Oh jeeze…i was working between my phone and my laptop to write this post and I accidentally published it in an incomplete form. So if you subscribe by email, you got a notification that once you click on, is no longer there. oops..sorry. Anyway… onward!
Friday night I will be doing a Parents Night event at a private school in Los Angeles. As always, preceding such workshop, I am in prep mode. Each workshop event is unique. This one might be a little more so than usual. There will be 30 people for 3 hours! Each will make two shibori cotton kitchen towels.
Designing an indigo shibori workshop with these sorts of parameters is a challenge. Of course, the main challenge is to see that everyone can achieve a good outcome. Then perhaps to tempt them into further explorations in shibori, having only scratched the surface in this brief 3 hour encounter. From what I understand, it’s also a parents night out and partially a social outing. Maybe some will only make one towel in that period of time- it will kinda be up to them.
For this short workshop I have chosen cotton kitchen towels as the canvas for their indigo shibori experience . Who can’t use a new kitchen towel? The cotton is almost sarashi type weave, but hemmed all around, and 28″ x 28″. Throw them in the wash and wipe the floors with them if you like. A practical item.
Next, the challenge is to come up with several suitable design ideas that are simple and practical for the complete novice shibori practitioner. Designs that 30 people with two towels each can accomplish in 3 hours. Maybe.
This sort of an event can be a little difficult for me to predict what the energy in the room will be when people arrive. I don’t know the room but am assured there are tables & chairs for 30, as well as work space and sinks and water. It’s a Friday, people are tired, looking forward to the weekend with their families I would think. I will watch and listen as they arrive and read the room. Adjust accordingly. Give them what they need and send them off into the weekend with a couple of indigo shibori towels they made themself! Sounds like fun!
Here’s a quick couple of photos of the samples I made as samples. Two are shown as towels and the third uses the towel as furoshiki- quite versatle!
I’m putting together all the additional supplies, filling orders, & moon making tomorrow. Orders on moonsets got ahead of inventory. Also, life in general.
You might enjoy this pic from Sunday evening.
And in between this and that, I dug this out to start finishing up. Lots more stitching to go, but I resolved the edge. Backed with old Japanese jacquard silk that I indigo dyed a while back. The backing itself is wonderfully soft. Several different patterns are stitched together. One has cranes woven into the silk. Self binding- all by hand of course. To me it’s more fun that way. Of course I want to spend days on it right now but other duties call. Oh, and if you don’t recall from previous posts about this piece, all the shibori pieces in this are demonstration sample pieces I dyed in workshops.
I went out into the studio today and found this beautiful heart shape in which crystals had formed on my work table. It was a result of a session of making indigo moons in the chem vat. I had to run out and take care of some things without cleaning up my table outside. I had made a few indigo hearts too.
Still lots going on here. Helping someone transition to hospice is walking sacred ground isn’t it? It can be everything…exhausting, peaceful, frustrating, loving, giving, taking and more. But doing a little each day… day by day…
and then a crystalline heart just appears…to remind you.
Caught some wind in my sails and I’m busy prepping the studio for the workshop this weekend (lots of cleaning!). There are folks coming from NY and TX plus a couple from here in CA. Prepping equipment, materials, and space.
I had a need for a couple of new moons for something I’m working on so made a batch for us all. I’ve got 10 sets of five in the shop so please help yourself.
When I’m dyeing the moons, I’m reminded that the majority of humanity can look up and see the moon and wonder. I try to remember to look up every night or day to catch a glimpse.
As for the cloth, old silk, cotton, hemp, wool pulled from my “save for moons” clothbox. Several special fabrics were used in this batch but one stands out for sentimental reasons. It’s a simple cotton toweling that had a sweet embroidery in one corner and along another edge there was my mothers name written in black marker. Most likely a practice piece done at the instruction of Nana, her mother.
So not sure the backstory but I saved the embroidery section to use elsewhere and used the rest do dye these moons.
Becoming December…it arrives,and here, we never know if we will don flip flops and short sleeves or warm boots and sweaters inside the house. This year we are wearing warm shoes and sweaters. Heavy snow in the local mountains is a welcome and beautiful sight from the hilltop nearby. The ginko is busily dropping its golden carpet of leaves on the back garden, mulching it with beauty. Narcissus are blooming early. I even had the first saffron crocus bloom and more are on the way. The pomegranates exhausted themselves (and me!), and the persimmons are ripening daily. I’m sharing them with friends and neighbors and even this (not so) little guy…late at night.
