TAFA: The Textile and Fiber Art List

Showing posts with label Middle East. Show all posts
Showing posts with label Middle East. Show all posts

Saturday, September 6, 2008

Baghdad Burning, A Powerful Quilt by Donna Hussain

Baghdad Burning


When I first became a quilter my quilts were traditional geometric patterns that required only basic quilting skills. By taking advantage of classes sponsored by my quilt guild and local quilt stores, I have learned many advanced quilting techniques over the years, which I try to incorporate in my quiltmaking. Recently I have been sewing pictorial art quilts, like Baghdad Burning, an artistic stretch for me.


I drew my inspiration for Baghdad Burning from a number of sources: my respect for my husband’s Muslim heritage, my appreciation of the beauty of Islamic art, architecture, and décor; my interest in the lives of women throughout the world, and my despair over the war in Iraq. But how could I express these feelings in the fabric of a quilt? For several months I wrestled with this problem before realizing that the quilt should have symbolic images: a tiled mosaic or tapestry to represent the culture of Iraq, a fire to represent the devastation of battle, and an anguished woman to represent innocents whose lives are ravaged by war.


The first steps in construction of the quilt were to design the pattern for the background mosaic on graph paper, then shop for fabric and a pleasing color palette. With luck I immediately found a decorative fabric of gold swirls on a green background which shifted gradually to gold swirls on brown. Green scorched to brown. Perfect for a fire. This one fabric turned my “perhaps quilt” into a feasible working design. I then found matching fabrics, a blue for the background, a soft purple, and golds for the quilt that that looked well with the chosen scorched green.


Scorched green fabric


The unburned mosaic quilt blocks were easy to sew: the burned sections were the challenge. I spread all of the fabrics from my stash onto my bedroom floor to look for pieces that could be used to represent smoke damage.


Burned and unburned sections


I frequently use interlacing designs made with bias tubes for my quilt borders. In Baghdad Burning the interlacing border needed to be damaged on the right side of the quilt. I first tried to dye a section of the border for the burned portion, but the lacy trim would not absorb the dye. Instead I changed the color of the bias tubes and background, then covered the burned section with two layers of black tulle.


Burned interlacing border


To help me draw templates for the appliquéd flames, I looked at photos of forest fires on the internet. That is where I got the spiky shapes for my smoldering flames and hints about the color of fires.


Flames


For the major focal point of Baghdad Burning, the woman’s face, I adapted a technique I learned in a class with the quilt artist Sandi Cummings. Sandi makes stunning colorful quilts with dot-matrix black and white photos for the heads of her quilt figures. I clipped a small face of an Iraqi woman from newsprint, enlarged the face on my computer, and printed it on lightly-colored fabric. In order to run the fabric through my printer I had to first iron the fabric onto freezer paper for stability.


Face


The woman had to be a large figure in order for her facial expression to be seen. But how could I give her all black clothing visual interest? My solution was to make a pleated three-dimensional skirt, and to quilt heavily the fringed shawl with parallel lines of stitching. Unfortunately, photographs of the quilt do not show the contrast between the two blacks that are apparent to the eye when viewing the quilt on display.


Baghdad Burning has not been a prize-winning quilt, but it draws the attention of those who pass by at quilt shows. I would very much like to know your reaction to the quilt. Please leave me a comment at the end of this blog.


Baghdad Burning has been juried into the International Quilt Festival in Houston, October 30-November 2, 2008. If you attend the show you can see the quilt in person.


Note from Rachel: I saw Baghdad Burning at the AQS show in Paducah that took place here in Paducah this past April. I was zooming down the rows of displayed quilts, saw Baghdad Burning and stopped in my tracks. This quilt led me to find Donna and invite her to become a regular contributor to Fiber Focus, which she graciously has! If you attend the Houston show, do make the effort to find this quilt. It is powerful!



California quilter, Donna Hussain, has exhibited in major quilt shows around the country, authored books, and is a regular contributor to Fiber Focus. Click on her name to see all of her past articles.

The photo shows Donna with her husband, Pascha.



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Friday, August 29, 2008

Queen Rania and the Jordan River Foundation

Several years ago I had the privilege of attending a USAID conference in Chicago that focused on handicrafts, women and economic development initiatives around the world. A large room showcased different projects with samples of their work and representatives of the groups. Smaller rooms were used for topical seminars. The experience was fascinating and energizing: to see women from so many different places, many dressed in traditional outfits, bringing color and texture into the gathering, all of them engaged in so many wonderful enterprises. The highlight of the conference was an address by keynote speaker, Queen Rania of Jordan.

