weaver trained in “reversible” fabric (Fig. 12). The uscripts from the 1700s-1800s, Kathleen Forance Johnson has Paris, and teaches historic textile pattern is identified by Aquino and it is from this perspective a master’s degree in art education analysis. I asked her to help me as the classic “Whirlwind” or that I attempted to understand from New York University and analyze some of the Tinguian “Whirlpool.”18 the blanket structure. in her post graduate studies there blanket patterns from the photo, The blanket is composed of The museum documenta- specialized in Asian art history. using thread density data from three narrow panels with neatly tion of these blankets designated In 1976 she went to India to live the first sample I had analyzed. stitched joining seams. Typically their weave structure as “double and teach for seven years and to She has analyzed and graphed the Poland for eight years. She lived in each panel is about 22 inches weave,” and the pattern as “sum- blanket in Fig. 12, and her pattern Taiwan and in Thailand for three across. The pattern is repeated mer and winter” because of the draft and drawdown appears on years each with her husband, the three times across the width of “reversible” color effect, but my page 23. Yushan says that she former US Ambassador to the the panel, with a red stripe on weaver’s eyes could tell that it can never be sure of the weave Kingdom of Thailand, H.E. Darryl Norman Johnson. Her 30 years as structure she has analyzed until a teacher of art and art education it has been tested on the loom. in various countries sharpened Fig. 13 shows her re-weaving her perception and nurtured her of the blanket pattern we have curiosity about the arts in those been discussing, confirming it as places. Kathleen is a hands-on tex- two- block rep. We hope to go tile designer and weaver who finds more deeply into our investiga- inspiration in the textile traditions tion of the weaving of Tinguian she studies. She is the founder of blankets by analyzing and re- the Thai Textile Society, hosted weaving more samples. by the Jim Thompson Center for Textiles and the Arts in Bangkok. 13. Using the weaver’s draft on p. 23, She and her husband are now Yushan Tsai warped her loom in Taipei retired and reside in Seattle, WA. and wove this sample of the pattern She writes articles for textile pub- from blanket Cat. #108894 in the Field lications based on her experiences Museum. She says she can never trust that her analysis is correct unless she and research. Please see her web weaves a sample from it. Thus weav- site for a selection of her articles. ing traditions are preserved. http://www.travlinweaver.com Fall 2011 13 A Weaver Looks at Tinguian Respicio, Norma A. The Dynamics 4. Fay Cooper-Cole, 1922, p. 365. The Textile Museum Blankets of Textiles Across Cultures in 5. Aquino 2005, p. 76. Selected Bibliography Northern Luzon, Philippines, PhD Affiliates with Dissertation, University of the 6. Aquino, 2005, p. 117. George Washington Aquino, Marlowe U., Dynamics Philippines, Diliman, Quezon City, of Weaving and Development of an 7. Tsai, 2010, p. 32. University May 2000.

Itneg Community in Abra, Philippines, Chen Chi-Lu, 1968, p. 100-110. PhD dissertation, University of Respicio and Dulimamam, “The he Textile Museum is the Philippines, Los Banos, April, Itneg Epic,” in Literature of Voice, 8. Respicio, 2000. p.127. Tmoving to George Epics in the Philippines, edited by 2005. 9. Lu, 1988, pp. 4-6. Washington University’s Foggy Nicole Revel, Ateneo de Manila Bottom Campus as part of a new, Bunce, Frederick W., Buddhist University, Quezon City, 2005. 10. Cole, 1922, p. 183. world-class museum scheduled to Textiles of Laos, Lan Na and the Isan; open in mid-2014. The Iconography of Design Elements. US Embassy, Manila, To Islands Far 11. Aqino, 2005, p. 240. Exhibitions and programs will New Delhi, 2003. Away: The story of the Thomasite 12. Aquino, 2005, p. 236. and Their Journey to the Philippines, be presented to the public in a Casal, Father Gabriel & Trota, , commemorates the August, 1901 13. Respicio, 2000, p. 403. custom-built, 35,000 sq. ft. muse- Jose Regalado, Jr., The People and arrival in the Philippines of the um building located at G and Art of the Philippines, Museum of 14. Aquino, 2005, p. 122. Thomasites. Manila, 2001. 21st Streets, bearing the names Cultural History, University of 15. Aquino, 2005, p. 117. of both the Textile Museum California, Los Angeles, 1981. Maxwell, Robyn, Textiles of and the George Washington Southeast Asia: Tradition, Trade and 16. Cole, The Tinguian, 1923, p. Chen Chi-Lu, Material Culture University Museum. The new Transformation, Revised edition. 290. of the Formosan Aborigines, The museum will include dedicated National Gallery of Australia,1990, Taiwan Musuem, Taipei, 1968. galleries for the Textile Museum, Periplus, Hong Kong, 2003. 17. Cole, 1922, p. 282. with increased exhibition space Cooper-Cole, Fay, The Tinguian, Porter Davidson, Marguerite, 18. Aqino, 2005, p. 102. compared to its present facilities. Social, Religious and Economic Life A Handweaver’s Source Book, 19. Aqino, 2005, p.118. Until the new museum opens, of a Philippine Tribe, vol.14, no. 2 Marguerite P. Davidson, The Textile Museum will con- Chicago: Field Musuem of Natural 20. Casal and Trota, Jose Swarthmore PA, 1953. tinue operating at its current History, 1922. Regalado, Jr. 1981, p. 224. location. ------. Traditions of the Roth H. Ling, Studies in Primitive In addition to the new Tinguian: A Study in Philippine Looms, Journal of the Royal Folklore, vol. 14, no. 2. Chicago: Anthropological Institute of Great museum, the university Field Museum of Natural History, Britain and Ireland, Vol. XLVI, announced that it will construct 1915. London, 1916. Textile a 20,000-sq.-ft. conservation and resource center on its Virginia Cole, Mable Cook, Savage Tsai, Yu Shan, ”Wings to Dream. Science and Technology Campus Gentlemen, D. Van Nostrand Co. Research on Taiwan Indigenous Community in Loudoun County, VA, for the Textiles,” Project of Taiwan Inc., New York, 1929. study and care of the Textile Indigenous Teachers Training De Los Reyes, Isasbello, The News Museum and the University’s Course in Textiles,” in Heartbeats Tinguian, Translated from the collections. This center will from the Taiwan Indigenous Loom, 1887 publication by MA. include storage facilities, a con- Chinese Textiles and Clothing Elinora P. Imson, Cordillera servation laboratory and facilities Culture Center, Department of Studies Center, University of the for access to the collection. Textiles and Clothing, Fu Jen Fiberarts Ceases Philippines, Baguio, 2007. The affiliation with the Catholic University, Taipei, 2010. Publication university will allow the Textile Emery, Irene, The Primary Structure Willcox, Cornelis De Witt, The Fiberarts magazine ceased its Museum to expand its rich tradi- of Fabrics: an Illustrated Classification. Head Hunter of Northern Luzon, 35-year coverage of art tex- tion of scholarship, education Watson Guptill/Whitney Library Franklin Hudson Publishing Co., and fostering cultural understand- of Design, The Textile Musuem, tiles and their makers with its Kansas City, MO, 1912. Washington DC, 1966. Summer, 2011 issue. Started by ing as it broadly integrates its Rob Pulleyn as a large-format activities into the far-reaching Lu, Sylvia. Handwoven Textiles of tabloid in 1976, the magazine, GWU academic community. South-East Asia, Oxford University Notes 1. Fay Cooper-Cole, The Tinguian, with its mission “to promote all Press, Oxford, 1988. Social, Religious and Economic Life of aspects of contemporary fiber Norbeek, Edward, Folklore of the a Philippine Tribe, and Mable Cole art,” made a significant contribu- Atayl of Formosa and the Mountain Cook, Savage Gentlemen, 1929. tion to sustaining the field. It will Tribes of Luzon, University of http://www.gutenberg.org/ be greatly missed by the textile Michigan Press, 1950 ebooks/12849 community.

