Week #5 of 48 Weeks of Historical Craftivism, (American) Civil War Knitting!

Knitting for the troops is an idea that has been around for a long time. As such, I’ve decided to use 4 of the 48 weeks on knitting and war, the (American) Civil War, World War I, World War II, and the Vietnam War. While all efforts made similar things for soldiers, for each war there was a unique set of tools (some would say propaganda, depending) used to get the word out about the initiative. As these tools are not too widely known, I’d like to share them here, along with a number of accounts related to knitting for the war. Have any that I missed? Got a historical craftivist event that you’d like to write about? Get in touch either through the comments or through email.

Below are quotes (which take you to further reading material) and photos that I’ve found on the subject, in case you’d like to learn more.




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“South Carolina resident Mary Chesnut commented in her diary late in the summer of 1861, “I do not know when I have seen a woman without knitting in her hand.” In the North as well as in the South, knitting needles clicked incessantly during the Civil War years (1861-1865).

Although machine-knitted stockings were widely available, they were considered inferior to handknit stockings and wore out quickly from the rigors of long marches and insufficient washing.

The call for handknitted stockings went out throughout the country. Stories of soldiers going barefoot or suffering from blistered, swollen, and infected feet from wearing their boots without stockings spurred females young and old to take up their knitting needles.”




Savanna [GA] Republican, October 19, 1863
Socks for the Soldiers
By Carrie Bell Sinclair

Oh women of the sunny South
We want you in the field;
Not with a soldier’s uniform,
Nor sword, nor spear, nor shield;
But with a weapon quite as keen—
The knitting needle bright—
And willing hands to knit for those
Who for our country fight.
Then let the cry go far and near
And reach you every one—
Socks! socks are needed—send them on
For every gallant son!
Shall those who bear the Summer’s heat,
And Winter’s cold and rain,
Barefooted trudge o’er bleeding fields,
Our liberty to gain?
No! Georgia’s daughters will arise,
And answer to the call;
We’ll send you socks for our brave boys,
Some large, and others small.
With every stitch we’ll pray that God
Will shield each gallant form;
And while they fight with willing hands
We’ll work to keep them warm.
Our brave boys shall not bear alone
The burden of the day,
We’ll toil for them with willing hands,
And watch, and hope, and pray!
With useful hands to work at home,
And fighting men abroad,
We’ll conquer if we only place
A holy trust in God.
We cannot sit with idle hands,
And let our brave boys fight;
Not while the motto on each heart
Is Liberty and Right!
What though we cannot wield the sword,
We’re with you, hand and heart,
And every daughter of the South
Will bravely act her part.
We’re in the field—then send us thread,
As much as you can spare,
And socks we’ll furnish for our troops,
Yea, thousands through the year.
Ho for the knitting needle, then,
To work without delay.
Hurrah! we’ll try our best to knit
A pair of socks a day!




civil war knitting




From Knitting America, A Glorious Heritage From Warm Socks to High Art:

p. 46: In August 1861, a Virginia woman was the voice of many Confederate women during the early months of the war: “We are now very busy making clothes, knitting socks for the soldiers. Each lady proposes making one hundred garments – some are making mattresses, preparing bandages and knit nightshirts and comforts for the wounded – all are doing the most they can to add to the comforts of the soldiers.”

P. 48: “Knit socks, mittens, gloves, and scarves could also forge intimate links between knitters and soldiers, a link that, at times, helped a soldier survive. The father of Mrs. I. E. Doane walked for six months after he was released from a Yankee prison at the end of the war. After reaching his South Carolina home, he told her his own story about knitting: “a profitable little trading business he had developed while in prison. His initial stock consisted of some knit gloves, socks and other articles which his wife had sent him. It had been very cold that winter and these warm articles of clothing were in great demand.”




December 22-1863
Knitting the Socks.

The following lines were found in a bundle of socks, sent by a “Lively Old
Lady,” in Amherst, N.H., to the U.S. Hospital, corner of Broad and Cherry
streets, Philadelphia.

By the fireside, cosily seated,
With spectacles riding her nose,
The lively old lady is knitting
A wonderful pair of Hose.
She pities the shivering soldier,
Who is out in the pelting storm;
And busily plies her needles,
To keep him hearty and warm.

Her eyes are reading the embers,
But her heart is off to the War,
For she knows what those brave fellows
Are gallantly fighting for.
Her fingers as well as her fancy,
Are cheering them on their way;
Who under the good old banner,
Are saving their Country to-day.

She ponders how in her childhood,
Her Grandmother used to tell –
The story of barefoot soldiers,
Who fought so long and well.
And the men of the Revolution
Are nearer to her than us;
And that, perhaps, is the reason
Why she is toiling thus.

