On the eve of the autumnal equinox, we gathered at JANM to explore plant dyeing. We were fortunate to have a photographer join in as he had a special project in mind and wanted to incorporate some dye techniques. He really captured the community spirit of the class in his photos and we thank him for that!
My personal goal for plant dyeing is to continue to grow and gather materials in my immediate surroundings and have an ongoing range of items using seasonally collected materials. This is a goal borrowed from Yamazaki sensei and family in Japan whom we visit while on the silk study tour. Of course he takes it to a whole new level using his dyes and pigments for his masterful katazome work. We are just beginning our adventures.
Dye materials and mordants locally gathered and grown are regionally specific, each material reflecting the conditions of the soil they are grown in, the seasonal climate challenges, the time of year the materials are harvested, whether they are used fresh or dried for later use. Of course these days one can order a vast array of dye materials sourced worldwide but I want to learn and push to the limits my knowledge of what I have on hand here- coaxing color from each material and applying mordants, ph differences and temperature changes to shift colors. Learning the lightfast properties of each dye material is an additional challenge.
My beginning colors reflect what I have on hand, pomegranate, persimmon, marigold, mint, senna seed pods, madder, and further experimentations with apricot wood ash (we had to cut down the apricot tree and use the wood for outdoor cooking) and kaffir lime juice as an acidifier. We did have a small pot of cochineal at the workshop using the lime juice. I have a kaffir lime tree and really only use the leaves and a bit of zest for cooking. The juice is just too strong so it’s perfect that it can be used in dyeing. I continue with the indigo (but not from here for now).
Writing this post I realize I had a dream last night where I was wandering in a yard somewhere with someone wanting to do natural dyeing from their backyard and I passed by an old rusty metal wind chime hanging on a tree, noting it would make great iron water… dreaming solidifying my thoughts.
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.
Rather than going back in time to Kyoto at the moment, I’m going to skip ahead to Amami-Oshima and my visit here to see first hand the dyeing and weaving for which this small island is known.
First, a little bit about about Amami- this is the northern-most island in the Okinawan archipelago. Just south of the southern tip of Kyūshū, it is volcanic in origin, surrounded by coral reefs (reef break for surfers! ouch-or as Kounosuke says-surfers tatoo(scar). To the west is the East China Sea and to the west , the Pacific Ocean. We are in the northern part of Amami-Oshima.
Next, a little history from Wikipedia:
It is uncertain when Amami Ōshima was first settled. Stone tools indicate settlement in the Japanese Paleolithic period, and other artifacts, including pottery, indicate a constant contact with Jōmon, Yayoi and Kofun period Japan.
The island is mentioned in the ancient Japanese chronicle Nihon Shoki in an entry for the year 657 AD. During the Nara period and early Heian period it was a stopping place for envoys from Japan to the court of Tang dynasty China. Mother of pearl was an important export item to Japan. Until 1611, Amami Ōshima was part of the Ryukyu Kingdom. The island was invaded by samurai from Shimazu clan in 1609 and its incorporation into the official holdings of that domain was recognized by the Tokugawa shogunate in 1624. Shimazu rule was harsh, with the inhabitants of the island reduced to serfdom and forced to raise sugar cane to meet high taxation, which often resulted in famine. Saigō Takamori was exiled to Amami Ōshima in 1859, staying for two years, and his house has been preserved as a memorial museum. After the Meiji Restoration Amami Ōshima was incorporated into Ōsumi Province and later became part of Kagoshima Prefecture. Following World War II, along with the other Amami Islands, it was occupied by the United States until 1953, at which time it reverted to the control of Japan.
