Running head: HELD BY A THREAD 1

Held by a Thread: and Art Therapy

An Experiential Project

Presented to

The Faculty of the Adler Graduate School

______

In Partial Fulfillment of the Requirement for

the Degree of Master of Arts in

Adlerian Counseling and Psychotherapy

______

By

Diane L. Ericson

______

Chair: Craig Balfany, MPS, ATR-BC

Reader: Meg Whiston, PhD

______

January 2020

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Acknowledgements

Thank you to my Chair, Craig Balfany and to my reader, Meg Whiston, and the whole staff of the Writing Center.

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Abstract

The purpose of this paper is to explore quilting throughout history and across cultures.

Specifically, the focus is on how quilters can embody the Adlerian concept of social interest and use quilting to help others. The mental health benefits of quilting, along with information about current art therapy practice, are components of this project.

Keywords: social interest, art therapy, mental health, quilting, story

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Table of Contents History of Quilting ...... 5 Quilting Across Cultures ...... 7 Story Quilts ...... 8 African American Quilting ...... 9 Social Interest...... 10 Giving to Others ...... 11 Social and Political Quilting ...... 12 ...... 13 AIDS ...... 14 Current Use of Quilts Socially and Politically ...... 15 in Art Therapy ...... 17 Benefits ...... 19 Experiential ...... 22 Conclusion ...... 23 References ...... 26 APPENDICES ...... 30 Appendix A ...... 31 Project Guide ...... 31

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Held by a Thread: Quilting and Art Therapy

Quilting is an art that has existed worldwide for centuries (Gillespie, 2010). In 2014, a report by F+W, A Content + ecommerce Company, estimated that quilting is a $3.76 billion dollar industry in America with 16.4 million quilters (as cited in Quilting in America, 2014).

These quilters express themselves by making quilts for themselves and others. Some of these quilts tell stories of history, culture, or current issues. These stories can offer insight into an individual’s life and thoughts.

The use of quilting and other art can engage clients who may be resistant to traditional art media such as drawing or painting. To some clients, quilting may provide an opportunity to use familiar skills and materials.

Quilting and textiles have a rich cultural history that spans all socio-economic levels.

This history and accessibility of this media can be an important component of a culturally competent art therapy practice.

History of Quilting

Few ancient quilts or textiles have survived; however, there is evidence that quilting dates back centuries. An ivory carving dated about 3500 BC shows a pharaoh wearing a quilted garment (Gillespie, 2010). A bed canopy was discovered in Egypt dating from 980

BCE (Roberts, 2010), and decorative silk quilts in Chinese tombs have been dated to the Eastern

Zhou Dynasty (770-221 BCE; Gillespie, 2010; Roberts, 2010). Mexican textiles have existed for over 5000 years, and between 1325 AD and 1521 AD, Aztecs wore quilted armor (Gillespie,

2010). A quilted slipper found in Samarkand (Uzbekistan) from 800 BC appears to be cut from a larger item of quilted clothing (Roberts, 2010) while the oldest quilted object is a linen carpet from 100 BCE to 200 CE (Roberts, 2010). HELD BY A THREAD 6

Old quilts do exist. “The earliest whole cloth quilt exists in Sicily and is believed to have been quilted during the fourteenth century” (Roberts, 2010, p. 145). The oldest known surviving colonial quilt, the Saltonstall quilt, was made in Massachusetts around 1704 (Roberts, 2010).

Quilting is believed to have been brought to the United States by European settlers (Gillespie,

2010). While the quilt tops could be made by one or more quilters, the actual quilting was often completed during a quilting bee. “Quilting bees were usually festive occasions, opportunities to renew and cement friendships, to reestablish social bonds among women otherwise isolated, to exchange news and ideas, and to express feelings” (Hedges, 2014, p. 12). As pioneers moved westward, quilting moved also. Friendship and memory quilts became more popular. There was limited space on the way across country. “A friendship quilt was a useful item that could be taken on the journey to the new homestead” (Minnesota Quilt Project, 2005, p. 84) and also serve as a tie to home and old friends.

Quilt styles changed throughout the years. Patchwork quilts were made from smaller pieces, and many were utility quilts used every day. Other quilts were meant to be special.

Around 1840, the Baltimore album quilt with several appliqued blocks became popular (Clark,

1995). Crazy quilts appeared at the time of the United States Centennial. “Silk and velvet crazy quilts, overlaid with , commemorative ribbons. Metallic braid, and , were born of the comparatively affluent times of territorial growth in both America and England” (Clark,

1995, p. 8). From 1910 to the 1930s, redwork embroidered quilts, cross quilts, and quilt kits were being made (Minnesota Quilt Project, 2005). A redwork quilt is red embroidery usually on a white background. Cross stitch is embroidery done with stitches that cross and sometimes as outline stitch. A quilt kit is a kit of precut pieces or patterns that are then used to make a quilt.

Quilting has continued to be important. During 1933, as part of the World’s Fair called HELD BY A THREAD 7 the Century of Progress, Sears sponsored a quilt contest (Roberts, 2010). Twenty-seven thousand quilts were entered (Roberts, 2010). In the 1950s and 1960s, quilting became less popular partly because women entered the workforce and were unable to find time for quilting but returned in the 1970s as a means to express creativity and continues to grow in popularity. Quilting’s role has varied throughout the years. “But the reality is that quilts were, from the middle of the eighteenth through the nineteenth century in this country where patch work received its highest form of development, the major creative source for women” (Hedges, 2014, p. 12). Quilting used to be mostly necessary for clothing and warmth since many people could not afford ready- made items. Today it is mainly a hobby and used for creativity. While quilting is often associated with America, it was brought to this country by immigrants from other countries where the practice it continues worldwide. In some of the other cultures, quilting had spiritual connections. For instance, some people believe the feelings they have during the quilt-making becomes a part of the quilt.

Quilting Across Cultures

Cotton and quilting are believed to have originated in India (Gillespie, 2010). Many quilts made in India are made from recycled cloth and are intended for use in the home. Others are made as gifts. The type of quilt can vary depending on the region where it was made. Some people believe the quilts “represent intent” (Gillespie, 2010, p. 128) and “epitomize a connection that goes beyond generations and families and symbolize the universal connection we all share”

(Gillespie, 2010, pp. 129-130). By intent, it is probably meant that the quilt represents something in the family history. In nearby Pakistan, Ralli quilts share the same patterns found on pottery dating back to 4000 BC (Gillespie, 2010). The link between the Ralli quilt patterns and the pottery suggest that quilting in this region may be as old as the pottery leading to the belief that HELD BY A THREAD 8 quilting is as old as the pottery.