Yes, she is a queen. A beautiful one. The woman is drop-dead gorgeous! She could easily use her beauty as an unapproachable guise to keep her away from the masses, leading the life of an earthly goddess. Instead, she is down here with the rest of us, more often than not, in simple garbs, one of the people.

When Queen Rania begins to speak, the issue of her beauty fades into the background. The woman is also brilliant. She earned a degree in Business Administration at the University of Cairo and has put that education to use in her role as Queen. She sees her job as a partnership with her husband, King Abdullah II, to lead Jordan into prosperity, modernity, and justice. This interview on ABC News is a good example of the way she engages the people around her to achieve her goals:

ABC News Interview with Queen Rania


Queen Rania sees her role as Queen as a job. She speaks openly about how difficult she finds it to balance her home life with four children, with her "job" and her duties as Queen. Her children are her priority. She reads to them at night, plays with them, and instills in them those values that drive the rest of her life.

Queen Rania with King Abdullah II and their children.

Queen Rania attended the conference in Chicago to speak about her project that she had started to address some of the fundamental needs the people of Jordan have concerning advocacy for children and women's rights along with economic development in rural areas. She established the Jordan River Foundation in 1995 as a non-profit, non-governmental organization that addresses those needs in concrete ways.

The Foundation's profile:

Our Mission
The Jordan River Foundation's mission is to promote, in partnership with stakeholders, the development of a dynamic Jordanian society by initiating and supporting sustainable social, economic and cultural programs that empower communities and individuals based on their needs and priorities.

Our Dedication
At the outset, the Foundation initiated socio-economic projects for women to provide employment opportunities that enhanced their livelihood while developing their knowledge and skills in handicraft production and entrepreneurship. These projects benefited thousands of individuals, directly and indirectly, and continue to generate income for vulnerable communities and families.

As the Foundation matured, and the context of development evolved in Jordan, the Foundation expanded its approach to one of sustainable community investments, integrating and serving community development needs.
Today, the Foundation is recognized nationally, regionally and internationally as an agent for positive change and as a leading Jordanian institution contributing to the social and economic well-being of citizens. Our activities have become models for emulation receiving accolades by our beneficiaries who are often held up as "success stories".


A large part of their programming is dedicated to serving the needs of underprivileged children and women. They have invested in schools, art programs, legal advice for women and many other programs. This video gives an overview of the foundation:

Queen Rania's Tribute to the Jordan River Foundation


The Jordan River Foundation also has two handicraft initiatives, the Radi Al Rayan Project, which works with women who make mats, furniture and other decorative objects out of banana leaves and cattail reeds, and the Bani Hamida Women's Weaving Project which works with Bedouin women. The samples shown at the conference were stunningly well crafted and easily incorporated into contemporary design. Some samples from their catalog:



The Foundation's approach makes the connection between the production of traditional handicrafts like weaving with local farming and agricultural needs. Although women primarily benefit from the handicrafts initiatives, men also are included through all the work the Foundation does to better their crop yields and market expansion.

These two photos are from a visit Joy May Hilden
made to the Bani Hamida's Weaving Project.
She has a fascinating
website on the Beduin.

Queen Rania had "real" jobs before she married the King. She worked for both Apple and Citibank and brought these experiences with her to the throne. She is media savvy and has a series of videos on YouTube where she addresses questions on Islam, the Middle East, relations with Israel, the rights of women and so on. She meets these tough questions with grace, humor, gentleness, and a true desire to connect and educate. In watching how she interacts with Arab men, it is obvious that she has acquired a position of equality and respect. Her beauty, her choice to remain unveiled, and her gender seem unimportant in view of all that she has contributed to Jordan's development.

There is a lesson here for all of us. Queen Rania lives the dictate, "To whom much is given, much is required." But, she does it with joy, enthusiasm and great hope. One person can make a difference and she believes in the domino effect that if you give to someone who is in your neighborhood, then that giving will catch on and spread. May her life continue to be a source of inspiration for you and for me! Thank you, Queen Rania!




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Tuesday, August 5, 2008

The Costume Page, A Most Wonderful Resource


Have you heard of The Costume Page? Are you interested in clothing design, apparel throughout the ages? Do you have many, many, many hours at your disposal to explore this extensive list? The Costume Page is a resource that compiles links to websites with costume related information. Julie Zetterberg Sardo, who developed the site, states:

"Welcome to The Costume Page, my personal library of costume and costuming-related links. I'm sharing it for the benefit of those who study and/or make costumes: costumers, students, historical re-enactors, science fiction fans, professionals, amateurs, dancers, theatrical costumers, trick-or-treaters, writers, researchers, and all those interested in fashion, textile art, and costume history.