Pastor-Roces, Marian, Singaunang 2. Casal & Trota, Jose Regalado, Jr., Habi: Philippine Ancestral Weave. 1981, p. 220. Nikki Coseting and Marian Pastor- Roces, Manila 1991. 3. Respicio, 2000, p. 257.

14 tsa newsletter ATA “Passages” and traditional artists. To honor Aunty Gladys, The American Tapestry Alliance as she is known, and her influ- announces “Small Tapestry ence as a teacher, the Hawai’i International 2: Passages” to be Academy of Arts presents “Ulana shown at The Cultural Center Me Ka Lokomaika‘i: To Weave at Glen Allen, Glen Allen, VA, from the Goodness Within,” Aug. Sept.15-Oct. 30. Juror Kay 25-Jan. 9, 2012, an exhibition of Lawrence, Director of the South päpale, or hats, skillfully woven Australian School of Art, chose by her and her many dedicated Lahaula hat by 47 tapestries from 41 artists to “Auntie Gladys,” students. be included in the show, out Gladys Kukana Grae, Aunty Gladys learned the of 125 entries by 80 artists. featured at Hawaii art of lauhala weaving from her Thanks to the generosity of the Academy of Arts. maternal grandmother, Kukana, Teitelbaum Legacy Gift, ATA while growing up in the small offers two monetary awards for 1988 and 1998, Aunty Gladys lead an 8-day pre-conference town of Olelomoana on Hawai‘i Small Tapestry International. The also participated in the State tour, Dec. 19-27, through Guiling, Island’s South Kona coast. First Place Teitelbaum Award Foundation on Culture and the Zhaoxing, Rongijiang, Kaili, Weavers claim the hala, or pan- Winner is Mary Lane for her Arts’ Folk Arts Apprenticeship Anshun, Guiyang and Shenzen danus trees from that region pro- tapestry “Untitled #134.” The program. to study the signature costumes duce the best lauhala (leaf used Second Place Teitelbaum Award In 1997, Aunty Gladys and of many distinct Miao villages. for weaving). The weaving tech- Winner is Joyce Hayes, for her fellow weaver Frank Masagatani Dr. Torimaru received her niques and patterns were once tapestry “Conciliation Fall.” formed the weaving club Ulana PhD in History and Technology guarded as family secrets, handed Me Ka Lokomaika’i. Today, the of Chinese Textiles from Donghua down from mother to daughter. club’s annual workshop for new University (Shanghai, China). She Lahaula Textiles Aunty Gladys’s grandmother’s students has a two-year waiting is the Co-Author/Author of One at Hawai’i Academy family was known in particular list. Aunty Gladys’s former stu- Needle, One Thread: Miao (Hmong) of Arts for weaving hats of light and dents are now teachers who also embroidery and fabric piecework dark contrasting patterns known perpetuate this time-honored from Guizhou, China; Imprints on Last year, Gladys Kukana Grace, as anoni. art form. Her legacy will live on Cloth: 18 years of Field Research an accomplished lauhala weaver, Aunty Gladys explains best through their passion and devotion. among the Miao People in Guizhou, received a National Endowment the value of lauhala: “It is a con- China; Spiritual Fabric: 16 years for the Arts National Heritage nection with the past. It changes ISS Tour of Field Research among the Miao Fellowship. The prestigious your life. It will make you a bet- People in Guizhou, China. For more program is designed to recog- ter person.” A steward of lauhala In conjunction with the 8th information: nize and preserve the country’s weaving for more than 30 years, International Shibori Symposium http://8iss.files.wordpress. diverse cultural heritage, with she has taught hundreds of stu- in Hong Kong, Dec. 28-Jan. 2, com/2011/06/tour-guizhou_pub. fellowships going to master folk dents since the 1980s. Between 2012, Dr. Tomoko Torimaru will pdf

In Ardis James, 1926 -2011

rdis Butler James, collector, enthusiastic student of quilt history, and philanthropist, died on Memoriam AJuly 7, 2011, at the age of 85. Long-time residents of Chappaqua, NY, Mrs. James and her husband, Robert, were natives of Nebraska and donated their personal collection of nearly 1,000 quilts to the University of Nebraska-Lincoln (UNL) in 1997, leading to the formation of the International Quilt Study Center & Museum (IQSCM). Today the IQSCM is home to the largest public collection of quilts—more than 3,500 quilts spanning four centuries and more than 24 countries. The couple also endowed two UNL professorships and contributed the leadership gift for Quilt House, the stunning new building that opened in 2008 houses the IQSCM at the University of Nebraska-Lincoln, and served as the venue for the Textile Society of America’s opening reception for its 2010 Biennial Symposium. Ardis, with her husband, Robert, encouraged and supported the scholarship of researchers, sponsoring at least one paper each year for 20 years at the annual seminar of the American Quilt Study Group. Ardis understood that quilts provide a lens into society that few other objects offer. She recognized that quilts allowed women (and a few men) to express in needle and cloth their familial and community ties, patriotic and political sentiments, religious affiliations, and artistic ideas. She also realized that quilts offer insights into social, artistic, religious, economic, and technological influences on society that might otherwise remain hidden because women had limited options for public discourse until the 20th century. We remember the quiet influence and philanthropy of Ardis with respect, gratitude, and admiration. She played a significant and influential role in preserving quiltmaking traditions globally. – Patricia Cox Crews

