Life Lessons Learned Through Quilting

Motivational Sunday

This is the first blog in my Sunday series about life lessons I’m learning through quilting.  My insights started at a young age when I was sitting under the quilt frame in Yat’s front room on Daniel Hill.  The Daniel Hill Community Quilt Frame lived with my Yat (Mattie Burnette Randolph) on Spruce Street.  We lived in a double shotgun house with Mat, Paul and Bet on one side, and Momma, Mama, Baby, Moses Haskins and I on the other side.  I was born cripple and wore casts on my feet and ankles during my toddler years.  Consequently, I seemed to be planted in one spot for long periods of time.

My favorite spot was sitting under the quilt frame while Momma, Mama, Yat, Mis’ Doretta, Mis’ Sudie Mae and Mis’ Bess were hand stitching. They took turns leading a spiritual song while the others responded.  Being slain in the Spirit and led by the Holy Ghost was the glue that bonded the Daniel Hill Quilt Circle.  Other women joined in from time to time but the core crew were the Elders.  Everyone brought a dish of food to share but most of the fellowship time was spent stitching together.  Sitting under that quilt frame was for me like sitting under a heavenly tent.  It was here that I learned my first quilting life lesson, and how the power of quilting could soothe the pains of Jim Crow.

Quilt Life Lesson #1:  Quilting Is About Community

After seven months of soul searching while living in isolation due to Covid, I’m reevaluating and reaffirming what I create with my hands.  I’m examining my creative practice with new eyes based on my cultural heritage and traditional teachings.  I struggle to make and finish quilts when I’m on my own.  I need the accountability, inspiration and fellowship that comes from being in a group with other artists.

Sadly, I’ve recently learned that all art organizations aren’t equal when it comes to providing stimulation, inspiration and fellowship.  An art association is a top-down structural format based on a corporate model that knowledge and leadership flow from the top.  The president is the head that wears the crown and is the keeper of the roadmap the group is following.  A quild is an association of people pursuing the same goals.  The model is based on the medieval practice of like-minded creatives banding together to oversee their particular craft.  The guild system is also a top-down model.  The third model is the circle which is based on traditional indigenous principles where everyone is equal.  In a circle everyone stands shoulder to shoulder and the organization is run by the members.

The best art organization model for me to participate in is a circle.  A quilting circle has been a part of my experience since I understood what quilting was all about.  A quilting circle is part of my multi-generational stitching history.  While I plan to maintain membership in a local art association and a regional and international quilt guild, the organizational unit that will feed my soul is a quilt circle.

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My advice to all you quilters is to find a circle of like minded people who inspire, transfer knowledge and provide stimulating fellowship to your stitching practice.  Happy Quilting!

Quilting Life Lesson #1: Quilting Is About Community.
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The Business Of Being An Artist

Small Business Saturday

“I am not what happened to me, I am what I choose to become.”

Carl Jung

As a working artist who has generations of knowledge about dyeing cloth, stitching and quilting, I’m also in the active hands-on learning discovery to acquire skills that help me be a successful small business owner.  Earlier this year, I completed the ELI Mindset program sponsored by my local Small Business Center at Wilson Community College“Who Owns the Ice House? Eight Life Lessons From an Unlikely Entrepreneur” tells the story of Uncle Cleve, a successful African American entrepreneur, during Jim Crow in the Mississippi Delta where cotton was king.  The book is written by Gary Schoeniger and Uncle Cleve’s nephew, Clifton Taulbert. I highly recommend creatives reading this book, which is available on Amazon.

During the soul searching study of Uncle Cleve’s life lessons, I made the decision to demonstrate persevering steadfast faith and unshakable hope into establishing Fiber Art by Carola as a sustainable business.  By the end of the course, Covid happened and in the following months, I’ve had to redesign my business plan.  A friend, teacher and mentor, Sage Paul Cardinal, stated on my birthday that “difficulties breed innovation.”  Sage is the design concept and inspiration behind Indigenous Fashion Week Toronto.  Witnessing how she is redesigning the presentation of indigenous fashion is inspiring me to do the same with Fiber Art by Carola.

2021 WCC Classes Adobe Spark Presentation Page

So, every Friday I will blog my behind the scenes discoveries and insights about the business of being an artist entrepreneur.  I begin this week with sharing my exploration of creating an educational linking document akin to a newsletter that doesn’t bore my audience with lots of typed words to read.  The successful newsletters that I receive give talking points, pictures and videos that tell a story that holds my attention and peaks my interest.

YouTube Video Created Using iMovie Trailer Template

Next year I’ll be teaching short format creative fiber arts classes at Wilson Community College.  They will be community service classes in the Continuing Education Department.  I will also be developing direct pay online indigo dye classes taught in both on-demand and live formats.  I created the linking document using an Adobe Spark visual presentation page template.  I combined important text information with images and video.  The drawback for including video turned out to be an asset because I’m also trying to build up my new YouTube Channel.  A video in Adobe Spark needs to be an embedded link from YouTube, Vimeo or Spark Video.  

