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The ‘Floating Forest’ comes to Ararat

Douglas Fuchs ‘Floating Forest’ 17 February – 1 April 2012

Ararat Regional Gallery are reconstructing an exhibition that played a key role in the development of fibre art in Australia.

Douglas Fuchs (1947-86) was an American basket maker who came to Australia on a Craft Council of Australia Fellowship in 1981-82. He arrived in Adelaide in July 1981 and set up a studio at The Jam Factory, Adelaide, where he began work on his ambitious ‘Floating Forest’. Douglas exhibited three versions of ‘Floating Forest’: at the Adelaide Festival Centre Gallery from 27 November to 24 December 1981, the Meat Market Craft Centre, Melbourne from 26 January to 28 February 1982 and the Crafts Councils Centre Gallery, Sydney from 1 to 23 May 1982.

‘Floating Forest’ is widely cited as a landmark in the development of a contemporary approach to basketry in Australia (see link and brochure). 

ARARAT BASKETFEST 2012 SYMPOSIUM

Ararat Performing Arts Centre, Saturday 31 March 2012, 9.30am to 4pm
Hear from key influences and experts in the fibre art field and be inspired by artists whose contemporary practices are informed by basketry techniques and traditions. The symposium supports Ararat Regional Art Gallery’s 30th anniversary exhibition of Douglas Fuchs’ influential basketry-based installation, ‘Floating Forest’,  presented from 17 February to 1 April 2012, in partnership with the Powerhouse Museum , Sydney.

Key speakers include:

  • Christina Sumner, Principal Curator Design and Society at the Powerhouse Museum in Sydney;
  • Leading contemporary basketmaker, Virginia Kaiser;
  • Antoinette Smith, Senior Curator, Indigenous Cultures of Southeastern Australia at Museum Victoria. 
  • Five indigenous and non-indigenous fibre artists speak about the role of tradition and technique in the creation of contemporary woven forms: Marilyne Nicholls, Bronwyn Razem, Adrienne Kneebone, Maree Brown and Lucy Irvine.

The journey begins

Moe Chiba opening the Visible Hand forum

Moe Chiba opening the Visible Hand forum

Sangam – the Australia India Design Platform was launched in Melbourne on 21 July.  

During the day, RMIT Industrial Design hosted the Ethical Design Laboratory’s workshop into ethical labelling. Experts from around Australia met to develop a set of standards for creative collaborations. Representatives from law and design, alongside leading practitioners, considered best practice for labelling of transnational cultural products. These protocols contribute to the development of a Code of Practice for Creative Collaborations, supported by UNESCO. The results from Melbourne will be published on the website for discussion next month and then presented in Delhi at the mirror event on 21-22 October this year. 

In the evening, a panel considered what it means for an Australian designer to work in India today. The coordinator Kevin Murray opened the session with a reflection on the strength of Australian designers, coming from country whose experience of reconciliation grants a sensitivity to cultural difference. This included included video messages from four designers in India. The panel was led by Moe Chiba, the section head of culture for UNESCO New Delhi, who highlighted the role of designers in sustaining India’s cultural heritage, particularly in the crafts. Local textile designer Sara Thorn defied received wisdom about authenticity and argued for the virtue of artisans working with machines in India. Architect Chris Godsell reflected on his experience in building sports stadiums for the Delhi Commonwealth Games in 2010. While providing a cautionary tale about potential pitfalls, he spoke positively about the energy and capacity of Indian partners. Finally, Soumitri Varadarajan talked about the impact that design can have in India, focusing on the issue of maternal health. Afterwards, the panel was hosted at a network dinner at the City of Melbourne, including leading figures from the Indian community and government. (A recording of the forum is available here).

Overall, the evening generated a positive reflection on the opportunities for Australian designers working in India. But at the same time, there were some important questions posed that will remain challenges for the project:

From the Australian perspective, India has much to offer in terms of rich decorative traditions and expanding market. But what then from an Indian perspective might Australia have to offer in exchange? The answer for this question will unfold at the mirror forum in Delhi later this year.

In terms of developing standards for collaboration, there is much interest in focusing previous discussions towards a set of principles that can build confidence in product development partnerships between designers and craftspersons. The next challenge is to link those standards to the market, so that they can have direct economic benefits for those involved. This a matter for future workshops that will explore models of consumer engagement, particularly with social networks.