She cannot shoulder a musket,
Nor ride with Cavalry crew,
But nevertheless she is ready
To work for he boys who do.
And yet in “Official Dispatches,”
That come from the Army or Fleet,
Her feats may have never a notice,
Though ever so mighty the feet!

So prithee, proud owner of muscle,
Or purse-proud owner of stocks,
Don’t sneer at the labors of woman,
Or smile at her bundle of socks.
Her heart may be larger and braver
Than his who is tallest of all,
The work of her hand as important,
As cash that buys powder and ball.

And thus while her quiet performance
Is being recorded in rhyme,
The tools in her tremulous fingers
Are running a race with time.
Strange that four needles can form
A perfect triangular bound;
And equally strange that their antics
Result in perfecting the round.

And now, while beginning “to narrow,”
She thinks of the Maryland mud,
And wonders if ever the stocking
Will wade to the ancle in blood.
And now she is |”shaping the heel;”
And now she is ready “to bind;”
And hopes if the soldier is wounded,
It will never be from behind.

And now she is “raising the instep,”
Now “narrowing off at the toe,”
And prays that this end of the worsted
May never be turned to the foe.
She “gathers” the last of the stitches
As if a new laurel were won;
And placing the ball in the basket,
Announces the stocking as “done.”

Ye men who are fighting our battles,
Away from the comforts of life,
Who thot’fully muse by your campfires,
On sweetheart, or sister, or wife, –
Just think of their elders a little,
And pray for the grandmothers too,
Who, patiently sitting in corners,
Are knitting the stockings for you.

~ published, Tuesday, December 22, 1863
Republican Advocate, Batavia, Genesee County, N.Y.
*transcribed & submitted by Linda Schmidt




Besides instilling ideas of womanhood and religion in students, teachers also stressed patriotism. For example, George Washington’s birthday in 1862 was celebrated at Ohio Female College with fireworks, a balloon ascension, and the singing of national songs. Gilchrist happily wrote, “We were excused from the regular Saturday morning study hours and visiting was in order all day.”81 As the Civil War progressed, schools all over the country encouraged patriotism by organizing groups of students to aid the war effort by knitting, sewing, and performing benefits.82 At Ohio Female College, Gilchrist wrote, “The girls are making lint for the wounded soldiers now, just to think what it is for.”83




A pair of handknitted Civil War mittens up for auction:

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Unrelated, yet related:

“The Civil War surgeon could often be wounded or even killed. Hospitals sites were chosen close to the line and where water was available. Improvisation, particularly for the Confederate surgeon, was the name of the game. Hunter McGuire on the adaptability of the Confederate surgeon:

The pliant bark of a tree made for him a good tourniquet; the juice of the green persimmon, a styptic; a knitting needle, with it’s point sharply bent a tenaculum; and a pen knife, in his hand, a scalpel and bistoury. I have seen him break off one prong of a common table fork, bend the point of the other prong and with it elevate the bone in a depressed fracture of the skull and save life.”




“Wives, mothers, and sweethearts sent Christmas packages to their special loved ones; women’s organizations sent boxes filled with food, books, and clothing to companies and camps. Richmond resident Sallie B. Putnam wrote in her memoirs, Richmond during the Civil War, that the ladies of the Confederate capital diligently knitted socks, mittens, and scarves for soldiers. According to Putnam, antebellum Richmond had become so dependant on manufactured goods that most young women had not been taught to knit but gladly learned as their part in the war effort.”




[Little Rock] Arkansas True Democrat, July 25, 1861, p. 2, c, 3
An Appeal to the Women of Arkansas.

It has been wisely suggested by a contemporary that the patriotic women of the country should knit socks for the volunteers. In addition to this we beg leave to call the attention of the true hearted women of the country to
some other points.

There will be, if the war continues, a scarcity of blankets, woolen cloth, flannel, etc. These our soldiers will need. As regards blankets, each family can spare some. Those who stay at home can use counterpanes and comforts. The latter are easily and cheaply made, are warm and will supply the places of blankets in the house.—Let the ladies, or to use a better and nobler word, the women, set about making comforters for their beds, and be enabled to send blankets to the army. Except in cases of sickness, the use of blankets in the houses can be dispensed with. . . .



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


Week #3 of 48 Weeks of Historical Craftivism, Greenham Common Women’s Peace Camp

Welcome to Week 3 of 48 Weeks of Historical Craftivism! This week we have a lovely guest post by the lovely and amazing Sayraphim Lothian.