In Japan, several hundred years ago, fabric was used as a form of payment (Gillespie,

2010). Japan’s two religions, Shinto and Buddhism, incorporated creation and preservation of textiles into their religious activities (Roberts, 2010) “To the Shinto, a gift of patchwork, which required time and money to produce, was believed to bless the recipient with a long life”

(Roberts, 2010, p. 19). The kesa, a robe made of patched together pieces of cloth, were worn by

Buddhist monks in the seventh and eighth centuries. Rags and discarded clothing were used to make the robes, but many were made of silk that was given to the monks (Gillespie, 2010).

Story Quilts

The story quilt appears in many cultures. A story quilt can be any size, or it can be made of several blocks or one large design (Clark, 1995). A story quilt is a quilt that tells a story. The story it tells can be happy or sad. “Because women are caretakers of family memories, pictorial quilts record and celebrate important relationships and events more than any other type of quilt”

(Clark, 1995, p. 6). Story quilts exist in Western culture, African American quilting, and throughout the world. Arpillera are story quilts from Chile that tell of war (Garlock, 2016).

Story quilts are often associated with the Hmong. The pa’ndau (flower cloth) recorded the history of the Hmong (Roberts, 2010). This was beneficial because their written language had disappeared after the Chinese forbade the Hmong to use a written language in the past (Roberts,

2010). It was a combination of applique and embroidery or traditional geometric designs

(Roberts, 2010). During the 1970s, men and women in the refugee camps started making story quilts. These quilts were a “representation of Hmong traditional life, past glory and present plight” (Gillespie, 2010, p. 172). Several examples are in Appendix A.

Additionally, the West African kingdom of Dahomey tell their history through wall HELD BY A THREAD 9 hangings (Baker, 2006). While not a quilt, the Bayeux , a well-known tapestry, depicts the Norman conquest of England in 1066. There is also a cloth and panel that commemorates D-Day (Baker, 2006). These would be considered story cloths, which are similar to story quilts since both tell the story of the events and are made of textiles.

African American Quilting

The quilts made by African Americans can differ from other quilts made in the United

States. Slaves would make two types of quilts: one type for the slave owners, and another type for themselves (Cash, 1995). The slaves’ quilts would usually be from scraps, and the patterns would vary while the quilts for owners would usually be much more elaborate.

The quilts can be used as resources in reconstructing the experiences of African-

American women. They provide a record of their cultural and political past. They are

important art forms. Yet, until recently, the historical contributions of African-

American women to the craft were virtually dismissed. (Cash, 1995, p. 30)

Freeman (1996) studied quilting in African American communities. He found virtually no community without quilters and family quilts. According to Freeman (1996), “Quilts play vital roles in the community, as one among many art forms and skills that provided vibrant cultural expressions” (p. xvii) and

some are used directly as instruments of cultural transmission: they along with stories of

their origins and histories, are part of the family legacy, at times recording significant

events from individual, familial, or cultural life-sometimes memorializing great pain, and

at other times, great triumphs. Other quilts are created with special powers: to heal,

protect, woo, resolve, or to acquire. (Freeman, 1996, p. xviii)

Healing quilts may contain spirits of the old ones according to the belief of some HELD BY A THREAD 10

(Freeman, 1996). The quilts are a connection to others who lived before and will help people in life.

The 1960s were a time of change for African American quilters. Quilting networks, such as the Freedom Bee quilting network, appeared as an economic force in black communities

(Cash, 1995). “Local women could now make money from an activity that they had done in the past for personal and social reasons” (Cash, 1995, p. 37). An area of Alabama known as Gees’

Bend was one where women had been quilting since the beginning of the 20th century for recreation, emotional comfort, and warmth (Scheper-Hughes, 2003). In 1998, William Arnett bought over 700 quilts from the Gees’ Bend area for $100 to $500 each. Seventy of these quilts were displayed at the Whitney Museum in 2002 and 2003 (Scheper-Hughes, 2003). Arnett’s purchase of these quilts brought them to the notice of the art world and may have saved them from destruction (Scheper-Hughes, 2003); however, “Numerous poor or marginally educated

African American quilters gave away or sold their quilts for next to nothing, while buyers were well aware of the quilt’s artistic and monetary value” (Gillespie, 2010, p. 70).

Bank noted, “The quilt, that most anonymous of women’s arts, rarely dated or signed, summarizes more than any other form the major themes in a woman’s life- its beginnings, endings, and celebrations retold in bits of colored cloth” (as cited in Clark, 1995, p. 6). These themes in a woman's life relate to her place in the world and in the lives of those around her.

Social Interest

People are socially embedded in the world around them. Alfred Adler proposed that involving yourself with others was important to a person’s mental health (Ansbacher &

Ansbacher, 1956). Adler used the term gemeinschaftsgefuhl (Ansbacher & Ansbacher, 1956), which can be translated to social interest and community feeling. There are many ways to be HELD BY A THREAD 11 socially interested in others. One way is to give of yourself to others. Another is to take an interest in the social and political world in which you live. Many quilters exemplify these forms of social interest.

Giving to Others

Throughout history, women have been the primary caregivers. Women are often the ones who after a disaster think of the everyday needs of others such as clothes and bedding (Cash,

1995). Since there is always a need, quilters have been donating quilts for generations. During the Civil War, women, both Black and White, made quilts to support political and reform issues

(Cash, 1995). "Handmade quilts were popular items at fundraising events for Female Anti-

Slavery Societies” (Cash, 1995, p. 32). During this time, the United States Sanitary Commission provided 250,000 quilts and comforters to the union army (Cash, 1995) and received recognition from President Lincoln.

North American Mennonites made quilts for refugees in Europe during World War I

(Roberts, 2010). In September 1945, a worker in Holland received 50 of these quilts. These quilts had been used as bedding during and after the war. Eighteen of the quilts were kept by the worker and a family member. The rest are now part of the Passing on the Comfort exhibit, an exhibit of quilts from the Second World War (Roberts, 2010).

Quilts are also donated after disasters. After September 11, 100 quilts were made and formed a traveling exhibit (as cited in Dickie, 2011,). According to Bresenham, narratives by each quilter were published to travel with the exhibit (as cited in Dickie, 2011). Twelve thousand quilts were distributed to refugees after Hurricane Katrina, and Waveland, Mississippi received 730 after Hurricane Camille (Roberts, 2010). These figures represent a small number of the quilts donated after disasters. Many local churches and quilt guilds also donate. Maidment, HELD BY A THREAD 12

Tuder, Campbell, and Whittaker (2015) said, “We believe a major barrier to the recognition of crafting as a valid and legitimate, community-led recovery activity is the social invisibility of women’s roles in disaster work” (p. 150).

In addition to donating quilts after disasters, quilters give to many other organizations.

Project Linus, founded in 1995, is a national non-profit organization with 400 chapters and approximately 60,000 volunteers (Balagna & Babbit, 2012). As of 2012, the organization had given over 4,000,000 gifts of handmade quilts and blankets to children who were seriously ill, traumatized, or otherwise in need (Balagna & Babbit, 2012). Their mission is to provide comfort, love, and a sense of security to these children. The quilters also receive something in return. One girl, who was a sophomore at Columbine during the shooting, said that making a quilt for Project Linus was “the best form of therapy” and “it was a way to have hope at a time when hope seems to be lost” (Balagna & Babbit, 2012, p. 23).

