Would you like to see handwoven Sardinian textiles in your city? Perhaps you’d even like to purchase one, after viewing it and feeling it?
I’m arranging trunk shows, where the textiles will be shown in small groups to those interested in seeing and purchasing them, as well as exhibitions, where textiles will be displayed for some time, and, depending upon the venue and the type of exhibit, may available to purchase.
I will attend the events to discuss the textiles, the artists, and present photos and video clips of the weavers and Sardinia. I can also arrange to show my documentary I Want to Weave the Weft of Time and answer questions at opening nights and related events.
If you’re interested in hosting such an event, or having one in your area, please contact me.
Schedule
Given the pandemic, I have been offering online presentations at regular intervals. If interest permits, I will arrange in-person or online trunk shows mid-to late 2021. Contact me if you are interested.
We would like to thank you for your participation in Sardinian Textiles: An Exhibit of Handwoven Art and related events.
The show and related events were well-received and brought much attention to Sardinia and Sardinian textiles.
There were about 120 guests at the opening night of the show, arriving from many cities across California and even other states. Paolo Barlera, Director of the Italian Cultural Institute – San Francisco, and Luigi Biondi, the Assistant Consul General, welcomed the crowd and introduced two representatives from the Comune of Samugheo, Deputy Mayor Maurizio Frongia and Cultural Minister Manuela Barra.
Maurizio thanked organizers, presented them with a book of Samugheo’s history and a bar of the local handmade Gaia soap, and talked about the history and importance of weaving in Samugheo. This was followed by the trailer from the film I Want to Weave the Weft of Time, demonstrating the importance of Samugheo’s last handweavers, and a slideshow and discussion of handweaving. After this, there was a short lecture about the show participants, the challenges weavers, shops, and mills face, and a presentation of high-resolution photos of key historic weavings from the MURATS collection.
The audience was captivated by the weavings, and very interactive. People asked many questions during and after the presentation and inspected the textiles on display. The crowd was also happy to be well-fed: San Giuliano of Alghero donated many cases of olive spreads and antipasti, all of which were eagerly devoured along with the kilo of pane carasau direct from Sardinia, sheep cheese, and, of course, wine. Local restaurant 54 Mint also provided Italian desserts, which disappeared rapidly.
In the weeks after the opening there were two film screenings of I Want to Weave the Weft of Time. The first screening was held in lieu of the planned pibiones workshop, as at the last minute the weavers were prevented from traveling by an unforeseen event. Lacis Museum in Berkeley hosted the event. The second screening was at IIC some weeks into the show, to bring a new audience to the exhibit.
Intrecciati, the intercultural project led by designer Silvio Betterelli, drew fibers from locations around the globe, including South Africa, India, Sardinia, Italy, and many states from the United States. Volunteers helping Silvio complete the project included weaver Reba Siero, students Maya Trifunovic and Alex Boccon-Gibod, and their grandmother visiting from Belgrade.
A number of newspapers, websites, and social networking platforms carried short notices and articles about the event, and longer articles appeared in L’Italiano-Americano in the US and a number of papers in Sardinia.
We would also like to thank the volunteers in San Francisco who helped make the event a success. Photographer Flavia Loreto took wonderful photos capturing the opening night (attached). Volunteers Arpana Warren, Mark Springer, Gab Koza, Anne Yale, and the staff of the IIC helped set up the show and opening night. Vera Lazarevic and Gilles Boccon hosted a wonderful dinner (at which Gilles prepared everything from scratch) where Silvio discussed his work and latest collection. Dhanya Olson created the looms for the intercultural project.
In addition demonstrating the interest the public has for Sardinian textiles and Sardinia, the show increased the public’s understanding of the importance of maintaining the traditions, history, and designs of Sardinia, and their support of efforts to ensure the creation of hand-woven, hand-decorated, and mill-produced textiles remains in Sardinia.
As you know, the IIC-Chicago is interested in hosting a similar show in the future; I’m (Kelly) following up with the director to ascertain details of this future project. I’m also developing concrete opportunities to promote Sardinian textiles in a sustainable manner that brings visibility and sales to Sardinia by leveraging the the latest advertising technology.