In the contradiction of clashing seasons, hand fulls of strawberries can be picked every few days as they are planted where the sun seeks them out and happily seem to produce year round there-at least so far. The late eggplant and tomatoes are still heavily laden, though with this recent cold streak they will definitely slow down, but are welcoming the rain. The cold and wet has slowed the outdoor studio work but still has not vanquished me completely from getting the necessities done.
This coming weekend is the last JANM workshop featuring indigo and shibori and we will make the most of it. Many regular participants will come together for this year end creativity laboratory. No need to put the link here as it has been sold out for quite a while. There is however a “save the date” list of upcoming workshops at JANM to sign up for as soon as the museum gets them listed. You can view it here. **EDIT** JANM just emailed me to say that the January Mandala Workshop is up on the website and taking registrations. Here is the link. See the full description on the calendar page here.
Two weekends ago I taught an in-studio flower making workshop with a small group. There were some beautiful results…a garden of beauties! I’ll be adding another one of these soon. Let me know if you are interested.
A post or two ago I introduced a new item into the shop-the shibori ribbon beaded necklace kit. At the time I had not finished the instructional video but the orders received kicked me into gear getting this done. I’m offering it up to you here (free youtube video) if you are interested in seeing how this piece gets made. Perhaps you have some shibori ribbon waiting to be made into something beautiful as a gift. I am also adding this video link into the sidebar under the Feeling Free(r) page/list.
I also just added some new Mooncloth card sets to the shop. Previously, I have had photo card sets using images I have taken of my work but these card sets have actual mooncloths attached to the front of the card that can be removed and used in a project. Sets come in 3’s or 6’s, are blank inside and include an envelope. I hope you enjoy them.
I just got back from picking up my son Trevor from the airport. He has been in Japan for the past three weeks on a long awaited trip there to make new friends and surf. It was an exciting adventure and he spent time in Kyushu, Amami Oshima, and Chiba-all prime surf areas. But one of the exciting things for me was that he met up with my long time blog friend Jan Hillstead Fujikawa in Nagasaki! Long time readers of this blog might know her from her blog Oh Brother! (WhereIsSheNow) She started blogging in 2007 and hasn’t updated since 2014 but we keep up through FB and other social media. She’s an expat of over 30 years and I hope I get to meet her myself next trip. But it was kind of her to spend the day with Trevor and he also got to meet her son! In Amami Oshima, Trevor was able to meet up with our friend and surfer Ko, who showed us around Amami when we were there earlier this year. Trevor also started a blog highlighting his trip which you might enjoy. This is his first blogging experience. His blog, day one starts here.
It’s another rainy day here and the rain barrels are already overflowing. The cactus has finally stopped blooming- it was a solid 2 months of nightly blooms! Pretty amazing really. Here are a few photos collected recently from around the garden.
And a few more of some shibori ideas for this weekends workshop…shibori images on greeting cards for the holiday. I did one with a dove but tried to get too fancy and put a twig with leaves in its mouth which complicated and distorted the image making the head of the bird unclear. Will redo… Lesson: when working on small images, keep it fairly simple and use a good fine linen for best results!
I started working on this piece of cloth in order to add it to a larger piece I am stitching. The whole cloth itself is made from reclaimed, recovered, and salvaged bits of cloth-some redyed, restitched. This one in particular is from a couple of those categories.
Time stitching is time to think and reflect… When the fabric of our lives seems to errode and threads are laid bare, those of us who have the means, the desire, or the ability to strengthen the surrounding cloth/life can help hold it together. Stitching around the red silk, the cloth/wound was revealed, memorializing it’s existence, strengthened and preserved. The still fragile and ever eroding stripes/lives are grounded by solid yet invisible (on the front side) tiny stitches. The back side shows the structure and the pieces and stitches added in an effort, though impossible, to make the cloth/person whole again. Scars/tears will remain, lives lost and forever altered. This cloth is a small tribute to those who lost their lives this past week in Long Beach CA. In quiet moments of handwork, these thoughts rise up.
I chose this piece as it showed the story of the cloth from several perspectives. It had been reused previously (most likely as a cushion or futon cover) and taken apart. With several holes in it perhaps, the intention being to patch and reuse again.
