Dyes in Traditional Handwoven Sardinian Textiles

People often ask about the colors and dyes traditional women handweavers of Sardinia — the tessitrici artigianali — use in their textiles. Weavers and dyers especially want to know specifically how certain colors in the Sardinian textiles are produced. The colors can be subtle or bold; bear the natural hue of wool, linen, or cotton; exhibit beautiful tints derived from natural and vegetable dyestuff; or sometimes even display the firmness of a modern chemical dye.

What I present about Sardinian dyes here and during events is general and never meant to be an exhaustive discussion, for several reasons. Textiles are a key aspect of Sardinian cultural heritage, and the tessitrici artigianali must be the ones to decide if and when to share details about their dyes and dyeing methods, and to present the information, especially outside Sardinia. They’re the holders of the knowledge and expertise, much of which is passed down from one women to another, varies from weaver to weaver, and requires years of study and practice to master.

Within Sardinia, several weavers do offer workshops and presentations about traditional dyes, especially in the towns of Nule and Aggius, where a number of women still dye their own fibers. *

In previous decades and centuries, women of a town would work together to wash, card, spin, dye, and prepare fibers for weaving. This work is incredibly difficult and time-consuming, and the decline of the practice of handweaving means fewer women have the time, means, or help of others to dye fibers by hand. While some handweavers still tint their own fibers, others purchase fibers that have been dyed, usually at a Sardinian mill or dye house.

Many handweavers use a combination hand-dyed and commercially-dyed fibers; either type may be tinted with natural and/or chemical dyes. The choice depends on the weaver’s preference, the colors needed for a particular item or design, and the availability, economics, and practicality of obtaining the fibers the weaver needs. 

Dyeing fibers is an art, especially when using vegetable dyestuff. Just as grapes grown for wine have different characteristics based on the soil, light, and shade of where they are grown, and carry these characteristics into the flavor and body of a wine, the plants used for dyeing have different qualifies based upon where the plants are grown, the amount of light and water they receive, when they are picked, and so forth, and carry this into the color the dyestuff imparts. I have met Sardinian weavers who can discern the subtle difference in dye color created by the same type of plants grown in different areas of the island. In addition, the color varies according to the method of dye preparation as well as the weather, season, temperature, and numerous other factors affecting a particular dye bath.

The natural colors and properties of the fibers typically used in Sardinian textiles — black and white wool, golden linen, and off-white cotton — also affect how a dye’s color ultimately sets into the fibers. These natural fibers may also be left uncolored for weaving: natural black or white wool is used alone, or blended to produce a rich grey, and the golden tones of natural linen and the slightly whiter shades of natural cotton are also commonly used in finished weavings. The subtle variegation typically found in naturally-colored and hand-dyed fibers adds warmth to authentic handwoven textiles, and is considered by many a beautiful hallmark of the handmade. 

Sardinian dyestuffs are similar to those used in other areas of the world. Onion skins, saffron, and daphne are used to create shades of yellow. Walnut husks produce brown. Ivy, buckthorn, and other plant leaves create greens. A special mushroom is used to produce a natural orange. Logwood, introduced to the island a few centuries ago, produces a black deeper and more consistent than the natural black of wool. Kermes, an insect similar to cochineal, produces a prized scarlet red. 

The dyestuffs for purple and lavender, colors long considered to be the exclusive right and signature of royalty because of the difficulty of producing the tints, are abundant in parts of Sardinia — so much so that Scots made trading expeditions to the island in the 1800’s expressly to acquire wool dyed purple and lavender to use in tartans bearing these shades. Pokeweed as well as a certain lichen found in specific areas of the island are used to create the colors.

Interestingly, when I first saw the Sardinian lichen that produces the sought-after lavender tint, I thought the lichen similar to a type that grows on oak trees where I live in the East Bay Area outside San Francisco. I gathered some of the fallen California lichen and prepared it as several of the weavers had instructed me, and then dyed a small amount of cotton cloth and linen fiber, which took on a lavender tint similar to that used in textiles of Aggius.