The journey began with a buoyant march, but steep mountains loom ahead. To follow, go to www.sangamproject.net and subscribe to email updates.

Liz Williamson–a dark garland

 Liz Williamson, Loop Series, 2008, handwoven cotton and leather lacing, photo Ian Hobbs

Liz Williamson, Loop Series, 2008, handwoven cotton and leather lacing, photo Ian Hobbs

Liz Williamson is one of Australia’s most revered textile artists. The exhibition acknowledging her status as a ‘living treasure’ is currently touring across Australia. As a textile artist, Liz has produced innovate weaves that reflect a particularly Australian aesthetic. She is especially interested in the life of cloth, not just its fresh beauty straight off the loom, but the accumulated dignity that is gained over many years of care and repair. Liz has created an aesthetic around the act of darning.

Williamson’s work is represented in most major public collections in Australia including the National Gallery of Australia, the National Gallery of Victoria and the Powerhouse Museum. In 2008, following more than two decades of dedicated teaching at universities in Melbourne, Canberra and Sydney, Williamson was appointed as Head of the School of Design Studies at the College of Fine Arts, University of New South Wales, Sydney.

For Liz, the principle form of her creative endeavour is the scarf. For Welcome Signs, she has in effect closed the scarf into a loop, creating an object that serves as jewellery, wrapped around the body.

Liz Williamson, Pendent Loop Series, 2009, photo Ian Hobbes, handwoven cotton and leather lacing, 150 x 2cm

Liz Williamson, Pendent Loop Series, 2009, photo Ian Hobbes, handwoven cotton and leather lacing, 150 x 2cm

Statement

Strands of memory, cloth and the body are interlaced throughout Liz Williamson’s practice as she explores the connections between clothing and the body experimenting with different weave structures while exploring visual and conceptual territory.

Williamson’s recent textiles play on ideas of shelter and memory as notions of containment and bodily protection, ideas presented in woven and draped shaped textiles that evoke connections with enclosing, carrying and storage while creating a place for hiding, seclusion and security.

Her Loop series are neckpieces, a hybrid between a wrap and jewellery. They play on ideas of shelter and memory on a number of levels, as their circular shapes draping the body with the contained shape inviting enquiry, a desire to know what is contained within.

Yayasan Tafean Pah – supporting weavers in West Timor by Ibu Yovita Meta and Ruth Hadlow

News of a valuable new initiative from West Timor that deserves our support:

The weaving traditions in West Timor are very diverse and very beautiful, consisting of hand-made cloth woven on back-strap looms, sometimes still using handspun thread and natural plant dyes. The textiles are woven by village women amongst other activities such as growing crops, caring for livestock, social, domestic and family duties. Weaving skills are passed down from one generation to the next, with most women learning from their mothers, aunties or grandmothers. Traditional hand-woven textiles are still used as garments by many West Timorese for formal and ceremonial occasions, and textiles are still required as tribute for funerals, as part of the bride-wealth exchange in marriage agreements, and for other adat (traditional customary law) ceremonies. Despite this, the weaving traditions are fragile and vulnerable to changes in contemporary life, as the younger generations move away from villages, or become less interested in traditional textiles and the time-consuming techniques of hand-weaving.

Background & Context

West Timor is the western half of the island of Timor, which was colonized and divided by the Dutch and Portugese during the colonial period. West Timor became part of the Republic of Indonesia when it was formed in 1945 as a reaction to Dutch colonial rule. Within Indonesia, the eastern islands (West Timor, Sumba, Flores, Alor, Rote and Savu) are the poorest part of this developing country. The islands of East Nusa Tenggara, or NTT as it is called locally, are much drier and less fertile than those of western Indonesia, and very similar to northern Australia in their climate, geology and vegetation. The island of Timor is predominantly limestone, and does not have the rich volcanic soils of Bali or Java. It has a very long dry season, from April to late November, and is hot and extremely dry for most of the year. The latter part of the dry season is traditionally known as musim kelaparan, or the starvation season, as the only foods available for most villagers are the corn and cassava they have stored from the end of the harvest period. Life for most villagers is very tough and means of generating income are very limited. Many village children do not go beyond a primary school education as their families do not have the resources to support further study. Since the late 1990’s life has been increasingly difficult for the West Timorese, due to a series of factors such as the Indonesian Monetary Crisis in 1997, a rise in the cost of living of more than 500 per cent over the past 10 years, and the withdrawal of aid projects and organisations in the wake of East Timor’s independence in 1999. There is a general lack of knowledge about West Timor caused in part by the attention to East Timor in the news media, and this often makes it difficult for organisations to get external funding or support for their activities.