There are over 1,000 unique links listed on these pages. Some of them cover more than one area of interest. I recommend that you browse through all sections of The Costume Page if you don't immediately find what you're seeking. I've tried to cross-reference where possible, but you're likely to find some additional gems if you dig!"

The subjects are divided into the following topics:

Each of them opens the door to a vast compilation of links. Of course, my favorite is the Ethnic tab. This one is divided into:

Africa | Asia & India | Western Europe | Eastern Europe and Siberia
Near & Middle East | North, Central & South America | Pacific Islands


The linked sites are varied and include documentation of historical costumes, how-to pages, and ethnographic information. Photocollect deals with old photographs such as the Japanese warrior below. They target museums and private collectors as clients.


Macedonian Folk Embroidery offers samples of embroidered clothing and patterns such as the one below:


Maya Adventure has a page on woven symbolism in Mayan textiles.

Those three are just a small sampling of what is available in the ethnic section. There is a lot more on Japanese kimono, Indian saris, Middle Eastern garb, African wraps and a huge section on European costumes.

The Costume Page is especially rich with information on Western historical fashion. The Middle Ages, Renaissance, and Medieval links are fascinating! Footwear of the Middle Ages is one example of an excellent overview of how shoes were made, what tools were used, and what the various designs meant in that period.


One of the Paducah artists had a costume party last year with a 1960's theme. Another one used a flapper theme. I used this site as an idea place to figure out what to wear for both parties. Sometimes you just need to look at some good images to get some inspiration. This is the place to come.

There are also many links that have excellent educational resources for kids (or adults who like to play...). David Claudon Paper Dolls has a huge selection of designs from all over the world through the ages. My sister is home schooling her kids and I can just imagine her using these as teaching aids.

The Costume Page is an invaluable resource for theater people, designers, historians, and anybody just curious enough to poke around the site. I can only thank Julie Zetterberg Sardo for putting such an excellent collection at our disposal. Thank you for all your hard work!
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Monday, June 30, 2008

Five Faiths: Religious Head Coverings, Part 1 (Islam & Christianity)

This post is part of my Five Faiths series. I'm taking a look at religious textiles used in Islam, Christianity, Judaism, Hinduism and Buddhism. Click Five Faiths to see all the articles on one page. The topic of religious head coverings is huge and controversial, so I am breaking it down into two parts. This part takes a glimpse into Islam and Christianity. The second part looks at Judaism, Hinduism, and Buddhism.

A couple of years ago, my husband humored me by taking some role reversal photos for our Christmas card. I come from farmer stock, so he dressed up in my bib overalls, and he is part Berber. He helped me put on a shawl and drew a pretend tattoo on my face. I always have fun dressing up! I asked him what his mother, a real Berber, would think of me if she saw me like this and he shook his head and said, "Very weird..." Well, his mother and my mother would both agree on that!

Those of us who love ethnic textiles, know that shawls, hats, and other head coverings can be absolutely drop dead gorgeous. But, we also know of all the controversy that surrounds the religious coverings of women, especially in Islamic cultures. The burka has been strictly condemned by the West and shedding it is a symbol of emancipation.

Burka Graduation. Click on the photo for the source, although I could not find any information there about the context.

The rise of fundamentalist Islam in the last 20 years, especially through the Taliban rule in Afghanistan and modern Saudi Arabia, has created a public outcry against the burka (a full body cover which allows limited vision) and the dark veiling where only eyes are exposed. Women have suffered greatly not because of the veiling in itself, but because of the limitations that have been imposed on them in terms of employment, purchase power, education, access to sunlight, and mobility. Renowned photographer Harriet Logan documents the lives of several women in her book, Unveiled. These women had enjoyed the liberal 70's in Kabul and then were subjected to humiliation, beatings, and obscurity under Taliban rule. Logan interviewed Zargoona in 2001. She had been a physics teacher in the Polytechnic. She said she had a good salary and a good life. Now she was stricken with cancer, lived in a small room with no heating and no glass in the windows. Logan says they sat under blankets during the interview and Zargoona cried the whole time. She taught in secret to earn some income as her husband had passed away. "I was beaten by the Taliban for teaching only three months ago. My door was not locked, as I was expecting my students that day. One of the neighbors had shown them my door. Three Talibs just walked in; two more stood outside. They were terrifying. ... they said it was forbidden to teach girls, and they started to beat me with a cable until my leg bled." (page 60)

Stories like this one are abundant in areas where extremism is dominant. Ayaan Hirsi Ali was raised in Somalia, Kenya and Saudi Arabia. She was excised (female circumcision) with no warning when she was around 10, forcibly married to a man she did not like, and survived a childhood of violence. I recently read her book and was quite moved by her story. Ali made it to Denmark as a refugee, put herself through University and ended up in Danish Parliament, only to be then kicked out of the country because she had lied about her status when she first arrived. I think she now lives in the United States. Ali's experience made her question her traditions, religion, and finally the existence of God. There is a fatwa against her and a Danish colleague was shot to death while riding his bicycle because of a movie the two of them made.

