The Book Tour is here!

So the book tour with Kim Werker and Leanne Prain is here! I’m writing this at Révielle Coffee in San Francisco, where I am still nursing a wicked good cup of coffee and just finished an amazing salad that was as big as my head.

levi

I’m staying with an old friend and his partner in the Castro, a neighborhood that I had forgotten how much I loved. The photo is of their dog, who very kindly greeted me and showed off his tricks yesterday when I arrived. AND there’s no humidity, which is kinda like heaven.

I’m super excited to get this tour started, and if you’re in or near San Francisco, Oakland, Portland, Seattle, Vancouver, Toronto, Philadelphia, Boston, New York City or DC, come see us and see hi. Full details here!

On this tour, I’ll be talking about Craftivism: The Art of Craft and Activism, craftivism in general, why applied craft is important, among other things.

When I get back, I’m going to start focusing more on a few PTSD research projects and the Voices of PTSD Quilt, along with getting the Threads of War show I am curating at Artspace (Gallery Two) in Raleigh, which will be up from December 5 – January 31, 2015. I’ll also be giving a talk at Judith Heartsong’s salon on October 30; feel free to email me for details.

Also, if we met at Crafty Bastards and you participated in my Craftivist Swap,* I will be getting your pictures up soon! It was so great to meet you!

Check out the awesome body positive messages that one participant put up on university mirrors! Heck yeah!

bodypositivemessages

*I asked for people to pledge to do craftivist acts (or general acts of kindness) in exchange for free craft supplies!

Move, tour, and the PTSD Quilt.

MOVE: Yes! We moved! Therefore, if you’d like to receive future blog posts, please adjust your feedreaders so that the blog address for here is now: http://craftivism.com/blog. And I’m sorry for any inconvenience this move may have caused for not stating this sooner.

TOUR: We’re taking the book on the road to 10 different cities on the east and west coasts of the US and Canada next month! Want more information? Go check out the details here. I’ll be touring with Kim Werker (whose Make it Mighty Ugly just came out) and Leanne Prain (whose Strange Material will be coming out next month), who both have essays in Craftivism: The Art of Craft and Activism. If you’d like to read a few excerpts of the book, you can check out parts of Sayraphim Lothian’s, Tarlen Handayani’s, and Jamie Chalmers’ essays over on the Swedish craft blog, Kravallslojd.

PTSD Quilt: Have PTSD or know someone who does? I have a new project that I’m working on, making and collecting embroidered blocks for the Voices of PTSD Quilt to spread awareness of what really goes on when you have the disorder.

And what happened to 48 Acts of Historical Craftivism?! It’s on hold. Let’s just say that working full time while also dealing with PTSD and other craft projects for payment, has meant that this project has gone on a semi-permanent hiatus. Do I feel like a failure about it? Of sorts. However, I’ve learned that sometimes self-care needs to come first, so this summer, it has.

Act #14 of 48 Acts of Historical Craftivism, Alexis Casdagli’s F*ck Hitler Cross Stitch!

As life keeps conspiring to get in the way of 48 weeks of historical craftivism, this is now 48 acts. Still chuffed and determined to do this, though, so keep posted!

This week I’m talking about a piece of work that has made the rounds of various blogs, but I think is still important to include in this project, Alexis Casdagli’s F*ck Hitler cross stitch, which he made as a POW in WWII.




After six months held by the Nazis in a prisoner of war camp, Major Alexis Casdagli was handed a piece of canvas by a fellow inmate. Pinching red and blue thread from a disintegrating pullover belonging to an elderly Cretan general, Casdagli passed the long hours in captivity by painstakingly creating a sampler in cross-stitch. Around decorative swastikas and a banal inscription saying he completed his work in December 1941, the British officer stitched a border of irregular dots and dashes. Over the next four years his work was displayed at the four camps in Germany where he was imprisoned, and his Nazi captors never once deciphered the messages threaded in Morse code: “God Save the King” and “Fuck Hitler”.

This subversive needling of the Nazis was a form of defiance that Casdagli, who was not freed from prison until 1945, believed was the duty of every PoW. “It used to give him pleasure when the Germans were doing their rounds,” says his son, Tony, of his father’s rebellious stitching. It also stopped him going mad. “He would say after the war that the Red Cross saved his life but his embroidery saved his sanity,” says Tony. “If you sit down and stitch you can forget about other things, and it’s very calming…

Most of all, though, Casdagli recorded his anger and frustration in cross-stitch. He had picked up sewing skills from elderly relatives and, when Red Cross parcels began arriving (containing hairbrushes with secret compartments that concealed maps, which the prisoners annotated with intelligence and smuggled out), he acquired materials. He also borrowed more threads from his old Cretan general friend – this time from his pyjamas.”




casdagli_fhitlerfull



The amazing thing about Major Casdagli’s work is that it was displayed in four separate camps where he was imprisoned, but his captors never caught on to the secretly stitched messages. He also ran a needlework school for 40 officers inside the camp. His work illustrated his thoughts and feelings, and was undoubtedly a major source of strength in surviving his four years as a POW.