Yayasan Tafean Pah

Ibu Yovita Meta

Ibu Yovita Meta

Ibu Yovita Meta began the foundation Yayasan Tafean Pah in 1989, working with a small group of weavers from the dry and mountainous Biboki region of northern West Timor. YTP has grown substantially over the past 20 years; it now has a base in the northern town of Kefamenanu and 14 weaving cooperatives with a total of 700 members, spread over the Biboki, Insana and Miomafo regions of TTU (North Central Timor). Yayasan Tafean Pah supports the weaving cooperatives by providing access to thread and dyes, and training in weaving, dyeing and design skills. The foundation also provides cooperative management and basic accountancy training, and very importantly, provides an outlet and market for the beautiful hand-woven textiles which the weavers produce.

In 2003, Ibu Yovita won the prestigious Prince Claus Award for Culture and Development (awarded by the Netherlands government) for the work she has done with Yayasan Tafean Pah. The award was used to develop the Rumah Seni Tafean Pah in Kefamenanu, a cultural centre which includes the YTP office, a multi-functional work space, and a gallery/shop outlet for the textiles and associated products made by the weavers. In 2007, Yayasan Tafean Pah received a grant from the Dutch Embassy in Jakarta specifically for the purpose of creating a collection of traditional hand-woven Biboki textiles. This collection is intended as a permanent resource for the community, ensuring that examples of the techniques, motifs, designs and textile forms unique to Biboki hand-woven textiles are held in West Timor, rather than only in the collections of distant or foreign museums. The textiles which make up the collection were commissioned directly from weavers in the YTP cooperatives, supporting them financially and increasing their sense of pride in their work.

Textiles produced by the weaving cooperatives reflect the traditions which have existed for countless generations in these regions. Some of the weavers specialise in textiles made with hand-spun thread and dyed with traditional natural dyes, such as the rich reddish-brown Morinda Citrifolia, the deep blues of Indigofera Tinctora, and blacks from iron-rich mud. Other weavers use machine-spun thread to create lighter-weight textiles which can be made up into smaller items such as bags and clothing. YTP sells the textiles through its base of the Biboki Arts Centre in Kefamenanu, and through trade fairs and exhibitions in Jakarta and Singapore. With the support of the Museum and Art Gallery of the Northern Territory there have also been several exhibitions of Biboki textiles from Yayasan Tafean Pah in Darwin.

The aims of Yayasan Tafean Pah are to ensure that traditional weaving and dyeing skills are sustained, and to support village women to develop economically through their weaving skills. In a culture such as that of West Timor, a woman’s status and standing within a village community increases significantly when her weaving contributes to the family’s economy. One of the YTP cooperatives is comprised predominantly of widows, and most of these women have put their children through senior high school and university on income derived from their weaving activity. Due to the success of its existing cooperatives, YTP is continuously requested to take on new groups, some of which have little prior weaving or dyeing knowledge. Although this is a huge burden on the organisation, it also indicates the potential for a remarkable revival and continuation of skills and traditions.

Friends of Yayasan Tafean Pah

Yayasan Tafean Pah has no continuous funding and relies on sales of textiles to support its ongoing activities. Any new initiatives require external funding as the foundation survives on a day to day basis due to the unpredictable nature of selling textiles. Because of the difficulties of this situation we have decided to begin a support project called Friends of Yayasan Tafean Pah. Through an informal network of email lists we will regularly send out information about specific projects and activities which YTP wishes to seek funding for. A data base has been set up to record information about all donations and ensure transparency. Friends of Yayasan Tafean Pah has been created by Ibu Yovita Meta and Ruth Hadlow with the intention of helping YTP to source funding through Australian textile networks and other interested parties. Ruth Hadlow is an Australian artist who has been resident in West Timor since 2001. From 2005-2009, Ruth and her Timorese husband Willy Daos Kadati ran Babes in Timor/Mepu Mfe Fafi, a small aid project dedicated to supporting the West Timorese community through donations of piglets from Australian sponsors. Ruth Hadlow and Willy Daos Kadati run textile and cultural tours to West Timor and other parts of eastern Indonesia, and have had a close relationship with Yayasan Tafean Pah for a number of years.

