Week #4 of 48 Weeks of Historical Craftivism, Arpilleras

A few days late on this one, thanks to traveling, but here is week #4, about the arpilleras of Chile and the arpilleristas who made them.

dondeestan

During the reign of Augosto Pinochet (a dictator in power from 1973 to 1990) in Chile, men were disappearing and the government wouldn’t tell the people who were asking why. Women were allowed to go once a week to the local government office and ask, but no one would tell them anything. (According to some reports, during his time in power, over 3,000 people were killed and around 30,000 were tortured.)

Added to all of this was that people couldn’t talk to each other because they didn’t know who was supplying what information to the government. Under the safety of the church, the Archdiocese of Santiago, set up a human rights organization where women could come together and make tapestries about what was happening.

Folk lore has it that Peace Corps volunteers smuggled these tapestries out of the country (often with little pockets in the back containing paper with more information) and that is how the world found out about what Pinochet was doing.

Below is more information taken from various sources around the web. Clicking on the text and on the photos will take you to the initial source. As you will see, these pieces are still being made as people remember “the disappeared” (los desaparecidos).


Arpillera2

It began with a group of mothers, almost 14 mothers. They met in morgues, hospitals, former tribunals of justice, and realized that all the elements that were such an important part of Chilean society were closed. Completely vanished. And they sought help by contacting a newly developed organization that was a branch of the Catholic Church, called the Vicariate of Solidarity. The Chilean Catholic Church took a very courageous position towards the disappearances and abuses at the hands of the Pinochet government, very different than in Argentina or Guatemala. The more I think about this story, the more I believe that it’s a story of belief – belief, magic, and storytelling. The women that suffered the most, as we know throughout the stories that we see in the media, as we know through Katrina, were the disadvantaged. The poor. Poverty is also a punishment for authoritarian governments. These women were trained in the most traditional art of femaleness in Latin America, which was to sew, to embroider.


The colourful patchwork scenes make the arpilleras visually deceiving. Using a traditional form of folk art, they mix coded imagery with contemporary history. They depict the often tragic situations experienced by thousands of Chileans every day. These honest and sometimes brutal accounts provided future generations with a popular version of history, one that contradicted the official version depicting General Pinochet as the savior of Chilean democracy. The circulation of the arpilleras outside Chile brought this alternative history to the larger world.

Just as they went unrecognized as revolutionaries, the arpilleristas were also unrecognized as artists. This, along with the folk art appearance of their work, initially helped them remain under the military authorities’ radar. Exporting arpilleras became illegal once they were seen as anti-Chilean, but they continued to be smuggled out of the country.

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In this arpillera [above], Violeta Morales is outspoken about Chile’s infamous history of torture, which was long unknown in the wider world. As Co-ordinator of the group Sabastián Acevedo, which was primarily concerned with the issue of torture, she was relentless in ensuring that people everywhere were informed of the widespread use of torture in Chile. With other women, she founded the Folkloric Musical Ensemble of Relatives of the detained-disappeared, as: “…we also wished to sing our message of protest.”
Agosin, M., (2008)

Violeta Morales died in 2002, never having found her brother Newton, who disappeared in 1974.

(You can see more photos here, which are linked to more explanation regarding their creation.)


“The arpilleras were often made from clothing of the disappeared and the names of missing loved ones can be found on some pieces. Other sewn words and expressions were simple protests: DÏŒnde estás? Where are you? The censorship that characterized Chile under Pinochet’s dictatorship defeated written words that opposed his regime. The handwork of the arpilleristas testified for the oppressed and detailed the struggle for truth and justice despite the suppression of the military government.

Bold lines and colors relayed powerful messages depicted in folk-like scenes. An arpillera of a woman dancing signifies how women now performed the national dance La Cueca alone with the fate of their husbands unknown. Other images depict military violence, bloodshed and armed figures.

The arpilleras were made during clandestine meetings in dark basements or churches. The sewn testimonials of suffering were sold by the women so that their messages were released into the world and so they could feed their families.”





More reading:
*Roberta Bacic’s amazing online collection of arpilleras
*Prospectjournal.org: A Visual History of the Poor Under Pinochet
*Chilean Women’s Resistance in the Arpillera Movement


Notes from Unravel

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Yesterday I gave a talk at Unravel: A Festival of Knitting in lovely Farnham. I talked about how you can make craftivism your own and help other people with it. During the talk, I noted that I would be placing links to what I was talking about here, so here we go.