Yet, not all women veil themselves or wear the burka because men force them to. In fact, Ali talks about the radicalization of Islam while she was a teenager and describes how a few crazed men drew crowds of women who hungered for the law. She describes how Islam for her nomad mother was a part of life, with certain rules, yes, but also mixed in with ancient lore that preceded it. The new Islam that they encountered in urban areas was imported from Saudi Arabia, very foreign to historic Somalia. Many of the husbands begged their wives to stay away from these new preachers, to take off the veil, to go back to a more flexible way of life. Divorces happened left and right on both sides, spurred on by women who refused to step back into normalcy. Some of the stories are absolutely unbelievable! Click on the photo below for an article about a woman from Saudi Arabia who divorced her husband because he lifted her veil while she was sleeping. He hadn't seen her face in 30 years! The article stated that this is a practice done by a small minority of people. Make sure you read the comments, too!

In terms of interest to fiber enthusiasts, the burka and Saudi veils are extremely boring as textiles. In other Muslim cultures, the coverings can be absolutely stunning! Intricate embroidery, bejeweled and exotic, these are pieces coveted by museums, cultural associations, and film directors. African Ceremonies documents the peoples and religious customs of Africa. Here they show a Rashaida dancer in Eritrea:

Veiled Rashaida Dancer, Eritrea At a Rashaida wedding, a young woman dances in celebration of her friend's marriage. Surrounded by admiring guests, the girl swirls in circles as the many layers of colorful fabrics she wears, including her richly appliqued skirt, enhance her movements. Veiled from the age of five, Rashaida women are required by the law of purdah to cover their faces when they are in public. The mask is considered an expression of female beauty and its elaborate style has remained unchanged for more than 150 years.

When I see photos of women dressed in these garments, yes even with the facial coverings, I feel a sense of sadness for the lack of ritual, adornment, and festivity in our modern lives. No, I don't want to be covered through a social decree, but there is something beautiful here that we do not see often in Western society. Perhaps there is a glimpse of this mystery in the bride who wears a veil over her face as she slowly approaches the altar... I grew up in Brazil where wearing nothing is an acceptable social code. I have to agree that when you see it all, the air of mystique is almost gone.

Accompanying some of the gorgeous head scarves and covering we also find beautiful jewelry that is often hidden under layers of cloaks and shawls. The Turkmen women are known for their large head pieces and pendants that hold shawls together or are incorporated into elaborate hair styles. This crown is a sample of Turkmen jewelry carried by Afghan Tribal Arts:

Abdul, my friend and owner of Afghan Tribal Arts, once teased me saying that I probably should not wear a burka in Afghanistan. I am tall, almost 6', and he said I would probably get bopped on the head, someone thinking that a man was hiding in there and up to no good. He struggles, too, with the question of how to raise his four daughters here in the United States. At first, they wore shawls to school, but it attracted attention and the principal spoke with him after 9/11 and encouraged him to let them blend in as much as possible. It is interesting to watch these girls as they mature. They are pious yet they have questions. It is not easy to choose what cultural practices to maintain and what to give up.

Another liberal Muslim Turkish friend of mine once said that there is also something liberating when you wear a covering that hides your face. She laughed and said you don't have to worry about "bad hair" days. And, you disappear in the crowd, which can sometimes be a relief. But, she said that it is nice to have the choice of whether to cover or not. In Turkey, you can do both.

And, yes. Muslim women cover themselves not because of the Koran, but because of cultural norms. Blogger Alixianna has a wonderful post in her blog, Beautiful Muslimah. She uses this photo to introduce her article on the context and history of veiling.

It is extensive and I encourage you to read it if you are interested in this issue. But, here are a couple of things she says:

"Misconception: The veil is homogenous.

Contrary to popular belief, there are many different kinds of veils. There is no one Arabic word for "veil" and even the English dictionary lists four distinct definitions of the word veil, in terms of material, space, communication, and religion. In regard to Islamic culture, the veil is best viewed as a part of dress in the manner that, like other elements of dress, it is specific to time and space. In different areas of the Islamic world, styles of veiling and reasons for it are distinct.