Fall 2011 15 garments Rhodes created to The last section addresses the clothing: “traps for impurity;” showcase her textile designs, to future of the people and their and, from cloth to dress: the role advertisements and magazine textile traditions. It points out of the tailor. Discussion of these Book editorials marketing the garments that not only has the infrastruc- subtopics crosses through numer- to the public. Safer also discusses ture in this region changed to ous Gujarati groups and the illus- Reviews Rhodes’s manipulation of her accommodate more tourists, but trations further document issues own appearance as an artistic that their local textile techniques discussed in the text. statement, using herself as her are vanishing. The next three chapters primary canvas. This thorough This book reminded me that (Constructed Textiles; Dyed, treatment provides great insight it is not necessary to have a large Printed and Painted Textiles; Zandra Rhodes: Textile into Rhodes’s design process, as book to really get a good under- and Embroidery), provide Revolution: Medals, Wiggles, well as into the integration of standing of these exciting textiles. analyses and illustrations of the and Pop 1961-1971 design and culture at this time. I recommend this book for any- distinctive Gujarati contribu- Samantha Erin Safer If the book has a failing, it one who loves traditional textiles tions to selected production Woodbridge, Suffolk, UK is the too-frequent grammatical and costume and as a reference techniques. The concluding Antique Collectors’ Club, 2010 errors, run-on sentences, and book or starting point for textiles chapter (Craft Development and odd punctuation choices, which of Southwest China. I plan to use Entrepreneurship) focuses upon amantha Erin Safer’s recent do distract the reader from it to teach cultural textiles, since three representative agencies Sbook on the textile and fash- the meaning of the text. The it covers a wide range of topics. to discuss how textiles fare in ion designer Zandra Rhodes is quality of Safer’s research and – Kaye Crippen present-day Gujarat. This begins a visual feast as well as a defini- the importance of her subject with the initiative of the Gujarat tive history of Rhodes’s glory deserve similar quality in copy- State Handicrafts Development days. Safer covers Rhodes’s editing. Nonetheless, it is difficult Textiles and Dress of Gujarat Corporation along with the career from her sketching- and to imagine a more comprehen- Ahmedabad-based National Eiluned Edwards sewing-filled childhood with her sive or authoritative treatment of Institute of Design, to work with London: V & A Publishing, 2011 dressmaker and fashion design Rhodes’s work through the early the block printers of Dhamadka. instructor mother, through her 1970s. Safer’s book makes an he Gujarati people of western This successful project resulted in design education at the Royal excellent resource for designers TIndia for millennia have both local as well as international College of Art, to her career as a and artists, as well as an impor- produced and traded textiles interest in block printing. textile and fashion designer, bou- tant contribution to the emerging throughout the Indian Ocean In contrast, the Shrujan tique owner, and businesswoman textile and fashion history of the area. Eiluned Edwards, in this Trust evolved from a 1960s in the heady pop art scene of late twentieth century. magnificent volume containing famine relief project that London in 1960s and early –Cecelia Gunzberger Anderson 243 colored illustrations, surveys allowed women to do embroi- 70s. The book is dominated by the roles textiles have played dery work rather than being the stunning images of Rhodes’ across many social and economic manual laborers. The wealth of vibrant textiles and clothing, and Vanishing Traditions: Textiles levels of the numerous social embroidery traditions expressed of the artist herself, and even and Treasures from Southwest groups who collectively form by the numerous social groups includes a page of stickers of China Gujarat. brought instant success to the motifs from her textile designs. Bea Roberts The historical introduction non-governmental organization Safer had access to an draws attention to the links and when it began selling their work. incredible array of resources in his book, which consistently associations Gujarat had with Embroidery, being piecework, researching her work, including Tcaught the eye of students Mohenjodaro and Harappa, the was readily accepted by families, Rhodes’s entire archive at her who wanted to look inside, was oldest archaeological sites in the since it allows women to work Fashion and Textile Museum, as published on the occasion of the Indian subcontinent. The designs in their homes, yet earn money. well as Rhodes herself and her exhibition of the same name in and motifs used 3,000 years ago Thus, the transition from famine contact list. The text of the book, 2010. The balance of intrigu- in fact closely parallel work that relief work to ongoing employ- while short in comparison to the ing photographs with concise is done today, a fantastic exam- ment was not difficult to make. the book’s images, is informa- descriptive copy in this 63-page ple of the continuity of textile The final example is the tive and well-documented, and monograph by Bea Roberts traditions in India. The transition commercial design company effectively places Rhodes within provides a good introduction or from historical treatment to the Bandhej, which has worked with the artistic and cultural millieu refresher to textiles and dress second chapter, “Contemporary artisans throughout India but of the era. For most of Rhodes’s from Southwest China. Dress,” thus is hardly abrupt. primarily in Gujarat to produce early collections, Safer is able The book includes informa- Edwards documents numerous works in the traditional manner to trace the designs all the way tion about Guizhou Province, societal influences and values yet appeal to a modern urban from the pop culture objects that village life, traditional fibers, tex- which affect present-day dress in clientele. The creative interpreta- influenced or inspired Rhodes, tiles and costumes. The reader is the subsections: caste; modesty tions of motifs and designs have to preliminary design sketches, reminded of the dramatic recent & veiling; adornment & auspi- resulted in stunning new applica- through the textiles themselves changes to this region and the ciousness; purity: uncut cloth tions of traditional craftsmanship in several colorways, to the impact it has had on their textiles. & unstitched clothes; tailored that have met with great success.

