Overview:
This text, “Aboriginal American Weaving” by Mary Lois Kissell, delves into the diverse weaving traditions of indigenous peoples in North America, particularly focusing on Western British Columbia and the Southwestern United States. Kissell highlights the ingenuity of these weavers, who crafted stunning textiles using simple tools and materials found in their environment. She explores various weaving techniques, including mat weaving with cedar bark, twining with goat’s hair, and the intricate process of creating Chilkat blankets. The text also examines the social and cultural significance of these textiles, emphasizing their role in ceremonies and daily life.
Beyond the technical aspects of weaving, the article sheds light on the rich cultural heritage of these communities, emphasizing the connection between weaving and their environment. From the use of cedar bark in Western British Columbia to the vibrant designs of Southwestern blankets, the text underscores the deep cultural meaning embedded in these traditional textile practices.
Key Findings:
- Indigenous Americans crafted intricate textiles with limited tools and materials.
- Weaving techniques varied across regions, reflecting local resources and cultural traditions.
- Textiles played a significant role in ceremonies, daily life, and social status.
- Indigenous American weaving practices demonstrate a deep connection to nature and its resources.
- The historical context of weaving reflects the evolution of design and techniques, showcasing cultural adaptation and innovation.
Learning:
- Cedar bark weaving: This technique involves using strips of cedar bark woven horizontally and vertically, creating durable mats and other items. The cedar bark is easily accessible in the region, highlighting the connection between weaving and local resources.
- Twining: A technique where two-strand weft elements are twined around warp threads, creating a variety of textures and designs. This method is exemplified in the goat’s hair blankets of Western British Columbia.
- Chilkat blanket weaving: This intricate form of weaving, using cedar bark and mountain goat wool, produces ceremonial blankets with stunning geometric patterns. The process involves a detailed pattern board, demonstrating the importance of artistry and symbolic representation.
- Navajo loom weaving: The Navajo loom, with its vertical frame, sheds, healds, and shuttle, represents a more advanced stage of weaving in the Southwest. This technique employs pliable threads and a shuttle to create vibrant blankets, often using natural dyes.
- Hopi weaving: The Hopi, known for their intricate designs, utilize a four-shed weaving technique to create vibrant patterns. This method highlights the complexity and artistry of Southwestern weaving.
Historical Context:
The text was written in 1910, during a time of rapid industrialization and modernization. Kissell contrasts the modern textile industry with the traditional weaving practices of Indigenous peoples, emphasizing the ingenuity and artistry of these ancient traditions. She points out the challenges in preserving these textile traditions due to the perishable nature of the materials and the lack of ideal preservation conditions.
Facts:
- Cedar bark: A common material for weaving in Western British Columbia, due to the abundance of cedar trees in the region.
- Twining: A weaving technique where two strands of weft are wrapped around two warp threads, creating a distinct texture and design.
- Chilkat blanket: A ceremonial garment of the Tlingit people of Southeast Alaska, woven with cedar bark and mountain goat wool.
- Totemic significance: The designs on Chilkat blankets often represent totemic figures, reflecting the cultural beliefs and stories of the Tlingit people.
- Mountain goat: The source of the soft wool used in Chilkat blankets.
- Dog hair and goat’s wool: Materials used for blankets woven in Western British Columbia.
- Navajo loom: A type of loom used by the Navajo people of the Southwest for weaving blankets and other textiles.
- Vertical loom: Navajo looms are typically vertical, allowing for large-scale weaving projects.
- Sheds, healds, batten: Components of the Navajo loom used to control the warp threads and create a shed for the shuttle to pass through.
- Shuttle: A tool used to carry weft thread across the warp threads in weaving.
- Hopi weaving: Known for its intricate patterns and use of fine lines and tracery.
- Four-shed weaving: A technique used by the Hopi and other Southwestern weavers to create complex patterns.
- Serapes: Woven garments traditionally worn by Mexican men, often featuring vibrant colors and intricate designs.