Here are three common types of veils:
a. Hijab- a head scarf that usually is worn for religious reasons. There is not one type or color.
b. Chador- a large black shawl that covers the hair and entire body. The chador is most commonly associated with Iran today. If it covers the face with a mesh screen it is the blue body garment worn by Afghani women.
c. Veil or burqa- two peices of cloth sewn together with a slit for the eyes worn over hijab, or a stiff mask made of cloth.

Misconception: The Quran states that Muslims have to veil

The Quran does not specifically mandate veiling, but simply speaks about modesty, respect, and the covering of the body. In fact, male modesty is more frequently referred to in the Quran then female modesty. In most Muslim societies veiling is not enforced, but a choice. It is a way for Muslims to outwardly show their devotion and respect for Islam."

She also points out that men also choose to veil in some Muslim cultures. The Tuareg men, for example, veil themselves, while the women do not. This transitions nicely to talk about Islamic head coverings for men, does it not? I've never understood why Western articles about Muslim women covering their heads do not also talk about men. The same circles that have strict codes for women do the same for men (Uh, except that they do get to have jobs, education, mobility, and all of that...). Men may have to wear beards and cover their heads as well.

Photo by one of my favorite photographers, BabaSteve.

The turban is the most recognized head covering worn by Muslim men. Again, Abdul explains how ingenious this long piece of cloth is in a nomadic culture. It's a helmet. If you fall off your horse, your head is protected. If you broke your arm in that fall, you have something to wrap it with. If you are cold, you can wrap yourself in it. If you need to carry things and don't have a bag, well, just cut off a bit and there you go! I found this photo of a Sikh, which doesn't really fit in this subject, but had to share it:

It's from an article from the Times Online: "This is Major Singh wearing a major turban - purported to be the biggest in the world at 30kg and 400 meters of cloth. He hopes it will be a source of inspiration to young Sikh boys who are opting for having their hair cut rather than covering it."

Sikhnet has an interesting article on the history of the turban in the Old Testament. Sikhs and Muslims both have historical ties to the Old Testament, along with Christians and Jews. Many texts there use the turban as a symbol of purity, royalty, courage, self respect, dignity, and strength.

But, turbans are only one of many styles of Muslim head coverings or hats. The kufi style is popular in Central Asia and in Africa.

Another photo by Baba Steve from his Pakistani collection.

Sometimes a turban is wrapped around a kufi. The hat style represents the region or village one belongs to. The two vintage Pashtun hats below are an example of a skull cap type style that would be worn with a turban around them. They are hard and would offer good protection, almost like a helmet.



Sometimes a hat will transcend its original context and become popular world wide. The Afghan "Rebel Hat" became popularized during the war against Russia. It's actually a traditional hat from Nuristan, a cold, mountainous region. The hat is ideal for that climate as it can be pulled down during extremely cold weather, although it is normally rolled tight and worn on the top of the head. This is a big seller for us on eBay during the Fall and winter!


All of this discussion of Islamic head coverings may seem exotic and foreign to Westerners. However, these traditions are not that far from home. Western women also covered their heads in public with hats and scarves until not long ago. Think of movies from the 50's and 60's and the stars from that period wore something to protect their heads. I lived close to a Polish neighborhood in Chicago and the older women still boast flowery scarves when they are in public. My parents live in rural Wisconsin and in the last 15 years they have seen more and more Amish families relocate to their area. This photo is from the Library of Congress, around 1940.

Amish women do not cut their hair and must have their heads covered, especially during prayer. They believe in keeping their appearance simple in order to focus on their inner qualities. OK. Still too exotic? Actually, as Islam has grown in fundamentalism, so has Christianity. There are many, many Christian pentecostal groups and non-denominational groups that adhere to head coverings, especially in Church. My own sister frequented a church where she had to wear a doily on her head. The church did not recognize women as equals nor give them a voice during the service. Eventually, she and her husband compromised on a Baptist church and I think both are very happy there.

