the 10th international shibori symposium official ... filedyeing, a practice that existed in japan...

the 10th international shibori symposium official proceedings 2016

10° simposio internacional de shibori memoria oficial 2016

Shibori, Ikat, and Sustainability: Land, Culture, and People

proceedings presented at Centro Cultural San Pablo, Oaxaca de Juárez November 17 – November 19, 2016

editor-in-chief Professor Ameersing Luximon

symposium co-chairs Alejandro de Ávila B. Yoshiko Iwamoto Wada

Jaspe, shibori y sostenibilidad: un acercamiento a la tierra, la cultura y la gente a partir de los teñidos de reserva

memoria de los trabajos presentados en el Centro Cultural San Pablo, Oaxaca de Juárez 17 a 19 de noviembre de 2016

director de edición Profesor Ameersing Luximon

coorganizadores del simposio Alejandro de Ávila B. Yoshiko Iwamoto Wada

10th International Shibori Symposium November 15 - 20, 2016 | Oaxaca, Mexico

https://www.10iss.org

PREFACE

With shared interest and fascination with the ancient traditions of shibori and ikat and their contemporary applications

and interpretations, artists, artisans, and scholars have been participating in this symposium for decades. The great

success of the first International Shibori Symposium (1iss) in Nagoya, Japan, in 1992, led to the formation of the World

Shibori Network (WSN). Subsequent symposia have grown in international reputation and participation and continued

to show high standards in scholarship and creative work. The 10th International Shibori Symposium (10iss) in beautiful

Oaxaca, Mexico, from 15 to 20 November, 2016, demonstrates the dedication and hard work of the WSN and its

international partners.

The theme of 10iss was “Shibori, Ikat, and Sustainability: Land, Culture, and People.” It was co-chaired by Alejandro de

Ávila and Yoshiko I. Wada and organized by the World Shibori Network in collaboration with the directors of the

Fundación Alfredo Harp Helú (FAHH), Jardín Etnobotánico de Oaxaca (JEOax), Museo de Textil Oaxaca (MTO),

Centro de las Artes de San Agustín (CASA), and Centro Cultural San Pablo (SP).

We are very thankful to the artists, scientists, and researchers who actively participated in the symposium. They

contributed excellent discussion and papers on international traditional and contemporary shibori and ikat and beyond.

There were 42 papers in eight different panels with diverse topics such as Connections in Resist-Dyeing from Around

the World; Contemporary Fiber Art Practices; Project INDIGO EARTH: Japan; Traditions in Color: Natural Dyes in

Historical Text and Artistic Practice; Community Empowerment Through Handcraft; Pattern Language: Indigenous

Textile Traditions; Material Matters: Shibori in Design and Fashion; Teaching Through Textiles: Educators in the Field

of Shibori and Natural Dyeing. As in past years the symposium included demonstrations, workshops, exhibitions and

trunk shows.

These proceedings are the output of dedicated professionals and volunteers—committee members, organizers, curators, assistants, reviewers, sponsors, academic supporters, and others. We thank them heartily and thank you all. Editor in Chief Ameersing Luximon Institute of Textiles and Clothing The Hong Kong Polytechnic University

https://www.10iss.org/



FOREWORD

The Meaning of Shibori Yoshiko Iwamoto Wada

The Japanese word shibori refers to a variety of ways of embellishing textiles by shaping cloth and securing it before dyeing, a practice that existed in Japan since the Nara Period, 710–794 CE. The word comes from the verb root shiboru, “to wring, squeeze, press,” which emphasizes the active process of manipulating fabric. Rather than treating cloth as a two-dimensional surface, shibori techniques transform it into a three-dimensional form by folding, crumpling, stitching, plaiting, or plucking and twisting and securing it in ways, such as binding and knotting. Cloth has a life of its own that transcends its origins in the wool of an animal, the fiber of a plant, or the bark of a tree. The fiber of the humble cotton plant can be spun into rough cotton to make a strong canvas sail or spun into gossamer and dyed with ethereal patterns to create the turban for a maharaja. The agent of transformation is the artist/artisan, who senses the life inherent in the material and actualizes it by applying the human touch, knowledge, and vision, recording a creative process imprinted by manipulation and force on the tactile and alive cloth surface. Shibori recognizes and explores the pliancy of the textile and its potential for creating a multitude of shaped-and-resisted designs through dimensional transformation and compression resist. In a similar way, ikat weaving begins with threads bundled together to form a 3D shape. Using string and other material, the skeins are selectively bound and compressed to resist dyes and reserve areas from the force—historically dye or more recently lye or heat to melt off metallic yarns or to shrink plant fiber threads. When the cloth is returned to its two-dimensional form or the patterned threads are woven into a cloth, the design that emerges is the result of the three-dimensional shape, the type of resist, and the amount of pressure exerted by the thread or clamp that secured the shape during the cloth’s or threads’ exposure to the dye. The finished cloth sensitively records the “memory” of the shaping process. This is the essence of both shibori and ikat, which was first included during the 7th International Shibori Symposium (ISS) in France in 2008 with the technique of chiné (printed warp weaving). The 9th ISS in 2014 in China included Central Asian warp ikat; and the 10th ISS in Oaxaca, Mexico, embraces both Mexican jaspe and Japanese kasuri. The artists, artisans, and scholars participating in this symposium are contributing to the preservation of an ancient process common to many cultures and reviving traditions that have been steadily disappearing. A shared fascination with the ancient traditions of shibori and ikat and the potential inherent in their modern technological applications has drawn together a very diverse community of participants who collaborate, empower, and inspire one another despite their different languages and diverse cultural roots. Exploring their differences sparks innovation and strengthens the vitality of their separate traditions. Later in this program you will find brief descriptions of the ISS gatherings that have taken place every few years in sites around the world, starting with the first one in Nagoya, Japan, in 1992.



