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Braided Assomption Sash

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  • Michelle Beauvais
    Thanks to Richard, Negay, Lucinda and Janis for your interest. I read all you comments and questionning. I don t think that I have the answerd but I can share
    Message 1 of 3 , Jun 1, 2008
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      Thanks to Richard, Negay, Lucinda and Janis for your interest. I read
      all you comments and questionning. I don't think that I have the
      answerd but I can share the process I used to understand
      fingerbraiding. Research so called Off-Loom is very young so
      archaeology of textile and I'am involved in both. Here in an
      itinarery of my research on Braided Assomption Sash.

      In 1975, I learn like others Assomption sash technique with the
      terminology of weaving and explain like other that it is a braiding
      technique. As a teacher, I became aware from students of the
      ambiguity of the terminology I used. As students learn from me, so I
      learn from them. I was confront with my own not solving-problem
      issues and try to find solution. I was aware that I have no referal
      or back ground on braiding to explain it. So in 1998, I decided to
      start a research on structure of fabric. Most of the serious books
      are written on English and my French is my first language. But I
      realized that even in English there is a problem distinguish the
      difference between braiding and weaving. I understand that in North
      America, trying to save the technique of the magnificient braided
      Assomption sash or other magnificient braided sash design muke us
      work in a process of survival skills. It was a priorities. So the
      first books and descriptions were written by weavers artisans and
      weaving terminology. But around 1970, Japan open their knowledge with
      the rest of the worlf, as I remember learning Raku technique in 1974
      with potery teacher who used to get their to learn but their
      knowledge of braiding come to me with the book of Noemi Speiser in
      1998 only. Than I phone her and ask her to supervised my research and
      she agree. We have a strong communication for at least 5 years and my
      learning process improved till I publish the result of my research in
      2005 with the book Le tressage au-dela du trois brins (Braiding
      Beyond Three Threads). It may be frustrated not to have it in English
      but I work on it so for my web site www.michellebeauvaistressage.ca .
      Using the vocabulary of weaving for years, I agree that it was
      difficult to change my vocabulary for the one of braiding but it
      becomes so coherent. I used it since more than 5 years now and the
      students who start learning the braided Assomption sash by learning
      first the structure of fabrics integrated it naturally. Than I met
      Makiko Tada and come to the International Conference in Kyoto last
      November. Since, I decided to learn Kumihimo with her as a trainee at
      her studio in Tokyo than I came to the point that students learning
      any kind of braiding should start by Kumihimo practicing to
      understand the structure. So I came back home and introduced it as an
      introduction to learn braided Assomption sash. So the learning of
      working with a tool and off-tool process of braiding. I started the
      Braided Fabrics Guild in 2004 and student are very excited to
      discovered the history of braiding all over the world, I introduced a
      powerpoint lecture with the support of Makiko Tada. The regional
      Braided Assomption sash and others braided sash design are now
      integrated in the evolution of braiding technique and it make sense.

      In Japan, there is no ambiguity, braiding and weaving are two
      different structure of fabric-making process. Noemi Speiser learn
      Kumihimo in Japan in 1970 abd her book The Manual of Braiding publish
      first in1983 is a must-have for every one who is interested in all
      kind of braiding including Assomption sash.

      Now there is referal to support the understanding of braiding. The
      definition of the term braiding by Irene Emery The Primary Structure
      of Fabric (1966) was elaborated later by Noemi Speiser in her must-
      have book publish first (1983) so the Dorothy K. Burnham paper
      Braided "Arrow Sas" of Quebec (1976) and her book The Comfortable Art
      (1981) were she speak about Indian and Frech Braiding.

      Here I introduced that a recent dicovery of archaic fragments textile
      (Turnbull 1976) were fond on Augustine mound Sites in Readbank, New-
      Brunswick, Canada Province on Atlantic. They are dated 2,500 years
      from now. So the the specialist on textiles met at a round table on
      the subject in Washington D.C. Speiser was there with Emery and
      Burnham at the related subject. The description of one of these
      fragment by Joleen Gordon 2000 was publish in 2002. It is sais that
      the distinctive diagonal weaving with more than one colour has an
      obvious similarity to the colourful waisline sashes worn by First
      Nation people and the much later "ceinture fléchée" belts worn by the
      seventeetcentury French "coureur des bois" and the so called later
      Assomption sash in 1850. Also a paper from Taylor and Taylor publish
      in 2006 at the Textile 10th Bianneal Symposium in Toronto speak about
      these archaic fragments and you can see the photo of some of them at
      the web site www.stephenataylor.com .