The beach near us (a one minute walk away) is filled with shells and bit of coral. Unfortunately, the daily tide seems to bring in many floating PET bottles as well. Not sure where they are coming from but it’s a striking reminder that even a place this remote is plagued with this problem. While I was here, I saw an article in the Mainichi that said that Coka-Cola will be begin using 100% recycled materials for a new product line in Japan with a goal of increasing that to more of it’s products in the future. “The Japanese government on Friday set a goal of reducing disposable plastic waste by 25 percent by 2030, and completely recycling or reusing all such waste by 2035.” (from the article) The Japanese are much more fastidious and organized at recycling their containers and trash than we are in the US. A very high % of people here comply with the rules of sorting trash and recycling. They do have a problem with over-packaging which is starting to be addressed. They are looking at banning single use plastic bags country-wide. While here, I carried a small nylon bag for any shopping and tried to get shopkeepers to not bag my purchases. It’s gonna be a hard learning curve here as they love to package but when they get on board I trust they will do it very well! But as Maura said today on her FB -WE ONLY HAVE FIVE YEARS! (Hi Maura- love you and all you do there in Kolkata and beyond…)
Now, back to Amami… My fascination with kasuri weaving (ikat) over the years has grown-perhaps with the decline in the actual making and appreciation of the skill it takes to do this type of dyeing and weaving. For those not familiar with kasuri, it is cloth with patterns woven into it that utilize resist dyed threads either for the warp, weft, or both. These pre-dyed resist threads create a patterned cloth that is further complicated by special and advanced techniques such as as dyeing both the weft and the warp (lining up the two to make sure the desired pattern is achieved), painting the warp directly before weaving, weaving the warp or weft (or both) before dyeing-then unweaving it to do the final weaving. This type of weaving can be done with various fibers but my main interest is cotton and silk. So many variations and advanced complications. It’s really all in the preparation of the warps and wefts as the cloth itself is a plain weave in most cases (always exceptions of course!). This is a simplified explanation and apologies to all serious weavers out there… I was tempted to come to Amami as one of the participants in the silk tour had me arrange an extension to Amami to do a little research into mud dyeing here-or dorozome as it is called in Japanese. (doro-mud, zome/some-dyed). Jacqueline Roberts had come on the tour once before and if you recall from several previous posts, she wrote the book “American Silk”. She has been doing other textile writing for journals and such and has done some writing on mud dyed silks of Canton, China. So, as I was doing the research and setting up the extension I was tempted to come as well since it offered not only dyeing, but weaving AND coastlines-sometimes surf-able as Phil would accompany me on this part of the trip. Perfect combination!
Yes, a bit of rambling here but hey-my blog, my ramble! Feel free to skip ahead to the pretty pictures (and there are many!) Soooo….upon arriving we had to figure out how to get around and where exactly to go. We stayed in an AirBnB so not central to anything except peace and quiet, the beach, and the ever-present walkable “conbini” (convenience store) and a bus stop (yay!). The AirBnB host’s manager offered to pick us up at the airport so off we went and arrived at our not so little spot on the beach. (the AirBnB in Ikebukuro was a postage stamp compared to this but of course was located in the city).
Our new friend (Kounosuke) who picked us up at the airport asked us how we were going to eat and get around and when I told him that we would figure it out- (combini) and perhaps hire one of the Amami guides I had seen online, he offered to take us over to the dorozome workshop the next day during his work lunch break where he works taking care of the elderly here on the island (a much needed service in this aging population). We took him up on his offer and he even took the next day (yesterday) off to guide and drive us around with an English speaking friend of his. What good luck we have! And that wasn’t the only good luck. It is the rainy season here in Amami and we had clear weather for the first 3 days and all through our adventures here. About an hour after returning to our Amamian Paradise yesterday it started POURING-with lightening and thunder galore and pretty much has not stopped- it’s still pouring out there right now-Saturday morning. The two of them are in their late twenties and great fun! I’m glad to pay them for their time and contribute a bit to the local economy. When asked, Yui told us that jobs were easy to get -elder care, resort work (as this is a popular place in July & August and during Golden Week), but pay is low- about half what it is in Tokyo area. Kounosuke is married with two small children.
