Tag Archives | craftivism.

A look at the Social Justice Sewing Academy!

At the start of this year, I was asked to write about the Social Justice Sewing Academy for the Craft Industry Alliance. You can check out the article here if you’re a member, as it shares more background and different photos. (And if you’re not a member, you should join!) 

Abby Glassenberg kindly said I could share some of the quotes and photos I got from the founder, Sara, so here goes! 

“The summer I got the grant, it was $25,000. UC Berkeley paid for it. So it’s a year-long public service project, where as long as you submit reports and you show that you spent the money appropriately they’ll give you $25,000 for a project. What kind of spurred it, was I was a mentor at Berkeley High School and working with the kids, you could kind of see how they would give me complaints, like at UC Berkeley they have Ethnic Studies, they have African-American Studies, they have Chicano, Latino, LGBT Studies, like UC Berkeley really gives you a holistic, a critical lens on how you view the world, on other people’s history, on the diaspora work, it just really gives you a holistic lens of American history.

And some of the kids were like, you know, in our history class we learn from African-American history starting at slavery, and I was like, you know, well before that there were kings and queens, I just like a lot of the like Paolo Friere, just I think Frierian methodology and more critical pedagogy like how to become a critical thinker and not just take whatever the teacher gives you as fact.”

At this point, Sara was tutoring kids and decided to bring in readings for them. She brought in readings about their own cultures and identities, so they could see themselves in the literature. 

She had them write research papers on the material and came up with the idea of having an art show where they could show related work and therefore involve the community. 

“I know initially when the boys were in my class and they were told, ‘Hey, you’re in Sara’s class,” and I said, “Hey, so it’s called Sewing Justice Sewing Academy and this is what we’re going to do.” “I don’t want to be in a sewing class, man.” I mean I had so much pushback, but it turns out the boys, they would come spend their lunches in the class just to work on their project, so I think initially after they got over the stigma, and I kind of framed it, “Like you guys don’t consider yourself seamstresses, consider yourself textile artists,” telling a boy that means all the difference.

Just the wording alone, but “And so you guys are going to be sewing, but consider yourself a textile artist, it’s not like I’m asking you guys to make a patchwork quilt. You guys are going to design and create your own social justice art quilt.” I think what matters, [is that you] use this art as a platform to share your voice, share your opinion, once they got their fabrics, everyone was super excited, there was a couple moments where I feel like kids were getting overwhelmed, ’cause I realized, some people made really detailed, detailed, patterns, and I’m telling them, you know every pattern you draw like that’s going to be something you’re going to have to cut out and pin… But ultimately everyone was so proud of their quilts – and the progress, other teachers would come and other students who weren’t in the Social Justice Sewing Academy they would come and say “Man, I wish I was in this class.” 

Want to see more of SJSA’s work? Check out their gallery of photos and find them on Facebook and Instagram

 

Podcast interview for Vickie Howell’s CRAFT*ish!

Recently I was lucky enough to be on Vickie Howell’s CRAFT*ish podcast, where we talked about craftivism, the influence of Riot Grrrl, crafting through depression and more.

I also talk about You Are So Very Beautiful, how it became a very special project in my life, and how stitching affirmations helped me work through some icky feelings, practice a little guerrilla kindness and help others in the process.

Having been inspired by Vickie’s work for years, it was great to talk to her about what I’ve been up to!

 

Interview with Kate Young @sewkate!

The minute I saw Kate Young’s “Resist” sweater on Instagram, I knew I wanted to know more about it! Thankfully she agreed to answer some questions about it, the answers to which you can find below.

To see more of Kate’s work, follow her on Instagram, @sewkate!

 

1. What does craftivism mean to you?

I see craftivism as an opportunity to express myself politically in public, and to identify myself as a maker.

2. Why did you decide to make a political sweater and not say a scarf or something smaller?

I knit 27 pussyhats leading up to the Women’s March on Washington. The simple pattern in chunky yarn was quick to knit and gave me a feeling of helping while I was watching the news and making calls to my congressmen. Shortly before the March I started hearing that pink pussyhats were offensive to some people; that the color pink didn’t represent all women, and that many women of color and trans women felt excluded by the hat as a symbol of feminist resistance. I took that criticism seriously. I believe that as creators, we don’t have control of how others perceive our art. Pussyhats made with good intentions were perceived as exclusive, so I wanted my next project to carry a message that was more personal to me and hopefully also resonated with a broader audience. I considered knitting a hat from fingering weight yarn I had on hand, but the fine gauge made for very slow going. I went to my local craft store and chose Wool-Ease for a sweater, because there were large quantities in stock and I liked the color selection.