When I showed the result to a weaver from Aggius — Gabriella Lutzu — she noted subtle differences. I felt her keen discernment of color clearly underscored what we already know: traditional vegetable dyeing is an art, not a science, and that the color produced by any dye batch is due to countless factors, including the source of the dyestuff and the intention, hands, and heart of an artist. 

~ Kelly Manjula Koza

* When travel again becomes more predictable, I’ll be leading tours of Sardinian weaving studios, some of which can include dyeing presentations from weavers, if participants are interested. 

Technology and the Unquantifiable Essence of the Handmade

Textiles have become a commodity, as have clothes, food, and pretty much everything in our lives. In fact, humans and humanity have nearly become a commodity. In the modern Western world, it seems that individuals are not valued or considered except as consumers, granular components of target audiences which large corporations seek to identify as potential buyers of material stuff. 

While I do realize there is a place for industry (green, please), technology (much of which I love), and commercial items, including textiles produced in mills and powerloom shops, we can’t disregard humanity, individual human lives, the human touch, or compassion. Doing so only makes individuals — us — feel lost, disconnected, unloved, and purposeless. In an increasingly technological, commercial world that negates or exploits most human qualities for profit, we need objects made by human hands and with natural materials. I believe our nervous and energetic systems, our bodies, our hands, and our spirits seek, consciously or not, objects that connect us to nature and other humans. 

Living and working in the greater Silicon Valley, I not only experience this myself, but see an increasing number of software engineers, kids who grow up with gizmos everywhere, and older folks who are tired of having their hands on keyboards searching for “something missing”. Humans, the human touch, and human compassion cannot be commoditized or programmed into a gizmo.

Arts, crafts, and handmade objects help fill the gap so many feel — not only in a material sense, but in a greater sense. When a person makes something by hand, their attention, their care, their love for what they are doing, and their unique human touch is infused into what they make. These impart an unquantifiable essence of the handmade into what they make. This essence, this quality, is distinct from yet complements the artistic skill and technical mastery a maker brings to their art. This unquantifiable essence of the handmade is tangible to our nervous and energy systems, and to our spirit — whether we know it or not. 

The unquantifiable essence of the handmade is a great part of what make handmade items and handwoven textiles so valuable, in both tangible and intangible ways. The object, the weaving itself is valuable. The essence of the object is invaluable. We sense this, even if we can’t explain it. And we want handmade items — those we make ourselves, or those we buy from the artists, the craftspeople, the handweavers. 

People and their handwork are not commodities. Both are priceless.

~ KM Koza

The photo shows a detail of one of Eugenia Pinna‘s textiles as she weaves it by hand.

Artists in Their Own Right

I value the tessitrici artigianali, the women handweavers of Sardinia, as artists worthy of respect in their own right — not as producers of other peoples’ designs. 

Over the years, I’ve come to realize that not everyone regards the handweavers in this way. I’ve been contacted by many interior designers and clothing designers that view the Sardinian handweavers merely as potential producers of the designers’ own items. I’ve also been contacted by large companies that see the tessitrici artigianali only as possible sources of Sardinian textiles that can be copied and produced in the corporation’s offshore factories.

Most interior designers seek textile producers to make rugs or other articles fashioned by the interior designer. The designers want the articles produced exactly to their specifications at a low price — a price which is at least doubled, sometimes tripled or quadrupled, for the designer’s profit when selling to their client. The interior designers command an even higher price from their client by stating items are “Handmade in Italy” — even when the articles are not truly handmade, but are made in power-loom shops — and even when the additional profit gained from the “Handmade in Italy” label is not shared equitably with the actual makers, the weavers.*

Clothing designers also seek textiles “Made in Italy” for the increased status and payment the “made in” and “handwoven” labels will bring, yet the designers generally do not want or value the finished integral textile art created by handweavers. Fashion designers merely want low-cost fabric they can use as a component in their own label of bags and clothing, not the beautiful rugs, bags, table runners, and other finished works created by the handweavers.