If you would like to become a member of Friends of Yayasan Tafean Pah, you can contact us directly, or simply continue to receive our emails and respond as you wish to the various projects. If you have friends or family whom you think may be interested, please pass this information on to them. If you do not wish to receive emails from Friends of Yayasan Tafean Pah, please let us know and we will take your address out of the email list.

YTP project: Training Young Weavers

Yayasan Tafean Pah plans to begin a training program in the latter part of 2010, with the aim of training young women in weaving skills. There are 4 main weaving techniques used in the TTU region of West Timor: futus (warp ikat), sotis (float or pickup warp), buna and pa’uf (discontinuous supplementary weft techniques). Each of the techniques is slow and time-consuming, requiring patience and attention to detail. The majority of weavers in West Timor are older women, a matter for some concern as the weaving traditions could disappear within a couple of generations if younger women do not take up weaving. Due to the success of the existing YTP weaving cooperatives, it has become visible to the broader West Timorese community that woven textiles can provide a useful source of income. This provides a good incentive for encouraging young women to learn weaving skills as a realistic alternative to other types of income-generating work which require them to leave their villages.

Yayasan Tafean Pah intends to start the training program with groups of 10—15 young women who will be paired with experienced weavers, either in their village setting, or at the YTP Centre in Kefamenanu. The young women will begin by learning basic weaving skills, and also, if they choose, they can learn to hand-spin cotton with a drop spindle (a difficult process if you didn’t start at age 5, as some of you know!). If the young women already have some basic weaving skills, they will be trained in more complex techniques such as buna, pa’uf or sotis to increase their skill base.

The training will take the form of 5-day intensive programs, after which time the young weavers will be encouraged to continue their work independently, and the results will be assessed by YTP once the woven textiles are finished. If they require or request further training, they can undergo a second stage of training to increase their weaving skills, or begin producing textiles under the supervision of a YTP weaving cooperative. In the long term it is hoped that the young weavers might start new weaving cooperatives or join existing ones, as a means of developing and marketing their work.

In order to run the training program, funding is needed to cover the costs of transport, food, and wages for the weaving teachers, who will give up their own weaving time to train the young women. A wage also helps to acknowledge the skills and experience of the older weavers, encouraging the community to value and respect the women’s textile skills and perceive these as an important source of income. YTP is hoping to take on between 60-100 young women in the training program at the first stage, making this quite a large and ambitious project which is intended to have a major effect on the survival of the weaving traditions in the TTU region of West Timor.

If you are interested in supporting Yayasan Tafean Pah in this program of training young weavers, please use the form on the following page to make a donation.

We would like to thank you for your interest in the activities of Yayasan Tafean Pah. If you visit West Timor and can come as far as Kefamenanu, we would love to meet you and introduce you to some of the weavers you have generously supported.

Many thanks and best wishes,

Ibu Yovita Meta & Ruth Hadlow
Kefamenanu, West Timor


To contribute to this valuable project, please contact Ruth Hadlow at friendsofytp@yahoo.com

The latest gossip about Gup Shup in Pakistan

Here’s some news from the Gup Shup project in Pakistan (‘gup shup’ refers to the gossip that happens around cups of tea).

Winter has truly arrived, and the Chitral valley is surrounded with the snow-covered peaks of the Hindukush. In this cold weather, the women gather around the fire, chit-chatting and embroidering. Somehow, Israr and his team from MOGH Ltd (our local partners) miraculously manage to get us the textiles across the Lowari Pass (3200m altitude). Sometimes by air, sometimes through the new tunnel, sometimes across the icy mountains. So if you have had to wait for a bag you are coveting, there are very good reasons!

Pot Swap

Pot Swap

Pot Swap

Zaibonda sold ‘Pot-Swap’ on the opening night of the ‘Gup Shup’ exhibition at the National Art Gallery (NAG), in Islamabad on International Women’s Day 2009. Using part of the money from the sale, her son Sajjid started his commerce degree at the Commerce College in Chitral. He had initially wanted to go to Peshawar, but the tense security situation in the city kept him up-country, close to his family.