El significado de Shibori Yoshiko Iwamoto Wada

La palabra japonesa shibori hace referencia a una variedad de formas de embellecimiento de textiles al organizar y asegurar paños antes del teñido, esta práctica existe en Japón desde el periodo Nara, 710-794 CE. La palabra proviene de la raíz shiboru “exprimir, estrujar o apretar” la cual enfatiza el proceso de la manipulación de telas. Más allá de tratar a la ropa como una superficie bidimensional, la técnica Shibori lo transforma en una forma tridimensional al doblar, arrugar y dar puntadas, trenzar o puntear y retorcerlo asegurando sus formas, tales como el encuadramiento y el anudamiento. La ropa tiene vida propia que trasciende sus orígenes en la lana animal o la corteza de los arboles, la fibra de la pequeña planta de algodón puede ser hilado en telaraña y teñido con patrones etéreos para crear el turbante para un maharajá. El agente de la transformación es el artista/artesano, el cual siente la vida inherente en el material y la ejecuta al aplicarle el toque humano, su conocimiento y visión, grabando su proceso creativo, impreso por la manipulación y fuerza en la superficie viva y táctil de la ropa. El shibori reconoce y explora la flexibilidad de los textiles a la vez que su potencial al crear una multitud de diseños estructurados y resistentes a través de transformaciones dimensionales y resistentes a la compresión. De manera similar, las tejeduría del Ikat comienza con trapos enrollados unidos para formar un plano tridimensional usando cuerdas y otro material, la madeja que son selectivamente enrolladas y comprimidas para resistir teñidos y reservar áreas de presión. Históricamente teñidos o más recientemente blanqueados o calentados para derretir los hilos metálicos o para encoger fibras vegetales, cuando la ropa regresa a su forma bidimensional o hilos estampados son usados en la ropa, el diseño que emerge es el resultado de la forma tridimensional, el tipo de resistencia y la cantidad de presión ejercida por el trapo o la abrazadera que asegura la forma durante el proceso de la ropa o la exposición al teñido. La prenda terminada registra sensiblemente la “memoria” del proceso de formación. Es esta la esencia de ambos, el Shibori y el Ikat, los cuales se incluyeron por primera vez durante el séptimo Simposio Internacional Shibori (ISS) en el 2008 en Francia. Con la técnica chiné (técnica de estampado de urdimbre). El noveno ISS en 2014 en China incluyó urdimbre Ikat del centro asiático, y el decimo ISS en Oaxaca, México incorpora ambas: jaspeado mexicano y el kasuri japonés. Los artistas, artesanos y académicos participantes en este simposio contribuyen a la preservación de un antiguo proceso común en diferentes culturas y al resurgimiento de tradiciones que han estado desapareciendo progresivamente. Una fascinación en común a las antiguas tradiciones del shibori ha unido a una comunidad de diversos participantes que colaboran, empoderan y se inspiran el uno al otro a pesar de sus diferencias culturales y de idiomas. Explorando sus creativas innovaciones y fortalecer la vitalidad de sus diversas tradiciones. Más tarde en este programa encontrará una breve descripción de las reuniones del ISS que han tomado cede en diversos sitios alrededor del mundo, siendo el primero Nagoya Japón en 1992.