In some cases, I’ve linked directly to a person’s work or to a news article, rather than the actual site where I got the photo from.

Unravel!

Weren’t there? Well, you can watch the clip below for a 6-second version or investigate any of the links below! (Disregard -or rock out to- the coffee shop music in the background!)

*tiny 6-second clip!*

Helping the Trawlers
Virpi Vesanen-Laukkanen’s Lace Bus
Kaja Marie Lereng Kvernbakken’s For the Love of…
NeSpoon’s work at the Baltic Sea
Carrie Reichardt’s Treatment Rooms
Craftivist Collective
Chalina de la Esperanza
Madres de la Paya de Mayo
Arpilleras
Twin Cities Red Cross, Hmong quilt
CODEPINK Mother’s Day vigil 2009
AIDS Quilt
Craft Hope
Wool Against Weapons
Children’s Cancer Recovery Project
Knit for Peace
Blood Bag Project
Knitting for Oxfam
Knit-A-Square
Percy the Pigeon
Prostate Cancer UK’s Tea for Victory
Battersea Dogs and Cats Home staffie campaign
Teddies for Tragedies

And… when I was walking about town I came across the Age UK shop and look at the sign it has on the front door!

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You can read more about this Age UK campaign here!


Welcome to 48 Weeks of Historical Craftivism!

So… last year I decided I needed a new project for 2014. This project was to write here every week about 52 historical acts of craftivism! Then 2014 happened and then I had surgery and then all of a sudden it was… February. Hmm…



Undaunted, here goes 48 acts of historical craftivism. And since I’m busy, you’re busy, and we’ll all busy… I’m limiting myself to 2 hours a week researching said act.


Why am I doing this? Because I’ve found myself getting into the rut of hitting refresh all too often on my email, Facebook, Twitter and I need something else to do on the internet. Because this is what I’d like to do my PhD about, but am not sure if anyone would ever give me money for said PhD… So I figured, why not just do it anyway? Because craftivism is not new, just the portmanteau is. Because I want to be inspired again. Because I am healing from a stupid disorder and this is my balm. Because I want to share these stories with someone, anyone. Because, because, because of all these things and more. Because maybe over the course of these 48 weeks, someone else besides me will learn something.


Have an idea? Want to write your own #HistCraftivism post? Let me know, I’d love to have you come along on this journey with me.


So here’s Act #1. Gandhi spinning khadi.

Because Gandhi used craft as a way to help India come under swaraj (self rule) and free itself from British rule. He used the spinning wheel or charkha (in Hindi) to help his fellow Indians make their own clothes without depending on anything else but their own labor. This commitment to traditional cloth making was also part of a larger swadeshi movement, which aimed for the boycott of all British goods.

And since there has been a lot written about this, here are some of the best quotes and information I’ve uncovered for you, so you can learn more.


First off, a 17-second video of Gandhi himself spinning!

Gandhi also made the following observations about the economics of Indian cotton and the systematic exploitation of Indian for her raw materials under British rule.

Step 1: English people buy Indian cotton in the field, picked by Indian labor at seven cents a day, through an optional monopoly.Step 2: This cotton is shipped on British ships, a three-week journey across the Indian Ocean, down the Red Sea, acro


Khadi first caught the imagination of the nation during the freedom movement under Mahatma Gandhi, who propagated it as not just a fabric, but a way of life. One that is centred around the village, where the practice of khadi would be able to generate employment, income and, hence, self-reliance. Khadi was meant to become a supplementary industry to agriculture, a crucial element in a self-sustaining economy.But it was not simply about the making of yarn at home, it was the spirit behind it. Gandhi’s vision was clear: “If we have the khadi spirit in us, we should surround ourselves with simplicity in every walk of life… The khadi spirit means illimitable patience… The khadi spirit means also an equally illimitable faith… The khadi spirit means fellow-feeling with every human being on earth.”Adopting khadi as a lifestyle choice symbolised the move away from British textiles and products — resulting in all those spontaneous bonfires into which people flung their rich silks and laces from England — and the promotion of all things Indian. Spinning yarn on the charkha, Gandhi believed, inculcated discipline and dedication. It was meant to be a great social equaliser — “It sits well on the shoulders of the poor, and it can be made, as it was made in the days of yore, to adorn the bodies of the richest and most artistic men and women” — and was also a tool to bring women into the fold of the freedom movement.