I was influenced by @sweaterspotter (Anna Maltz) who has been teaching a #wingittopdown yoked sweater class – I liked the idea of choosing color and pattern as I knit. I was also influenced by @knitsonik (Felicity Ford) who translates favorite scenes and landscapes into knitted color-schemes, and has knit a fabulous sweater with a personal message. Like this Missy Elliott sweater.

3. Why one word repeated? And why that word?

The word “resist” had begun a drumbeat in my head. The election introduced a lot of uncertainty into all of our lives. My husband lost his job unexpectedly the day after Thanksgiving, which compounded the uncertainty. We live in Pennsylvania, a swing state that narrowly elected Trump, and I participated in a county recount of Presidential ballots to check whether the paper ballots matched the electronic tally (it did – Hillary won my county fair and square). Our local election for the State House of Representatives also had to be recounted, and the winner had only 25 votes over the opposing candidate.
Seeking a plan for action, I started attending local political meetings. “Resist” was the new battle cry of many fledgling grass-roots organizations. It also has a personal meaning for me in my creativity. I am mostly self-taught, I like to follow patterns, and when I encounter a construction challenge I sometimes get paralyzed by uncertainty. Knitting the word “resist” gave me a sense of purpose in the new political era, and it freed me from perfectionism. I improvised the designs and color changes as I knit, and resisted second guessing myself. The result is a sweater that fits and that I am very proud of. I don’t even notice any mistakes although I remember that I had to knit past some.

 

4. What has the response been?

I have worn the sweater more days than not since I finished it in mid-February. It won’t be long before the weather turns and I’ll have to put it away. Most of the public places I’ve worn it have been political rallies and meetings. It often takes a little time before someone notices the words, and the response has been very positive. I’ve had several offers from folks wanting to buy a resist sweater, but I’m more interested in working for local change. I am organizing a county chapter of the non-partisan group, Fair Districts PA, to end political gerrymandering in my state.

 

5. What is your next craft project? Is it a politically-based one?

If I lived in a place that was cold for most of the year, I might knit a series of sweaters with different words. But since it’s warming up, I am knitting a baby sweater for a friend instead. It’s a cotton sweater with no messages, but it’s small and gives me a sense of accomplishment in an uncertain world.

Interview with Marcia Galvin @craftivistshetland!

This interview is with Marcia Galvin, who is on Instagram as @craftivistshetland! I love the signs she’s been making and her perspective, I’m sure you will as well!

 

1. What does craftivism mean to you?

Craft + Activism = craftivism, I am using craftivism as a gentle tool for protest, for expression and interaction with the environment.

 

2. How did it get you thinking about making craftivist signs? Why did you decide to do it?

I was lucky enough to meet Sarah Corbett (of the Craftivist Collective) a few years ago when she came to my college as a guest lecturer (I’m a BA (Hons) Contemporary Textile student) and I instantly felt a passion and connection to craftivism, but as usual life got in the way, but it’s always been in the back of my mind, then Trump happened, and I felt so helpless, but just days before the Women’s March in Washington, somebody arranged a sister march in Lerwick, Shetland, and I went along to show solidarity.

The local press did an article about it and it was published online on their Facebook page and I just couldn’t believe the backlash we got from the local community. The majority of the comments mocked us, said we were wasting our time, we were fools, we should do something more important etc, and there were hundreds of comments. I was genuinely shocked that an act of solidarity received such a negative reaction and I admit that I, along with other marchers felt like being quiet for a while.

At the same time as this was happening, I had started to research into the links between making/craft (sewing, knitting, crochet) etc and health and wellbeing, as I have been using hand knitting for personal therapy for a number of years. I turn to sewing, knitting, crochet as a way of reflection/time out/self-soothe and to calm my mind, and somehow things collided! I was thinking about all the wonderful protest signs I had seen on the news, and I was sitting at night stitching and processing my thoughts.

I’d mentioned craftivism to somebody and decided to ‘stitch a message’ so I could visually show them what I meant, and before I knew it I had stitched about 3 messages! It felt right, I was still feeling wounded by the hurtful online comments and this for me, was a way of speaking but remaining anonymous.