16 tsa newsletter As the chapter amply shows, Pedro Cahonoa. A cooperative textile traditions in Gujarat has added machine spinning remain vibrant. technology and is reviving an Finally, an Appendix pro- almost-vanished sericulture Exhibition vides garment construction analy- industry, and dyeing the silk with ses. This fascinating volume was natural dyes. The group is also Reviews impossible to put down. known for elaborately knotted – Donald Clay Johnson edgings on their products. Tapestry rugs are woven with Woven Lives: Contemporary natural-dyed yarns in Teotitlán The Bag: Necessary Accessory Textiles from Ancient del Valle by well-known weavers Traditions such as Federico Chavez Sosa. A Studio Rosai, Florence weaving cooperative has added June 15-30 Carolyn Kallenborn solar collectors to its dye house, and those showing outstanding Video Documentary Gallery of the Academy of providing energy to pre-heat the craftsmanship. About 70 entries University of Wisconsin/WARF Fne Arts, Antwerp water used for dyeing. came from schools of different Foundation November 17-December 1 Small-scale production weav- kinds and levels, and 15 of these he Lisio Foundation is his one-hour video ers in Mitla utilize fly-shuttle constitute a special section in the Twritten, directed, and pro- looms to speed up production. Ta partner with the Gallery exhibition. duced by Carolyn Kallenborn, Weavers like Rodrigo Hernandez of the Academy of Fine Arts in The Fondazione Lisio is espe- documents Zapotec artisans in have entered into partnerships Antwerp for the exhibition and cially pleased that the tiny wrist six communities around Oaxaca, with foreign textile designers, catalogue The Bag: Necessary bag created by Rakele Tondini Mexico, and examines how the producing fabrics for the fashion Accessory. The exhibition com- during the course entitled region’s 25,000 year-old textile market. prises items selected from “Designing your Dream Bag”, heritage has helped the Zapotecs To conclude her study, amongst those entered for the held last February, was one of retain their cultural identity, and Kallenborn talks with shop own- competition of the same name. the items chosen. ers in Teotitlán that feature inno- Organizers are: Coordinamento how the artisans of today work –Julie Holyoke to integrate traditional techniques vative textiles blending ancient Tessitori, the Woven Arts with modern design and technol- inspiration with modern design Department of the Koninklijke sensibilities. Textile artists dis- Academie voor Schone Kunsten, ogy in order to sustain their textile Pretty Smart Textiles practices. In six informative and cuss developing their work and Antwerp, and the Associazione Birk Centerpark entertaining vignettes, Kallenborn markets. Some are involved with Amici della Scuola Leumann, Herning, Denmark covers a wide and fascinating recycling, others use imported in association with: OmA - May 2-19 range of textile practices. materials. The Oaxaca Textile Osservatorio dei Mestieri d’Arte, Museum is contributing to the Progetto Tessile e Sostenibilità, Seventh generation natural urated by artists and the Fondazione Arte della Seta dyer and rug weaver, Pedro revival of Zapotec textile arts educators Melissa Coleman Lisio of Florence, Florence City C Aquino Cruz, has studied as well, by collaborating with and Dorith Sjardijn from the Council, and the Fondazione di biochemistry and applies sci- artisans to study and reproduce Art Science Department of the Firenze per l’Artigianato Artistico, entific methods to his family’s antique textiles and patterns as University of the Netherlands, under the aegis of the Kingdom ecologically-conscious dyeing well to produce them for the the Hague, “Pretty Smart Textiles” of Belgium and the Regional enterprises. A visit to the Rancho museum shop. opened on May 2 in Herning, Administration of Tuscany. Nopalera cochineal “farm” shows The film captures the diverse Denmark as the initial event of The exhibition opened at the life cycle and uses for cochi- flavor of the region, ties together “Future Textiles” a symposium Studio Rosai in Florence, and a neal dye. textiles and culture, and is a that brought industry and smart second venue will be in Collegno Weaver Abigail Mendoza must-see for textile lovers, and textiles face to face. (Turin) at the eco-museum of Antonio of Santo Tomas Jaliez anyone interested in art, inspi- The small but excellent the Villaggio Leumann, where it carries on the country’s oldest ration, tradition, sustainable exhibition contained works by backstrap weaving tradition using projects, and traditional cultures. will form part of the event “Filo a rigid-heddle device brought Additional information is provid- lungo filo, un nodo si farà,” from by the Spanish on her backstrap ed on Kallenborn’s Woven Lives Sept 23-25; and on Nov. 17 the loom to weave patterned bands websites in English or Spanish. exhibition will reopen in the gallery of the Royal Academy of with traditional design motifs. Running time: 1 hour, 16 minutes, Fine Arts in Antwerp, where it She has redesigned the tradi- Spanish and English subtitles. will remain until Dec. 1. tional patterns for finer threads http://www.wovenlivesoaxaca.com Of the approximately 160 in order to follow current fashion http://www.vidasentretejidas.com trends. works submitted from Italy – Karen Searle Silk shawl weaving, a little- and the rest of Europe, 50 were selected for inclusion in known art in Mexico is being A trio of interactive works by Melissa carried out by weavers in San the exhibition, with preference Coleman. Top, “Alpha,‘ Above, “Bravo.” being given to innovative entries “Charlie” is on the next page.

Fall 2011 17 extermination are transformed Penelope's Labour: Weaving into schematic symbols typical Words and Images of kilim weaving. The rug, a Venice, Island of San Giorgio landmark to memory, is left Maggiore unfinished, pending justice and June 4-September 18, 2011 reconciliation.