Similarly, large multi-national fashion houses often seek to “source” fabric and designs from Sardinia. When I’ve questioned the representatives who have contacted me from such corporations, they’ve brazenly confirmed they want Sardinian textiles to copy for corporate-branded items that would be made in corporate-owned mills in Asia, and sold for corporate profit. At least two of the corporate reps have hinted that I would be well paid if I were to provide them with samples they could copy — which I do not. After I refused one corporate rep, he even tried to pose as an independent individual by contacting me from his personal email address to request samples.

As well as having said “No!” to these large corporations, I’ve declined to work with designers and small business owners who have sought to appropriate Sardinian textiles and/or designs for their own profit, and without giving due credit and pay to the handweavers. I don’t support or participate in such activity — it’s not respectful or dharmic (right action).

While individuals and cultures always influence one another, outright intellectual and artistic theft, cultural appropriation, and colonialism have run rampant across the world for centuries. These activities negate cultures and individuals, and have created a social, economic, and ecologic mess across the globe. To steal the designs and heritage of the traditional women weavers of Sardinia for the profit of foreigners is not right. To consider the tessitrici artigianali merely as producers of items that will profit foreigners is also not right. 

The tessitrici artigianali are endowed with an esteemed heritage, possess incredible artistic and design skill, and apply time-honored STEM (Science, Technical, Engineering, and Math) and problem-solving skills in all aspects of their work. The women weavers lovingly and skillfully create textiles of modern and ancient design — art of their own, and art of tradition. The ancient and modern handwoven textiles of Sardinia are museum-quality works of art, created by artists who are invisible to the world primarily because they are women, and also because they are from a small island discounted by the commercial world except as a source of cheap labor or goods. To purloin the art and skills of the tessitrici artigianali for off-shore profit is adharmic — not right.

I firmly believe that to change the world, we must change how we are in the world — and this includes changing how we do business. Respect for one another, for the earth, and for ourselves must be foremost, and we must keep this respect in mind when we act, including in business. This concept is not new; it’s actually rooted in ancient traditions of all lands, including India, the Americas, and Sardinia. In reality, the slowly-growing interest in ethical business is a resurgence, not a new concept. As part of this resurgence, the peoples, arts, culture, heritage, wisdom, tangible riches, and intangible wealth of all lands — including Sardinia — must be recognized and honored. 

The fact that many in the United States do not know about Sardinia and its grand history is no excuse for refusing to learn about, acknowledge, or respect the island’s vast heritage. Sardinia was a key player economically, culturally, scientifically, and politically in Early and Modern European, Byzantine, Roman, Punic, Phoenician, and other time periods. As recently as 1860, The Kingdom of Sardinia extended over a large portion of Continental Europe. Prehistoric Sardinia was as magnificent as Egypt, Mesopotamia, Colombia, and other areas that were once centers of civilizations that are now lost. The architecture, arts, crafts, music, science, and other aspects of Sardinia’s cultural and heritage have been — and still are — overlooked, discounted, and even intentionally destroyed by classic historians and academics. 

The Sardinians are keepers of great gifts. This is especially true of the tessitrici artigianali, who bear the wisdom, traditions, and skills of their art as well as a compassionate manner of curating their work and world. The consideration, attention, and love the women weavers bring to their art and lives is lacking in the world of technology and business. This lack is largely responsible for the sense of “something’s missing” that many people feel. Consider a meal prepared with home-grown ingredients and cooked for beloved family and friends; a shirt made by hand with attention to detail and loving throughs for the person who will wear it; or a handwoven rug carefully, thoughtfully, lovingly made by an artist: The essence of what these give us is unquantifiable and inimitable, even by the best technology. These items are made with care and love, the invisible building blocks of a diverse yet complete humanity.