YouTube Video Created Using Adobe Spark Video

My raw footage videos from my iPad and iPhone were enhanced using iMovie and Adobe Spark Video and uploaded to YouTube.  The first movie consisted of a short video clip and lots of still photos.  I used an iMove trailer template.  The drawback that I view with the trailers is all the “movie-like” credits that are attached to the template.  You can’t delete or opt out of using them.  The second YouTube Movie was created using Adobe Spark Video.  The drag and drop visual storytelling template was easy to use and produced a clean contemporary design.  I’ll be using Adobe Spark Video exclusively in the future.

Low Country Blue Gold

History of Carolina Indigo From An Indigenous Point Of View

My family history connection to Georgetown, South Carolina indigo is kidnapping, slavery, oppression and rape.  To those of us born to the land of the Carolinas, South Carolina is described as “The Low Country.”  We called Indigofera suffruticosa “The Indigo Blues.”  However, our Anglo overseers consumed with indigo fever knew it as “Blue Gold.”  I’ve researched the history of indigo around the world, and it’s a horrific tale of indigenous people of color being exploited for profit. My Gullah ancestors and my history with “Low Country” indigo is part of the greater story of slavery in South Carolina.

As contemporary society is reconnecting with the hypnotic seductive deep blue color of natural indigo, the stain of its dark legacy is resurfacing.  Many indigo practitioners choose to overlook or white wash the pain associated with this deep purplish cool blue color.  As an indigenous Carolina practitioner, I embrace the pain of my ancestors by celebrating indigo as a sacred medicine.  The transformative power from wet green cloth to oxidized blue mersized me as a child of five, and it thrills me just as much at 70.  Every vat of indigo is a spiritual experience that drowns me in the tears of my ancestors.

It’s no accident that indigo is waking up creative hands in a world broken by fear of cultural others, and the ruthless desire for domination.  The medicine of indigo demonstrates transformation.  My Momma’s teaching that if we witness transformation on cloth, we can be empowered to transform our individual lives.  Watching blue emerge on fabric from green before your eyes gives hope.  Seeing blue indigo fabric blowing on a clothesline in the wind is a peaceful experience to dye for.

The accumulated pain of my “Low Country” family ties made speaking the generational trauma impossible. The stories of survival were transmitted in making resist bundles of cloth tied with tobacco twine and cotton sinew that bound up our collective pain into a medicine bundle.  Indigo dyed muslin was a “poor colored woman’s cloth” as Ma called it.  She washed, cleaned and cooked for an Anglo woman during Jim Crow who never paid her in money but only with unbleached muslin cloth.

I dye yardage in indigo because that’s what the women in my family did.  We wore indigo blue three-tier tear cotton skirts as a proud symbol of sisterhood that we survived.  We made indigo blue blankets to wrap ourselves and our families in the warmth of protection in a society that believed that our lives had no value.  We twined strips of blue hemp into mats as our ancestors had done before colonization to give witness that rape and slavery didn’t destroy our souls.  Yes we are a mixed blood remnant of the children of the Tuscarora Confederacy forced marched to Charleston, South Carolina and enslaved after the massacre at Fort Neyukeru:ke in 1713.  And, yes we are still here on the land drenched in the blood and sweat of our ancestors creating indigo blues to dye for!

Waking Up Carolina Indigo

Indigo plants (Indigofera suffruticosa) grow abundantly in the fertile black sandy soil on the ancestral land of the Skaru’:re People on the Coastal Plains of the Carolinas.  The plant grows as a shrub with spreading branches between three and six feet tall. The leaves are slightly hairy and are separated into leaves opposite each other. The indigo dye comes from the leaves. The plants can also be grown as a cover for crops and as a fertilizer. The plants produce pea-like flowers in small clusters. A pea-like pod fruit is also produced from the plant.  Indigofera suffruticosa is native to the southern United States.

A Spiritual Journey Shared With Ancestors

Indigo is a medicine for indigenous people living on the coast and coastal plains of the Carolinas. The process of indigo dyeing has historically been and will continue to be taken away from us to glorify others. However, remember that for us the healing medicine is in the flower that the leaves produce in a dye vat. Traditionally, our people used every part of the indigo plant, just like the hemp plant. Indigenous and kidnapped West African people with ancient traditions of indigo should keep the medicine of indigo as scared. What others take let them take, because the medicine in NOT in the beauty of the dyed cloth — it’s in the images the indigo reveals on the cloth.