Another national group, established in 2003, is Quilts of Valor. The quilts given are often in red, white, and blue and made by individuals or groups (Quilts of Valor, n.d.). There is an option to send quilt squares to a local group that will then sew the top. As of May 2017,

159,201 quilts have been given to those touched by war (Quilts of Valor, n.d.).

Danner (2015) described many groups that give away quilts. Some groups give away a few hundred quilts per year; other groups give away thousands per year. The quilts are given to the homeless, hospitals, hospice, animal shelters, and some are sent overseas. Additionally, churches, quilting groups and individuals make quilts for others. It is very difficult to add the numbers of quilts that are given to others.

Social and Political Quilting

At a time when women were not able to vote and often not taught to read and write, they HELD BY A THREAD 13 found other ways to express their opinions. Since “little girls were forced to sew; and learning to sew often took precedence over, or was the female substitute for, learning to read and write”

(Hedges, 2014, p. 14), one way to express themselves was through quilting and other .

Quilt names reflected political and social events in the quilters’ lives, and the same pattern could have many names. For example, one pattern started as “Job’s Tears” and was renamed “Slave

Chain” in the early 1820s. By the 1840s, the same pattern was being called “Texas Tears” in response to new political developments, and after the Civil War, it was used to describe “the

Rocky Road to Kansas” (Hedges, 2014, p. 13).

Not only did women express political thoughts through the quilts, but meetings were sometimes used to exchange thoughts on political and social issues. The quilting bee, a time when women came together to quilt, was a place where women could talk freely about issues in their lives. “Susan B Anthony’s first talk on equal rights for women was at a quilting bee, and she and Elizabeth Cady Stanton frequently used such gatherings to advocate political action and change” (Hedges, 2014, p. 13).

Underground Railroad

There are stories of quilts that were used by the Underground Railroad to help slaves escape from the south before and during the Civil War. Tobin and Dobard (1999) wrote Hidden in Plain Sight about the codes used in the quilts. The code of reading the message in quilts had been handed down through generations and was told to Tobin by Ozella McDaniel Williams who learned the code from her ancestors (Tobin & Dobard, 1999). At the time the book came out, there had been no written information of the quilt code.

Some quilt historians including Kris Driessen, Barbara Brackman, and Kimberly Wulfert, do not believe the tales to be true (Bartholomew, 2007) citing that “no documentation ever HELD BY A THREAD 14 surfaced backing up her claim” (Gillespie, 2010, p. 90) while other historians “argue that the story is true and to deny it would be racist” (Gillespie, 2010, p. 14). Tobin and Dobard (1999) pointed out that both African societies and secret societies used codes to relay information and that many quilt patterns are similar to African and Masonic symbols. Some African societies use knots in their symbolism, which could correlate to the ways the quilts were tied. Roberts (2010) pointed out that it is known from written record that art and music can communicate hidden messages.

Another point to consider is that “quilt research and quilt history often rely heavily on the oral anecdotes and oral memories of quilters, according to Xenia Cord a quilt historian”

(Driessen, n.d., para. 22) and that in many cultures, oral tradition is still a preferred method

(Roberts, 2010). Unless proof is found to substantiate the use of quilts in the Underground

Railroad to lead slaves to freedom, the idea will remain a myth.

AIDS Quilt

One of the best-known quilts today is called the AIDS quilt. The quilt was started in

1987 by the NAMES Project as a tribute to those who had died from AIDS (Ruskin, 1988). The first panels were displayed at San Francisco's Lesbian and Gay Freedom Day March on June 28,

1987. On October 11, 1987, the NAMES project quilt was first displayed in front of the United

States Capitol in Washington D.C. At that time, the quilt was the size of two football fields and consisted of 24 square foot panels with 1920 3’ by 6’ panels each the size of a coffin. In 1996, the quilt was again displayed in Washington D.C with over 4,000 panels including the newest

8000 panels. By 2012, the quilt had reached the weight of 54 tons. It consisted of 49,000 panels and represented 96,000 individuals (AIDS Memorial Quilt, n.d.).

The panels in the AIDS quilt are all unique and individualized to each person honored HELD BY A THREAD 15 who died from AIDS. The sheer size of the quilt panels together makes an emotionally charged visual statement and moves many to tears. Cleve Jones, the Executive Director of the NAMES project noted by providing a glimpse of the life behind the statistics, “It will create an extraordinary, dramatic illustration of the magnitude of this epidemic - to the President, to

Congress, and to the country. Also, it’s a way for survivors to work through their grief in a positive, creative way” (as cited in Ruskin, 1988, p. 12).

Cleve Jones recognized the ability of quilts to impact people. While this quilt started as a memory quilt, it quickly became a social statement about AIDS, death, and also treatment of others. Elaine Showalter, a feminist theorist said of the AIDS quilt, “We see the continued vitality of the quilt metaphor, its powers of change and renewal, and its potential to unify and heal” (as cited in Chansky, 2010, p. 683).

Current Use of Quilts Socially and Politically

Quilts continue to be used for social and political commentary. The Boise Peace Quilt

Project started in 1981 to honor peacemakers throughout the world. The first quilt was given to the people of Lithuania in 1982 (Roberts, 2010). In 1984, the Boise Peace Project made the

National Peace Quilt asking all 100 senators at that time to spend one night under the quilt.

Sixty-seven of the senators did (Roberts, 2010). The Boise Quilt Project continues to create quilts to honor peacemakers (Roberts, 2010).

In the East Indian state of Bihar, women make re-embroidered quilts based on the 18th century tradition of sujuni kanthas (Gunning, 2000). Some of the quilts use traditional designs while others are of the maker’s own design. Some of these designs make a commentary on the struggle for female education or the environmental crisis. “Ironically, by using what many consider to be the traditional ‘women’s work’ of sewing, the quilters are able to confront major HELD BY A THREAD 16 social problems and also incorporate a vision of themselves as socially committed activists”

(Gunning, 2000, p. 720).

Many artists today use quilts and other textile arts as a means of expression. Chansky

(2010) wrote, regarding Third-Wave feminists, “The needle is an appropriate material representation of women who are balancing both their anger over oppression and pride in their gender. The needle stabs as it creates, forcing thread or into acts of creating” (p. 682).

Chansky (2010) added that textile art “uses historically undervalued means of artistic expression to discuss very contemporary issues in fresh ways” (p. 682).