So, now onto dorozome! I looked over the possible choices (there are only 2-3 on the island) and settled on one I thought would be interesting and different from the one that Jackie had participated in (we could later compare notes). We ended up going to Higo Dorozome. Fortunately we had Kounosuke to take us there since it was not at all on any beaten path. Not wanting to abandon us there, he arranged with the owner to secure us a ride back to a bus stop from which we could return. Phew! I had called ahead and told them to expect us around 2 pm and they confirmed that would be ok. There was no English spoken there at all. But dyers dye and words are not always necessary- we speak the language of the cloth… To give you an overview of the dorozome process before adding the gallery of photos and a few video- dorozome is done using wood chips of the Japanese hawthorne bush (sharimbai). This wood is used fresh (not old and dried) with the sap still in the wood. The wood is plentiful in the local area and after collecting, it is chipped. A huge basket containing about 300 kg. is lowered into a large drum of water and boiled and soaked for 4-7 days (unclear how long) to release the tannins in the wood. The heat comes from a wood burning stove that utilizes the used chips once they are dried- nothing wasted! A sort of fermentation takes place and I believe they also add lime (to up the pH) once the soaking is done and the solution is skimmed and moved to other vats. I was told that it is a fermentation vat and the smell confirmed such a notion. It is at this point the dye is ready to use. Cloth is submerged in the solution many times with additional rinsing in a lime rinse between each dip followed by spinning out. So, prior to the mud bath:
-submerge and work dye into cloth for 4 minutes -rinse in water and lime -about 30 seconds -spin out -repeat at least 4-5 times (for amateurs/workshop) -the final dip into the sharimbai is not rinsed in the lime solution-just spun out
Now on to the mud. The facility at Higo dorozome had a square steel mud vat for practical purposes. They may still utilize a spot near the river as well but for commercial dyeing these days, it behooves one to use more practical production methods. Remember- we are trying to make a living here and not just become a museum! The vat was thick with clay-like mud at the bottom and had to be stirred well with a paddle each time before use. Mud dyeing process:
-submerge cloth and swish around and squeeze for 1-2 minutes -remove and squeeze out -open to the air for a minute or so (oxidixing?) -repeat above 2-3 times -rinse in clear running water -repeat the above again -inspect and return to the sharibai bath for additional dips -then back to the mud. -final rinsing and inspection of the color before opening cloth
So prior to the beginning the dye process, I was directed to choose the item(s) I would dye. I chose a t-shirt and a hemp scarf. The pieces were prepared (bound resist). I just did a simple and quick shibori binding with elastics provided. Interestingly the cloth was not wet out at any time prior to dyeing (as in indigo dyeing). Then it was on to the dyeing…see above.
More about the dorozome dyeing…the sharimbai (Japanese hawthorne) is full of tannin which is mordanted with the lime. I also read somewhere that wood ash is used in the vat but did not confirm that at Higo. The clay/mud is a dark gray full of iron which reacts with the tannins and darkens the cloth- just like when you use iron water in botanical printing or natural dyeing. Lime is abundant on Amami which has some limestone caverns and even underground rivers-did not visit there but saw info at the museum. Also, the island is surrounded by coral reefs- you guessed it-calcium carbonate (lime)! So everything is there- naturally, to produce this type of dyeing.
Some other observations- Higo Dorozome is a commercial working dye studio. I say this to contrast it against the Oshima Tsumugi Village/Sight Seeing Garden which does seem to do some weaving (not sure how much of it is serious commercial weaving) but the set-up there is definitely more geared towards the average tourist who wants to get an overview of the process and visit the gift shop. I also say this because as these sorts of crafts decline, many of them are turned more towards museum status (not unlike the Orinasu obi weaving studio in Kyoto-more on that in the Kyoto post). Higo has been there for 40 years and over time the main work of dyeing dorozome and indigo silk threads for oshima tsumugi weavers has steadily declined due to several factors-fewer wearers of kimono, the high cost of producing in current times, the aging of the artisans whose supreme abilities are harder and harder to pass along. I’m sure there are other more complicated factors that I’m missing here but the end result is less demand. So, that is why it is necessary for dye studios such as Higo to produce other items that are more accessible to the modern general public, to open the studio to visitors for workshops, and to educate new generations of the importance of continuing and innovating these craft processes. Nature, handwork, passion, commerce, beauty all come together in a distinct and geographic spot such as Amami. There are people in this chain of commerce devoted to seeing it gets sold in shops in the mainland, on the Ginza (as in the shop that we visited previously-see earlier post) as well as those connecting up with designers and retailers of modern clothing. Aside from my interest in dying and textiles, I’m also very interested (necessarily) in the commercial aspects of it all. I want people who choose this type of difficult work to find a way to make a living and to keep doing so. AI can’t produce this type of work and it won’t be replaced by robots. I am interested in finding the path…making the path, wondering, and following the moon.
Next post will cover my time weaving some silk oshima tsumugi…!