The ability to create cloth with images from resist binding in indigo is unique to people of color connected with the Carolinas. It’s born out of our 1300+ years of connection with indigo. That historical connection cannot be taken, stolen or reproduced by others. That’s our gift from the Creator through our land to us, so that we will always know who we are as a people.

Natural Indigo takes a considerable amount of effort to get leaves to yield color. The leaves have to be grown and harvested.  Color can be extracted from both fresh and dried leaves.  I prefer to use dried leaves because less leaves are needed.  It takes more fresh leaves to yield color than dried.  As I harvest fresh leaves, I bundle and dry them in a shed.  After the bundles have dried, I strip the leaves off the steams, collect the seeds and save the bear stems to use as fertilizer.

I learned traditional indigo dyeing from two great-grandmothers, Hattie Woodard Harris (Tuscarora) and Mary Burnette (Edisto Gullah) more than 50 years ago. Indigo Day was a big event in both Wilson County, North Carolina and Georgetown, South Carolina. It was always the official start to the Harvest Festival. Preparations would be made weeks in advance and cooking for the Indigo Feast took days.  In recent years I studied surface design including Shibori in the Textiles Department at East Carolina University with Christine Zoller and natural dyeing with visiting artist, Rebecca Cross.  In 2017 I completed a natural dye studio course at the Penland School of Crafts with Charllotte and Sophena Kwon of Maiwa.

Autumnal Equinox

I did what I knew … when I knew better, I did better.

Maya Angelou
Dried Indigo Bundles

All the natural moon signs of 2019 pointed to the fact that 2020 was going to be an eventful year.  However, none of us realized that 2020 was destined to be such a life changing event.  This year has brought me to rock bottom emotionally and physically.  My tribulations started on Ash Wednesday, February 26th, when I was evicted from my home studio.  I take full responsibility for letting it happen because I let the depression of grief overwhelm me.  I did the best that I could but my best was a failure.  I didn’t see The Blues of failure and disappointment coming, and I’ve been wallowing in self pity for six months.  And now on the Autumnal Equinox, I’ve got to pick up the broken pieces of my life and create joy that comes from peaceful contentment.  Now that I know better, I will do better because the past six months have been brutal.

What I lost is gone and I must seek gratitude for what I have, and smile through my tears.  I lost my pottery studio but I’ve got textiles and my dying mother’s prayers anointing me with multi-generations of indigenous fiber arts knowledge.  Art heals!  And textile making heals women.  Once you have lived through hell it changes you.  Elders say what doesn’t kill you makes you stronger.  When I’m suffering and every breath is a struggle hearing those words are like a slap in the face.  The death of one’s parents, grandparents and all nurturing family members as an only child is a tribe no one wants to be a part of.  Never being married or giving birth to a child further isolates me.  Society overlooks us for the most part and fails to see what an incredible group of women we are.  We are survivors!  Historically, we heal ourselves through textile making.

Only through my struggles since Ash Wednesday, am I realizing a deeper understanding of my dying mother’s prayers.  In order to demonstrate the healing power of growing color, making bundles, dyeing cloth and stitching I had to reach rock bottom.  And on the last day of summer in 2020 that’s where I found myself.  But yesterday is gone forever, and today is a new day.  Today is full of the promise of renewal.  My prayers are for steadfast persevering faith and unshakeable hope.  Join me as I sojourn my way up from rock bottom practicing indigenous ways of knowing through traditional textile making.

Juneteenth: Dance With Ancestors Day

One of my most  memorable Juneteenth memories of a community celebration happened over three days in 1955.  Paul Randolph drove Howell Woodard, Mama, Mat and I to a “Picnic” on Roanoke Island with our relations.  It was back in the woods on sandy soil.  Men sat in a circle and beat ancient rhythms on skin drums.  We danced around them in a circle.  When I turned 21 and attended my first Pow Wow, I realized the ‘Picnic” of my childhood was a family Pow Wow celebration.  Indigenous gatherings were against the law during Jim Crow so we celebrated by having a Juneteenth family picnic.  I was still wearing casts on my feet because I was born crippled but tied on either Mama’s or Yat’s back with a sheet, the heartbeat of the drum captured my tender heart.

We wore three-tier tear cloth skirts and matching long sleeve blouses with bertha collars sewn by my Momma before she left to attend summer school at Penn State University.  Our outfits were on indigo dyed cloth.  We wore aprons sewn from tea stained hemp cloth.  The top of the bib had a round pinecone quilted puff.  The bottom of the apron had rows of ribbons and sea shells.

My great-grandfather was Howell Running Deer Woodard. He was born on Roanoke Island to a Mattamuskeet Tuscarora mother named Fawn and a father named Buck “Trapper” Etheridge who was born near Fort Chicamacomico.  He told me Tusky blood was strong in me because I was the only one who was his.  We shared a unique relationship, and he was the first person to tell me about ourselves. He knew his grandparents and three of his great-grandparents and passed down their stories and ways of knowing to me. Our stories are told through pottery and textiles connected to the Outer Banks from around Jones & Pennys HIlls, Salvo, Silver Lake harbor, Chicamacomico and Fort Neyuheruke.