While the show and the related events are over, the success has opened a doorway that I see as the beginning, an introduction of Sardinian textiles to the United States!
Thank you all for your participation!
Paolo Barlera, Italian Cultural Institute, Kelly Manjula Koza, Sardinian Arts.
vogliamo ringraziarVi per la vostra partecipazione alla mostra, Sardinian Textiles: An Exhibit of Handwoven Art, e agli eventi collegati.
Si è trattato di una mostra esemplare e di una serie di eventi collegati che sono stati ricevuti con entusiasmo e hanno attirato molta attenzione verso la Sardegna e i tessuti Sardi.
I partecipanti all’inaugurazione sono stati circa 120, provenienti da molte città della California e da altri stati. Paolo Barlera, Direttore dell’Istituto Italiano di Cultura (IIC)- San Francisco, e Luigi Biondi, Vice Console Generale, hanno accolto gli spettatori e introdotto due rappresentati del Comune di Samugheo, il Vice Sindaco Maurizio Frongia e l’Assessore alla Cultura Manuela Barra.
Maurizio ha dato il proprio ringraziamento agli organizzatori ed ha presentato un libro che narra la storia di Samugheo e una saponetta Gaia fatta a mano nel paese. Il Vice Sindaco ha parlato della storia e dell’importanza dell’arte della tessitura a Samugheo. In seguito si è svolta la presentazione del trailer del film “I Want to Weave the Weft of Time”, che mostra l’importanza dei tessitori che lavorano a mano. Al termine del film, si è svolto un discorso sulle sfide che i tessitori, i negozi, e le fabbriche della Sardegna sono costretti ad affrontare, oltre ad una serie di foto ad alta risoluzione di campioni di tessuti antichi della collezione del MURATS.
Il pubblico è rimasto affascinato: sono state fatte molte domande dopo la presentazione, e tutti hanno esaminato i tessuti. Gli ospiti sono anche stati contenti di poter godere di un cibo fantastico: San Giuliano d’Alghero ha donato scatole di creme spalmabili di olive e antipasti che sono state divorate con piacere, accompagnate da pane carasau portato dalla Sardegna, formaggio pecorino e, naturalmente, vino. Il ristorante 54 Mint ha offerto dolci tipici dell’Italia, che sono spariti rapidamente.
Nelle settimane seguenti l’inaugurazione, ci sono state due presentazioni del film I Want to Weave the Weft of Time. Il primo al posto del workshop di pibiones che era stato programmato inizialmente, perché all’ultimo momento i tessitori non hanno potuto partecipare a causa di una situazione imprevista. Lacis Museum a Berkeley, California, ha ospitato l’evento. Il secondo si è tenuto all’IIC alcune settimane dopo l’inaugurazione, per attrarre altre gente alla mostra.
“Intrecciati”, il progetto interculturale guidato dal designer Silvio Betterelli, ha raccolto fibre da vari paesi lontani fra cui il Sud Africa, l’India, la Sardegna, l’Italia, e diversi stati degli Stati Uniti. Hanno contribuito a realizzare il progetto con Silvio la tessitrice Reba Siero, gli studenti Maya Trifunovic e Alex Boccon-Gibod, e la loro nonna, che era in visita da Belgrado.
Diversi giornali, siti web, e piani di social networking hanno discusso brevemente gli eventi della mostra e articoli più lungi sono stati pubblicati nel giornale stampato e online di L’Italiano-Americano negli Stati Uniti e diversi giornali e website in Sardegna.
Vogliamo anche ringraziare i volontari qui a San Francisco, che hanno contribuito a fare dell’evento un successo. La fotografa Flavia Loreto ha fatto foto fantastiche dell’inaugurazione (allegate alla presente). Arpana Warren, Mark Springer, Gab Koza, Anne Yale e lo staff dell’IIC hanno appeso i tessuti e hanno messo in ordine tutti i dettagli dell’inaugurazione. Vera Lazarevic e Gilles Boccon hanno ospitato una cena deliziosa (fatta completamente a mano da Gilles), dove Silvio ha parlato della sua arte e la sua ultima collezione. Dhanya Olson ha costruito i telai per il progetto interculturale.
