Suzanne explained every custom, from the engagement to the henna night to the wedding day to the Brit Milah to the Bar Mitzvah and so on. She used videos to show us the ceremonies with the customary textiles in use. So, for example, the Brit Milah besides being shown on film was enhanced by the baby’s dress itself that we could see and touch. And the henna video let us see how family members would help support the crown, and gown. And we could also hear the typical ululations!
Category Archives: Cultural history
Spirit of the Bead
Anna Vandelman writes:
Naomi Smith, our guest lecturer on Jan 18th 2017, shared the “Spirit of the Bead” and “Indigenous Stories of Beadwork” with our Guild, introducing us to the work of several First Nations peoples.
Many beads were acquired through exchange during the fur trade. Early beading was done with extremely small beads (sizes 22 and 24 – the smaller the number the larger the bead). A common object for beading were six-sided flap bags made for both native and non-native purchasers. Patterns included crosses depict the four corners of the world as well as other symbols interpreted through beads. Florals motifs appeared on pouches likely of Seneca origin. Some embroidery also shows added ribbons with beading on the ribbons. Decorative items were not differentiated as “art” but are fundamental artifacts.
Naomi showed us some of the popular techniques, including the use of paper templates and double-beaded edges. She showed us how purses opened in the back and not by lifting the flap.
From the 1870s to about 1910 beads get thicker with sizes 9 and 8 being used. Clear beads can be seen on the paper templates overlaid on navy blue velvet. New objects are created: pin cushions begin to appear along with hat pin cushions. By about 1921 there were more new products, including matchstick holders. And as photography became more prevalent there were beaded photo frames.Selling these products created a way for women to survive.Travelling sales saw tribe members carrying up to 2000 lbs. of bead work across the country.
After the slide show we were all invited to view – and touch! –the artifacts. Of great interest were the exquisite cuffs and collars. We could feel Naomi’s pride in her history. But beading remains a living activity: Naomi told us about a current commemorative art installation, “Walking with our Sisters,” where beaded moccasin tops symbolize indigenous lives cut short.
Altogether a rich opportunity to glimpse another culture through textile techniques.
About Naomi Smith – Beader
Naomi is a First Nation Artisan and Educator. She is actively involved in educating others about the ways of the First Nations people of the Woodlands and Northeastern area from a historical and contemporary perspective often through the story of beads. Her work embraces ancestral designs in the form of bags, adornment and traditional accessories. Naomi’s work has been exhibited across Canada and internationally. She has exhibited at the National Museum of the American Indian (NMAI) in Washington DC and NYC, Vancouver 2010 Olympics and participates in numerous Native and non-Native events throughout the year. Her work has been acquired as permanent collections at the Art Gallery of Guelph, Niagara Historical Museum, and private acquisitions throughout the world.
A Night at the (Beth Tzedec Reuben and Helene Dennis Museum) – Not scary at all!
Anna VanDelman writes:
On Wednesday December 6th, three dozen Pomegranate Guild members and guests made their way through Beth Tzedec’s current renovations to the beautiful chapel for an evening of Judaic treasures – artifacts recycled and repurposed, in keeping with this year’s theme. Rkki Blitt introduced our speaker, Dorion Liebgott, who is both a long time Guild member and long time (25 years) curator of the Museum.
We sat in awe of the precious artifacts Dorion brought for our delight. Of particular interest to us as textile artists were items that involved the reuse of fabrics. These included a wimple (Torah binder) of German origin. The wimple was recycled from a infant’s swaddling cloth. It was cut into strips that were sewn together and embroidered with a formula including the child’s name, birth-date, and blessings. This binder would have been wrapped around the Torah used on the child’s 3rd birthday, his Bar Mitzvah and his wedding. We also examined was a Torah crown made of damask silk (rather than the usual silver) and a parochet (ark curtain) made of recycled fashion fabrics.
Dorion showed us Chanukah menorahs – one reconstructed from a rifle, and another made of empty bullet cartridges mounted on Plexiglas from the American Military – that demonstrate how Judaic ritual items can be made with objects and materials found immediately at hand.