While quilting and textile arts are practiced by males and females, these arts are primarily associated with women. Showalter noted,

Unfortunately, it seemed that women throughout history were primarily relegated to the

craft world, making their artistic efforts less valuable than those traditionally pursued by

men. Needled works, such as quilting and embroidery, certainly fell into this craft realm

that was downplayed and undervalued by mainstream society. Feminist art historian Lisa

Tucker explains that feminizing textile art ‘keep’s women’s work marginal and identifies

it with the characteristics of a reproductive and femininity, which are understood not to be

the characteristics of great art (as cited in Chansky, 2010, p. 686)

Modern day feminists are attempting to change this viewpoint by returning to domestic arts

“with a sense of strength, not servitude, viewing the needle as a means of creative outlet that communicates their individual strength” (Chansky, 2010, p. 681). These women are reclaiming

“many of the domestic arts that were devalued by the prominent masculine society and shunned as associated with oppressive domestic labor by many Second-Wave Feminists” (Chansky, 2010, p. 681). HELD BY A THREAD 17

Not only are the individuals who express their values through their quilt making showing social interest, they appear to have a sense of purpose. The quilts are made for a reason. The quilt makers connect with quilters who share their purpose to make the world a better place for all.

These quilters are claiming their place in the world one quilt at a time, saying that they, too, belong and have something to contribute.

Textiles in Art Therapy

There are some art therapists who use quilting and textiles in their therapy. Many use story cloths or quilts, but a few use fabric differently. Homer (2015) created a fabric collage with a client using Perry’s Neurosequential Model of Therapeutics. Perry said activities for trauma should be “(a) relational (safe and nurturing), (b) relevant (age appropriate yet developmentally matched to an individual’s need(s), (c) repetitive (patterned and predictable) (d) rewarding (pleasurable) and (e) rhythmic (resonant with neural patterns and biological rhythms”

(as cited in Homer, 2015, p. 20). Homer (2015) found that the fabric collage allowed the client to access different parts of the brain that talk therapy did not. She also found that rhythm is present in the motion of hand sewing.

Nainis is a therapist who used a quilt in therapy. During seven retreats for the oncology team, Nainis (2005) with groups in 2-hour sessions to create a quilt of 18” x 30” painted canvas panels. When assembled, the finished size was 9’ x 13’. Working in small groups, participants completed each panel expressing how it to be part of the team. At the end of the retreat, surveys were given and 105 out of 107 liked the retreat. Fifty-three mentioned they would like to do another art project at the next retreat. Nainis (2005) stated that since implementing the art therapy, there has been a decrease in staff turnover in the department.

Most of the other material available regarding the use of quilting in art therapy is about HELD BY A THREAD 18 the use of story quilts or cloths. For example, the Los Hilos de la Vida is a quilt group that originally was a Head Start parents’ group consisting of mostly Latina members who made pictorial quilts of family life, border crossings, their lives in Mexico, and their dreams.

Common Threads is an organization that works with textiles throughout the world helping those who have experienced violence and trauma. In India, students sewed with mothers of cancer patients. The women used fabric and stories to bond with each other and cope better with the stress of their situations (Garlock, 2016).

Grandmothers’ group of Bosnian refugees worked to make fabric panels. Before the war, the members had all done some form of needlework since needlecraft is an important aspect of culture for women in Bosnia. At the start of each of the sessions, the members reported symptoms of physical and mental impairment, loss of memory, disorganization, and social isolation (Baker, 2006). Over three months, eight panels were put together of individual projects.

During this process, memory improved, and daily functioning increased. The members became less anxious and isolated and formed friendships. As they worked, they created a visual record of their lives and of other survivors. The members made panels about their homes and began to tell about their lives. The activity gave the members a sense of identity and way to express individualism (Baker, 2006).

In 2012, a United Nations sponsored exhibit of South African story cloths advocated for awareness and solutions to the struggle of South African women. Making the story cloths

“enabled the women to remember loved ones who had died and process trauma in a safe way: it also connected them with others who had likewise experienced trauma and injustice under apartheid” (Garlock, 2016, p. 60). Garlock (2016) stated,

There is repetition in the creative process of making a story cloth, whether it’s the cutting HELD BY A THREAD 19

material, sewing fabric pieces, or crocheting a border. Along with repetition, sewing uses

two hands simultaneously, adding an element of bilateral stimulation, used by many

therapists when working with trauma survivors. The tactile nature of sewing, touching

the fabric, and tracing stitches with hands and fingers is similar to the process McNamee

used (2005) used when she had patients use dominant and non-dominant hands to draw

and trace over their art. (p. 60)

Garlock (2016) added that these actions are also rhythmic, creating vibrations in participants’ bodies as they pull thread through the fabric. These examples demonstrate some of the social and emotional benefits of quilting.

Benefits

Futterman Collier, Wayment, and Birkett (2016) studied how textile crafts affected mood.

Working with participants who had knowledge of various crafts, the researchers used a multistep process. First, participants were asked to think about an episode where they felt intense anger, rage, or were upset. They were prompted to include all details they could remember, and then participants were asked to tell about the episode. Next, the participants filled out a form that measured their affect. The participants were then asked to prepare to make a randomly assigned type of textile art project. They were given various supplies and resources to use while planning, but were told they had to leave the materials when finished but could take their notes with them when finished. A quiet ego reflection writing assignment about their negative episode was then completed to maintain their negative mood. Saliva samples were taken throughout the process.

The researchers found that textile art making dampened the psychophysiological impact of recalling a negative psychological situation (Futterman Collier et al., 2016)

In a previous study, Collier (2011) found that women who used textiles to cope with HELD BY A THREAD 20 difficult moods reported “significantly greater success, rejuvenation, and engagement when using their textile handcraft to change a terrible mood compared to the non-textile copers” (p.

109). Dickie (2011) found similar results saying that “everyday problems were smoothed over when women engaged in quilting activities they experienced as relaxing, creative and predictable” (p. 212). Dickie (2011) added, “Quilting allowed for variation, modulation, and customization of doing because it combined simple and repetitive tasks with others that required concentration, creativity, and/or physical strength” (p. 212).

Quilting and textiles have shown other health benefits besides helping with mood.

Reynolds (2002) worked with women with chronic illness. Reynolds (2002) found that some women felt their involvement in textile arts restored feelings of power and mastery over the impact the illness was having on their lives” (p. 12). Baker (2006) found “the use of needlecraft with clients lowered their stress, reduced tension, increased concentration, and promoted self- exploration and healing” (p. 191). Additionally, textile handcraft guild participation also has been correlated with better emotional and cognitive adjustment in older women (Schofield &

Littrell, 2001).

In work at the Mayo Clinic in Minnesota, Geda suggested that people who engage in cognitively challenging activities, such as computers or crafting (specifically and quilting), in middle age or later life had a decreased risk of mild cognitive impairment that protected against memory loss (as cited in Collier, 2011).