 

3. How did making the signs make you feel? Why and how did you pick the quotes?

I love making the signs, I have a huge box of scraps and finally they had a purpose, and felt I had a voice again, and I felt strong, when stitching words I am saying them in my mind, and thinking about their meaning. I decided not to put political messages, I didn’t want to offend people, I wanted to engage them, and I wanted the messages to be simple so that everyone, including children could understand the meanings.

After I’ve made a sign, I get my daughters (aged 14 and 16) to give me feedback, I ask them what their interpretation of the quote/message is, this has been really helpful. The quotes come from everywhere, the internet, the radio, books, and I have lots of quotes from music that I hope to use too, I’m a big fan of Bob Dylan!

 

4. How did you decide where to put them? What was it like placing the first one?

This is probably the toughest challenge I’ve had, the first few times I put them in places where people tend to walk their dogs or on scenic paths, but it’s something I am still constantly thinking about, I placed one sign close the library as I thought about the connection to words, reading and enjoyment. Placing the first one was so exciting, it was such a glorious sunny day, and I took my daughter with me to act as my ‘lookout’, it was lovely to share that moment with someone else.

 

5. What has the reaction been? Internally and/or externally!

I decided to keep quiet about this, but I did set up and Instagram account @craftivistshetland so I could share photos. After a few weeks I started noticing photos on Social Media, Shetland is a small island community, I’ve seen my own friends on Facebook share photos of my signs and ask who is behind this? And how many more are out there? The comments have all been extremely positive and this has been so encouraging, I know I can’t stay anonymous forever (that’s island life!) but it has allowed me to build up a bit of confidence. My hope for the future is that it becomes more a community collaboration, I would love to get together with other likeminded people to craft together, and chat about what is important to us as individuals and as islanders in our community. I love that this is a work in progress and happy to go with what feels right.

The Art on Their Walls Told a Different Story (from Kirsten Moore)

I met the lovely Kirsten Moore in late 2014 when I was in Portland on a book tour with Leanne Prain and Kim Werker. She posted a link to this post, which was originally on her blog, and after I read it, it stuck with me. Therefore, I asked Kirsten if I could share this here as an example of craftivism and she agreed.

Thanks, Kirsten!

“Scene from Camp” traditional Japanese embroidery by Hatsune Kawashima made during WWII

In light of everything that is happening here in the United States, I felt compelled to track down the artwork of my Bachan (my maternal great-grandmother) Hatsune Kawashima. She made some pieces while imprisoned by the United States government at the Heart Mountain Relocation Center during WWII. The piece I had in mind, isn’t the one pictured above, but a simple embroidery of a barbed wire fence on a stark white background. I spent many hours of my childhood looking at it; first at her house, then at my great-aunt’s house, and I have thought about it a lot over the years. It seems even more pertinent right now that I find it. This is the person who, with my mom taught me how to sew when I was 3 (their photo is on my about page). She died at age 100 about 14 years ago. I cannot understate the influence she had on me; even though we didn’t speak the same language.

From my mother: “Some memories of our conversations…there was never anger in her voice, but acceptance, humility. Those who actually served, like Grandpa, served as a patriotic obedience, they were proud.”

You can go read about the “internment” of the Japanese. Go read George Takei or Yoshiko Uchida or the veritable plethora of first person accounts. I wasn’t there. This happened to my grandparents generation. They rarely talked about it, but the art hanging on their walls told another story. I am haunted by this bit of American history. I’m reminded when people ask me where I’m from, and I say “here.” And then they say, “before that.” Or simply told to “go home.” I am home. Home in a country that constantly reminds me that I am an other. I am not. I am an American. Both of my parents and all my grandparents were born here. I can trace my ancestry on my dad’s side to our founding fathers.

So when I see the internment of the Japanese to be used as “precedent” to marginalize another group of people, I want you to remember this: Race is a cultural construct. There is no biological basis for the separation of people by colour or nationality. And yet here it creeps in again. This isn’t a disagreement about policy or politics. My personhood is threatened, along with anyone who simply doesn’t agree. This leaves no room for discourse. Dehumanizing others always leads to violence; it is happening here. Right in front of you. Fascism. This is not who we are. This is no time to “wait and see” or “give him a chance.” Please call your congresspeople, make your voice be heard, volunteer in your community, donate to organizations who protect our rights, be nice to your neighbours and fight to keep the rights that the law and the constitution guarantees us. All of us.

UPDATE: found!

 

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