Our planet and our humanity are being threatened to the point of destruction by greed, hatred, and indifference. Bringing respect, care, and loving attention into our actions and the items we use will help restore our humanity to each one of us. As individuals who live and act with care, attention, and compassion, each of us can help restore humanity to the world.

While it may seem a small thing to respect the traditions, art, and rights of a small group of strong women handweavers in Sardinia — the tessitrici artigianali — we must remember what ancient cultures have long known, and modern science is rediscovering: no one and no thing is small, or independent. We’re all interconnected and interdependent parts of a greater whole, like the individual fibers of a handwoven rug.

~ KM Koza

*I believe interior designers and power loom shops are a perfect match, but the articles made in power loom shops are not truly handmade — they are hand decorated, and calling them handmade only confuses buyers and in the end hurts all weavers and textile producers.

Protecting the Handmade Safeguards the Economy — and More

In my presentations, I always talk about what the term handmade means, discuss the difference between handmade, hand-decorated, and mill-made textiles, and emphasize the importance of establishing and maintaining a classification system to protect the different types of Sardinian textiles.

Currently, there are no formal classifications or protections. This leads to confusion for buyers and encourages unscrupulous foreign businesses to appropriate and copy — steal — Sardinian textile designs and business. Even now, poorly-made textiles are being produced in China and brought into Sardinia, where the cheap imitations are labeled as “Authentic Sardinian” weavings and sold in tourist shops and roadside stands. I find this sad and infuriating.  

Handwoven textiles are a key element of Sardinia’s heritage, and valuing and protecting the handweavers and their art is critical to maintaining the integrity of Sardinian textiles, overall Sardinian heritage, and the island’s economy. The European Union has a classification system to protect traditional foods and wines considered important to Italy’s cultural heritage — green plastic jars of “parmesan cheese” are not the same as rounds of true Parmigiano Reggiano DOP cheese, and the green jar name and labels cannot suggest they are.

A similar textile classification system would help buyers understand what kind of weaving they are purchasing, ensure fair pricing for the different classifications of weavings, and protect Sardinian handweavers, textile producers, and mill owners from having their designs stolen and copied by offshore makers. 

While there’s much to discuss about protecting Sardinian textiles, cultural appropriation, and related issues, I’ll be brief here. In fact, what you’ll read below are excerpts addressing these themes from the Sardinian Arts Statement. You can read the full statement here (anche in Italiano).

In recent years, we have heard too many stories of traditional cultures and their arts that have been appropriated by vendors who are greedy and lack scruples. Stolen designs are used to generate profit for large international conglomerates instead of the communities from which the designs come and items are traditionally produced. 

For the purpose of elevating the esteem and value for their art, Sardinian weavers should be recognized as artists, and their traditional designs should be respected as art of Sardinian origin. Items which incorporate Sardinian designs should be made only by local producers. The protection of Sardinian artists and designs will be advantageous to all the weavers of the island.

In Sardinia, most sellers don’t currently make a distinction between textiles made by hand, powerloom, or mill. In the tourist shops, on the internet, and even in some textile studios, all of these textiles are sold as “traditional” and “traditional handmade”.

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, and that the public be educated to this regard. In fact, all the classifications have their place and their buyers.

Having discussed and exchanged ideas and opinions with experts over the past years, I think that this system of classification will help buyers understand the classifications of textiles bearing the label “Made in Sardinia”, increase the esteem of all weavers of all the classifications, and protect the weavers in the global economy.

Handmade textiles: Textiles made completely by hand, using looms where all the 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 all the beating is not done by hand/foot. The weavers 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 levels 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. There is no competition. 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.

Truly handwoven Sardinian textiles are a fit for collectors and others who value the highest quality textiles and the work of the women who weave them. Hand-decorated items suit designers who want rapidly-made customized production of their designs or unique items without the cost of a truly handmade item. Mill-made textiles from Sardinia are nicely made, inexpensive, and perfect for everyday use in homes, hotels, and restaurants. 