Calhoun and Tedeschi (as cited in Dickie, 2011) considered rumination to be a necessary prerequisite to the process of post-traumatic growth enabling individuals to process highly distressing emotions and thoughts and to adjust to the changed context. Maidment et al. (2015) wrote, “Draw on the concept of rumination to include the thinking and processing individuals do HELD BY A THREAD 21 as they craft but also the ways they talk about their experiences during craft group sessions, sometimes in light-hearted ways” (p. 148).

Other benefits of quilting include social interaction and generativity. Reynolds (2003) found “social contact is highly relevant to self-reconstruction during chronic illness, because sharing artistic interests with like-minded people moved the illness from center stage” (p. 125) and “social networks associated with textile arts seemed to provide a powerful reinforcement of an “able” identity” (p. 125). People who are chronically ill can end up with a negative outlook on life, but an “able” identity without focusing on the illness can combat the negative feelings

(Roberts, 2003).

Cheek and Piercy (2008) interviewed women quilters who were Amish, Appalachian, and

Latter-Day Saints (Mormons) about their quilting. Cheek and Piercy (2008) found, “Quilting assisted these women in strengthening their circle of inclusivity both in terms of proximity and time” (p. 19) They did this by sharing symbols of belonging, of common history, events and people and receiving tokens of caring from the past and passing them into the future.

Cheek and Piercy (2008) cited Erikson’s adult stage of human development-generativity versus stagnation

encompasses learning to involve oneself in the care and nurturance of the next

generation, and the failure to accomplish its central tasks leaves a person with a sense of

personal stagnation, a lack of purpose, and a feeling of not having left a mark on the

world. (p. 13)

Piercy and Cheek (2004) found four manifestations of generativity were evident in the data: teaching others, leaving a legacy, forming bonds with members of other generations, and contributing to the welfare of the broader community. Generativity echoes Adler’s social interest HELD BY A THREAD 22 and having a sense of belonging and can contribute to a more positive outlook on life (Piercy &

Cheek, 2004)

Cooper and Buferd (2017) found similar information when they interviewed quilters in

Texas and New Mexico in 1974. The quilters talked about the quilts representing their life stories about family members, quilting details, and stories from the past (Roberts, 2010). The quilters heard the stories from their mothers and grandmothers. “The quilts seemed to be the format in which they had condensed much of personal, family, and community history” (pp. 18-

19).

Dolan and Holloway (2016) also noted the passing down of memories. Prichard stated,

“Women were frequently tasked with preserving a family’s memories, with large-scale textile projects such as quilts conveying memories across generations” (as cited in Dolan & Holloway,

2016, p. 157). In the Minnesota Quilt Project (2005), Bakkom noted that quilting strengthens families by uniting members in a shared activity. For instance, quilting becomes an experience that families share, and it is a symbol of caring for one another. The quilt becomes a living memory map of one’s history.

Experiential

There does not seem to be much information available regarding the use of quilting in art therapy, and what there is available is mostly on story cloths or quilts. Garlock (2016) said,

“Skilled art therapists could help deepen the expression and communication of story cloths groups by learning more about textile work in their area and then incorporating textiles into the art therapy process” (p. 60). See appendix for a guide to adding textiles to an art therapy practice written from the viewpoint of both an art therapist and a quilter. The guide has project ideas, reasons for the materials used, and tips for saving time and money. HELD BY A THREAD 23

Because a quilt can take a long time to make, the projects use the same skills needed in quilting but without the time commitment. The first project is a spirit animal pillow made using fabric markers or crayons on fabric. By sewing and stuffing the fabric, a flat drawing is turned into a useful three-dimensional pillow. The pillow can be used daily or become a transitional object for the client.

The next project is a fleece throw with photo transfers. Photos can invoke memories.

The fleece does not need to have its edges finished, which eliminates the need to add batting and backing. This allows the project to be completed in one or two sessions. Homer (2015) found that fleece appeals to many clients. Homer (2015) selected fleece in her collage with a client because of its softness and believed the fleece would stimulate a sensory, pleasurable experience.

A small quilt or story quilt is the next project. Garlock (2016) used story quilts to tell the narrative with clients. Photos of small quilt examples are included.

Recognizing that not everyone wants or has room for a full-sized quilt, instructions on how to make two types of fabric books are given as an alternative to a quilt. The guide concludes with images of quilts from the writer's collection that show various types of quilts and quilt settings. Neutral images were used to avoid triggering negative memories.

Conclusion

Quilting has existed for generations and crosses cultures, yet “the use of textile-based media has been understudied in art therapy” (Futterman Collier et al., 2016, p. 179). Not only has quilting been understudied, it has also been underutilized. One reason may be how textile arts are sometimes viewed as not being art; however, “Making textile handcrafts and developing new artistic projects are important activities for art therapists to consider when working with clients” (Futterman Collier et al., 2016, p. 184). HELD BY A THREAD 24

It is ironic that despite being derogated as ‘craft and women's work’, textile making

provides an important source of cognitive coping or intellectual stimulation for many

women. Women have a long legacy of using textile crafts in the context of social

relationships to reduce isolation, reinforce friendships, and pass down generational

traditions via quilting circles. (Futterman Collier et al., 2016, p. 183)

Dolan and Holloway (2016) noted how textiles can be highly emotional for their makers and owners. Textiles are associated with women’s domestic work across the social spectrum and are a key means of preserving and accessing female histories. Quilts can be a means of expressing political views and a way to assist those in need.

Therapists who have used textiles in their practice have found that story cloth groups, facilitated by art therapists, can provide a culturally relevant form of trauma treatment for women who may not have access to traditional mental health treatment, particularly refugees and women in developing countries (Garlock, 2016). “These narrative textiles can fill an important role in the creative process and the healing power of art” (Garlock, 2016, p. 61). In India, fabric was readily available, and the clients were able to express themselves better than with Western materials that were not affordable (Garlock, 2016). When working with Bosnian refugees in

Slovenia, Kalmanowitz and Lloyd found embroidery was an acceptable medium when other art materials were not (as cited in Garlock, 2016).

Collier and Von Karolyi (2014) suggested if the client already has mastery in a suitable art-making activity, the treatment plan could draw on that activity. If the client has no mastery, a therapist may consider an activity that the client is likely to master, including arts. For some, textile making is already implicitly valued and can be deepened and enhanced with a therapeutic perspective (Collier, 2011). HELD BY A THREAD 25

Integrating quilting into an art therapy practice will allow art therapists to reach more clients, especially those who may be resistant to other media. Clients will receive the health benefits of quilting and may make social contacts with others for the future. Their art may inspire others and the sewing skills they learn can help them in everyday life.

In the Minnesota Quilt Project (2005), Gail Bakkom said, “Much as a stone dropped in water creates an expanding circle of ripples, so quilts produce an effect that flows from creator to affect individuals, families, and communities” (p. 50). Used therapeutically, quilts can flow from clients to their families and onward into their communities giving warmth physically and emotionally. Quilt recipients may get a sense of belonging in that someone cared to make them a gift, and givers may feel they did something useful and have a sense of purpose. Making a beautiful quilt could take away from a sense of inferiority and receiving one could also possibly change a person’s mistaken beliefs.