The main text these churches use to support this practice is I Corinthians 11:2-16 in the Bible's New Testament:

2 Now I commend you because you remember me in everything and maintain the traditions even as I delivered them to you. 3 But I want you to understand that the head of every man is Christ, the head of the woman is the man, and the head of Christ is God. 4 Every man who prays or prophesies with his head covered dishonors his head, 5 but every woman who prays or prophesies with her head uncovered dishonors her head—it is the same as if her head were shaven. 6 For if a woman will not be covered, then let her be shorn! But since it is disgraceful for a woman to be shorn or shaven, let her be covered. 7 For indeed a man ought not to cover his head, being the image and glory of God; but woman is the glory of man. 8 For man was not made from woman, but woman from man. 9 Neither was man created for woman, but woman for man. 10 For this reason the woman should have authority on her head, because of the angels. 11 In any case, woman is not independent of man, nor man of woman, in the Lord; 12 for as woman is [created] from man, so man is now [born] through woman. And all things are from God. 1314 Does not nature itself teach you that if a man wears long hair it is a disgrace for him, 15 but if a woman has long hair, it is her glory? For her hair is given to her for a covering. 16 But if anyone is inclined to be contentious, we have no such practice, nor do the churches of God.


Michael Marlowe of the Bible Researcher dissects this text and explores it historically, reaching the following conclusion, among others:

"The old claim that fashion in clothing is morally neutral and essentially devoid of symbolism has now been destroyed by recent downgrade trends in women's fashion, and Christian parents are keenly aware of the significance of clothing in the case of their teenage daughters. Moreover, the feminist movement (which knows very well what clothing may say about a woman) has created a social environment which is so inimical to Christian values that many Christian women now finally recognize that they cannot allow themselves to be creatures of fashion. And so the church is ripe for a reconsideration of this whole question. In any case, church leaders and evangelical authors who have been discouraging the use of head coverings should reconsider their opposition to it."

Chapel Veil, available through Modesty Veils

Thus, the industry for Christian head coverings for women abound online, all quoting 1 Corinthians 11:2-16. Oh, that Paul! Such interpretation of Biblical text walks that fine line that determines the roles women and men have with each other. Wikipedia describes this line of Biblical thought as expressed by the Plymouth Brethren:

"There is no distinction made in Brethren teaching between men and women in their individual relation to Christ or position before God as believers. However, in most Brethren meetings, the principle of male "headship" is applied in accordance with teaching found in 1 Corinthians chapter 11, verse 3 and elsewhere in the Bible. 1 Corinthians 11:3 says:

But I would have you know, that the head of every man is Christ; and the head of the woman is the man; and the head of Christ is God.

Thus most Brethren meetings reserve leadership and teaching roles to men based on 1 Timothy 2:11, 12...

A woman should learn in quietness and full submission. I do not permit a woman to teach or to have authority over a man; she must be silent.
From this, Brethren teaching traditionally (there are regional exceptions) outlines a system in which the men take the "vocal" and leadership roles, and the women take supportive and "silent" roles. In practical terms, what is traditionally seen is the men being fully responsible for all preaching, teaching, and leading of worship. Therefore, in most Brethren groups, women will be heard to sing the hymns along with the group, but their voices will not otherwise be heard during the service. Often the men are, practically speaking, the only ones involved fully and vocally in all discussions leading up to administrative decision making as well."

The Bible is the Other Side states: "We need not to forget, with remaining sin in the world, and with radical feminism which is the liberal dogma on how women should act and their redefining roles contrary to Scriptures. Christians need to pray for these lost souls who believe in such things as they need the Gospel to be presented to them. Because just believing in head coverings as a Scriptural foundation and not knowing who Christ is, makes one's faith vain. The Lord doesn't save people who don't know Him."

The hope is that men will love and honor their wives and thus take their private counsel into consideration. How far removed is this, though, from the tyranny of the Taliban when society was perceived as a bit too free?

Still not mainstream enough? Well, alright, we'll finish this glimpse into Islam and Christianity by taking a look at Roman Catholicism. Although a diminishing church, Roman Catholics still have a strong presence in the United States, but much more in Latin America and other parts of the world. And, they like to wear hats! Or, traditionally, at least, they have a rich history of interesting head coverings. This book looks like a fascinating read! Click on the photo for the link.


The description says: Curiosity about nuns and their distinctive clothing is almost as old as the Church itself. 'The Habit' presents a comprehensive visual gallery of the diverse forms of habits through the ages and explains the principles and traditions that inspired them. Author Elizabeth Kuhns also examines the gender and identity issues behind the veil and presents engaging portraits of the roles nuns have played in ministering to the spiritual and social needs of the wider society.

I attended a Brazilian Catholic school, Regina Mundi, for a few years when I was growing up. I remember right after Vatican II, the order of nuns that ran our school opted out of the habit. Our head nun showed up from one day to the next in high heels, make-up, a skirt down to her knees, and wowzers! Was she gorgeous! It was hard to take her seriously anymore. (So what does THAT say?) Somebody sent me this photo in an e-mail a long time ago. I have no idea where it came from, but the nuns I knew had a good sense of humor and they would have enjoyed it.