he exhibition, Penelope's The large Jacquard tapestries, TLabour, at the Cini all woven since 2000, that con- Foundation in Venice, explores stitute the core of the exhibition the role and means of produc- stand in comparison to their European artists working in tion of pictorial textiles from the earlier counterparts, narrative or the field of “intelligent textiles.” late 15th century to the present. decorative, from the 15th and Works using fiber-textile-dress- Conflict over territory and 16th centuries. Like “The Siege interiors-media combined with the ensuing events of war, geno- of Jerusalem“ or the “Large Leaf sound, light, and movement cide and death were the subjects Tapestry,” these contemporary became vehicles of creative of a group of works ranging in works are the product of col- expression that explored issues time from 1480 to 2008. The laboration between artists and related to permanence, tran- earliest of these, “The Siege of workshops. sience and memory. The exhibi- Jerusalem,” a Franco-Flemish tap- Amongst the Jacquard- tion juxtaposed and intertwined estry in silk and wool from the woven tapestries, in which the physical and durable world Cini Foundation’s collection, is traditional tapestry technique is with the vulnerability of virtual, an example of fruitful collabora- supplanted by fast-weaving, digi- digital containers such as CDs, tion between the artist and the tal technology, the most original DVDs, etc., today’s preferred workshop providing state-of-the- is the installation “Palimpsest receptacles for safeguarding one’s art technologies of the time to and Palindrome” by Manuel most precious memories. In a produce a magnificent narrative Franquelo. The potential digital number of the works presented, textile. Another case of collabo- Jacquard technology offers for the ‘recorders’ of the physical ration between artist and artisan interweaving multiple series of world—paper, books, photo- is Alighero Boetti’s “Map,” a large warps and wefts into complex graphs, vinyl disks—became the embroidered work illustrating the structures is used here to weave vehicles for transmitting, via digi- results of politics and war, the a tapestry with two distinct faces, tal actors, interpreters, and sub- mutations of states and boundar- allowing the work to become the jective selection–testimonials of ies, produced in the 1970s by pivotal element in a three-dimen- our existence, so often entrusted Afghan women from the artist’s sional installation. This group of nowadays to the vastly more vul- design. contemporary works is the fruit Examples of collaboration between nerable digital world. See: Perhaps the most eloquent of the collaboration between the http://www.v2.nl/lab/ individual artists and the skilled artists and artisans. work in the exhibition was Above, “Monument in Waiting” by projects/media-vintage or the kilim rug, “Monument in technicians at Flanders Tapestries artist Azra Akšamija. Woven by refu- http://www.youtube.com/ Waiting” by artist Azra Akšamija. in Belgium. Adam Lowe of gees in Sarajevo. watch?v=3tbSRubXz7I Woven by refugees in the STILL- Factum Arte mediates between “Tapedi Damaschini,” 1500s, para- Mamluk rug. In particular, works by the A workshop in Sarajevo, the artist and mill throughout the Below left, “The Siege of Jerusalem,” exhibition’s curator, Melissa piece is supported by photos and creative exchange. Coleman, were poetic and mov- Two small, jewel-like works Franco-Flemish tapestry. text documenting the systematic Right, “Map,” depicting changes in ing. In the artist’s words: “Media destruction of Islamic culture and remain outside the central theme Afghanistan, designed by Alighero Vintage is a series of interactive peoples of Bosnia-Herzegovina. of “Weaving Words and Images;” Boetti and embroidered by Afghan electronic textiles that contain Episodes of ethnic cleansing and in these pieces materials, women. memories. Digital information is physically stored in textiles and read through interaction. “Alpha” is a suitcase in which one can weave temporary secret messages in Morse code. “Bravo” is a tapestry that sings a song from long ago when one’s fingers read the embroidered Braille. “Charlie” is a trench coat that reads fabric punchcards and tells you the most important stories from an old man’s life.” – Julie Holyoke

18 tsa newsletter design and color stand in lieu The theoretical underpin- conspicuous consumption, and Money and Beauty: Bankers, of narrative content. From ning of the exhibit dealt with the “slow fashion,” aiming to be Botticelli and the Bonfire of the the realm of the magical and seeming paradox of fashion—with ecologically safe, the curators Vanities splendid, “The Woven Web,” a its emphasis on fast change displayed cloth and women’s September 17-January 22, 2012 textile made entirely from the and obsolescence—and modern clothing made from renewable silk of the golden orb spider of requirements of sustainability and sources. Silk was prominent Palazzo Strozzi, Florence, Italy Madagascar by Simon Peers and “slow fashion.” A well-chosen in new gowns, sumptuous in xhibition Preview: The recent array of elegant dresses and gowns their draping. All sorts of grasses Nicholas Godley, and “Tapedi worldwide market upheavals from the past demonstrated the woven into cloth provided infor- E Damaschini,” a para-Mamluk rug aren’t very new if you view the many detrimental effects of mal outfits with sturdy and attrac- from c. 1500, offer the grateful contents of this exhibition open- early fashion. Captions near the tive backgrounds. There were viewer the opportunity to see ing on Sept.17. Presenting the mannequins documented the startling examples, like the sheath rare works of craft and art. “Textiles & Politics” theme seen dangerous dyes used to color the described as, “FIN, marble print – Julie Holyoke through Italian Renaissance his- gorgeous garments. For instance, dress, organic bamboo satin, Fall tory, it seems like a reflection of the brochure accompanying the 2010, Norway.” today’s international newspaper exhibit blandly states: “Day dress, Unbleached linen and muslin Eco-Fashion Exhibitions headlines. The exhibition is set poisonous green silk faille and demonstrated that strong chemi- in New York up with two parallel readings green chenille, circa 1865, USA.” cals were unnecessary. An by the two curators: Savonarola Black, blue, and yellow dyes unbleached, organic wool over- month’s stay in New York expert Ludovica Sebregondi, and also could be deadly, especially coat reinforced this message City last summer allowed writer-translator Tim Parks. A when they contained cyanide. Rayon had a place in the exhibi- me to visit all of my favorite Textiles, their production, (19th-century wallpaper also tion, although the process of museums—and some new ones. and commerce in that time had this ingredient.) Brilliance of converting wood into cloth uses At all the venues, I was surprised period provided the financial color and durability of dye were more energy than eco-green to find exhibits on ecology and backing to European politics. This foremost in fabric manufactur- might promote. False fur and responses to the physical changes fact, however, is not given due ers’ practice, whether or not imitation leather provided fancy coming with climate warming. emphasis in the exhibition. they realized the harm the dyes ornamentation. And the reuse The Museum of Modern Art had Florentine bankers’ money could do. For today’s viewer, the of garments in quilting, clothing maps and drawings of Manhattan came from the wool, silk, and combination of charming fashion ensembles, and exotic costumes with projected water chan- gold textile trade. Their money- and potentially lethal effects had charm of its own. Of course, nels covering Battery Park and lending backed and manipulated brings home the need to change the high price of natural materi- indenting the riverbanks. Narrow, international politics. Wars were something! als and their unusual qualities reed-lined creeks were planned waged, Popes made, Kings Indications of how harmful are obstacles to mass production. as flood buffers. A variety of dethroned, and nations col- some fabric was for the workers Nevertheless, this sort of manu- bridges would permit pedestrian lapsed. Over-extension of credit growing, processing, and weaving facture may become increasingly access and small boats would to England, France and Flanders it was another surprise. In the pre- popular and affordable. bring passengers up to mid-town brought the Bardi and Peruzzi industrial age, fabric was bleached The six themes highlighted Manhattan. The Cooper-Hewitt companies to bankruptcy by by tethering it in rivers and then in “Eco-Fashion” are taught Museum showed rooms full of 1344, and they never fully laying it out on the banks to catch at FIT and promoted in the new gadgets and furniture ready recuperated. Today, Florentines sunshine. But the demand for per- responsible clothing industry: to deal with heat and wet climate remember them mostly for their fectly white linen and cotton after • Repurposing and recycling of changes. Even the Metropolitan family chapels in Santa Croce 1800 caused workers to handle materials Museum of Art had indications of with frescoes by Giotto. Art dangerous chemicals. Some orna- • Material origins—natural fibers responses to the future. patronage seemed to be their ments applied to the already-sewn grown without pesticides But most impressive to me longest-term investment. garment were also harmful. This • Low-impact synthetics was the display, “Eco-Fashion: Oligarchical mercantile fami- was especially damaging when • Textile dyeing and production Going Green,” at The Fashion lies–especially the rival Medici seamstresses took a paintbrush • Quality of craftsmanship— and Textile History Gallery, and Strozzi families–controlled or thread into the mouth. And of clothes with lasting value, local part of the Museum at FIT. The the international scene until the course, the use of leather (with manufacturing Fashion Institute of Technology, advent of the German Fuggerei. its strong tanning chemicals) and • Labor practices—health and a vibrant educational institution, They produced and sold high- natural animal fur (making an ethical well-being of workers has a repository of historic and fashion luxury woolen, silk and industry of raising and slaughter- • Treatment of animals—humane ultra-modern clothing. With this gold fabrics, along with gems and ing animals) were also damaging use & synthetic alternatives resource, Curators Jennifer Farley gold jewelry. High debts were to the environment. The work that FIT has done and Colleen Hill produced a accumulated by royalty and the Equally surprising were the on the subject of eco-fashion stunning demonstration of how wealthy bourgoisie in order to mannequins wearing garments provides inspiration for other the clothing industry caused eco- obtain these desirable goods, labeled “Eco-Fashion: Going exhibits, and for additional logical damage in the past, and and the interest rates never went how it could promote a healthy Green.” Taking up the contrast research in the coming years. down. environment in the future. between “fast fashion” with its – Daryl M. Hafter

