OK. I am really jealous. Why is this lecture being given in Estonia and not where I am? Is it possible to receive a copy of the paper? I am also a little confused about the final statement. It would be interesting to find out what he means. I don't know if the visionary quality of the lacemaker's imagination would be any different than that of the garment district sweat shop worker, or assembly line worker, but, I could be wrong about that. One question that arose in discussion during the Young Lacmeakers Symposium (see my blog on _www.laceioli.ning_ (http://www.laceioli.ning) ) was whether lacemakers ever used their craft as a vehicle for personal expression. I had never thought about this question before. Even people making baskets, such as native Americans were able to express themselves creatively in their technique. I saw some wonderful examples of this in an exhibit of items from the Museum of the American Indian at the Old Customs House in New York, this year. But those persons who were creatively designing the lace masterpieces did not seem to be the people who were making the pieces. Devon In a message dated 4/15/2013 4:45:52 A.M. Eastern Daylight Time, [email protected] writes:
I was informed about a lecture this evening which I'm planning to attend. Today, on Monday April 15^th , David Hopkin from the University of Oxford will give a talk called: "*The Visionary World of the Lacemaker*"** David sent a short presentation of the lecture: "Handmade lace is a strange textile which comes laden with meanings beyond the sartorial. According to numerous legends its origin was divine, and lacemaking skills were often taught in pious institutions. It was a luxury product, sponsored by aristocrats, although made by the poorest in society. Both the product and its production were associated with the enforcement of female submission and modesty, but at the same time it carried an erotic charge. As lace was the last textile whose manufacture was mechanised we have an especially privileged access into the working world of lacemakers. In the nineteenth century they were the subject of considerable attention from the Church, from aristocratic patrons and from the state keen to encourage home-working. But they were also visited again and again by folklorists because lacemakers' collective work patterns encouraged storytelling and singing. Many of the most important folksong and folktale collections from Flanders and France were made among lacemakers. What do these texts tell us about lacemakers' lives and their relationship with their craft? Lacemakers rejected many aspects of what the state, church, lace-entrepreneurs and family patriarchs had in mind for them. What emerges instead is their relationship to the supernatural and the visionary quality of lacemakers' imagination." I'm not sure that I agree with the last few sentences. But I will share my impressions. Penelope in Tartu, Estonia where the snow is finally melting, - To unsubscribe send email to [email protected] containing the line: unsubscribe lace [email protected]. For help, write to [email protected]. Photo site: http://www.flickr.com/photos/lacemaker/sets/ - To unsubscribe send email to [email protected] containing the line: unsubscribe lace [email protected]. For help, write to [email protected]. Photo site: http://www.flickr.com/photos/lacemaker/sets/