From the December 1931 issue of Popular Science:

Popular Science December 1931


From Gandhi himself:

The spinning wheel represents to me the hope of the masses. The masses lost their freedom, such as it was, with the loss of the Charkha. The Charkha supplemented the agriculture of the villagers and gave it dignity. It was the friend and the solace of the widow. It kept the villagers from idleness. For the Charkha included all the anterior and posterior industries- ginning, carding, warping, sizing, dyeing and weaving. These in their turn kept the village carpenter and the blacksmith busy. The Charkha enabled the seven hundred thousand villages to become self contained. With the exit of Charkha went the other village industries, such as the oil press. Nothing took the place of these industries. Therefore the villagers were drained of their varied occupations and their creative talent and what little wealth these bought them.

The industrialized countries of the West were exploiting other nations. India is herself an exploited country. Hence, if the villagers are to come into their own, the most natural thing that suggests itself is the revival of the Charkha and all it means. (Harijan,13-4-1940)


Mahatma Gandhi saw God in every thread that he drew on the spinning wheel; its music was like a balm to his soul. He also pointed out the therapeutic use of the spinning wheel — it was a nerve relaxant and could help in gaining steadiness of mind, and in controlling passion. “…the yarn we spin is capable of mending the broken warp and woof of our life.”

Mahatma Gandhi’s movement for charkha was aimed at building a new economic and social order based on self-sufficient non-exploitative village communities of the past. It was also a protest against growing industrialism and materialism which were making man a slave of machine and Mammon. To quote him: “The message of the spinning wheel is much wider than its circumference. Its message is one of simplicity, service of mankind, living so as not to hurt others, creating an indissoluble bound between the rich and the poor, capital and labour, the prince and the peasant. That larger message is naturally for all.”


An interesting story about the iconic story about this iconic photo from Life Magazine (more photos at link) by Margaret Bourke-White. I really like that “she had to learn to spin the wheel before she could take his photographs!”

gandhi spinning bourke white


More from Gandhi himself: “Do spin and spin after due deliberation. Let those who spin wear khaddar and let no one who wears (khadi) fail to spin. ‘Due deliberation’ means realization that charkha or act of spinning is the symbol of non-violence. Ponder; it will be self-evident.”


On a more recent note, one of Gandhi’s charkas was sold at auction last year!

A spokesman for Mullock’s auction house in England told the Indian Express, “The charkha was the physical embodiment and symbol of Mahatma Gandhi. He once said: ‘In my dream, in my sleep, while eating, I think of the spinning wheel. The spinning wheel is my sword. To me it is the symbol of India’s liberty.’”


Still interested?! Check out more about India and the History of Cotton over at the brilliant Hand/Eye here and an interesting rundown on Gandhi and non-violence here at A Force More Powerful.

A Little Review for A Little Book of Craftivism

Wondering what to get your loved ones for Christmas? Or to get yourself to spurn on your “I’m going to be a better crafter this year” New Year’s Resolution? Check out Sarah Corbett’s A Little Book of Craftivism (published by the brilliant Cicada Books) here (complete with a sneak-peak slideshow of some of the interior)!

A Little Book of Craftivism cover

The book covers different Craftivist Collective projects and ideas along with their interpretation of craftivism. (As each group/crafter has their own interpretation of craftivism, which I think is brilliant!) Every time I see the word “craftivism” in print, I get a little squeal, and this is no exception.

While I don’t think that there are necessarily Do’s and Don’ts of craftivism, I do think that these projects will help you on your journey to (or with) craftivism, helping you see how your two hands can foment change in your world.

ABOC

Want it quick like? Check with your local independent bookstore in the UK or you can buy it on Etsy (wrapped!) or Amazon (UK) and (US).

Curious as to what others have to say? Read more about the book over on: Amelia’s Magazine, Craft Blog UK, Did You Make That?, The Owl and The Accordion, Tom of Holland, and UK Handmade!