Handbag

Handbag

The ‘Pot-Swap’ bags remain popular. As one key supporter, who carries ‘Pot Swap’ on a daily basis, emotionally exclaimed “I feel such a connection to the woman who created this bag!”.

And other news – Naseema (one of the artisans responsible for the creation and embroidery of the lovely ‘Mantlepiece’, ‘Mehndi’, ‘Calender’ and ‘Harvest’ textiles) had her own mehndi in October. She is happily working as the warden of a nurses’ hostel in Chitral town, living with her husband, and occasionally travelling the 6 hours even further north to her husband’s village.

Though the crops were harvested in October ‘Gup Shup’ continues to bear fruit. Some news from across the globe:

Gup Shup Exhibitions

Following the success of the textile exhibitions in Islamabad (8th March 2009), and Karachi (28th May 2009), we are hoping to be in Lahore next … the cultural capital of Pakistan. We’ll keep you posted on the exact venue and dates when we are passing through early next year.

Drawing for 'mantlepiece'

Drawing for 'mantlepiece'

Drawing for 'Mantlepiece'

The textile ‘Mantelpiece’ recently sold, to an Islamabad resident. And ‘Ice-cream’ has found a happy home and should be landing in Dubai soon. If you are interested in a textile, please do get in touch, as there are only a handful left …

‘Gup Shup’ went international, to Polly&me’s home shores of Australia at Craft Victoria in Melbourne, June 2009. Two textiles (‘Sultan the Sitar Player’, and ‘Games with Didi’) did us proud down under.

With such a multitude of loyal supporters in Dubai, we are eager to bring the ‘Gup Shup’ textiles with all the narratives and the endless cup of chai to Dubai, March 2010 – watch this space!

Do you want to know more? Email Ange at info@pollyandme.com

Proudly Produced in Pakistan!

Finding a good home for Lao silk

Samorn Sanixay is an Australian woman born in Laos who has established a company Eastern Weft that seeks a market for Laos silk in countries like Australia. Her project requires a good fit between two radically different worlds. What seems critical to Samorn is an appreciation of serious craft – something more likely to be found in galleries than shops.

She describes how she was drawn to silk production in her home country:

In 2002, my husband was offered the position of United Nations Advisor on Human Trafficking for South East Asia based in Vientiane Laos. Soon after I got a job with UNICEF and all Lao women must wear the traditional sarong. So I went to the markets to look for material but everything was in fluoro colours so I decided to have my neighbours who were weavers produce silk especially for me. I would sit and watch and developed an interest ever since.

Samorn sees a tradition that is passed down relatively unconsciously through family lines.

All Lao silk is woven on traditional looms, there is no industrialisation as yet.

Lao silk is  intricate, sophisticated and of high quality. With Lao silk there is a continuity in the way that it is still passed on from mother to daughter as opposed to having a romantic notion that `this is our culture’ or part of our tradition. Most weavers are poor and mostly illiterate but there is great technical skill required for weaving. There is also a fragility about Lao silk. Unlike most  handicraft  products from around the world which sadly ends up in Fair Trade stores or gift shops,  much Lao silk end up in Museums and galleries.

But there are serious problems. Samorn sees silk weaving in Laos caught between the intrusion of modernity from outside and conservatism within:

[The challenges include] globalisation, urbanisation, competition with mass production from China, in terms of raw silk as well as retail. There is the local market production for the tourist industry versus international market: selling products abroad and few have the skill to do so.

Knowledge and skills about various crafts such as weaving and natural dyeing which have existed for centuries are no longer being passed through generations because the young people today aren’t interest or have no desire to use silk or learn the methods, they want a mobile phone and to wear denim jeans.

It is caught in conservative politics. Lao women have the sole responsibility of being ‘guardians’ of culture. As an example of this, during the  ASEAN summit, women who were not in traditional sarongs during the meeting were fined and men were not.

In describing the motivation for starting Eastern Weft, Samorn wanted to show her adopted world the quality of Laos silk:

It was more of coincidence than desire to start a business. I wanted to ‘conserve our national heritage in the face of bewildering change.’ I wanted to keep my connection with my birthplace by giving some highly skilled young people a chance to improve their lives through producing beautiful silk. To show the world what we were capable of  producing by combining traditional weaving techniques with contemporary design. Eastern WEFT does not purely exist as a Fair Trade business, we focus on the technical skills and the beautiful art of Lao weavings.