While what I have written here is specific to Sardinia, I believe that protecting the handmade items and traditional arts of all cultures is necessary to preserve and sustainably build economies, societies, and people across the globe. Yes, technology has its place, but technology and gizmos must be balanced with the handmade in order to preserve and advance our physical and mental health, the health of the nature and societies, and the health of our individual and collective spirits.

~ Kelly Manjula Koza

The photos the cheese and also that of the power loom are from unknown websites; my thanks to the photographers.

The Enchanting Elegance of Pibiones

Fine Pibiones Up Close

This is not meant to be an exhaustive discussion of this topic. I talk more about this during events, both in-person and online. See the News and Events section or sign up for the mailing list to keep updated!

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. 

Touching pibiones is an enchanting experience: Rub your hand over a handwoven textile bearing a pattern created by the pibiones, and your hand feels as if it’s getting a massage. You may even feel you’re playing an instrument that creates a nearly-silent tune, as the pattern and organization of the pibiones are musical in arrangement! Pibiones are practical, as well: They add strength, texture, and design to a textile. 

Weaving a textile with pibiones requires skill, dexterity, and patience. Pibiones are created by winding fibers around a long needle that sits on top of the weft (the foundation threads of a textile). 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. (See pibiones being woven in I Want to Weave the Weft of Time.)

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. 

While considered uniquely Sardinian, the pibiones tradition of weaving is today found primarily in the Samugheo, in the center of the island. Aggius and Nule, other Sardinian towns renowned for their handwoven textiles, have different weaving traditions.

To learn more, see other pages on this site, including The Art of Handweaving, watch the documentary I Want to Weave the Weft of Time, and/or attend one of my presentations about Sardinian handweaving. The News and Events area lists upcoming presentations and film screenings. 

Online Presentation: Sardinian Handwoven Textiles: Exploring a Nearly-Lost Art, September 2021

This presentation will be September 15, 2021 at 6pm San Francisco time. The event is free, but you must register to attend.

Join me online for this free event to explore the indescribable beauty of Sardinian handwoven textiles, see the loving and painstaking artistry of their creation, meet the tessitrici artigianali — the unique women weavers who maintain the tradition of a nearly-lost art — and glimpse just a bit of Sardinia’s majesty.

I’ll discuss the importance of the handmade, the relevance these women, their weavings, and their traditions have in our modern world, and the anima (spirit) of Sardinian handwoven textiles. I’ll share portions of my film as well as photos, stories of the weavers and my adventures on the island, and show some of my personal textile collection.

There’s no charge for the event, but you must register ahead of time. Click here to go to Eventbrite and register. You’ll receive confirmation and reminder emails with the Zoom link to the event.

I look forward to seeing you!

~ Kelly Manjula Koza

Filmmaker’s Screening: I Want to Weave the Weft of Time, August 2021

Join me for a free online screening of my documentary I Want to Weave the Weft of Time August 18, 2021 (Wednesday) from 6 to 7.30pm (18.00 to 19.30) San Francisco time.

I’ll add filmmaker’s commentary to provide a glimpse of how the film came about, the synchronicity of its making, working with the weavers, the soundtrack’s creation, and more. I’ll also share stories and additional video clips, including outtakes and works in progress, and answer questions.

There’s no charge for the event, but you must register ahead of time. Click here to go to Eventbrite and register. You’ll receive confirmation and reminder emails with the Zoom link to the event.

I look forward to seeing you!

~ Kelly Manjula Koza

Seven Reasons Sardinia is a Healthy Place to Go for a Post-Lockdown Vacation

Why is Sardinia a great place to vacation after you emerge from lockdown?

Beyond the usual reasons people flock to Sardinia for vacations — the natural beauty of the island, with its indescribable mountains, sea, and beaches; the incredible food, hospitality, and people; the unique traditions, arts, and culture; the warm, strong, intrepid people; and so much more about which I write elsewhere — there are seven health-related reasons is this relatively unknown island in the Mediterranean a perfect place to go for a post-lockdown vacation.