“Having run a textiles company before the war he knew a little about sewing, so when he was given a canvas by another prisoner he started stitching for something to do.”

Alexis was held along with a Greek general, from whose dress jacket Alexis pulled the threads he used to stitch the sampler.

“The Red Cross wouldn’t give care packages to captives until they had been held for over a year ,” said [his son,] grandfather-of-five Tony.

“So my father had to pick threads from items of clothing. Eventually he was able to ask for thread and canvas in his packages.

“He was so good at it the Germans had him giving classes to his fellow officers, but the Germans never worked out his code.”




The BBC did a wonderful interview with his son, Tony, which you can listen to here.






Also, the Washington City Paper was kind enough to do an interview with me the other week! Yay!

Week #11 of 48 Weeks of Historical Craftivism, the Changi Girl Guides Quilt!

During WWII, hundreds of prisoners of war were interned in Changi Prison, civilians who were in Singapore when it fell to the Japanese in February 1942. During their imprisonment, quilts were literally scrapped together at the camp. Several quilts were made by adult women who wanted to show their husbands that they were still alive; that’s the topic for next week. However, I wanted to start with the Changi quilt done by a Girls Guide group that formed within the prison, which is the topic of this week, as the web seems to have less information on this quilt than on the others. While some of the resources are the same, I’ve extracted text specific to each group, as these quilts are so important I think that they deserve separate posts.









Also interned in Singapore were civilians (non-Malays/Chinese) who had not been able to obtain shipping berths in time to escape, or who, in some instances, had made a decision not to leave. The majority were associated with the British colonial administration of Malaya and Singapore or with the colonial (white) administration of plantations and tin mines. Many of them had wives and children, and although most of these had been evacuated by the time Singapore fell, a group of about 400 women and children remained at the time of the surrender.

Together with the civilian men, the women and children were crowded into Changi Prison, a building designed to hold about 600 inmates and now accommodating about 2,400. The women and children occupied one wing of the building until 1944 when they were moved to another Singapore camp at Syme Road. For the purposes of the Japanese administration, children were deemed to be all female children of whatever age and male children up to the age of twelve. Twelve-year-old boys were automatically transferred to the male section of the prison whether or not they had relatives there. Internees were permitted to run schools for the children during the first few years of captivity although the subjects were limited. The teaching of history and geography was not allowed.

Quilt made by Girl Guides who were interned in Changi. 20 girls aged 8-16 years made the quilt as a surprise birthday present for their Guide leader, Elizabeth Ennis. They collected scraps of material and met in secret to sew them together. Each girl embroidered her name on the quilt. The Changi Girl Guide quilt provided inspiration for Ethel Mulvaney, a Canadian Red Cross representative, to come up with the idea of creating quilts for their loved ones interred in other sections of the camp and the three Red Cross Changi quilts were made, which the Japanese allowed to be sent to the military hospital at Changi barracks.




The girls were hungry, threadbare and living in appalling conditions. They had to scavenge for every scrap of material.”




girl guides changi

20 girls aged 8-16 years made the quilt as a surprise birthday present for their Guide leader, Elizabeth Ennis. They collected scraps of material and met in secret to sew them together. Each girl embroidered her name on the quilt. The Changi Girl Guide quilt provided inspiration for Ethel Mulvaney, a Canadian Red Cross representative, to come up with the idea of creating quilts for their loved ones interred in other sections of the camp and the three Red Cross Changi quilts were made, which the Japanese allowed to be sent to the military hospital at Changi barracks.




“When we were first in Changi,” Olga recalls, “it was very boring so Mrs Ennis decided to start a Girl Guides group. We met once a week in a corner of the exercise yard. It became a sort of family. I remember saying our Promise, singing and lying down at night while Mrs Ennis taught us the constellations. We didn’t know which year she was going to get the quilt but we started it anyway. It gave our lives a sort of permanence.”

She describes how they worked in the baking fields, growing crops they harvested but were never allowed to eat. When their dresses rotted in the sun, they would unpick the seams and reuse the thread for the quilt. Under Mrs Ennis’s instruction, they learned patchwork but also sewed their Guide badges and emblems. “Needles and thread were worth more than gold,” says Olga. “Whenever we left our cell, we had to post someone on duty so we weren’t robbed.” As they sewed, they were on constant alert for the sound of approaching Japanese guards. At the clatter of boots, they stuffed the patchwork into their knickers. ….

“The idea of children being interned is a powerful one,” says Pritchard, who spent six years on the exhibition. “What is seditious in sewing? They were trying to normalise their lives.” To Olga, each hexagon is a coin in her memory bank.

The newly-married Mrs Ennis, who inspired the quilt, had been a nurse with the Indian Army when she and her British husband, Capt Jack Ennis, were imprisoned. She was proud that, as she put it: “Out of the grimness and misery of internment something so beautiful could be made by the Guides who had lost all their possessions – but still had courage.” After her death three years ago, the quilt was presented to the Imperial War Museum. “Mum was always a keen Guide”, says her daughter, Jackie Sutherland. “She gave the girls a focus. The quilt became part of our family lore. To see how much stock others put in it is very emotional.”