But it’s not always easy to work with traditional peoples:

Working with Lao people in general is difficult,  they are unpredictable they work in their own time. They will not work during holidays even for extra pay!

And she hopes for the future:

Funding to expand our workshop. Educating people about the skills and dedication and labour required for weaving.

Horse hair – the new Chilean gold

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Crin is one of Chile’s most distinctive folk crafts. In markets around the country you will find delicate forms, often taking the shape of insects, woven out of dyed horsehair. Despite its distribution around the country, almost all Crin originates from a small town called Rari.

Crin appeared mysteriously around 200 years ago, as local women found they could weave poplar roots into figures. After discovering the flexibility of horse hair they combined a Mexican plant fibre Ixtle which provided structural strength. It’s not clear why this technique emerged there in particular, but the town’s proximity to a spa resort meant that there was a ready market for cositas (little things).

Crin is made entirely by hand. No equipment is involved, even knitting needles. But unlike the chunky results of finger-knitting, crin is exquisitely fine.

As a folk craft, crin was rarely taken seriously. However, it is now finding a niche as a versatile, colourful and particularly Chilean component in the burgeoning new jewellery scene in Chile. But its recent success comes with complications.

Women crin weavers from Rari

Women crin weavers from Rari

Women crin weavers from Rari

A Santiago architect Paula Leal has been exploring ways of collaborating with artisans from Rari. An earlier attempt with weaver Alba Sepúlveda led to the award for the 2008 UNESCO Seal of Excellence for Handicraft Products. The product incorporated modernist forms of crin into a hair clasp.

But the business of incorporating crin into jewellery is actually quite a political issue. In some ways, it parallels the movement of New Zealand jewellers who sought to include local materials and techniques such as jade carving into their work. In some cases, this meant reviving some of the lost Indigenous skills, while at the same time not simply imitating traditional Maori culture.

In the case of Chile, it is still the case that you can’t incorporate crin into your work without the willing cooperation of an artisan. It seems the nature of Chilean society that local skills are not easily generalisable. It would be extremely rare for someone in Santiago to teach themselves how to weave with crin. This division of labour creates an asymmetry, particular in the relative prices of crin sold in markets and jewellery featuring crin in fashionable jewellery boutiques.

Even for someone who has achieved success such as Paula, this can be difficult. She had to find some new crin weavers when her previous collaborator broke the partnership. Apparently, she felt resentment that she was sharing the stage with a designer who didn’t actually make anything herself.

Manuela Tromben and Paula Leal

Manuela Tromben and Paula Leal

Manuela Tromben and Paula Leal

Recently, Paula Leal formed a partnership with fellow architect Manuela Tromben in the development of an exhibition devoted to crin. Orígenes Y Atuendos Imaginarios (Origins and Imaginary Outfits) included jewellery and wall work that manipulated elements of traditional crin to create new works. For instance, the cylindrical form that normally is coiled to form the body of a snail was uncoiled and introduced into a necklace form. Local jewellers Walka Studio added the silver attachments.

Orígenes Y Atuendos Imaginarios installation

Orígenes Y Atuendos Imaginarios installation

Orígenes Y Atuendos Imaginarios installation

Crin has a long way to go. There’s potential for much experimentation. It seems inevitable that someone in Santiago will eventually learn to make it themselves. But I hope that doesn’t exclude the possibility that some of the women from Rari might themselves engage actively with product development.

But here, on the other side of the Pacific, a recent exhibition in Melbourne shows an alternative path. Vicky Shukuroglou recently completed her Masters in Gold and Silversmithing. Vicky had previously taken a South Project residency in Brazil and was interested in weaving with alternative materials. While at RMIT she had furthered her manipulation of horse hair to create extremely delicate woven structures.

Vicky Shukuroglou object [PW] steel wire, horse hair 60 x 90mm

Vicky Shukuroglou object [PW] steel wire, horse hair 60 x 90mm

steel wire, horse hair

Vicky Shukuroglou object [BHH] steel wire, horse hair [double bass bow] 150 x 130 x 130mm [variable]

Vicky Shukuroglou object [BHH] steel wire, horse hair [double bass bow] 150 x 130 x 130mm [variable]

steel wire, horse hair

Vicky’s objects are designed deliberately to appear insubstantial. They certainly are not made to function as jewellery, lacking solid form and metal clasps. But as such, they might seem to be true to the wispy material itself, allowing it to unravel freely. Some are likely to worry that she is taking the object out of the normal circuits of exchange that connect it with people’s lives – it can only live on a plinth. Is this a possible path in Chile?