Pope John Paul II, who hailed in Vatican II, also knew how to laugh. Tradition in Action states: "As a sign of the Vatican II spirit of inculturalization, John Paul II dons a feathered African headdress during his 1980 six-nation African tour. Curiously, he never wears the papal crown."

The current Pope Benedict XVI probably did not wear this hat as a sign of humor:

The Roman Catholic Church uses the same text by Paul to encourage women to veil themselves. The Catholic Planet has a page dedicated to the proper dress and behavior for Catholic women. Here is their take on the text:

"In obedience to Sacred Scripture, many Catholic women wear some kind of veil or headcovering. Some wear a headcovering only at Mass. Others feel called to wear a head covering at other times during the day, as well as at Mass. Many non-Catholic Christian women also wear a head covering. These women are following the call of the Holy Spirit. Society discourages women from wearing a head covering and from doing anything else which shows submissiveness and obedience. Yet these women have found the light of truth in the midst of dark times. The moral law requires all women to wear the veil on their hearts."

"The Virgin Mary wore a veil or head covering because she understood this symbol of the different roles given to men and women. Those women who wear the veil are imitating the Virgin Mary in her humility and submissiveness. Nearly every Catholic Church has a stature or image of Mary wearing a veil."

They have a sizable list of links on articles examining the topic.

So what is the moral of these stories? To me, nothing is simple when it comes to evaluating society and religion. I believe that our challenge is to look at our history and what is around us and try to sift the wheat from the chaff. Keep what is good, get rid of what isn't. Each of us has to decide what that might mean, but I believe that it has to do with breaking the cycles of violence in our lives.

Well, this post took all day, so hope you like it!
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Sunday, June 29, 2008

Turkish Textile Arts in Transition: A Sisterhood of Weavers


by Catherine Salter Bayar
Catherine is a regular contributor to Fiber Focus.
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My mother-in-law, doing a handcraft that she and I share – knitting

Long before I moved to Turkey in 1999, the manufacturing of hand woven rugs had begun to move out of this country to nations farther east, where labor and production costs were cheaper. I’d been familiar with this economic market reality as I traveled the world for the garment industry, which is in constant search of cheaper countries to manufacture clothing. In the same way, Turkish rug wholesalers took their production of hand woven rugs for the tourism trade or export to countries such as Pakistan or China, while mass producing machine-made carpets in Western and Central Turkey for use in the modern Turkish household. The cost of hand weaving in countries to the East is roughly a third of the cost of weaving a rug in Turkey, East or West.

My mother-in-law’s generation used to weave, but she is in her sixties now. She and her sisters had to weave if they wanted functional or decorative textiles for their homes. Weaving was not only utilitarian, but social as well. When girls and women wove for their dowries and households, they would gather together in the afternoons after their farm chores were completed. My mother-in-law wove the kilim, below, on a narrow, easily transportable loom, in four long strips of 17” (42 cm) wide cloth, embroidered together with wool yarn.

This entirely wool piece would have taken her at least 6 months of afternoons to complete. She used the natural dyes of madder red and indigo blue to bring prosperity and protection; the triangles represent the mountains that encircle their childhood town of Derik, in the eastern province of Mardin. It was used to drape the horse her sister rode to her wedding, and then as a bedcover. The numerous fabric strips tied to the bottom, below, are ‘wishes’ from each woman in the family for a healthy, happy, abundant life for the newly married couple.

My mother-in-law thinks it’s quite absurd that we have kilims she and her sisters wove in our shop. She sees little value or beauty in them at all, and has often teased me about the threadbare but exquisitely striped kilim I insist on keeping in our bedroom, below. Perhaps someday I’ll get that big hole repaired by one of the expert reweavers here, all men for some reason, who can make it look like new, but to me it’s already perfect. I like seeing it just this way as I get out of bed each morning, as a reminder of a time when a woman would spend perhaps an entire afternoon per 1/2 inch of this finely spun wool kilim, about 3 feet wide by 5 feet long; a woman who obviously took joy in combining such bright reds, oranges, pinks, chartreuse and periwinkle. This piece was given to us by the family in Abit’s home village in Eastern Turkey. They were cleaning out storerooms and would have thrown it away! Abit gave his aunt $200 for several kilims she was discarding; she clearly thought he was foolish to give her good money for them. Word of the ‘big spender’ from the West got around the village. The next day, numerous relatives showed up with their cast-offs, amused that the boy who’d left more than 20 years ago was now making a living selling these old useless things.

