Weaving A Legacy

Situated on the western edge of the Great Basin between the Sierra Nevada and White-Inyo mountain ranges, Owens Valley has been home for thousands of years to the Owens Valley Paiute and their southern neighbors, the Panamint Shoshone. The willow baskets both groups created are noteworthy for their complex construction and durability, and their materials and designs reflected available resources as well as the seminomadic existence that characterized life in the Great Basin for generations. Since the mid-nineteenth-century arrival of non-Indians into the Valley, the baskets have changed. Weaving a Legacy places those changes in the context of the region's dramatic social history. In addition, the volume closely examines basketry techniques and technology, historic weavers and their lineages, contemporary weavers, and basket collectors. The text is extensively illustrated with black-and-white photographs of people, landscapes, and baskets. Among the legacies of these baskets are the stories they evoke, many of which the authors recount in this beautiful work.

This collection is a celebration of Paula Gunn Allen's life (1939-2008) as an indigenous scholar, writer, and woman. It features the creative writing, art, and memoir of Native American and other writers, scholars, and activists including Patricia Clark Smith, Maurice Kenny, Barbara Mann, Janice Gould, LeAnne Howe, Elaine Jacobs, Annette van Dyke, Margara Averbach, Kristina Bitsue, Deborah Miranda, Carolyn Dunn, Jennifer Browdy, Joseph Bruchac III, Sandra Cox, and La Vonne Brown Ruoff. It follows the 2010 West End Press edition of Paula Gunn Allen's final works, America the Beautiful: Last Poems, edited by Patricia Clark Smith.

Nineteenth-century handwoven coverlets are exceptional windows on the early years of American culture. They are increasingly prized by collectors for their superb craftsmanship and beauty of design as well as their historical significance. Produced by professional weavers, many of whom had fled the industrial revolution in Europe, coverlets were used as the uppermost coverings of beds. In addition to their intricate and colorful designs, many have personal inscriptions woven into their corner blocks or borders. The peak of production for handwoven coverlets was the relatively short period between 1820 and the end of the Civil War, when the weaving industry was rapidly becoming fully mechanized. The Don and Jean Stuck Coverlet Collection at the Columbus Museum of Art is the largest public collection of coverlets in the United States. The works of 185 known weavers are documented here, as are those of many anonymous weavers. With works from the nine most prominent coverlet-producing states and Canada, the collection includes examples of most weave structures and has a broad representation of colors, centerfield and border designs, and corner blocks.

If the hurt and grief we carry is a woven blanket, it is time to weave ourselves anew. In the Nłeʔkepmxcín language, spíləx̣m are remembered stories, often shared over tea in the quiet hours between Elders. Rooted within the British Columbia landscape, and with an almost tactile representation of being on the land and water, Spíləx̣m explores resilience, reconnection, and narrative memory through stories. Captivating and deeply moving, this story basket of memories tells one Indigenous woman’s journey of overcoming adversity and colonial trauma to find strength through creative works and traditional perspectives of healing, transformation, and resurgence.

Yanomami raises questions central to the field of anthropology - questions concerning the practice of fieldwork, the production of knowledge, and anthropology's intellectual and ethical vision of itself. Using the Yanomami controversy - one of anthropology's most famous and explosive imbroglios - as its starting point, this books considers how fieldwork is done, how professional credibility and integrity are maintained, and how the discipline might change to address central theoretical and methodological problems. Both the most up-to-date and thorough public discussion of the Yanomami controve.

Celebrates the revival of weaving with works by influential and contemporary weavers from around the world - An inspiring book for lovers of textiles, interiors and design. Weaving is a centuries-old craft with a fascinating history, and one that continues to evolve. It is being revitalized today by designers, artists and modern craftspeople all over the world: from wall-hangings and carpets to art installations and technological tours-de-force. Weaving - Contemporary Makers on the Loom presents a survey of this vibrant revival, with profiles of over twenty contemporary weavers: Alexandra Kehayoglou, for example, designs breath-taking natural landscapes (for the likes of Dries van Noten), while Daniel Harris makes textiles for famous clothing brands using nineteenth century looms. Brent Wadden weaves beautiful, museum-standard fabrics. The book includes beautiful images of their studios, work and inspiration. Author Katie Treggiden's essays explore the craft's relationship with themes such as emancipation, migration and new technologies. The Bauhaus weaver Anni Albers is also discussed at length and this is a reference for everyone involved in textiles today. Weavers included Alexandra Kehayoglou Allyson Rousseau Brent Wadden Christy Matson Daniel Harris Dee Clements Dienke Dekker Eleanor Pritchard Erin M. Riley Genevieve Griffiths Hermine Van Dijck Hiroko Takeda Ilse Acke Jen Keane Judit Just Karin Carlander Kayla Mattes Lauren Chang Rachel Scott Rachel Snack Swati Maskeri Tanya Aguiniga

"A wide-ranging cultural study that explores Coast Salish weaving and culture through technical and anthropological approaches."--Provided by publisher.

"Weaving Bateman Blend, The Companion Book" is a "workshop to go"! The book is an Intermediate weaving resource emphasizing the role of ties and tie groups in weaving. It introduces Dr. William Bateman's weave systems, but zeroes in on one of them, Bateman Blend. The book is named The Companion Book as it compliments the original Monograph # 36, of Virginia Harvey's set of published works on Bateman weaves, striving to make "Blend" come alive for today's weavers. The Blend structure is explained and demonstrated in the many samples woven by the author. Colour photos of the 50 or more pieces will draw you in to weave Bateman today! Some are examples of the weaves for today's purposes. Some are original variations and extensions of the 8 shaft weaves of Dr. Bateman to 12 and more shafts. The book concludes with the story of Dr. Bateman's work, a Bibliography, and Index. (Readers are encouraged to use other resources such as "Learning to Weave" by Deborah Chandler, or "The Complete Book of Weaving" by Mary E. Black for basic weaving instruction.)