​​Ethnic Textile Art

I may never be able to afford to travel to distant places, but the study of Ethnic Needlework techniques has given me a window into learning about many other cultures, and a glimpse of other times and places. There are many ethnic techniques I would like to have the time to study and learn in detail, but it is not a quick or easy process. 

 

It generally takes me about two years to become familiar with the intricacies of a technique before I feel comfortable in developing new projects with it. If another designer is providing instructional material on a specific technique, I usually will not develop new designs in that technique.  I feel that there are too many endangered techniques to duplicate the efforts in a single area. The majority of the texts that I use were published many years ago, few of which have been updated or reprinted recently. Many of the Ethnic titles used in my research are written in their native language. However, with a little more effort, it is entirely possible to learn a technique from the closeups and illustrations provided.

 

Today, much of what we identify as our needlework heritage can only be seen in museums, where it is protected in glass display cases, difficult to view - impossible to study "up close and personal."  If there were an endangered list for needlework, I would nominate many Ethnic and Folk techniques to be placed on it.

 

Many factors have contributed to this loss of a working knowledge of our needlework heritage, not the least of which is the rush of our daily activities.  But there are other reasons embedded in our history - the need to assimilate into a "mainstream" culture and leave behind anything linked to "the old world".  In addition, the fact that many of the needlework items produced in the past were functional in nature, and thus damaged by serving their purpose, or no longer serve a function that is needed today.  The factor that has most contributed to the loss of these techniques is that they traditionally have been taught in a verbal, one-on-one setting.  In addition, the very nature of many of these techniques (much time spent with very few supplies) has made the promotion of these forms of needlework an unprofitable venture for fiber and fabric manufacturers.  Book publishers also have found it difficult to find individuals willing to struggle to put into words and diagrams what had been purely verbal instructions.

 

For the purpose of clarification, I'd like to specify some of the underlying characteristics that (to me) define "Ethnic" or "Folk" needlework.  First and foremost, these forms of needlework are seldom produced outside a specific ethnic group.  Generally, the object on which the design appears is intended to be used  - (household linens and clothing) - no "samplers" here.  In addition, the design (often geometric) reflects cultural or religious influences, and is stitched on materials made of humble fibers and ground cloth, often homemade or hand-dyed.  The colors used are in a specifically defined relationship, which is passed on - unchanged - from generation to generation.

 

Many years ago, I started to explore Ethnic and Folk techniques when I learned Hardanger from my Norwegian grandmother. When I began researching additional cultures, I discovered how difficult it was to locate information about the needlework traditions of other cultures.  My efforts in researching and teaching these techniques have come from the desire to help others uncover their heritage, as well as preserve seldom seen techniques.  Even after exploring these techniques for thirty years (or so), I do not consider myself an expert in any of these techniques, rather an interested student, with a lot to learn.  Thus, I welcome any additional material or background information you choose to share with me.