As I handled the piece to think about how to apply it to the larger piece it became apparent that it needed some stabilization first. Using that same red silk I’ve shown you recently, I decided to highlight a couple of the duty worn areas. As I turned it over in my hand, I realized that the wear on this piece was really only in the warp areas of the brown dyed sections. This being a mainly indigo piece, it was warped in a couple of shades of indigo and what looks to be kakishibu (persimmon) dyes. The weft is indigo in two shades. What you notice is that only the kakishibu dyed sections are deteriorating- telling me that this dye was more damaging to the fibers over time. Was it treated with an iron mordant and not well rinsed? Not sure. But it’s very clear that only those sections broke down over time telling me it is dye related and not wear related.
I applied the lightest weight stabilizer to the back of the very fine red silk which I used. First stitching invisibly (front side) to stabilize the section and then further stitching the open areas revealing a bit of the red silk. Holding it up to the light, reveals its strengths and weaknesses.
I further decided that it needed more stability and added a larger piece of thin indigo dyed cotton to the backside. Copying methods I have seen on some of the vintage boro I have, I stitched the edges and again along either sides of the deteriorating stripes. It’s now ready to be part of the larger piece.
Above is just the process I used to stabilize the worn scrap. As I said in the video (last post), using the red silk to highlight patched areas reminds me of the Japanese ceramic technique generally called kintsugi. Looking up the translation of that word it contains the kanji for tsugi which means “inherit, succeed, continue, patch, graft”. So carrying this further, tsugimono would be something that is in need of patching. Yes, the patchwork that is our life, our clothstory. Stabilized, but not made whole.
Originally, zakka referred to uncategorized or common tools and things one would use in everyday life. Nowadays, it refers to a much broader category of items- generally useful and beautiful things that improve your life or bring you joy.
I added a few new things to the shop under the category Zakka.
I really do get a lot of joy from making these pieces. I love to figure out what cloth I will use, how I will lay out the design and fabrics including the stitched pieces. As I work with each piece I can often associate where I collected each bit of fabric and reminisce as I sew. Each is done one at a time and without any formal pattern- I just work it all out as I go. Sometimes I need to redo something to improve the end result and I even like that part of it because I learn something new each time. The beauty of learning… Here’s a little video of the wallet piece…
If you want to try your hand at making one of these, RIchard always has a nice selection of various textiles to enhance your project in his etsy shop. Plus other wonderful one of a kind objects!
I’ve let this post rumble around in my head the past few days while absorbing and collecting all my thoughts from the workshop at the Japanese American National Museum this past weekend.
Some things it seems I’ve known forever. Other things, I’ve acquired and built up my knowingness over time. I think this past weekend’s workshop really turned a corner in solidifying why and how I find myself at this point in my craftlife experience. It’s been a long time in coming. I’ve seen glimpses of it over time and place but I’ve never really written about it to any great extent.
I know you’ve read me here saying how great a recent workshop was etc., etc. … and I don’t often go into much detail. Today, I’ll write a bit more about this.
For many here, you already know this. Making something by hand yourself is very rewarding in many ways. It can enhance or teach a new skill, provide a different sort of activity from your daily job-whether that is out in the world or inside your own home taking care of others. It can offer quiet time-a peaceful mindfulness as you work on a project. It can provide a focus away from stress or even illness. It can literally keep you sane! In a group, you might gain social interaction with people you didn’t previously know and who have gathered together in a particular place and time for similar and varied reasons.
Some of you may be long time readers (since I’ve been blogging here since 2006) and know I have sold my handmade things for a living since I was in HS. Sometime around the same time(2007-2008), I started teaching workshops at the request of Maggie Backman for the Silk Experience group at the Quilt Festival in Houston. Prior to that I had been volunteer teaching art at the local elementary school. More recently (maybe since 2000-ish), I have been leading workshops at the Japanese American National Museum in Los Angeles and various other places.
What prompted me to write about this particular aspect of my work (teaching as opposed to the actual making) was the increasing feedback as well as my own observations from these workshops and my interpretation of it. We have all heard over the years how the arts are declining in much of our public education and yet at the same time, how the arts foster better outcomes in all areas of education and create more well rounded students. What I do know from personal experience is that art and craft have saved my own sanity in my lifetime. This experience was born out of the loss of my mother at a very young age to the ravages of mental illness, through a very trying childhood that included abuse of various kinds. Where did I go to find solace and peace of mind? Art and craft. The handmade. Why? At the time all I really knew was that it felt good, it felt right. I felt better when I was making something. I went back to this well over and over until it simply became second nature to me. It was (and still is) my medicine. It ended up being my path. You may have noticed here and there the tagline I have used over the years that reads:
“One at a time and Every Day Moonmaker, Pathfinder, Wonderer. Art’s apprentice, Color’s mistress, Nature’s admirer.”