Oltre a dimostrare il grande interesse del pubblico per i tessuti Sardi e la Sardegna, il principale risultato della mostra è stato quello di accendere i riflettori sull’importanza di preservare la tradizione, la storia ed i motivi della Sardegna, e di supportare lo sforzo di mantenere in Sardegna la creazione dei tessuti fatti a mano, a telaio meccanico, e in fabbrica.
Come sapete, I’Istituto Italiano di Cultura di Chicago è interessato ad ospitare una mostra simile a quella di San Francisco; sono (Kelly) in contatto con la direttrice per delineare i dettagli di questo progetto futuro. Sto anche lavorando a delineare alcune ulteriori opportunità per promuovere i tessuti Sardi in modo sostenibile che possa portare a vendite e visibilità per la Sardegna con una nuova tecnologia di advertising.
Mentre la mostra e gli eventi collegati sono finiti, il successo ha aperto una serie di porte e io li considero come un inizio, un primo passo per l’introduzione dei tessuti Sardi negli Stati Uniti!
Grazie a tutti voi per la vostra partecipazione!
Paolo Barlera, Italian Cultural Institute e Kelly Manjula Koza, Sardinian Arts, Inc.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
The loom is the framework on which weavings are made. The basic fibers of a weaving are known as the warp, or foundational threads, and the weft, or the fibers that are drawn between the warp threads.
Textile patterns and designs are created by the interactions of the warp and weft threads. The weft threads can be passed under and over the warp threads in different sequences, wound to create pibiones, or knotted, twisted, or otherwise worked into, over, or under the warp.
Weavings that use raised techniques such as pibiones display several patterns: the raised design and a subtle background pattern created by the sequencing of warp and weft threads.
Textiles created using use flat techniques generally have vibrant designs created by the color of the weft threads.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
There are many different classifications and types of looms, generally referring to how the movements of the loom are made and the structure of the loom.
Traditional hand looms are powered entirely by hand and foot. Power looms are those in which movements are powered by hydraulic or electric means. Weavers can stop the motion of a powerloom to add hand decoration to a weaving, and then engage the loom’s automated power function to continue. Mills use large computerized electric or hydraulic looms that require little to no human interaction to create many identical items within a short time.
There are two primary configurations of looms: horizontal and vertical. Weavers using vertical looms start from the bottom of the loom and build the textile upwards, using their fingers to pass weft threads through the warp threads one at a time. The threads are tightened, or beaten, using a small hand beater distinct from the loom.
Horizontal looms are generally more complex than vertical looms, facilitating the construction of pibiones as well as complex repeating warp/weft patterns.
Heddles, or frames that contain needles through which warp fibers are threaded, are controlled by foot pedals, and raise or lower many warp threads at one time. This enables the weaver to pass a wooden shuttle carrying weft thread through the warp, or place a needle around which pibiones are wound on top of the warp threads. The threads are tightened using a beater bar that’s attached to the loom and runs the entire width of the warp. The beater bar is moved by hand or electric/hydraulic power.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
Looms were prized and essential items in Sardinian households for centuries. Weaving was every woman’s work, and girls learned to weave at a young age. The women wove their corredo, or hope chest textiles, as well as items for daily use and various ceremonial items that were gifted, often prized and used for a lifetime.
After the second world war, power looms and commercial mills began to appear on the island, and production of everyday items started to shift away from the household.
By the late 70’s, almost all of the studios and small shops had switched to using power looms, and items for daily user were made in mills. Today, very few professional handweavers remain.
Similarly, the process of collecting and preparing fibers by hand has virtually disappeared. The preparation of wool, linen, silk, and cotton fibers for weaving was often a communal event.
Today, almost all Sardinian handweavers use fibers that are processed at Sardinia’s one remaining wool processing house, and/or high-quality linen and Egyptian cotton.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
Designs and motifs used in the weavings vary according to the region, type of loom used, and the items woven.