Sometimes conventional items have inscriptions added to make them suitable for Judaic purposes. We were shown a large pewter bowl with blessings inscribed with reference to the redemption of the first born son for the ceremony of Pidyon Ha Ben, and a seder plate that was also created by inscribing a standard pewter plate. In some cases items are adapted merely by use: a locked sugar box and open candy silver candy dish are two objects that have become etrog containers by declaring them so.
Several Yads (Torah pointers) demonstrated a collage approach, constructed by adding multiple small pieces of other objects to create a pointer. Their awkwardness in both appearance and function are clues to the “fakery” behind their construction.
Many of the precious objects Dorion showed us were from the Cecil Roth Collection in the Museum, and Dorion also shared the story of how the Reuben and Helene Dennis Museum acquired them. All the photographs in this post are published with the permission of the museum.
Rikki thanked Dorion, as we all did, for a fascinating evening teaching us that we can continually recycle and re-invent old artifacts into new treasures.
All the photographs in this post are published with the permission of the museum
Shirts Galore and A Trip to Japan
Anna Vandelman writes:
Shirts Galore!
What a lovely evening! What a lovely programme! What a lovely turnout! What an amazing group!
Susan Avishai was introduced to us by Rikki Blitt as a heroine to the environment and saviour of all sorts of trash en route to landfills everywhere: A perfect way to start the season as our theme for the year is Do not waste – with a focus on reuse and recycling. [About Susan]
Susan, already a fine artist in drawing, painting, and collage, shared her journey to fibre arts through pictures of her work. She told us how she got into fibre arts after cleaning out her late mother’s belongings. After grieving over her mother’s clothes for six months, Susan finally found herself able to do something with this new stash. So, she moved from painting to textiles to making tapestries of her mom’s remnants. She discovered through life that it is in fact the journey and not the destination. She fondly remembers a teacher who told her “…you will feel when its right”.
And then, men’s shirts galore! We saw an incredible collage of men’s shirts, shirts taken apart with seams and buttons intact all quilted with polyfill. She works on smaller pieces and then sews them into larger works. Her goal, always, is to see what she can do with what is there. No, she is not sexist, she uses men’s shirts because of their uniformity of construction which lets her apply a system to their deconstruction.
The evening became magical as we witnessed the transformation of trash to exquisite art pieces .created by a visionary with a deep concern for the environment. Thank you Susan for this memorable experience!
Rikki then thanked her for a magnificent presentation and for kick-starting our year of Do not Waste and members had an opportunity to share from their own stashes.
The theme continued in October with A Night in Japan, and Karen Sanders writes:
Our October meeting included a lesson in Japanese Furoshiki and a visit to Japan through the eyes of our President.
Furoshiki
Four women from the Japanese Cultural Centre came to tell us the history and to demonstrate the ancient Japanese art of Furoshiki, the use of textile squares for wrapping. Furoshiki refers to a flat folded bundle originally used to carry clothes back and forth from the bath-house. With current environmental concerns, there has been a revival of this old practice.
The most common size of fabric for wrapping is an 18” or 24” square of fabric. A silk scarf is ideal for the purpose of wrapping, though other sizes and fabrics can also be used.
There are many uses of Furoshiki including carrying, storage, gift wrap, wall hanging, tote bag, carrier for contributions to a pot luck meal. The squares are easy to maintain, eco friendly, easy to fold flat. The squares can be left as gifts or put in a pocket or purse to reuse.
Our guests demonstrated the basic knot, flat object wrap, basic carry wrap, bottle carry wrap, hand bag, watermelon carry bag, and shoulder bag. We had an opportunity to try our skill at wrapping.
The art of Furoshiki is simple, elegant, useful and fulfills our mission of reusing and recycling beautiful fabrics.
Living Singly and Jewishly in Japan
Nearly thirty years ago our President, Bruria, was young, single, teaching English and living in Japan. She found that it was easy to be Jewish because there was a synagogue and community centre, which included a swimming pool. Expatriate Jews gathered regularly for Shabbat dinners and for Jewish holidays.