Fall 2011 19 Art patronage also flour- [email protected] http://www.textilemuseum.org ished in the merchant-bankers’ Entry Guidelines: Oct. 21-22: With Cunning hands. Townhouses and palaces http://8iss.wordpress.com/calls Needle: Four Centuries of were built both in Florence and Calls for Embroidery, Winterthur other key cities where these Due Feb. 1: Scythia 9: The 9th Needlework Conference. The bankers had important agen- papers International Biennial Symposium Plimoth Jacket reproduction proj- cies. Renaissance humanism and and Exhibition on Textile Art, ect provides the theme for a con- neo-Platonic culture changed the Kherson, Ukraine, seeks papers ference on embroidery design, view of wealth. Florentine mer- on all aspects of textile art. materials and techniques, makers, chant-bankers commissioned art For juried exhibition: original and objects from the 17th cen- both for personal delight in their International Shibori Symposium, works, cross-cultural, traditional tury to today. private homes, and for public Hong Kong, Dec. 28-Jan. 2. Calls and non-traditional materials. http://www.winterthur.org enhancement and ennoblement for Art: Information and entry forms: in churches. Due Sept. 15: “Animal Fibers: [email protected] Oct. 24-26: Heritage Textiles A key artist in the exhibition Art Informs Shibori.” Art work http://anschnei.public.kherson.ua and Costume, The ITB is Sandro Botticelli (1445-1510), inspired by the transformative (Indonesia), CCA (Korea) and whose career is linked to the properties of materials and their Ars Textrina (UK) International ups and downs of the Medici potential to change surface and Textiles and Costume Congress family. His art presaged the ideal structure. Curators: Jean Williams Bandung, Indonesia, on forms of Renaissance beauty. After Cacicedo and Jorie Johnson. of textiles and dress regarded as the death of Lorenzo di Medici Entry Guidelines: Calendar “traditional” in societies world- (il Magnifico) in 1492, the http://8iss.files.wordpress. wide. Information: Dominican preacher, Girolamo com/2011/06/iss11-animal-call.pdf http:// Savonarola, felt free to lash out against the paganism and the sin- Due Oct 1. TSA Symposium Nov. 3-4: Fashion Icons and ful debauchery of the Florentine 2012 Call for Papers: Textiles Insiders, FIT Fashion Symposium. bourgeoisie. His influence was so and Politics, Washington, DC. Below is a brief selection of http://www.fitnyc.edu strong that even Botticelli placed Download the Call for Papers at: upcoming Textile-related events. some mythological paintings http://www.textilesociety.org See TSA Member News, Nov. 7-12: NATCC 8, The 8th into the 1497 “Bonfire of the Textile Community News, and Biennial North American Textile Vanities.” Then, the very next Due Oct. 21: Textile Trades the calendar on the TSA website Conservation Conference in year, in 1498, with changing and Consumption in the Indian for more exhibition and other news. Oaxaca, Mexico. Papers and politics, Savonarola himself was Ocean World, from Early Times Poster presentations Nov. 10-11, burned at the stake in the Piazza to the Present, Nov. 2-4, 2012, along with pre- and post-confer- della Signoria! Indian Ocean World Centre Conferences & ence tours and workshops. In the 16th century the cen- (IOWC), McGill University, http://www.NATCConference. ter of finance, political power Montreal. This multi-disciplinary Symposia com and art patronage was transferred international conference brings Oct 3-6: CIETA 24th General to Papal Rome and to German together scholars from the Dec. 28-Jan. 2: 8th Assembly, Copenhagen, Denmark. bankers (another reflection of humanities and social sciences International Shibori Symposium recent headlines). to share findings, methodologies http://www.cieta-textile.org (8ISS) in Hong Kong. I will describe the textiles in and perspectives on cloth’s criti- http://www.cieta.fr “Technology Shaped by this exhibition after the opening. cal role in driving exchanges in Creativity,” will explore innova- http://www.palazzostrozzi.org the Indian Ocean World. Oct. 14-15: Costumes as tive artistic approaches toward Performance and Activism, –Rosalia Bonito Fanelli Deadline for abstracts: Sept. 30. traditional shaped-resist textile Review process to be completed Costume Society of America techniques. Co-sponsored by the by Nov. 1. Proposals and queries: Midwest Region Annual Institute of Textiles & Clothing TSA Newsletter Sarah Fee or Pedro Machado, Symposium, Waterloo, IA, held at Hong Kong Polytechnic Deadlines [email protected] at University of Northern Iowa, University (HKPU) and the Hong [email protected] Cedar Falls. Information: Kong Design Institute. Co-chairs: • March 30 • July 30 http://indianoceanworldcentre.com Dr. Carol Colburn Yoshiko I. Wada of the World • November 30 tel 319/273 2390 Shibori Network and Dr. Kinor [email protected] Jiang of HKPU. Please send news, exhibition Due Oct. 30: “New Beat: International Student Concours,” [email protected] reviews, book reviews, juried competition for works by Oct. 14-16: Textile Museum Fall http://8iss.wordpress.com conference reviews, event international design students. Symposium in conjunction with the http://www.shibori.org listings, and articles to: Curator: Kinor Jiang, Fashion exhibition “Weaving Abstraction: Karen Searle, Editor Gallery, Hong Kong Poly Kuba Textiles and the Woven Art Jun. 9-14, 2012: Scythia 9, [email protected] University. Contact: Kinor Jiang, of Central Africa.” The 9th International Biennial