Two thousand three hundred years of Shibori in Mexico Alejandro de Ávila

The earliest known text so far found in the Americas appears on a pot found in Chiapa de Corzo, dating back about three centuries before Christ. The engravings on it seem to refer to a textile that was pleated and dyed. The description pertains to a process for compressing the fabric by crimping to prevent the dye from penetrating certain parts of it, thus creating designs. This technique is known in Japanese as Shibori. Sixteenth-century chronicles relate how the Emperor Moctezuma II, like his predecessors on the throne, wore a cloak dyed with indigo as a badge of kingly authority. The Nahuatl name of the garment indicates that the tissue had been tied, again an allusion to Shibori. Yet, at the end of the Viceroyalty, the painted portrait of the young wife of a tribal chief testifies as to how the dyed fabrics distinguished the indigenous elite at that time. The technique survived until the middle of last century in the Mezquital Valley and the Sierra Gorda, where it was used to decorate woolen petticoats and aprons. Sadly, since then its traditional form has been lost throughout Mexico. The Tenth International Shibori Symposium is taking place in Oaxaca to promote and honor dyed fabrics. In addition to the compressed pleats, knotted or backstitched on the finished fabric, the symposium will also focus on designs created by covering the warp or weft with moorings for dying, a procedure that achieves marbled designs on the rebozos, creating a national garment par excellence. Shibori, in its broadest sense, has had a recurring impact on the visual culture of our country. In welcoming fans and experts of these techniques from around the world, our city is able to demonstrate its ability to organize conferences on topics of both art and human experience. Through this symposium we are able to see the potential of reviving a lost art, and recovering a deep Mexican and global legacy.

Dos mil trescientos años de shibori en México Alejandro de Ávila

El texto más temprano que se conoce hasta ahora en el Continente Americano aparece sobre un tiesto encontrado en Chiapa de Corzo, que data de aproximadamente tres siglos antes de Cristo. Los glifos grabados en él parecen referirse a un textil que fue plisado y teñido. La descripción corresponde a un procedimiento para comprimir la tela mediante pliegues para evitar que el tinte penetre en ciertas partes de ella, creando así diseños. Esta técnica es conocida en japonés como shibori. Las crónicas del siglo XVI relatan cómo el emperador Moctezuma Xocoyotzin, al igual que sus antecesores en el trono, vestía una tilma teñida con añil como distintivo real. El nombre en náhuatl de la prenda indica que el tejido había sido anudado, de nuevo una alusión al shibori. Todavía al finalizar el virreinato, el retrato pintado de una joven cacica atestigua cómo los teñidos de reserva seguían distinguiendo a la élite indígena en esas fechas. La técnica sobrevivió hasta mediados del siglo pasado en el Valle del Mezquital y la Sierra Gorda, donde se usaba para adornar enaguas y delantales de lana. Tristemente, su forma tradicional se ha perdido desde entonces en todo México. El Décimo Simposio Internacional de Shibori se realiza en Oaxaca para promover y honrar a los teñidos de reserva. Además de la compresión plisada, anudada o pespuntada sobre la tela terminada, el simposio versará también sobre los diseños creados al cubrir la urdimbre o la trama con amarres para teñirla antes de iniciar el tejido, procedimiento que permite lograr los diseños jaspeados en los rebozos de bolita, prenda nacional por excelencia. El shibori en su sentido más amplio tiene así repercusiones recurrentes en la cultura visual de nuestro país. Al dar la bienvenida a amantes y expertos de estas técnicas provenientes de todo el mundo, nuestra ciudad muestra nuevamente su vocación para facilitar encuentros plurales en torno al arte y la experiencia humana. En esta ocasión se abre la posibilidad de revivir con el Simposio una técnica perdida, recuperando así un legado profundo de México y del mundo.



CONTENTS

Preface LUXIMON Ameersing

Foreword WADA Yoshiko Iwamoto

de ÁVILA, Alejandro

Panel: Connections in Resist-Dyeing from Around the World

A cultural inheritance: the transmission of traditional ikat weaving in the islands of Indonesia 1

BUCKLEY, Chris

Tie-dyeing all around the Mediterranean Sea: Near East, North Africa, Southern Europe 5

COUSIN, Françoise

Frivolities of the spindle: reserve dyeing in Mexican history 11

de ÁVILA, Alejandro

Double Ikat “Kurume kasuri” 17

TORIMARU, Sadae & TORIMARU, Tomoko

Compression Resist – Ikat and Shibori 19

GAMEZ M., Ana Paulina

Panel: Contemporary Fiber Art Practices

A Design Concept to Create Contemporary Designs with Indigeneous and Traditional Fabrics 22