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References

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New York, NY: Harper & Row.

Baker, B.A. (2006). Art speaks in healing survivors of war: The use of art therapy in treating

trauma survivors. Journal of Aggression, Maltreatment & Trauma.12 (1/2), 183-198.

Balagna, M., & Babbit, C. (2012). Quilt it with love: The project Linus story. New York, NY:

Lark Crafts.

Bartholomew, A. (2007, February 1). Prof debunks Douglass myth. Yale News. Retrieved from

http://yaledailynews.com/blog/2007/02/01/prof-debunks-douglass-myth/

Cash, F. B. (1995). Kinship and quilting: An examination of an African-American tradition.

The Journal of Negro History, 80(1), 30-41.

Chansky, R. (2010). A stitch in time: Third wave feminist reclamation of needled imagery. The

Journal of Popular Culture, 43(4), 681-700.

Cheek, C.L. & Piercy, K. W. (2008). Quilting as a tool in resolving Erikson’s adult stage of

human development. Journal of Adult Development, 15, 15-34. doi 10.1007/s10804-007-

9022-7

Clark, M. C. (1995). Story quilts and how to make them. New York, NY: Sterling Publishing

Co.

Collier, A. F. (2011) The well-being of women who create with textiles: Implications for art

therapy. Art Therapy. 28(3), 104-112. doi 10.1080/07421656.2011.597025

Collier, A.F. & von Karolyi, C. (2014). Rejuvenation in the “making”: Lingering mood repair

in textile handcrafts. Psychology of Aesthetics, Creativity, and the Arts, 8(4), 475-485. HELD BY A THREAD 27

doi 10.1037/a0037080

Cooper, P. & Buferd, N. B. (1977). The quilters: Women and domestic art. Garden City, NY:

Doubleday & Co.

Danner, R. M. (2015). Making a world of difference one quilt at a time. Novato, CA: New

World Library.

Dickie, V. A. (2011) Experiencing therapy through doing: Making quilts. OTJR: Occupation,

Participation and Health, 31(4), 209-215.

Dolan, A. & Holloway, S. (2016). Emotional textiles: An introduction, TEXTILE, 14(2). 152-

159.

Driessen, K. (n.d.). Putting it into perspective: The symbolism of underground railroad quilts,

Quilt History. Retrieved from http://www.quilthistory.co/ugrrqults.htm

Freeman, R. L. (1996). A communion of the spirits. Nashville, TN: Rutledge Press

Futterman Collier, A. D., Wayment, H.A., & Birkett, M. (2016). The impact of making textile

handcrafts on mood enhancement and inflammatory immune changes. Art Therapy:

Journal of the American Art Therapy Association, 33(4), 178-185.

Garlock, L. R. (2016). Stories in the cloth: Art therapy and narrative textiles. Art Therapy, 33(3),

58-66. doi: 10.1080/07421656.2016.1164004

Gillespie, S. (2010). Quilts around the world. Minneapolis, MN: Voyageur Press.

Gunning, S. (2000). Re-crafting contemporary female voices: The revival of quilt-making among

rural Hindu women of eastern India. Feminist Studies, 26(3), 719-726.

Hedges, E. (2014). Quilts and women’s culture. Radical Teacher, 100, 10-14. doi:

10.5195/rt.2014.148

Homer, E. S. (2015). Piece work: Fabric collage as a neurodevelopmental approach to trauma HELD BY A THREAD 28

treatment, Art Therapy, 32(1), 20-26. doi 10.1080/07421656.2015.99284

Maidment, J., Tuder, R, Campbell, & Whittaker, K. (2015). Use of domestic craft for meaning-

making post-disaster, Kotuitui: New Zealand Journal of Social Sciences Online 10, (2),

144-152. doi 10.1080/1177083x.2015.1047457

Minnesota Quilt Project. (2005). Minnesota quilts: Creating connections with our past.

Stillwater, MN: Voyageur Press.

Nainis, N. (2005). Art therapy with an oncology care team, Art Therapy, 22(3), 150-154.

doi:10.1080/07421656.2005.10129491

Piercy, K. W. & Cheek, C. (2004). Tending and befriending: The intertwined relationships of

quilters. Journal of Women and Aging, 1(1/2), 17-33. doi 10.1300/J074v16n01_03

Quilts of Valor. (n.d.) Quilts awarded this month. Quilts awarded to date [Home page]. Retrieved

on May 17, 2017 from https://www.qovf.org/

Quilting in America. (2014). 2014 Survey presented by F+W, A Content + e-commerce

Company. Retrieved from https://fabshopnet.com/wp-

content/uploads/downloads/QIA_summary_2014.pdf

Reynolds, F. (2003). Reclaiming a positive identity in chronic illness through artistic occupation.

OTJR: Occupation Participation and Health, 23(3), 118-127.

Reynolds, F. (2002). Symbolic aspects of coping with chronic illness through textile arts. The

Arts in Psychotherapy, 29, 99-106.

Roberts, E. (2010). The quilt. Minneapolis, MN: Voyageur Press.

Ruskin, C. (1988). The quilt: Stories from the NAMES project. New York, NY: Pocket Books.

Scheper-Hughes N. (2003). Anatomy of a quilt: The Gees’ Bend freedom quilting bee.

Anthropology Today, 19(4), 15-22. HELD BY A THREAD 29

Schofield, S. & Littrell, M. (2001, March). Textile handcraft guild participation: A conduit to

successful aging. Clothing and Textiles Research Journal 19(2), 41-51. Retrieved from

https://www.researchgate.net/publication/247783609_Textile_Handcraft_Guild_Participa

tion_A_Conduit_to_Successful_Aging

Tobin, J. & Dobard, R. G. (1999). Hidden in plain view: The secret story of quilts and the

Underground railroad. New York, NY: Doubleday.

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APPENDICES

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Appendix A

Project Guide

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Guide to Integrating

Quilting and Textile Arts

into Art Therapy

HELD BY A THREAD 33

Table of contents

Introduction

Supplies

Spirit animal pillow

Story quilt

Fabric books

Examples

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Introduction

The purpose of this guide is to suggest ways to incorporate quilting and textile arts into the art therapy process. It is not a how to quilt or sew guide. The guide is arranged with the quickest and easiest projects in front followed by the more time consuming and complex.

Completion times are based on each project’s work time and do not include processing time.

Materials needed, photos, and instructions are included for each project. Also included in the guide are alternative ways to use the project’s materials. All examples shown are from the writer’s personal collection and were either made by the writer or purchased second-hand by the writer. Credit is given where it is known.

Costs can add up when starting to work with textiles especially if bought at full price at a retail store. There are ways to save money. Fabric stores sell small pieces of fabric as remnants.