Craft Activism – the Greenham Common Women’s Peace Camp

Protesters ring the Greenham Common fence decorated with handmade banners and other items (date unknown)”
Protesters ring the Greenham Common fence decorated with handmade banners and other items (date unknown)”

On the 5th of September, 1981, the Welsh group Women for Life on Earth arrived at Greenham Common, an RAF Airbase in Berkshire, England. The group intended to challenge the decision to situate 96 Cruise nuclear missiles at the site, and presented the Base Commander with a letter requesting a debate on the topic. The letter stated, amongst other things, “We fear for the future of all our children and for the future of the living world which is the basis of all life”(1).

When their letter was ignored, they set up a Peace Camp just outside the fence. By 1982, the camp had become women only and with a strong feminist emphasis. In the following months and years thousands of women came to live and protest at the newly named Women’s Peace Camp(2), which now consisted of nine smaller camps at various gates around the base(3).

The women’s activism came in many forms, a considerable amount of it focused on the 9 mile fence that ringed the perimeter. In an interview with The New Statesman in 2007, the General Secretary for the Campaign for Nuclear Disarmament Kate Hudson recalls “…block[ing] the gates, pull[ing] down parts of the fence, danc[ing] on the missile silos, and creatively express[ing] our opposition to the missiles.(4)”

In the camps between raids on the base, the women spent time making banners and weaving words, symbols and items such as toys and children’s clothing, into the fence(5). The banners were created both to hang on the fence and hold in protest marches that happened regularly around the perimeter. One of the most prolific banner makers was Thalia Campbell, who started making banners to address the stereotype of the Greenham Common women.

I did decide that I was an artist and I could have been one more body around the fire but I thought ‘no’, and we were so vilified… people did think we were dirty slags, lesbians, bad mothers and all this kind of stuff, like, like they vilified the suffragettes in the early days, but the vilification was so untrue I thought we had to counter it, so that’s why I started making my banners really, to sort of use beauty and humour to put our point across, because that vilification… So that’s why I made all the banners really and to tell the story… I used to go up and put them on the fence and gradually this became a great big display on the fence.(6)

image2

As well as banners protesting nuclear weapons, other banners (such as the one above) were created to show where the women were from, to show the media and the world that this was not a local issue.

The fence was also the focus of activism through weaving. Alongside toys and children’s clothes, which acted as signifiers of women’s ongoing everyday lived experience, in opposition to the destructive patriarchal threat within, and outside, the base(7), words, slogans and symbols such as peace signs, doves and rainbows were also often incorporated into the chain links.

image3

A protester remembers there was a lot of weaving things in the perimeter fence – rainbows, kid art, … the whole perimeter fence was very gorgeous. There were a lot of spiderwebs in the art. Spiderwebs were a big theme – I suppose the theme of weaving something, surrounding something(8). Another theory as to why the weaving of the webs was that “Before the world wide web connected people across the world, women at Greenham used the metaphor of a spiders web to imagine global connections between peace activists.(9)”

The webs often extended out to entangle the surrounding trees, the protesters themselves and the workmen and machinery that were sent in to remove them. A subcontractor who had driven his bulldozer in to remove a tree house stated in court “… the girls got in front of the machine. They stood there and a couple walked round [the bulldozer] with woollen string, going round and round with it…(10)” When the women were arrested and taken to court, some used the time to make webs there for installation later back at the camp(11).

The weaving was so important that mention of it made it’s way into protest songs, which were composed at the camp or modified from older songs and sung during protests, court hearings, while in prison or at home in the camp. We are the flow and we are the ebb and I am the weaver both appear in the Greenham Common Women’s Peace Camp Songbook, handwritten in 1983, photocopied in batches and sold to raise funds(12).

We are the flow
and we are the Ebb
We are the weavers
We are the web(13)

In 1981, at the very start of the Peace Camp, the women adopted the dragon as their symbol(14), explaining on a 1983 photocopied invitation that “The word ‘dragon’ derives from a word meaning ‘to see clearly’. She is a very old and powerful life symbol.” The invitation was to participate in The Full Moon in June Dragon Festival, where women were invited to feast and create a Rainbow Dragon together. Invitation 1 reads in part: At USAF Greenham Common, Newbury, Berkshire on the 25th June, a Rainbow Dragon will be born by joining the creative work of thousands of women… Women are making pieces of patchwork, banners, cloth paintings to join into the Rainbow Dragon for the future(15).

Three other invitations were also produced, the second of which invites women to “Dress up if you want – wear the colours of fire – make smaller dragons… believe in yourselves and know that our positive, creative energy will change the world.(16)” The visitors to Greenham that day bought patches and material from home and from women who couldn’t make it to the camp. Over the course of the day they helped sew together a 9 mile Rainbow Dragon, which then encircled the fence.