ALPAT, Fatma Engin

The Crossing of the Rebozo into the Boundaries of the Visual Arts in the Work of 28

a Contemporary Mexican Visual Artist Fabrics

ANAYA, Yosi

Silk Screening Production with Natural Dyes 34

ROBERTS, Christina

Contemporary Japanese Fiber Art: Fiber Futures – Japan’s Textile Pioneers 36

WATANABE, Hiroko

Shibori Pattern Design by using Laser Technique for Fashion 40

YUAN, Guoxiang, CHEN, Zhuoming & JIANG, Shouxiang Kinor

Panel: Project INDIGO EARTH: Japan

Tohoku Cotton Project 44

ITO, Yoko

Initiatives in Okamoto Shoten to Kurume Kasuri- 52

Good life and a dream are offered by good old textile "Kurume Kasuri"

NOGUCHI, Hideki

Arimatsu Narumi Shibori which was drawn on the Ukiyo-e in the Edo era 54

UEDA, Kaoru

Kozo Takeda : Arimatsu Shibori, Preservation and Continuation 55

TAKEDA, Masahiro




Panel: Traditions in Color: Natural Dyes in Historical Text and Artistic Practice

Combining Indigo with Other Natural Colorants 56

ELLIS, Catharine

Pounded Plants on Cotton: Colorfastness of Post-Treatments 59

HAAR, Sherry & DOTY, Kelsie

Guided by color 67

PORTILLO, Eduardo & DÁVILA, María Purpura: 30 years of working on its protection and new strategies to save it 70

TUROK, Marta

Linking contemporary dyeing practices to 16th century documentation 72

FALCÓN ÁLVAREZ, Tatiana

Inspired from Antic traditions, Natural dyes on fibers, fixed by ingredients 100% from plants 77

GARCIA, Michel

Panel: Community Empowerment Through Handcraft

The Imperfect Cloth 82

MEHRA, Priya

Australian Indigenous textiles: confluence of culture and enterprise 87

RUBEN, Bobbie

Living Textile Traditions: Sustainability and Community Empowerment in Artisan Groups 93

FUENTES, Ana Paula

Joyeria y Papel: Una Colaboración- Kiff Slemmons and Arte Papel Vista Hermosa 95

SLEMMONS, Kiff

Máscara 96

OBANDO HOLGUÍN, Rosa & UREÑA HAUG Raquel

Panel: Pattern Language: Indigenous Textile Traditions

Shibori: the relationship between the destination of the cloth and the patterns 98

COUSIN, Françoise

De moras a novohispanas. Tres prendas de recato islámicas para las nuevas cristianas 104

GAMEZ M., Ana Paulina

“The Patadyong: A Colorful Weaving Tradition of Miag-ao, Iloilo” 112

AGUILAR-REYES, Mitzi Marie

Contemporary indigo wrappers and ochre boubous from Guinea - Sharing motifs 121

RINGUEDÉ, Annie

Traditional Aal Dyeing and Pata Weaving of the Pankas 129

SRIVASTAVA, Rajni

Cordillera and Pampas, Cruciform and Circle, Ikat and Shibori: 133

The Essential Geometry of the Mapuche and Ranquel Poncho de Cacique.

MORAGA, Vanessa Drake

Tejido Amarrado Skirt Replication Project 140

MURASE, Hiroshi & YAMAZAKI, Kazuki




Panel: Material Matters: Shibori in Design and Fashion

Traditional innovation—The application of die-dye three-dimensional shape design 142

LIN, Yi

Peaceful Resistance: Modern Shibori Beyond Handcrafted Tradition 145

MACQUARRIE, Erin

Emballage/ Wrapping 150

SPRYNSKYJ, Denise

Hidden Behind The Leaves: Limits Can Be Liberating 155

MILNER, Deborah

PROCESOS | MATERIAL + MAKER 160

KUBLEY, Ashley Newsome

Panel: Teaching Through Textiles: Educators in the Field of Shibori and Natural Dyeing

The European Textile Network: Networking for Textile Culture 163

de DIOS, Lala

World Shibori Network Australia and New Zealand (WSN ANZ) "The Adventure Begins" 165

JAMES, Joan & SCHEY, Barbara

The Role of University Botanical Gardens in Preserving Plant Fibers and Dyes 168

NATARAJAN, Deepa

Resist Dye and colors of Chilean children 172

REUTTER, Patricia & GELLONA, Angélica

Educating with Natural Dyes at The Fabric Workshop and Museum 177

ROBERTS, Christina

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the 10th international shibori symposium official ... filedyeing, a practice that existed in japan...

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