Remnants and scraps can also be found at yard sales and thrift stores. Friends who sew may pass on their excess and old clothes which can be deconstructed for use. Buttons, beads, ribbons and threads can also be purchased second hand. Shown are a few grab bags from a thrift store that were bought for two dollars each.

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Supplies needed

Fabrics and trims

Muslin: A plain weave fabric available in bleached and unbleached. Bleached (white) will be used for many of the projects as colors appear clearer on white. Muslin comes in different widths and thicknesses and is usually inexpensive. For best results, choose a muslin, in the width of your choice, about as heavy as a sheet.

Quilting cotton: This fabric is a100% cotton fabric used primarily for quilting. It comes in both solids and prints and is usually more costly than muslin. It can be found in most fabric stores and is used for quilting but works for other applications.

Felt: Originally made of wool, most felt today is acrylic or a blend of . Felt squares

(most are 9” x 12”) are mostly acrylic and come in many colors. Acrylic felt can be laundered and does not fray which makes it easy to work with. Markers work well on felt, while crayons do not.

Fleece: Made of polyester and recycled plastic, fleece edges do not need to be finished to prevent raveling which is why it is good for the throw project. Fleece is available in prints and solids and at several price points.

Fusible bonding web: Fusible bonding web is sold by the yard or in prepackaged pieces. It is an iron-on web that bonds two fabrics together. It comes in several weights.

The paper backed version allows for getting the web all the way to the edge of the fabric. The different weights are designed for different applications and fabrics. The fusible web can make it difficult to sew through fabrics.

Fabric markers and pens: These markers and pens are made for use on fabric and allow the piece to be laundered.

Fabric crayons and regular crayons: Crayons work well on most light-colored fabrics. HELD BY A THREAD 37

Ironing will help set the colors and eliminates running and fading. It is suggested to use paper above and below the piece when ironing to keep from getting wax on the iron and ironing surface.

Fabric paints and acrylic paints: Fabric paints are designed for use on fabrics and should not wash out once they dry. Fabric mediums are available to add to acrylic paints, craft or professional, to work on fabrics. One disadvantage of using fabric paint is drying time needs to be added before the project may be completed.

Inks and dyes: Many companies make inks and dyes that will work on fabric. As with paints, drying time can vary and should be added to time to completely finish.

Interfacing: Interfacing is used to add body to fabric and is available in many weights and types. It is a nonwoven fabric and can be cut in any direction without fraying. Interfacing will accept color from markers, crayons, and paints. It can also be put through a printer but may need a carrier sheet of paper. Because of how versatile the material is it also works well in textile arts.

Backing and support fabric: Almost any medium weight fabric can be used for a story quilt backing or a quilt. Linens such as sheets and tablecloths are a good weight and can be bought inexpensively second-hand. A thick fabric will be harder to sew through.

Scrap fabrics for story quilts and other projects: Quilters tend to use 100% cottons when stitching one fabric on another but, for the projects in this booklet, most fabrics can be used and can add texture to the finished piece. This technique of sewing one fabric on top of another is called applique.

Photo transfer fabric: Available for inkjet or laser printers, transfer fabric allows photos to be printed on a fabric. There are several varieties available. Suggested type HELD BY A THREAD 38 is a paper backed fabric that goes through the printer. The writer has had better luck getting a clear image with this type of transfer.

Trims: Adding ribbons and trims add interest and texture to the art pieces.

Dressmaker’s chalk or pencils: Dressmaker’s chalk is used to make temporary marks on fabric and will brush or wash off. It is handy for sketching an outline for your project.

Other supplies

Needles: Needles come in a variety of sizes and types. Sharp points are designed to go through fabric and break the threads. The larger the needle used, the larger the whole. Blunt or rounded points push the threads aside and are designed for knits or needlepoint. A variety pack of needles will allow you to find what size needle you prefer.

Threads: it is best to use a good quality thread. Inexpensive or old threads may break or tangle. The writer has used older threads on some occasions but usually only small amounts.

Embroidery floss: A heavier thread used for stitches that show floss is available at fabric, craft, and needlework stores. Floss is available in many weights and at many price points. Expensive floss is usually not needed for most projects.

Yarn: Yarn can be used, to stitch or embroidery, adding texture to the piece. Pick a yarn that has the qualities needed for the project.

Iron: Used to heat bonding web. It does not need to be expensive.

Scissors: For ease in cutting fabric, use a sharp pair of scissors kept just for fabric.

Cutting paper can dull the scissors. A pair of scissors about 4-5 inches long with a sharp point works well for trimming tight areas. HELD BY A THREAD 39

Fabric glue: Allow drying time for glues. Fabric glue is specially made to work on fabric. Regular white glue will sometimes work if the piece will not be washed.

Sewing machine

RESOURCES

For more information you can contact the following:

American Sewing Guild: asg.org

Minnesota Quilters: mnquilt.org

Minnesota Textile Center textilecentermn.org

The modern sewing guild themodernsewingguild.com

Other state and local quilt guilds

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Spirit Animal Pillow

Can be completed in one or two sessions

A spirit animal is a spirit, in animal form, that guides a person through life. The concept is often found in Native American culture. Fabric accepts most of the same media as paper. One way to introduce textiles into an art therapy practice is to create an image on the fabric. Sewing and stuffing the artwork gives it dimension. A pillow could be used as a transitional object, an item that takes the place of a person or thing in order for the person using the transitional object to feel safe, secure or loved.

Therapeutically, this animal could represent traits the client wishes to have or that currently represent the client. The spirit animal could also be a protector to help the client through tough times or a crisis. The example shown is of a brown bear sometimes thought to be a sign of strength.

Supplies:

Muslin

Fabric markers, pens or crayons HELD BY A THREAD 41

Fiberfill

Needle and thread

Sewing machine (optional)

Fabric glue (optional) add drying time

1. Create an image of your

spirit animal on the muslin

using media of your choice.

Allow drying time if using

paint.

2. Place right sides of fabric

together and sew around

your animal or sew a pillow

shape leaving an opening for turning. Trim excess fabric if needed. Save scraps

in your fabric scrap container.

3. Turn right side out and fill with fiberfill

4. Sew shut. Fabric glue can be used instead but adds drying time

Alternative ideas:

Instead of a spirit animal, the client could create an image of a safe place or person. HELD BY A THREAD 42

With a larger piece of fabric, a drawing of the person‘s body could be done. Squares with different images can be sewn together for a quilt.

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Photo transfer throw

Can be completed in 2 or 3 sessions

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Memory quilts are made to honor a person. Traditionally, a quilt consists of a front, batting, and a back. The quilt front is often made of many pieces of fabric. The photos can be ironed on to fleece eliminating piecing time with the use of fusible web.