These days, the easy-care machine made polyester/cotton textiles for cushions and bedding plus wool and synthetic carpets being churned out by factories all over Turkey are the preferred house wares of the Turkish middle classes (behind and beneath my bread-making sisters-in-law, below). Turkey grows its own cotton and is still predominately an agricultural country, so the wool gathered from sheep and goats now goes more to urban factories than it stays in the villages. These textiles are targeted at the domestic market, so reflect the color combinations and patterns of vintage hand woven pieces, but are prized for being modern and machine washable.

None of my seven sisters-in-law weaves, unless you count the sister who asked to be sent to a local government-run program that trains women in the art. She and I had begun collaborating on carpets of our own design, but the family decided that she should move East to marry and raise a family rather than stay in Selcuk and work for us. I know she does not regret having the adorable children in the photo below, but she does miss the chance to express her originality and talent through weaving. It is still common for women in Cappadocia in Central Turkey or in East to work at home weaving for various manufacturers. They are usually paid by the piece, though it cannot be much money for their labor based on the wholesale prices of new goods. No wholesaler would divulge how much the women make, another reason we don’t sell new rugs in our business.

My husband’s family is traditional and typical for Eastern Turkey even though they have lived in this Aegean region town since 1985. The girls are expected to be homemakers and mothers, and if they must work, they do so together in the fields and orchards, picking crops such as cotton or peaches. Abit and I do not agree with these limitations and have had countless discussions with the family, to no avail. However, most girls in Selcuk complete mandatory schooling by the age of 16, and many go on to universities. Our town is filled with women in business, medicine, law and service occupations in percentages that are similar to Eastern European countries.

A portable loom for small rugs less than a meter (39”) wide.

The majority of women schooled in hand weaving today in Western Turkey work in ‘carpet villages’, traditional style complexes to which the tour companies take captive busloads of tourists to demonstrate how rugs are made. They make for a good show of the craft, but little do the tourists realize that most of the rugs they are being shown and sold were woven far from here, in countries with fewer regulations about child labor and fair wage laws. Most carpet villages near Selcuk pay their workers – male sellers and female weavers – a salary, not in commissions or by the piece. They usually do get healthcare and other benefits, including meals and transportation to their jobs, and work regular 8-hour days, though often 6-7 days a week during the tourist season from April to October and far fewer days in winter.

A former carpet village of traditional style buildings near Selcuk.
The looms are dismantled, but colored yarns still hanging from the rafters.


The pieces hand woven today by manufacturers have been ‘merchandised’ to cater to the buying tastes of the visitors. Traditional color combinations of reds and blues are replaced by more subtle Westernized palettes of pastels or earth tone combinations. Unlike in the West, where rugs woven in undyed natural wool colors of off-whites, browns and blacks would fit in well with most home décor, these ‘drab’ pieces would have been pitied in a Turkish village. It would have been assumed that the family did not have the skills or money to gather dyestuffs or purchase them in the local market. The traditional long, narrow rugs to fit a Turkish living room are now woven instead in standard sizes revised to reflect room proportions in Western homes. What in the West would be used as hallway runners, for instance, would have been attached to the lower walls of a Turkish salon to comfort the backs of those seated around the room on low cushions.

The predominant art of the Turkish culture, the art that has survived centuries of population migrations, the art truly inclusive and expressive of women’s emotions, desires and creativity, has been hijacked by mass commerce. This is not a story unique to Turkey of course; as countries modernize and mechanize, traditional handcrafts are less prized by the culture and fade away. Beyond the tourism-driven carpet villages, there are groups of entrepreneurs in Turkey who want to sustain traditional hand crafts and offer women the alternative to support themselves though weaving, but these enterprises may never create the same works as a woman who is weaving from her soul would.

A strictly-for-commerce ‘new’ piece that combines multiple portions of old prayer rugs – a creative way to reinvent authentic carpets, but sold for thousands of Euros – as seen in the window of one of the most expensive carpet shops in Sultanahmet.

Has the art of weaving been completely lost to commerce here? Not quite yet, but with women no longer weaving for themselves and shopping hordes of tourists in the tight control of tour conglomerates, businesses like ours have fewer authentically Turkish-made alternatives to offer our visitors. And the uniquely expressive voices of our sisters, the weavers, are being silenced.



Catherine Salter Bayar lives with her husband Abit in Selcuk, near Ephesus, Turkey, where they own a vintage textile shop and a water pipe & wine bar.

Visit them at www.bazaarbayar.com or www.bazaarbayar.etsy.com
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This article is a companion one to
Turkish Textile Arts in Transition: A Brotherhood of Carpet Sellers
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