I didn’t write this lightly. I meant every word of it, and it still feels honest and fitting to me. Now getting back to the workshop…here’s a little gallery to glimpse some of what went on.
This time we had over 2/3 new participants! Somewhat of an outlier workshop. Most if not all had never dyed with indigo or done shibori. Some had never done any hand sewing. We had two men. We had people in their early 20’s to 65+. We had 3 gals who were costumers, a municipal financial advisor, a patent paralegal specialist, a retired social science data archivist, an IT aerospace project manager, a dance and arts teacher, you get the idea- wildly varied! For many who were new to the museum they also had the pleasure of joining as a member and seeing all that JANM has to offer. We had people who drove from San Mateo, Santa Barbara, San Diego, Riverside, Arcadia, and all over the LA downtown & coastal areas.
Comments and conversations heard throughout this last workshop really moved me. Expressions of joy from learning a technique of tying a knot on a threaded needle remind me that simple skills are so important and what I may take for granted may be a revelation for another. Another comment I heard was ” I haven’t thought of work all weekend!” Don’t we all need this? During the finishing stage a gal commented that her friend wanted her to gift her the bag she was making. She remarked “Heck no! This is going on display on a table in my entryway with a light shining on it!” She had never made something like this before. Another person finished the bag she started at the first class and began a second one. One gal said that being her second time taking this class she wanted to make one of these each year to “commemorate where I am in life while making it”. Sometimes I see my place in these workshops as a life coach of sorts, a therapist perhaps, encouraging and cheerleading along the sidelines while providing a creative environment for all to move at their own pace, direction and within their own boundaries and limits. Sometimes people need encouragement, sometimes they need inspiration, other times they need permission. Sometimes a gentle nudge, a reminder to persist-it is all happening along the path. All the while teaching the textile techniques required.
My job is to discern what is needed in the moment and provide it through the medium at hand to the best of my ability. There is a bit of an empathic quality that has been developed through the many workshops I have taught over the years. For me, teaching a craft workshop has morphed into much more than passing along a skill or technique. It is my profound honor and pleasure to do this. Who knew?
This week the Houston show begins and for the first time in a couple of decades I am not there. It does make me a little sad. I will miss the people I consider my Houston family who always took my classes and came to my booth and friends who help me there. Teaching this workshop this past weekend however, took a bit of that sting away. This was a workshop I had proposed to teach at Quilt Festival that was not accepted and honestly, I feel this was a loss for those who might have signed up for it but at the same time I have filled that time with other work and don’t miss the stress of all the preparation that goes into doing that show.
And speaking of family, JANM offers this service in their resource center. I took this photo of a flyer I saw there. You can research your family’s history of incarceration in the WWII Japanese American concentration camps as well as immigration records! There is a fantastic oral history archive as well. I love listening to it. Lots of info is available online in the National Archives. Since so many participants of the workshops are Japanese American, as we work, we get to hear shared family stories of incarceration and reintegration into society after the war. The folks who are still living that were incarcerated in camps Mainly as children) are getting older and I feel the privilege of listening to the younger generations share their family stories. I have learned so much from them!
Getting back to the medicine part of teaching and the idea that handwork is medicine for the mind isn’t a new one. Any kind of handwork (think knitting, embroidery , beading, quilting and more) can be therapeutic and restorative. These days people are more likely to have a screen device in their hand as opposed to a needle and thread, a lump of clay, or a paper and paintbrush. But does this serve the same function? One might argue that there are benefits to both but the imbalance I see around me is what concerns. Making or repairing something offers a satisfaction that just isn’t there with digital devices. Enjoying a process on the path towards a goal or completion serves us well.