- Huichol Indians: A indigenous group in Mexico known for their traditional weaving and beadwork.
- Belt loom: A simple loom used for weaving narrow fabrics like belts.
- Damask weaving: A technique that uses a combination of raised and depressed warp threads to create intricate patterns.
- Indigo: A natural dye used to create blue colors in textiles, often found in Southwestern and Mexican weaving.
- Mountain goat wool: The preferred material for Chilkat blankets due to its softness and warmth.
- Caribou sinew: A strong material used for stitching together the various parts of Chilkat blankets.
- Whale sinew: Also used for stitching in Chilkat blankets, reflecting the coastal environment and the importance of marine resources.
Statistics:
- 10-50 or more: The number of mountain goats that can be found in a group.
- Two-ply thread: The number of strands used for spinning the warp threads in Chilkat blankets.
- Two-strand weft: The number of strands used in the weft of Chilkat blankets, resulting in a twilled texture.
- Four sheds: The number of sheds in the Hopi loom, creating the possibility for a variety of complex patterns.
- Two to three times: The number of times the weft thread is passed underneath the raised warp threads in a damask weaving technique.
Terms:
- Warp: The longitudinal threads in a woven fabric.
- Weft: The transverse threads in a woven fabric.
- Twining: A weaving technique where weft threads are wrapped around warp threads.
- Totemic: Relating to a totem, an animal or plant that serves as a symbol or emblem for a clan or family.
- Ceremonial: Relating to a ceremony or ritual.
- Shed: The opening created in the warp threads by raising or lowering them during weaving.
- Healds: The frames used in a loom to raise or lower groups of warp threads, creating a shed.
- Batten: A tool used in a loom to beat the weft thread into place against the warp threads.
- Shuttle: A tool used to carry the weft thread across the warp threads in weaving.
- Damask: A type of weaving that uses raised and depressed warp threads to create patterns.
Examples:
- Cedar bark mat weaving: Kissell describes the process of weaving cedar bark mats, where strips of bark are split into strands and woven horizontally and vertically. This example showcases the simplicity and functionality of this technique.
- Chilkat blanket weaving: The text explains the detailed process of creating Chilkat blankets, including the use of a pattern board, the preparation of the cedar bark and mountain goat wool, and the intricate twining technique. This example highlights the artistry and cultural significance of this unique weaving tradition.
- Navajo loom weaving: Kissell describes the Navajo loom, detailing the components such as the sheds, healds, batten, and shuttle. The description of the Navajo weaving process provides an insight into the techniques used for creating large-scale blankets.
- Hopi weaving: The text showcases the delicate designs of Hopi blankets, characterized by fine white lines on a dark background. This example demonstrates the complexity of Hopi weaving patterns.
- Serapes: The text presents a beautiful serape from Mexico as an example of the vibrant colors and intricate designs found in Southwestern and Mexican weaving traditions.
- Huichol belt loom: Kissell describes the Huichol belt loom, a simple horizontal or oblique loom that allows for weaving narrow fabrics. This example shows the flexibility of weaving techniques adapted to different needs.
- Damask weaving: The text explains how damask weaving is achieved by raising certain warp threads while the weft passes underneath, creating raised and depressed areas in the fabric. This example demonstrates a sophisticated technique for creating intricate patterns.
Conclusion:
“Aboriginal American Weaving” provides a fascinating glimpse into the rich and diverse weaving traditions of Indigenous peoples in North America. The text reveals the ingenuity of these weavers, who crafted stunning textiles using simple tools and materials found in their environment. From the practical cedar bark mats of Western British Columbia to the intricate ceremonial blankets of the Tlingit people and the vibrant designs of Southwest weavers, these textiles represent a unique blend of artistry, cultural identity, and connection to the natural world. Kissell’s text underscores the importance of preserving these traditions and understanding the intricate relationship between weaving, culture, and the environment.