      The paper of Noemi Speiser The three Supercategories of Fabric-Making
      Process and the description of the vignettes is also a must-have. It
      is publish in Strands isues #10 of the Braid Society (2003) and in
      french with her permission in my book Le tressage au-dela du trois
      brins. The fact that a fabric is work with finger as nothing to do
      with the diagonal or oblique direction of the elements in the
      structure of braiding. The used of the term weaving is not
      appropriate in this case. There the used of fingerbraiding or
      handbraiding. Free ends braiding is not a fingerweaving.

      Here I speak about the Loop-Manipulation basic instructions by Noemi
      Speiser with the collaboration of Jennie Parry (2002) where even if
      this book relate exclusively with diagram A2 p.2, the loop-
      manipulation learning technique teach us that the typical handwork
      intented fabric can be illustrated with two distinct diagram. The
      distinction between weaving and braiding structure as a typical
      handwork (without tool) is well illustrated. The A1 diagram speak
      about that set of loops can serve as a warp, forming a sheds for
      introducing a weft (two sets of elements). In A2, it can be obliquelu
      interlaced (one set of elements).

      In the book of Masako Kinoshita Study of Archaic Braiding Technique
      in Japan + Guide for English-language Readers (1994) I was proud to
      look at the first colour photo of a magnificient braiding technique
      fabric as she described the Braided Assomption Sash. She said that
      the stuctural pattern of the oblique interlace wide bands made by
      native American of Quebec, Canada are so well controled that it is
      hard to believe the sashes are actually made with no mechanical aid.

      My next step is to learn loop-manipulation braiding with Masako
      Kinoshita an expert near by geograpphically. Making research involved
      a strong communication with experts which from who you can develop
      your understanding on a specific subject and construct your own
      meaning with caring, sharing and respect.

      Thanks in advance for taking time to read this extended paper.
      Michelle.

      Please do not hesitated to contact me.
    • Donna Phillips
      Hi, Michelle, Thank you very much for the detailed and helpful history of braiding and weaving. I saw your website and your work is beautiful.  The colors and
      Message 2 of 3 , Jun 1, 2008
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        Hi, Michelle,
        Thank you very much for the detailed and helpful history of braiding and weaving.
        I saw your website and your work is beautiful.  The colors and patterns are exquisite.
        Many thanks!
        Donna





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      • riccardobuono
        Hi Michelle - Thank you for your explanations and for the excellent references. I ve obtained from the library Burnham s The Comfortable Arts. It appears to
        Message 3 of 3 , Jun 4, 2008
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          Hi Michelle -
          Thank you for your explanations and for the excellent references.
          I've obtained from the library Burnham's 'The Comfortable Arts.' It
          appears to have a lot of information. And I'll get out my copy of
          Speiser which I've had for years but rarely delve into. A single
          page exhausts me! I am in awe of her technical drawing ability - the
          diagrams really do clarify the braid structures. I agree with you
          that it is definitely the braiders' Bible.

          Your website is handsome - and, I expect, informative. Sadly I
          struggle with the French text. My fault for not paying more
          attention in school.
          Regards, Richard


          --- In kumi2@yahoogroups.com, "Michelle Beauvais"
          <beauvaismichelle2@...> wrote:

          > . . .knowledge of braiding come to me with the book of Noemi
          Speiser in
          > 1998 only. Than I phone her and ask her to supervised my research
          and
          > she agree. We have a strong communication for at least 5 years and
          my
          > learning process improved till I publish the result of my research
          in
          > 2005 with the book Le tressage au-dela du trois brins (Braiding
          > Beyond Three Threads). It may be frustrated not to have it in
          English
          > but I work on it so for my web site
          www.michellebeauvaistressage.ca .
          >
          > Now there is referal to support the understanding of braiding. The
          > definition of the term braiding by Irene Emery in The Primary
          Structure
          > of Fabric (1966) was elaborated later by Noemi Speiser in her must-
          > have book publish first (1983) so the Dorothy K. Burnham paper
          > Braided "Arrow Sas" of Quebec (1976) and her book The Comfortable
          Arts
          > (1981) where she speaks about Indian and French Braiding.
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