Take Shinischi Kobayashi for example. At the age of 72, he started drawing. On everything! I’m sure he benefits from the neurochemicals that his brain releases and keeps him continuing to draw. Dopamine, Oxytocin, Serotonin, and Endorphins are the four major chemicals in the brain that influence our feeling of well being (DOSE). Medicine without pharma! Generally, we don’t think about these things when we apply ourselves to activities that trigger brain chemistry responses. We just know that we enjoy it-that time seems to pass quickly, and we want to do more of it! I am looking forward to seeing a day when education realizes that the health benefits of applying hands and minds to materials in creative ways, in equal doses to STEM and all the testing. It makes for healthier humans. And with plenty of challenges ahead of us, we want to be as healthy as possible!
Here is my finished komebukuro (offering bag) made at the workshop as a demonstration piece for the class. I had to finish it at home since I was busy at the sewing machine on day 2 assembling eveyone’s bags. I’m working to finish up a couple of complementary pieces for the shop and will post when they have been added. We all have something to offer.
While I still have a couple of post drafts started about the 2019 silk study tour that I just can;t seem to get finished (too much video and photo-sorting bogging me down) I’m here to catch up with other goings on around here.
Obon is in the air! Maybe you had a chance to attend one in your area!
Last weekend we had our natsu (summer) shibori workshop at the JANM. It was a great 2 days of shibori dyeing and discovery. I am so pleased that so many return again and again to further their shibori skills there- and wonderful to see so much progress. The participants who are new to the workshop get lots of suggestions and encouragement from returning practitioners- so fun to see. New friends and new connections.
We had our Sunday morning Shibori Breakfast Club at the Aloha Cafe in Little Tokyo which got us off to a good start fueled with coffee and a delicious breakfast. Sandra introduced us to their spam musubi loco moco style which was really good. Never was a spam eater but I do like a good musubi now and then. Spam has a history from WWII and is a favorite ingredient in several Okinawan dishes and also made its way to Hawaii and the Philippines as a meat staple when times were tough and meat was in short supply. I recently put some cans of spam into our earthquake kit…
There are several upcoming workshops at the JANM…a plant dyeing workshop in September (kusakizome) which is sold out with a waiting list, a repeat of the komebukuro making workshop that we did in January (think there might be some spots still open for that), and on December 7&8 another shibori and indigo workshop(not yet listed on the JANM calendar)- good timing for making some personal holiday gifts.
I also have lots of yarrow so we will have a couple of yellows to play with. We’ll stick to mostly yellows, blue(sukumo-composted indigo), and madder for the red/orange and shift the colors with mordants and overdyeing. We’ll add some avocado skins and pits as everyone wants to try that. We will work predominately on silk but I’ve decided I will bring some assorted fiber swatch packs for everyone to test with. We will be making a dye swatch notebook. I will bring seeds and cuttings so if anyone wants to grow their own, they can. A few of us will get together prior to the workshop to prepare some of the dyestuffs and stock solutions as it does take time.
I planted the marigold seeds before deciding on doing this workshop(fortuitous!) and was thrilled at how well they have done. They are the large bushy type- not the small cute six pack starters sold at the local nursery-so LOTS of big flowers,plus they have kept pests off my nearby veggies since spring. I have tons of seeds to share at the workshop as well. The madder is a bit trickier- it’s about 4 years since I planted it and have never really dug it up. I’m having to soak the area (I didn’t plant in a raised bed with nice soil) to be able to get the roots out. I will relocate it after this! The sukumo is some I brought back from Japan and really only have enough to do a small light vat but that will be enough for our purposes here. The pomegranates are looking great and will be ready by late September so that will be deliciously perfect! We’ll have some pomegranate juice to sip! I’m saving avocado skins and pits in the freezer as are others signed up for the workshop and might see if I can also get some eucalyptus trimmings from the local trees.
Outside of this, the garden is producing nicely-tomatoes, squash, cucumbers, eggplant, parsnips, potatoes and more. The night blooming cactus is just getting started with its nightly display among the jasmine scenting the air-in the past 5 nights alone 91 flowers have bloomed. Quite spectacular! Last night 40 were open and the sliver of a clouded moon peeked out from behind.
I was barely using Etsy over the past year and along with many other smaller sellers of handmade there, are not happy with their decision to only prioritize searches for items with free shipping offered. Now we all KNOW shipping is not free. On Amazon Prime, one pays an annual subscription for “free” shipping. We pay one way or another. Etsy’s suggestion to sellers was to raise the price of items and then to include “free” shipping. How very transparent of them, NOT! The only thing I have in my etsy store are the shibori ribbon scrap bags. So in order to show up in searches, I priced the scrap bags to include the shipping-for FREE! haha. Right. I disclose all this in the listing by the way. The real drag is that if a customer wants more than one, they pay the higher price for both. Not cool. So I recommend going to my website where you can buy all the yardage you want and in the colors you want and it all ships to you for one combined price anywhere in the US ($4). Unfortunately for CA buyers, on Etsy, you also get charged sales tax on shipping now, where you didn’t before (and you don’t on my website as per CA resale laws). Anywhoo… sorry for the mini rant but just wanted to put that out there.