Birds — doves, peacocks, and domestic hens and cocks — are common, as are deer, baskets of eggs, bunches of grain, grapes, grape leaves, flowers, and other agricultural symbols. Dragons, gryphons, and mythological figures are also found, especially on older textiles.
Many textiles have geometric designs, ranging from stylized flowers to diamonds, triangles, and stepped shapes representing the cycle of birth, growth, harvest, and death/decay.
The zig zags typical of funerary cloths represent water and the ebb and flow of life. The stars and seven colors traditionally used in Nule’s carpets are ancient symbols of power.
Weavers familiar with their own traditions may create textiles that are highly traditional, or they may experiment and mix modern designs with ancient patterns.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
Pibiones are small raised bumps of thread found on the most distinctive of Sardinian textiles. The name comes from an ancient word for grapes, as pibiones feel like grapes, and grapes and the harvest play a significant part in Sardinian history.
Creating pibiones requires skill, dexterity, and patience. The pibiones are created by winding fibers around a long needle that sits on top of the weft. Each pibione is counted and wound by hand, one pibione at a time, one row at a time, matched against a pattern drawn on graph paper.
Pibiones add strength as well as design to a weaving. The best pibiones are firm to the touch and remain durable and distinct when the textile is used. To achieve the desired firmness, threads used in the pibiones are often spun a second time before being woven.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
In a global economy where textiles have been commoditized, the importance of maintaining traditional handweaving and recognizing it as an art cannot be overestimated. Valuing the handweavers and the art and designs of Sardinia is key to ensuring all aspects of the textile tradition — handweavers, the studios using powerlooms, the mills, and the traditional Sardinian designs — remain rooted in and produced in Sardinia, in a sustainable and fairly-traded manner.
Traditional arts are on the verge of being lost, yet the arts and artists offer what many in the modern world seek. The manner in which Sardinian weavers work and live, their principles, and their awareness represent a heritage that can only have a great appeal for a population that lives in a high-tech world of automation and suffers incredibly high levels of stress. For those living in such conditions, the hand weavers become role models for more authentic way of life.
The preservation and elevation of the Sardinian arts, and, in particular, the art of the hand weavers is of fundamental importance: the respect for the handweavers will serve to open doorways of awareness and respect for all weavers, all Sardinian arts, and the heritage and culture of Sardinia. This, over time, will bring positive returns for all those working in tourism and commerce.
This is one of the educational posters from Sardinian Textiles: An Exhibit of Handwoven Art, held at the Italian Cultural Center – San Francisco in 2017. The text is first, followed by the poster.
There’s certainly much more to discuss about this topic — and I expand greatly on this during my live presentations and in articles you’ll find on this site and elsewhere. Sign up for the newsletter to stay connected!
Just as the European Union recognizes different classifications of traditional food, it’s important that Sardinian textiles are classified accurately with reference to the method and place in which they are made. This will help buyers understand classifications of textiles bearing the label “Made in Sardinia”, increase esteem of all weavers in Sardinia, and protect weavers in a global economy.
The suggested classifications are:
Handmade textiles: Textiles made completely by hand, using looms where all movements and beating are done only by hand/foot, and not by a hydraulic, electronic, or computerized loom.
Hand-decorated textiles: Textiles made by hydraulic, electronic, or computerized looms, where the beating is not all done by hand/foot. The weaver stops the mechanical beating of the loom to make pibiones and/or add other decoration by hand.
Mill-made textiles: Textiles made in mills, by hydraulic, electronic, and/or computerized looms with minimum human involvement, and often where many similar objects are produced at the same time.
All the classifications permit:
The use of fibers prepared in mills.
The use of a sewing machine, if the use is to make seams/hems after the weaving is cut from the loom and the seams/hems are not decorative.
The use of fibers prepared by hand without hydraulic, electronic, or computerized tools can be indicated with the label “Hand-spun fibers”.
All three classifications have their buyers and their place in the market. The difference between the three classifications of textiles is the same as the difference between a painting by a master painter, a limited-edition print of the painting, and a poster.
If you would like to copy the textile classifications text to use on your own site or collateral, kindly include this credit and link: “Textile classifications as defined on SardinianArts.com.”