Kudos for your ganbatte in making it through this post! I add the photos here en-mass due to time constrictions. And now for the photos…
-There are many more photos and also lots of video that needs editing but I’ll have to get to that later. I’ll have a lot of that to share at the July 27-28 workshop at the Japanese American National Museum. I think there are still a few spots left- you can sign up here.
Stay tuned for Amami Oshima tsumugi weaving- it’s really amazing!
I’ll end this post with a little video of the Amami beach…
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…
Upon returning fro Houston it was time to get at the persimmons if I wanted to get on with any hoshigaki (dried persimmons). Mine are the Hachiya variety if you don’t recall from previous posts on this annual topic. I was concerned they might be a little too far along for hoshigaki when I returned from the show but seems they were fine. The tree was very prolific as usual again and it simply produces way more persimmons than we can eat fresh or even give away, for that matter. Not everyone is a persimmon fan.
In order to dry them they are washed, and peeled before being tied in pairs to a string to hang. Since I pick from my own tree I can easily cut them with a little “T” at the top to facilitate the tying.
The biggest issue is mold, which I am having a little issue with this year on a few of them so we will lose a few. Seems to mainly be the ones not getting as much sun as the rest. This year I am drying them all outside. Unfortunately, (for the drying persimmons but YAY for the garden and the fires!), we have had several rains that have necessitated my having to cover them and the dampness is also contributing to the mold I think. At least it’s certainly not helping.
I have some that are on a moveable drying rack and that set can be put into the garage with a fan when needed. I am in the “massaging” stage so need to give them all a few squeezes each day to keep them soft on the inside and to keep the outside surface from having permanent crevices where mold can grow.
I have about 150 drying here and my son has about 50 at his place. We still have at least 100 -150 ripening on the tree! A double recipe of persimmon walnut bread only uses 2-3 medium size ones! They are good fresh with a little plain yogurt in the morning! A few pics…
the tree after picking off 200!
washed and ready to peel
how to trim the stem
in the night hoshigaki garden
in the daytime-starting to oxidize
massage stage-drying in the sun
massaging and checking them
thanksgiving dessert-surprise! persimmon bread!
you have to look closely here but one persimmon appears to have disappeared! the culprit might be sitting on the fence…
Prior to taking care of the persimmons, I had to deal with the pomegranate tree. Unfortunately some were lost and ripened while I was away but not to worry. I picked the rest of the tree and juiced them and sent all the peels and any inedible ones to the dyepot! Dyed some lovely golds on mostly silks while I enjoyed some fresh juice!
ready to juice!
got about 4 quarts of juice and the rest-into the dyepot!
it’s kind of like a Jedi mind trick- that very red goes in and out comes gold! (alum mordant)
Next post will be a long needed shop update! and speaking of persimmons… I made these for the show and missed getting them into the box when I packed! So they will be going into the shop.
made from vintage japanese and indigo dyed scrap fabrics with immature persimmons that fell and dried(the bead)and the dried top of spent persimmon flowers. each has a small bag of emery in the bottom of the pincushion to clean and sharpen your pins and needles.
When I write a post I never fill in the post title until the end, even if in my mind I have one roaming around my head. You never know what path a post might take. Speaking of paths… I’m putting my pathfinding and wondering skills to use in upcoming city elections. I feel that I would be disregarding reality if I didn’t volunteer to help. Most of my contribution will be in helping to spread the word on social media.
Please look up and around your communities and city halls and make sure that people have a voice. Make sure that money, ambition , and politics are not sending down taproots that crowd out the voice of the city’s residents. It’s a volunteer thing and there will be a balance that needs to be struck so that work and bills get taken care of as well. More on that later…
It’s been hot here. Watering the edibles in the yard mainly. Into second rounds of crops since our summer is so long here.
I noticed some things around the yard that might be good for the dyepot or other meanderings so I collected them up. Will be testing them out on some old silk lining fabrics.
I started this post a few days ago and am only now getting back to it. The red dragonfly pictured above has been hanging out in the garden for at least a week now! I guess they are somewhat territorial. I also ate my first cactus fruit today. It was delicious- juicy, mildly sweet with a flowery flavor. Really amazing when you eat them right off the cactus with the warmth of the sun still holding on to the fruit.
peeling the cactus fruit
the pink one is ripe
I should back up a bit here and post a small gallery of photos of my amazing cereus cactus. It is a Queen of the Night (actual name used by about 4 different varieties of cereus night bloomers) and aptly named. I’ve been sharing these on my FB page for the last couple of weeks.