I’ll try to keep my descriptions brief!

Sardinia’s Legacy of Health and Longevity

Sardinia has one of the highest percentages of centurions in the world. Many Sardinians live happily, healthfully, and actively into their 100s. This is due to many factors, from an isolated genetic pool to the next factors mentioned — all of which contribute to the health of Sardinians — and their visitors!

Sardinia’s Food

The food in Sardinia is locally grown and prepared in traditional ways. While you may recognize the names of some of the dishes and their ingredients, the freshness, purity (forget the terms genetically-modified and factory-farmed), and care put into food means that what you eat — cheese from Sardinian sheep and goats; island-raised meat, wheat, pasta, seafood, vegetables, wine, and more — taste nothing like what you expect, or may have ever tasted. 

My consistent experience of Sardinian food is that it’s delicious, and it makes my body (and tastebuds) happy — even when I eat things I would not/do not eat in the States. 

The quality of the food and the love put into its raising, cultivation, and preparation is undoubtedly one of the key factors to the longevity and health of Sardinians — and you’ll be eating this same food while you’re on the island. 

Sardinia’s Nature

Sardinian air is pure and carries the scent of whatever is in bloom at the season — the intoxicating scent of mirtillo is most associated with the island. If you are close enough to the sea, you’ll smell the Mediterranean; in the central part of the island; the air carries the clarity of the mountains, the high plains, or the valleys. 

The mountains across the island range from hills similar to those in coastal California to peaks like those found in Colorado, all packed into an area the size of Vermont. The sun is Mediterranean, beautiful and bold, often shining, yet not exhausting and brutal — even fair-skinned, blue-eyed people such as myself tan rather than burn when in Sardinia.

The Sardinian sea is beautiful beyond compare, and the beaches are pristine. Dozens if not hundreds of Sardinian beaches meet rigid quality, sustainability, and cleanliness standards required of the Bandiera Blu designation.

There’s more to Sardinia’s nature and outdoors than mountains, sun, sea, and beaches — but I promised to keep this article brief! The natural beauty and purity of the island most certainly contribute to the health of Sardinians — and those of us who visit. 

The Sardinian Way of Life

Sardinians love their island, one another, food, life, and living. They don’t hurry the minutes, hours, tasks, or pleasures of life. This is evident in everything they make and do, from their arts and festivals to their food and hospitality — and in their health and happiness. An unhurried life in which meals are prepared with love, eaten with family and friends, and the work one pursues is done with careful attention certainly contributes to the health and longevity of Sardinians — and influences our own for the better when we visit the island.

The Sardinian Mentality

The Sardinian mentality both manifests in and contributes to the Sardinian lifestyle. On one hand strong, stoic, and private, Sardinians are also warm, welcoming, and humorous. Patient, steadfast, and determined — sometimes called testardi, hard-headed — the Sardinians have maintained their ancient cultures, traditions, and ecosystems through centuries while still allowing select modern advantages to enhance their lives. Strength and persistence permeate Sardinia and are tangible in the nature, land, and lives of Sardinians — and rub off on those of us who visit.

Sardinia’s Isolation

As an island, Sardinia has been protected by the natural borders of the sea throughout history. While the island has been invaded at times by warring nations, the invaders have never persisted, and Sardinia has never really considered itself “conquered”. Even now, Sardinia is an independent region of Italy, much like Puerto Rico is to the United States. 

This isolation has protected the cultures of Sardinia — rather ironically, a mix of cultures associated with peoples who invaded or were invaded by Sardinia — as well as the gene pool within the island from outside influences that could weaken the social or physical health of the island and her people. 

During the pandemic, the island was relatively easy to isolate. Lockdown rules were very strictly enforced, both for residents and for those attempting to visit the island before and during the lockdown. The Polizia turned away planes and ferries full of visitors attempting to relocate to their second houses at the start of the lockdown and ticketed any locals violating isolation rules. The lockdown was so successful that Sardinia had relatively few cases of the virus. This has been good news to the Sardinians, as they wanted to ensure island would be be virus-free and support a 2020 tourist season — not just for the health of the Sardinian economy, but for the well-being of the visitors seeking relief from months of isolation.