20 tsa newsletter Symposium and Exhibition on To Dec.17: “Interwoven: Peacocks: Handcrafted Textiles Textile Art, Kherson, Ukraine. Contemporary Textile Art” of India and Its Neighbors.” Oct. International conference on by Alejandrina Cué, Andrea 1-Jan. 8: “Polarities: Black and textile art includes papers, juried Donnelly, Jennifer Glass; and “Ruth White in Design.” exhibition, artwear exhibition. Funk: Wearable Art.” Jan. 21-Apr. http://www.goldstein.umn.edu [email protected] 29, 2012: “Traditional Textiles of http://anschnei.public.kherson.ua India” and “Anita Luvera Mayer: Anderson Center, Red Wing. Wearable Art.” “Mary Ann Wise and Friends of Feb. 23-24, 2012: Uncommon http://textiles.fit.edu the Art of the Hooked rug.” Rugs Threads Symposium at Ruth Funk by Guatemalan student artisans. Center for Textile Arts, Florida Maryland http://www.andersoncenter.org State University, Melbourne, FL Baltimore Museum of Art. http://textiles.fit.edu ebraska Replica of an historic embroidered Nov. 13-May 13, 2012. Bold, N bojagi by InYeol Hur, in “Wraping visually stunning embroidered International Quilt Study Aug.22-26, 2012: Bojagi in Traditions” at the Museum of Craft textiles from Afghanistan, Center & Museum, Lincoln. Korea, Seoul, Korea. The confer- and Folk Art, San Francisco. Uzbekistan, and Tajikistan, many To Jan. 8, 2012: “Elegant ence will feature speakers from of them from dowries. Geometry: American & British several continents, workshops, Colorado http://www.artbma.org Mosaic Patchwork” traces the tours, exhibits, shopping, and Denver Art Museum. To development of the mosaic more! Focus is on the influence Dec. 31: “Sleight of Hand: 14 Massachusetts quilt style. Catalog. To Oct 2: of the Korean Bojagi (wrap- Contemporary Textile Artists.” Museum of Fine Arts, Boston. “Nebraska Quilts and Quilt- ping cloth) tradition on artists Oct. 30-Jan. 29, 2012: “Threads To Jan. 17, 2012: “Global makers,” a selection of quilts around the world. Organized by of Heaven: Silken Legacy of Patterns: Dress and Textiles in from the award-winning book, Chunghie Lee. Information: China’s Last Dynasty.” To Dec. Africa.” Nebraska Quilts and Quiltmakers. [email protected] 2, 2012: “El Anatsui: When http://www.mfa.org Jan. 14-Jul. 22, 2012: “What’s in http://www.facebook.com/bojagi. I Last Wrote To You About a Name? Inscribed Quilts.” in.seoul Africa.” Fuller Craft Museum, Brockton. htp://www.quiltstudy.org http://www.denverartmuseum.org To Sept. 15: “Loom and Lathe: Exhibitions: The Art of Kay Sekimachi. New Mexico Arvada Center for Arts and and Bob Stockdale.” Jul. 30-Dec. Museum of International Folk United States Humanities. To Jan. 21, 2012: 11: “All Things Considered VI: Art, Santa Fe. To Oct. 7, 2012: “Structures In Cloth.” National Basketry Organization “Folk Art of the Andes.” Over California http://www. Biennial Juried Exhibition.” 850 works from the 19th and de Young Museum, San arvadacenterbanquets.com http://www.fullercraft.org 20th centuries. Oct.11-Jan. 6: Francisco. Sept. 10- Jun. 10, “Young Brides, Old Treasures: 2012: “The Art of the Anatolian Delaware American Textile History Macedonian Embroidered Dress.” Kilim: Highlights from the Winterthur Museum, Museum, Lowell. To Oct. 16: Traditional clothing and jewelry McCoy Jones Collection.” Wilmington. To Oct: “Made “Glamour and Grace: Fashions of Macedonian village women http://www.deyoung.famsf.org for the Trade: Native American of the 1930s.” Elegant styles 1890-1950 that indicated the Craft Works.” and newly invented fibers of a wearer’s age and social status. Museum of Craft and Folk http://www.winterthur.org hopeful modernism. To Sept. http://www.moifa.org Art, San Francisco. To Oct. 22: 25: “Marking Time: Voyage to “Wrapping Traditions: Korean District of Columbia Vietnam.” Dramatic stories told Textiles Now.” Curated by The Textile Museum. To through graffiti left on a troop- Chunghie Lee. Nov. 11-Feb. Jan. 8, 2012: “Second Lives: ship’s bunk canvasses. 25, 2012: “Fiat Lux: Randy The Age-Old Art of Recycling http://www.athm.org Colosky New Works.” Site- Textiles.” Oct. 15-Feb. 12, 2012: specific works commissioned by “Weaving Abstraction: Kuba Minnesota the museum. Textiles and the Woven Art of Textile Center, Minneapolis. http://www.mocfa.org Central Africa.” 19th- and 20th- Sept. 16-Oct. 15: “Spaces San Jose Museum of Quilts century Kuba objects including Between: Jerome Fiber Artists & Textiles. To Oct. 16: “Scrap skirts, tribute cloths, and baskets. Project Grants Exhibition.” ART” showcases historical quilts Catalog. http://www.textilecentermn.org and ‘scrappy’ contemporary http://www.textilemuseum.org works to examine the historical Goldstein Museum of Design, precedent and aesthetic of the Florida University of Minnesota-St. Paul. scrap quilt and its modern-day Ruth Funk Center for To Sept. 25: “Beyond Paisley and descendants. Textile Arts, Florida Institute http://www.sjquiltmuseum.org “Shift” by Andrea Donnelly at Ruth of Technology, Melbourne. Funk Center for Textile Arts.