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

The Rainbow Dragon at Greenham Common, 1983
The Rainbow Dragon at Greenham Common, 1983

An article in an undated Greenham Common newsletter talks about the Rainbow Serpent from Aboriginal mythology and emphasises it as a:

‘universally-respected divinity’, a guardian of humanity, and a metaphor for menstrual cycles, and as such an important symbol for Greenham Common Peace Camp women … The Rainbow Serpent also represented ‘the dragon [that was] slaughtered by some patriarchal hero who established the present world order from which we are still suffering’. However, as a phoenix from the ashes, the dragon… is stirring from her sleep allowing, ‘the Australian Aboriginals and the American Indians, together with traditional people and women everywhere [to have] the last word(17)’

The dragon was clearly a powerful symbol for the women to create together and surround the base with and it’s nine mile length showed the world that many voices were joined as one to protest the nuclear weapons being held behind the fence.

Living conditions were primitive at Greenham Common. Living outside in all kinds of weather especially in the winter and rainy seasons was testing. Without electricity, telephone, running water etc, frequent evictions and vigilante attacks, life was difficult. In spite of the conditions women, from many parts of the UK and abroad, came to spend time at the camp to be part of the resistance to nuclear weapons(18). But the women made their protest heard, all around the world, with interventions, songs, marches, banners, costumes and craft based installations.

Ultimately, in 1991, the nuclear weapons were removed after US President Ronald Reagan and Soviet leader Mikhail Gorbachev signed the Intermediate-Range Nuclear Forces Treaty, which meant that the cruise missiles were taken back to America(19). The camp and the women remained for another nine years, as part of a protest against the UK Trident program, which is the ongoing operation of the current generation of British nuclear weapons(20) before leaving for the last time in 2000.

A Thalia Campbell banner on the Greenham fence (date unknown)
A Thalia Campbell banner on the Greenham fence (date unknown)

(1) Hipperson, Sarah (n.d.) Greenham Common Women’s Peace Camp 1981 – 2000 [Accessed 13 September 2013]
(2)Hudson, Kate, 2013 ‘Remembering Greenham Common’ The New Statesman [Accessed 13 September 2013]
(3)‘Greenham Common Women’s Peace Camp (n.d.) Wikipedia [Accessed 15 September 2013]
(4)Hudson, Kate, 2013 ‘Remembering Greenham Common’ The New Statesman
(5)Eiseman-Renyard, Hannah, 2011 ‘Revolting Women: Greenham Common’ Bad Reputation: A Feminist Pop Culture Adventure [Accessed 17 September 2013]
(6)The Peace Museum, 2009 Thalia Campbell – Greenham Common protester and banner maker [Accessed 12 September 2013]
(7)Welch, Christina (n.d.) ‘Spirituality and Social Change at Greenham Common Peace Camp’ Journal for Faith, Spirituality and Social Change. Vol.1:1 [Accessed 08 September 2013]
(8)Eiseman-Renyard, Hannah, 2011 ‘Revolting Women: Greenham Common’ Bad Reputation: A Feminist Pop Culture Adventure
(9)Feminist Archive South, 2013 Greenham Materials
[Accessed 12 September 2013]
(10)Harford, Barbara and Hopkins, Sarah (eds)1984 Greenham Common: Women at the Wire London: The Women’s Press p48
(11)Ibid p47
(12)Greenham Women are Everywhere songs (n.d) [Accessed 13 September 2013] p 1
(13)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook [Accessed 12 September 2013]
(14)The National Archives (n.d.) Records of Greenham Common Women’s Peace Camp (Yellow Gate) : Press cuttings 5GCW/E/1 Nov 1981 – Oct 1983 [Accessed 16 September 2013]
(15)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook : A Day in December 82 [Accessed 12 September 2013]
(16)The Danish Peace Academy, 2009 Greenham Common Women’s Peace Camp Songbook : A Day in December 82..
(17)Welch, Christina (n.d.) ‘Spirituality and Social Change at Greenham Common Peace Camp’ Journal for Faith, Spirituality and Social Change
(18)Hipperson, Sarah (n.d.) Greenham Common Women’s Peace Camp 1981 – 2000


    More resources:

Combomphotos, 1983 Aldermaston-Greenham Common peace chain 01-04-1983 04 [Accessed 19 September 2013]

For anyone over 30, the words “Greenham Common” mean two things: cruise missiles and the women’s peace camps of the mid-Eighties (n.d.) [Accessed 19 September 2013]

Levit, Briar (n.d.) Greenham [Accessed 19 September 2013]

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.