Sardinia’s Sanitization Practices and Regulations

Even before the government issued regulations stating the regulations for restaurants, stores, beaches, hotels, and agriturismi (working farms that offer guest accommodations and restaurants serving their own home-made regional specialities), the proprietors were working to ensure facilities were cleaned and sanitized; staff would be trained in increased hygienic measures, and methods to maintain social distancing would be instituted. 

In addition, Sardinian government officials anticipate a tourist entry plan that will require visitors to obtain a “health passport”, a document that certifies each person entering Sardinia tests negative for the Cornavirus. The testing and health passport/certificate will eliminate any requirement for quarantine for incoming visitors.

The tourist’s cost for taking the test will reimbursed by giving them coupons for free or reduced-cost services, such as hotel stays, entry to museums, tourist attractions, and so forth.

These measures are an extension of the care and graciousness Sardinian hosts extend for their guests’ comfort, enjoyment, safety, and health.

Summary

All in all, if you want to take a healthful vacation to restore yourself in body, mind, and spirit, my recommendation is that you visit Sardinia. I’ve spent much time on the island, and could write much more than I have above — but you need to feel it for yourself. 

Here’s What YOU Can Do When You Visit

When you go to Sardinia, follow these guidelines for your own health, the health of others, and to be a conscientious traveler!

  • Before you go, maintain your health! Don’t even start your trip when ill, if you recently recovered from being ill, or you think you might be on the verge of becoming ill.
  • When traveling to Sardinia, maintain high preventative and cautionary health measures. Follow all airline, hotel, and other travel partner regulations. Wear masks, wash hands, don’t touch unnecessary objects, sanitize, dispose of trash responsibly, and so forth. 
  • When in Sardinia, follow all airport, hotel, restaurant, cafe, beach, travel, and local regulations. Be gracious when you’re stopped for spot-checks or asked to adhere to local regulations, health or otherwise. If you feel like you’re becoming ill, talk with your hosts, who can direct you to the local health providers and help you undertake any necessary testing and self-isolation. And remember that everyone, hosts and visitors alike, are working together to maintain health for everyone!
  • In general, travel with openness, patience, and a sense of adventure. Remember that as a visitor, you probably won’t know local customs, so listen, watch, and educate yourself a bit about Sardinia before you go and while you are there so you can experience and enjoy more of the island. 

I believe an open, positive mind supports a traveler, and most certainly supports our immune system and mental and physical health. Bring these qualities with you to Sardinia, and experience what the island offers in terms of health — and more!

© 2013 – 2021 Kelly Manjula Koza | All Rights Reserved

Speaking and Teaching Engagements

Would your weaving guild, craft studio, art class, or group like to learn more about beautiful Sardinian textiles, the amazing women who weave them, and Sardinia itself?

Would you like to have a private screening and question/answer session with the maker of the documentary I Want to Weave the Weft of Time? See additional and/or unpublished video footage and photos of the weavers in the film, and other weavers at work? See and feel the textiles in person (in-person events only)?

I would love to arrange an online presentation for your group at the time of your convenience, or an in-person event in 2022. I’m well-versed in presenting to audiences large and small, both online and in person, and can discuss the weavers, their art, and Sardinia in a way that considers and captivates your group.

Contact me to discuss options and timing.

Online presentations are free for elementary, high school, and home schooling groups during the pandemic.

For online presentations to other groups, I generally request an honorarium based on the type and size of your group. For in-person presentations, I request that your group cover travel expenses.

Thanks to Flavia Loreto for her photo!

© 2013 – 2021 Kelly Manjula Koza | All Rights Reserved

Trunk Shows and Exhibitions

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.

© 2013 – 2021 Kelly Manjula Koza | All Rights Reserved