In all, what’s happening with crin tells a story similar to other crafts across the South. Part of the post-colonial process involves coming to terms with the immediate world around us. This means not always looking North for what’s precious, but learning in how to find the beauty in what is at hand.

That process has barely begun.

A world vision for Mapuche

Standing around the coals discussing craft product

Standing around the coals discussing craft product

Standing around the coals discussing craft product

Alejandra Bobidilla (right) showing new designs at a cross-roads

Alejandra Bobidilla (right) showing new designs at a cross-roads

Alejandra Bobidilla (right) showing new designs at a cross-roads

Like most other colonies, the nation of Chile was established through a forced dispossession of Indigenous peoples from their land. One group proved particularly hard to displace. Prior to the arrival of the Spanish, the Mapuche had successful resisted an invasion from the Incas. After this, they held off the Spanish for nearly 300 years, as colonists appropriated land to their north and south. The middle territory of Mapuche ranged from Concepción in the north to Chiloé in the south.

Today, Mapuche make up 4% of the population in Chile. Their centre is Temuco, a city of a quarter of a million people, now a tourist hub. In the region of Temuco are many Mapuche communities, which are mostly poor and subsist on crafts and agricultural production. The crafts of weaving and jewellery are particularly strong among Mapuche. In Chile, they are known as well for their herbal medicines and elaborate cosmography, based on the cardinal points.

The World Vision office in Temuco is focused on enabling Mapuche communities to have greater independence and capacity. In July this year, I travelled with Alejandra Bobadilla to communities west of Temuco, towards Puetro Saavedra. These were people known as lafkenche, people of the sea.

Maria Mallafil, Mapuche leader and weaver

Maria Mallafil, Mapuche leader and weaver

Maria Mallafil, Mapuche leader and weaver

Alejandra’s main mission was to encourage handmade textile production among the Mapuche women. We were accompanied by a Mapuche elder, Maria Mallafil, whose familiarity with the communities and understanding of their craft was essential. We mostly met in community halls. These were small rooms with walls covered by notices and posters of common concern. We were offered tortillas and cakes with tea, sometimes matte. For more remote artisans, we would visit their homes.

Both women gave feedback on their weaving and suggested new opportunities. In particular, Alejandra had samples from a Colombian designer for vests which were likely to be popular in the urban markets. She showed these designs and discussed how they might be produced. Along the way, she also dealt with issues ranging from health to agriculture. It seemed she was a very important conduit for information between the communities.

Helena Mallefil, Mapuche basket-maker

Helena Mallefil, Mapuche basket-maker

Helena Mallefil, Mapuche basket-maker

I was particularly struck by the visit to Helena Mallefil, a basket-maker. She had a particularly humble one-room house, with no glass in the windows, but with a very cosy tray of coals to keep us warm. She make a wonderful orange cake and tea. Looking around at her baskets, I realised that I had purchased one of them last year at ONA as a gift for my mother. As often, I thought of the distance between her seeming threadbare life and the comfortable clientele of ONA in Santiago.

Her baskets are strong, well-made and beautifully coloured with natural dyes. But I noticed one round basket in particular which was adorned with a head, wings and feet. It seemed like a penguin, but it was probably a hen (for putting eggs in). I could see great potential here, following what has happened with Aboriginal basket-makers in Australia’s Western desert, who now produce lively grass sculptures.

Cristina Sagreda designer and her son Daniel in the shop where they sell Mapuche handmade clothing

Cristina Sagreda designer and her son Daniel in the shop where they sell Mapuche handmade clothing

Cristina Sagreda designer and her son Daniel in the shop where they sell Mapuche handmade clothing

Back in Santiago, Alejandra took me to visit the shop in downtown Providencia (rich suburb of Santiago) where much of the Mapuche textiles are sold. It was a very nice shop, with a wide range of craft products, particularly jewellery. But I thought it was a shame that there wasn’t an outlet that might tell a Mapuche story more completely. I could see it would also make a difference if the designers were able to spend time directly with Mapuche in developing and producing new works.