In other news, mills in China are discontinuing weaving certain types of silks. Silk satin for instance. The times they are a-changin’….
wherever you are, i hope you have a gentle summer. may calm winds blow, peace prevail and children continue to sing, dance and wonder!
As a followup to the last post, I continue with the weaving portion of my trip to Amami.
On the way to Higo Dorozome Friday, I saw a sign that read “Oshima Tsumugi Village” so we decided to start there on Saturday. I didn’t realize until afterwards that this is where Jackie did her mud -dyeing workshop (we later compared notes). Since I had already done the sharimbai/dorozome workshop we opted for the basic tour and focused on weaving. They have a good but short tour of the weaving process but the real highlight was the addition of a weaving session on one of their looms where you could weave and keep a length of Oshima silk tsumugi. This was purchased at the beginning of the tour with the entrance fee.
Of course, the plain weaving of a piece of silk oshima tsumugi is a fairly basic process even for a novice. The real work as most weavers know, is in the preparation of the warp and the set-up of the loom. Oshima tsumugi takes this to new heights with its complicated pattern drafting, the precise dyeing of both the warp AND the weft threads prior to measuring and warping the loom. In addition, starch is also applied to the silk threads prior to “shim-bata” weaving as well as after the dyeing prior to warping. the starch or glue is made of specific types of local seaweed.
The process of dyeing the threads: Prior to the late 1800’s, the threads were wrapped with banana plant fiber to resist the dye and form the kasuri patterns. Other methods, from various areas dyeing resisted threads for kasuri weaving, include tying and clamping the threads, but in 1907 two men from Amami in Kagoshima prefecture invented a new method. This consisted of weaving the warps and the wefts temporarily with cotton threads on a special shim-bata loom which resulted in more precise and complicated patterning as well as improvements in production quantity and quality.(The tightly woven cotton wefts over the silk warps resist the dye in shibori-like fashion.)
We saw the preparation of the warping threads-the weaving of the patterns from a precise draft of the pattern desired as well as the additional colored dyeing of the wefts post-dorozome dyeing. Apparently there are 28 (!)preliminary processes that take place in preparation of the actual weaving. Once the loom is warped (we did not see that process) the weaving begins and the weaver takes over. The weaver handles the shuttles adeptly and quickly, stopping every 7-10 centimeters or so to adjust the threads with a sturdy needle and correct any errors in the pattern caused by tension issues, by adjusting the warp threads before continuing on.
I was sat at a loom and after a brief instruction in Japanese and (international hand waving) I wove about 20 centimeters of beautiful plain woven silk, alternating shuttles filled with a variety of solid and multi-colored silk bobbins. It was like magic! The finished piece was a simple striped pattern and the resulting cloth was very smooth and lightweight.
It really is amazing how the skills for this type of silk fabric came to be developed, practiced and cherished by the Japanese of Amami Oshima and beyond. You can really appreciate the very high prices of this fine silk cloth once you have seen it first-hand. You can read about it, see photos & videos, but to experience it first hand- even for a short time is precious. One of the weavers told me she had been weaving for over 40 years. She said that anyone could do it but that it takes 4 years of 8 hours a day weaving to achieve the correct quality as a weaver of oshima tsumugi. I actually thought that might be understated. I told her I have a lot of catching up to do! The whole process is such a team effort and the failure of the materials or quality at any point in the process has the potential to ruin the work of all the prior steps taken by the other artisans to that point. Everyone is very focused on a good outcome.
A couple of other points to note- the silk used is not filature silk, meaning that it is not reeled from the cocoon. It is referred to as a yarn, meaning that it is spun from a silk like mawata. Apparently, sericulture was (is?) practiced on the island but I did not get to see any of that this time. Further research ahead… I’m interested in seeing how the silk used for the Amami oshima tsumugi is spun and prepared for weaving here, who does it, and where. Another note- during our tour of the tsumugi village, our guide/driver Kounosuke tells us that his mother was a weaver on the island before she had children (4). AND that his grandfather was a dyer….he has lived on Amami his entire life and had not seen the weaving process before.