Since fleece does not require finishing the edges, the need for batting and backing is eliminated as is the need to quilt or tie the piece. Heavy duty fusible bonding web is used to ensure a complete bond with the nap of the fleece.

Photos of family members can be very personal. Discussing and choosing the photos could take several sessions. This can be a good project for someone with memory loss. The photos of their loved will be close by and seen every day. Photos of pets were used in the example due to confidentiality.

Supplies:

Fleece in your choice or pattern and size (a remnant was used for the sample)

Heavy duty paper backed fusible bonding web

Photo transfer paper for inkjet copier

Photos to copy

Access to an inkjet copier

Optional ribbon, trim or embellishments

1. Copy photos on to photo transfer fabric following package instructions. It may help to do a test on plain paper first to see how the photos print and if adjustments are needed.

Prints from laser printers require different transfer methods.

2. Iron images on fabric to set color and let cool before peeling off paper backing. After HELD BY A THREAD 45 backing is removed, cut to separate photos. Heavy duty bonding web works best because fleece has nap and the web will adhere to the nap better than other weight bonding web.

3. Place photos face up on the web

side of paper backed fusible

bonding web leaving about ½ inch

around each. Iron taking care not

to get web on iron.

4. Place photos as desired on fleece then iron checking that web has completely bonded the fleece and image together. If desired, ribbon, trims or other embellishments can be added. Allow drying time if fabric glue was used.

Alternate ideas:

There are many possibilities available for using these materials. Photos can be arranged as a family tree or randomly. The photos can be of anything like a vacation or copies of artwork. Shapes of fabric can be adhered to the fleece as desired.

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Story quilts

2 or more sessions

Story quilts tell the story of a point in time. The quilts can be any size, but smaller quilts will be easier to accomplish in sessions. Early recollections, family history or current events are examples of the stories that can be told. The above sample is of a butterfly emerging from its cocoon to start a new life.

Supplies needed:

Fabric for base of quilt

Assorted scraps of fabric

Needles and thread

Optional ribbons, trims beads and other embellishments

Optional dressmakers chalk or chalk pencil

1. Choose a fabric for the quilt face. The sample shown used a linen type napkin

bought second-hand. Napkins have finished edges that keep the edges from HELD BY A THREAD 47

fraying while working. The finished piece can also be used as is, if desired. Plan

your quilt design. The design can cover part of the fabric or all of it. Use the

dressmaker's chalk to sketch the design, if desired. The chalk will brush or rinse

off when finished.

2. Choose fabrics from your box of scraps and cut as desired. If you do not have

the fabric you want, use fabric markers, pens or paints to create your own design

on light colored fabric. Allow drying time, when needed.

3. Sew design pieces to the quilt face. Turning under edges will give a more

finished look.

4. Finish your work, as desired. Sign and date your quilt.

Finishing your quilt

The edges of the piece can be turned under.

Stretch finished piece on stretcher bars.

Add batting and backing and quilt or tie, as desired. Cut the back bigger than the

front and fold back overage to the front. Press edge under and sew to front of

quilt or add a separate binding to finish quilt. HELD BY A THREAD 48

Examples of Story Cloths

Artist and maker unknown

Artist and maker unknown

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Artist and maker unknown

Hmong story quilts

Artist and maker unknown

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Artist and maker unknown

Hmong flower cloth

Artist and maker unknown

Examples are found in thrift stores

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Fabric books

Fabric books can be used like other books to tell a story. Children’s activity books are often made of fabric. Depending on the items used, the book can be washable.

Felt book

A good group project making a book from felt pieces allows each page to be completed before the pages are sewn together.

Supplies:

Felt pieces (precut are normally about 9”x12”) cut to size.

Fabric markers or pens

Scraps of fabric

Needles and thread

1. Complete each page as desired leaving an inch margin on the left side.

2. Place pages on top of each other, right sides up.

3. Stitch through all of the pages several times in the left-hand margin using needle

and thread or a sewing machine. Bookbinding techniques can also be used to

attach pages.

4. If preferred, the book can be assembled first, and the pages done later.

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Muslin book

One session for the book alone

One or more for art work

A book made of muslin can take many types of media like paper can. Since it is made of fabric, it can be used with fabric paints, markers and other washable media. It can also be sewn through and will not rip like paper. Muslin is usually white or off-white making paint, ink, crayon and other media visible. The muslin can also be sewn allowing for the addition of other fabrics or embellishments. Since the muslin is thinner than felt, the book can have more pages. Depending on the media used, a muslin book is also washable, which can be important with some health conditions.

Supplies needed for blank book:

Muslin or other fabric

Needle and Thread or sewing machine

Optional fusible web in regular weight

1. Cut muslin or other fabric into pieces 18”x22”

2. Fold the fabric in half to 18”’x 11” size, right side out and press.

3. Complete pages following one of the three methods below.

4. Place pages on top of each other and sew in the middle of the 22” using needle HELD BY A THREAD 53

and thread or sewing machine. Bookbinding techniques can also be used. When

folded, the finished book should be 9” x 11”.

Method one

Place fusible bonding web between folded muslin and iron. The bonding web will add body to the page and eliminate fraying. The bonding web will also make the page more difficult to sew through and sewing will appear on the back side. Markers, paints and surface embellishments will be easier to use. Because of the added firmness this method makes a good cover for the book.

Method two

Leave page edges unsewn until after completing artwork. The unsewn edges will let the sew through only the top, hiding the wrong side between the pages. When the artwork is completed, sew round the edges several times to avoid fraying.

Sample has top sewn and sides left unsewn on page. Contrast color used for visibility on page and to sew book together

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Method three

Method three folds the fabric differently with wrong sides out. Sew around the edges of the cut fabric leaving a 4”-6” opening for turning. Turn right sides out and press flat. Sew book pages together. Complete artwork and sew opening shut when done.

This method gives a clean edge and prevents fraying but is more time consuming.

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Examples of Quilt Settings

Signature blocks set side by side with outer border. Most likely made for an Eastern Star organization.

Makers unknown. From the author's collection.

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Denim quilt with blocks set side by side. The quilt is tied with no border. Makers unknown. From the author's collection. HELD BY A THREAD 57

Painted blocks using embroidery patterns alternated with solid blocks and wide border. Quilt is tied in block corners. Artist and maker unknown. From the author's collection.

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Embroidered state quilt with lattice between blocks and border. Embroidered squares most likely from a commercial pattern. Maker unknown. From the author's collection.

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Setting for different size blocks. Artist and maker unknown. From the author's collection.

Additional Resources

Minnesota Quilters, Inc. American Sewing Guild Textile Center 253 State Street National Headquarters 3000 University Ave SE St. Paul, MN 55107-1612 9660 Hillcroft, Suite 510 Minneapolis, MN 55414 Phone: (651) 224-3572 Houston TX 77096 612-436-0464 Email: [email protected] 713-729-3000 [email protected] www.ASG.org