World Vision do have a broad view of possibilities for Mapuche. They are currently working on a cultural exchange between Mapuche and Australian Indigenous. The facilities offered for Indigenous culture here, such as the Koorie Heritage Trust, may well be the subject of envy on the other side of the Pacific. But the resilience and pride of the Mapuche could be inspiring here too.

The Mapuche have a particularly rich musical, poetic and craft culture. Colonisation has seen them pushed to the margins of Chilean society. It seems a worthwhile challenge to find ways of bridging that divide.

Links:

Cathy Kata – a cat walk on the highlands

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Cathy Kata lives in the highlands of Papua New Guinea, in Goroke. Like a number of other PNG makers, she has adapted traditional bilum weaving techniques to clothes and fashion. Her seamless skirts and tops are made with the same hand-looped, woven in the round techniques as bags.

Cathy decided to leave her career as the secretary of an academic department at the University of Goroka and focus on becoming a bilum designer, venturing into bilum fashion wear. Her husband, Joseph Kata, admires her creativity and said that the opportunity for Cathy to take up a Jolika Fellowship in San Francisco gave her valuable exposure to other artists and designers. She is now preparing for a fashion show in the UK, working with other women in her home village in the Eastern Highlands fashioning the garments.

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High fashion garments are now proudly worn by beauty contestants in Miss PNG, Miss Melanesia and Miss Hiri Hanemano competitions, beauty contestants and in fashion parades like the annual Red Cross Miss PNG Ball, which attracting big media coverage.

Cathy’s work is remarkable in many ways. First, they have been able to translate powerful designs into beautifully shaped garments. Second, she is able to complete the transformation from craft to fashion herself. Cathy is part of an emerging generation of makers able to translate their own traditional culture into modern forms.

Cathy Kata is referred to in an article about bilum-wear for the After the Missionaries issue of Artlink. With luck, her work will also be part of the World of Small Things (still waiting for it to get through customs).

See also:

Hlengiwe Dube – tin top buttons with Zulu style

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Hlengiwe Dube is a craftswoman and manager of the African Art Centre. In 2000, she was awarded the Woman of the Year award by the Department of Arts and Culture. As well as her own work, she has played a critical role in developing crafters in the area, particularly in beaded products. Dube has travelled widely to promote Zulu crafts, including participation in the South Project and the Common Goods exhibition by Craft Victoria. She has recently written Zulu Beadwork: Talk with Beads (Africa Direct).

Remarkably, Hlengiwe manages to sustain both her own work as a skilled crafter with a vocation for promoting Zulu crafts as a whole. She has a firm belief in self-reliance through craftwork and the richness of Zulu tradition. These combine in her recent products for beaded cell phone pouches and handbags ornamented with tin top buttons.

Craft is the third largest employer in the South African economy. For most poor people, is the only means by which they can advance themselves. With Hlengiwe’s recent work we see the great potential for product development in South African craft.

This is her statement about the work that she has made for The World of Small Things.

RECYCLED BAGS AND EARRINGS

I am very aware of the “Keep environment Clean “campaign and as a South African citizen, I am very perturbed at the amount of litter that is strewn about on the streets, the verges and the beaches. I had noticed that a lot of this litter comprised of cool drink cans.

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The government seems to have “won the war” on the plastic bag saga, but tin cans still contributes to a huge percentage of litter strewn about. I feel this matter needs serious attention.

I then came up with the idea of making bags using tin top buttons and earrings using bottle tops. I source my supply from the local dump, roadside bins and even have neighbours and street children collect them for me. I wash and sterilize them, and then they are ready to be weaved together and transformed into bags.

I weave the buttons using cotton and beads. I give the entire tin to the other artist who makes caps and belts.

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I enjoy weaving with recycle material and I also do lot of weaving with recycled telephone wire strings. I believe that weaving is the way of communicating with other people, in our culture women used to visit each other and bring their mats to weave and share ideas of how to take care of their families. For me weaving is to share my feeling through it, communicate with people through my weaving. I like to incorporate it with beads, because when I first fell in love with beads I was only 12 years old, since then I have been working with beads non stop and creating new ideas.

I always enjoy sharing my experience with other people to create jobs so that they can earn a living, because I believe that as long as you have two functional hands you will never starve.