About the guided tour at the Amami Oshima Village: If you are not there to do a workshop, the tour seems quite rushed. They have a specific amount of time devoted to each group before ushering them into the gift shop. I get the impression that there are a lot of casual tourist that go through there by the busloads in the high season. The gift shop does have two parts- the VERY expensive side featuring full kimono, full bolts of woven silk, obi, and various other very fine clothing items and also another side which is filled with fine but more affordable and smaller items- all beautiful and interesting to see. Kounosuke told us that the high season is of course Golden Week, July and August (when school is out and workers have vacation time) as well as during the Hatchi-matsuri or August festival. He said that was his favorite holiday of the year in Amami. Our other guide who did speak English was Yui who grew up in Yokohama (!)and came to live in Amami one year ago after visiting it on vacation. It’s that kind of place.
Here is a photo gallery from the tour:
As before- there is a lot of video to edit so perhaps on the plane I will do some of it. To follow, the rest of the day tripping around Amami and then time traveling again back to Kyoto.
I’m finally getting a bit of time to do another post or two while I’m still here in the Tokyo area (I’m now in Amamioshima)! I really am struggling with all the information and photos I have collected-trying to get it put together into some order that makes sense without just rambling on and on… Not to mention that Hirata sends me folders of photos each day on dropbox to share with participants and some were mistakenly deleted and I had to sort through that and figure out what was missing and get them re-uploaded. Easy to do if you are not used to dropbox. Need to get a new system for that. Anyway,here goes…
The last day of our time in Tokyo we headed to Kamakura where Hirata is always eager to share the sights and sounds of his hometown. Everyone got a taste of riding the train and learned to use their Suica cards to enter and exit the stations and I’m glad to say that this time we didn’t lose anyone (it has happened-but the lost is always found in Japan)! They saw the first of their temple and shrines- Engaku-ji, Tsurugaoka Hachimangū and the Daibutsu (the Great Buddha) as well. Schoolchildren and tourists crowded Komachi-dori (the main shopping street) and at a point we broke up into smaller groups with the promise to either meet up for the return train trip to Ginza or to adventure it on their own. Hirata’s wife Rumiko and good friend Megumi welcomed us to their home to rest and have cold tea to those who needed a break from the heat and the walking. Photos from Kamakura…
The next day we checked out of the Ginza hotel and our charter bus whisked us away towards Kyoto for a four night stay via Kawaguchiko and one night there. The Star Pegasus was complete with wifi, USB charging, and a bathroom! Not to mention the best bus drivers ever-they had some crazy skills!
but first… a visit with Fumiko Sato to see her studio, have a demonstration of indigo dyeing and opportunity to view and buy some of her work, as well as enjoy a bento lunch of macrobiotic vegetarian sushi that was almost too beautiful to eat!
it’s always hard for me to say goodbye to Sato-san-I want to stay, work and spend time with her. Unfortunately, this time I won’t be able to return as I usually do.
Afterwards, we headed to the Ichiku Kubota Museum to see the work of this imaginative shibori dyer who took tsujigahana dyeing to a whole new level. It’s always a pleasure to take people here since it’s such a mind-blowing experience. Unfortunately, the gift shop here no longer carries any books or postcards depicting his work. When we asked why the answer was “copyrights” without any further explanation. Also no photos this time. I’m glad for the ones I do have. The bead collection is wildly diminished and not on view as it was before. ¥500 additional gets you into the cafe where there are a few cases but we opted out of that in order to get to our hotel and relax in the onsen. Perhaps they sold off the collection to raise funds. Not sure what is going on there. Still, a beautiful museum and ever changing collection of his work.
After a full day we retired to the beautiful Kakuna Hotel for a one night stay. Views over the lake towards Mt. Fuji (which only peeked out from behind the clouds here and there as we visited the rooftop onsen) and a beautiful dinner put the day over the top and we slept with dreams of indigo, tsujigahana and beautiful Japan swirling in our heads.
The next morning it was off to Kyoto for 4 nights which deserves it’s own post (or two)!
Let’s see if I can get the next post started (Kyoto)tonight- today in Amamioshima it was very warm and humid but the day was filled with dorozome- (mud dyeing) which also will be it’s own post down the road. But just to tease a little bit…