Fall 2011 21 New York Exhibitions: deYoung Museum, San Oct. 24-28: Figured Panels Bard Graduate Center. Francisco. Sept. 17: Redemption: Woven on Digital Jacquard Sept. 15-Apr. 15, 2012: “Hats: International The Restoration of the Cloisters Loom, Julie Holyoke, Eva Basile. ‘Burgos’ Tapestry, Tina Kane. An Anthology by Stephen Jones.” Nov. 21-25: Creativity and the http://www.deyoung.famsf.org http://www.bgc.bard.edu/gallery Canada Traditional Vertical Loom, Textile Museum of Canada, Luciano Ghersi. The Museum at FIT. To Nov. Toronto. To Nov. 20: “Magic Museum of Craft and Folk 5: “Sporting Life,” the relation- Squares: The Patterned Art, San Francisco. Oct. 13: May 21-25, 2012: Historical ship between active sportswear Imagination of Muslim Africa in Thinking by Hand: Christina Kim. Techniques and Technologies, and fashion over 150 years. Contemporary Culture.” To Sept. http://www.mocfa.org from basic weaves to brocade and Sept. 16-Jan. 7, 2012: “Daphne 25: “Silk Oasis on the Silk Road: other weft effects, Julie Holyoke, Guinness,” garments and accesso- Bukhara.” Central Asian ikats Lisio Foundation Workshops Eva Basile. Fall, 2011-Spring, 2012 ries from her personal collection. and embroidered silks. June 11-15, 2012: Introduction For detailed information email http://www.fitnyc.edu/museum http://www.textilemuseum.ca to Jacquard Weaving: Drawing [email protected] with the Weft, Julie Holyoke, Eva http://www:fondazionelisio.org Metropolitan Museum of Art. Montreal Museum of Fine Basile. To Sept. 18: “The Andean Tunic, Arts. to Oct. 17: “The Fashion Textile Identification Courses: 400 B.C.E.-1800 C.E.” “To Jan. 22, World of Jean Paul Gauthier: July 9-13, 2012: Designing Recognition, Study, and 2012: The 9/11 Peace Story Quilt.” From the Sidewalk to the Today’s Textiles with Historical Cataloguing of Hand-made and http://www.metmuseum.org Catwalk.” Jacquard Techniques, Julie Machine-made Lace. Thessy http://www.mmfa.qc.a Holyoke, Eva Basile. Schoenholzer Nichols. Oct.13-15: ennsylvania P Part I: Bobbin lace. Dec.1-3: Part Jul. 16-27, 2012: Silk Damask: ngland Michener Art Museum, E II: Needlepoint Lace, Laces of One Warp, Infinite Solutions, Doylestown. Sept. 10-Jan. 1, Textile Society of London. varied techniques, Machine- Julie Holyoke, Eva Basile. 2012: “Quilt Art: International Oct. 2: Antique Fair. Chelsea made lace. Expressions.” Old Town Hall. New Short Courses http://www.michenerartmuseum.org Recognition, Analysis, and Now artists, designers, educators Korea Cataloguing of Textiles. Eva and textile specialists can ‘build’ Basile. Nov. 7-17: Part I: Plain custom programs to meet indi- Rhode Island Cheongju International Craft and Weave-patterned Cloth. vidual requirements, while taking RISD Museum, Providence. Biennale. Sept. 21-Oct.30. Mar. 5-14, 2012: Part 2: advantage of the unique resources To Dec. 31: “Japanese Buddhist Juried and invitational exhibi- Patterned Cloth. and materials that the historic insti- Priest Robes from the Lucy T. tions, Guest Country exhibition: tution, offers. Aldrich Collection.” To Jan. Crafts of Finland. Seminars, Sept. Nov. 25-26: 18th Century Silk 8, 2012: “Made in the UK: 23 and 24. Weaving Technology: the Exploring the Jacquard medium Contemporary Art from the http://www.okcj.org European Drawloom. Seminar throughout the year Richard Brown Baker Collection.” with Martin Ciszuk, handweaver Additional weeks of textile analy- To Jan. 22, 2012: “Jacques Callot and textile historian, The Swedish sis, theory and practice, including: and the Baroque Print.” Lectures, School of Textiles, University of • Weeklong courses focusing on http://www.risdmuseum.org Workshops Borås, Sweden. specific self-patterning and weft patterning techniques. Designing and Weaving Courses Vermont The Amerind Foundation, Oct. • Weeklong courses focusing on Shelburne Museum. To Oct. 31-Nov. 4: Weaving workshop Oct.14-16: Designing Your specific multiple warp techniques. 30: “A Passion for Quilts: Joan with Navajo weavers Barbara Dream Bag, Julie Holyoke, Eva • Weeklong courses of analysis, Basile. Lintault Collects.” To Oct. 30: Ornelas and Lynda Pete. Nov. 5: recreation or re-interpretation of unusual or historical techniques. “In Fashion: High Style, 1690- Warping workshop. Information, Oct. 17-21: Designing Jacquard • Weaving of additional meterage 2011.” contact Carol at Textiles With Digital Systems, and colorways of projects complet- http://www.shelburnemuseum.org [email protected] Julie Holyoke, Eva Basile. ed during Jacquard design courses.

Virginia Artist Residency Cultural Center at Glen Allen. Reserve a loom for individual Sept. 15-Oct. 30: “Small Tapestry research and production. International 2: Passages.” http://www.artsglenallen.com

Floor covering (saf kilim), 17th–18th century Turkey, Central Anatolia, at deYoung museum. Wool, slit and dovetailed tapestry,167 x 363 cm (65 3/4 x 142 15/16 in.) Gift of Caroline McCoy-Jones.

22 tsa newsletter Treadling Treadling Order anket Analysis (threading, treadling, and pattern draw-down) and pattern draw-down) treadling, Bl anket Analysis (threading, Tinguian on page 13. the blanket shown for Yushan Tsai by Threading Order. The warp warp The Order. Threading in a arranged are threads order. light/dark Weave Weave Drawdown

Fall 2011 23