Some nights have given us over 100 blooms, others 80, 70, 50. I would say that we will have had around 1000 blooms this year when it is all over. I spend much time outside at night gazing up.
detail at night
with the moon
buds in the daytime
******** feel free to skip the politics down to the ****************
City politics in Long Beach have really changed over the years. Most of city council and the mayor are on personal political trajectories fueled by big money, developers, unions, PACs, and officeholder accounts (no real news here-how is your city government doing?).
The most current & egregious effort they have made is to place a measure on the upcoming ballot to change the city charter and afford themselves an extension of term limits (from 2 to 3 terms). And all by telling voters this is a strengthening of term limit laws! They claim they are doing away with a loophole where one can mount a write in campaign in the primary election when in fact regardless of whether it is two terms, three terms or ten terms the California Election code allows this write in effort. I’ll spare you most of the gory details but when hundreds of residents showed up in the middle of the day during the week for the final hearing where council voted to place this on the ballot (all but two who spoke were against and those two were LB govt. employees!) . They voted unanimously 9-0 in favor to place it on the ballot. They will spend about $700,000 of our tax $ on this self serving effort. They no longer listen to the people.
This has resulted in outrage to the point that many of the city’s resident/neighborhood advocacy groups are supporting a newly formed peoples PAC- the Long Beach Reform Coalition. This has meant many hours of meetings, emails, & phone calls in order to write the ballot measures’ opposing arguments and rebuttal statements. We were even sued by the city yesterday in LA Superior court with less than 24 hour notice for something that could have been handled in the local city clerk’s office -a correction and rewording of a couple of the statements! Writing ballot measure arguments and rebuttals is not for sissies! I learned a lot! The city is bullying the residents. This PAC is needed in order to pool resources and help finance opposition to such things as well as help new council candidates fund their campaigns against the overwhelming money of the entrenched incumbents.
I have spent far more time than I can afford to on this. It is cutting into my studio work time. In order to compensate a bit for this (and be able to pay my bills next month!) I am listing a few of my favorite acquired textiles from Japan. Some of these I have used as samples for students to view in my workshops or as show pieces in my booth in Houston. I treasure them all but it is time to pass them along to others.
First off, I will show you this wonderful tsutsugaki nobori I purchased in a small shop in Mashiko-the home and pottery studio of famed Shoji Hamada.
I honestly did not know what I was going to do with this piece at the time but had recently been given a beautiful book by a Japanese designer that inspired me and used all sorts of vintage Japanese textiles in her clothing designs.
This nobori is likely from 40’s- 50’s (Showa) and is very brightly painted. It is very large and was probably used in Boys Day festivals. I thought I might even fly it here for special occasions but it is so long and theft is an issue. I’d love to see someone put it to good use!
It is 21.5 ” x 204″. The cloth is hemp- it is more rugged than cotton and smartly so for its intended use. Not too tightly woven and slubs in the weave suggest it may be a home woven cloth. All stitching on it is by hand. As a purposeful vintage textile it is imperfect, but the imperfections are not objectionable (a few stains and unintended brush marks -no holes or tears). The image painted on the nobori is of samurai riding their horses- a familiar boys day banner theme. Let’s look at it!
highly stylized faces of both the samurai and the horses and dramatic costumes with pine tree against a blue sky
These two photos are one half of the piece. The painting is detailed on both sides as they were meant to be seen from both. Below, the simpler portion which has the crests. The hangers on the side are hand sewn on and could be removed without damage to the main cloth itself.
Tsutsugaki is a paste resist technique used to draw on the design outlines and the colors and detail features are hand painted. The crest portion is probably done using a cut stencil like katazome with the black being screened on (i’m guessing on this).
some detail shots:
So now for some photos from the book I was gifted…
vintage nobori as a over jacket- duster length
sleeves use the crests
Aren’t those great? So now I post the nobori in the shop. I will add the other items, hopefully tomorrow and do a shorter post (much shorter) on where I found them and their history.