In a slide presentation, Bruria illustrated a number of Jewish subjects she encountered in Japan. These included a Japanese Yiddish Club, The Fugu Plan (a book telling the story of how the Japanese rescued Jews during the Holocaust), the story of Chiune Sugihara, who gave exit visas to Jews during World War II. There was a Jewish dentist, a Chabad branch with a mikvah and a Japanese man who had converted and become a Rabbi. There was a man with an excellent collection of Hebrew manuscripts and a Japanese pro-Israel group.
The rest of the slide show illustrated the quirkiness of the Japanese. Bruria shared such interesting things to be found in the grocery store as bottles of diet water, hard boiled eggs in a tube, and sushi with “Hello Kitty” faces. She showed us a road going through a building and some of the many space saving devices like shoe drawers on the underside of steps or a combined toilet/sink. There were dogs dressed in kimonos, women dressed as dolls, and men dressed as women. These are just a few examples. Bruria had a good time in Japan, but we are glad she came back to us!
Torah – stitch by stitch by stitch
Jewish Heritage Month at Baycrest
Guild members visit and volunteer at Baycrest (including on the Baycrest Museum Board, Phyllis Spivak, Anna Vandelman, and Melanie Siegel). They want to let you know about the range of activities taking place during Jewish Heritage month. And while you are there, don’t forget to visit Pardes, an extraordinary example of a Pomegranate Guild group project.
Intersections of Meaning
Image
Celebrate: the holidays with Laya Crust
Anna Vandelman reports on our January and February meetings:
JANUARY: If you were lucky enough to come out to our meeting on Wednesday January 21st, you would feel well prepared to devote your artistry to Passover.
Laya Crust, our talented, amazingly creative Artist-in-Residence took us through a review of the experience of the Exodus, showing us along the way how the themes and rituals of the story inspire creative responses. Slavery and freedom, burning bushes, plagues, sacrifices and matzah can all be interpreted – in art in general and textile art in particular. Haggadot through the ages have added and altered the text and illustrations to speak to contemporary communities.
Since the Seder is a family and community meal, table linens, cushions, matzah and afikoman covers can all be part of an artful celebration. Guild members shared some of their special preparations and programs. Susan Rosenstein includes a map of the exodus in the middle of the table, Anna Vandelman’s guests have played Passover Jeopardy, and Marilyn Levy has made special plague memory aids to help everyone participate.
Laya’s resource notes are available to members on the Members’ page of this website.
FEBRUARY: Bad weather (at least on Pomegranate Guild Wednesdays) has been a theme for us this season! Once again on a dark and dismal Wednesday evening February 18th, Guild Artist-in-Residence Laya Crust helped warm and brighten the night for us. Using her very special megillah as a specific example, Laya led us through a discussion of key aspects to fulfilling a commission.
In the first part of the evening, we talked about the need to merge creative ideas with business sense to successfully complete a commission. We discussed the usefulness of logbooks and spreadsheets to record time and materials. We also talked about the intangible costs and benefits related to working for close friends and relatives, demanding clients, working in new (for us) media. And we found that successful work often comes of establishing a good relationship with a client.
In the second part of the program, Laya took us through the specific process of creating a commissioned illuminated Megilat Esther. She sourced materials and techniques, sketched and practiced, and then scribed and illuminated a ten and a half foot scroll. It contains 32 lavish illustrations rendered in 16th C. Persian style. The original piece is written on parchment using historically authentic tools and painted in gouache. The Megillah has been reproduced in a limited edition series.
What an illuminating evening!
It’s a great week for learning!
Celebrating other Arts – New Show at Beth Tzedec
One art often influences another. This new exhibit at Beth Tzedec is photographic display of Jewish musicians.
Dorion invites us: “Please join us for the opening of David Kaufman’s photography exhibition: VESSELS OF SONG: FACES OF NEW JEWISH MUSIC at Beth Tzedec Museum
on Thursday December 11th at 7:00pm.
We are delighted that the KlezKonnection will entertain us for the evening.”