His grandfather was a slave who escaped on the Underground Railroad to the Mattamuskeet End Stop.  Remnants of the pre-Anglo Mattamuskeet township are at the bottom of Lake Mattamuskeet.  My grandpa was very fair skinned like Mama, and made a living fishing, trapping, and as a river guide. He was born after the Civil War during Reconstruction. The Etheridge last name comes from the son of the Freedman. Nothing in my family stories is known about him until he showed up at Mattamuskeet.  My grandpa knew him during his lifetime and described him as mulatto. He took up with an Algonquin female ancestor and adopted her ways. Most of my other ancestors from this time were free indigenous people who didn’t have last names. They were masters of blending in, hiding out in plain sight and living off the land, ocean and sound.

I’m the last living Toisnot Tuscarora. I’m 73% Native. My father was a full blood Seminole from the Big Cypress Rez in Florida. I started doing genealogy in high school when an African American teacher told me I was lying about being Native and gave me an F until I could prove it. So I proved it. Most of my family lineage is accounted for. I’m a mixed blood but I’ve always known I was Tusky. I knew two blood great grandparents and one Algonquin step great grandfather and one Algonquin Tusky great great grandmother.  Each of these ancestors knew their grandparents and some of their great-grandparents.

I have proof that I’m a daughter of the American Revolution and a daughter of the Confederacy but those relationships were forced upon my female ancestors by rape.  I carry their polluted hate filled colonizer blood but I refuse to acknowledge their Anglo Saxon/Roman cultural history.

Juneteenth 2020 I dance with my ancestors from Currituck around Jones & Pennys HIlls, Salvo, Silver Lake harbor and Chicamacomico.  My prayer is Divine Mercy for the world, and I dance to the Drum of Northern Cree.  Round Dance Song.

FAQs

What is round dance?

What is a Native American Round Dance?  History, Music, Meaning

I dance Cree Round Dance to honor Riley Kucheran, an Assistant Professor at Ryerson University’s School of Fashion, Biigtigong Nishnaabeg (Pic River First Nation).  Riley transferred an important Cree teaching to me as an Algonquin Elder to share with indigenous children.  To honor the sacredness of the knowledge transfer, I dance Cree Round Dance to the Drum of Northern Cree.

What is Cree Round Dance?

Women’s Northern Cree Round Dance Example >> YouTube

DIY Saturday: Quarantine Beading Supply List

Live Online Demo Saturday, May 16 @ Noon on Facebook >> Seed 2 Runway

#seed2runway DIY Kumihimo 8-Strand Braiding With Beads
Tools Needed
:

  • Round Kumihimo Braiding Loom >> Jewelry Supply
  • Weight >> Make my own using a large 2 1/2 metal washer, waxed linen and a clip
  • Scissors
  • Ruler or Yardstick
  • Glue (Satellite City Hot Stuff Special T) >> My Supplies Source
  • Big Eye Needle >> Beadaholique

Materials Suggested For Beginners

  • S-Lon Beading Cord >> Etsy Stores have the largest collection.
  • Japanese Seed Beads Size 6/0 | These are the “paint” of your braiding.  Beads are uniform in size made with precision technology in durable colors.  There are two brands Miyuki and Toho beads.  Most of my beads are Miyuki, which I purchase in 20g tubes.  When I started bead weaving, there was a bead outlet store in Smithfield and retail stores in Raleigh and Chapel Hill.  The Smithfield and Raleigh stores are now out of business and I don’t recommend the Chapel Hill store.  I order my beads online from the following places:
    • Auntie’s Beads >> Sold as 25 grams.  Great selection but often sold out.
    • Beads Direct USA >> My Go-To Favorite.  Good selection and prices.  Beads sold in tubes of 20 grams.
    • Caravan Beads >> Beads sold in 20, 125 and 250 gram lots.

NOTE:  All of the beads I’m using for my quarantine beadwork are coming from my stash.  This has caused me to be creative with designing my beading patterns.  My goal is to work out design patterns in different ways so I’ll have necklaces in different lengths.

Clasps For Necklaces
To finish off a necklace you will need a clasp of some kind.  Several options are available including 1) Glue in bell end caps with either lobster, toggle or slide lock clasps; and 2) Glue in magnetic clasps.  I purchase my clasps from Beads Direct USA.

Quarantine Beading

Fiber Friday 002 | #seed2runway
Fiber Art by Carola Blog
Do What The Spirit Says Do

Indigenous Women & Beads
Like so many indigenous women in what my Lumbee Sister, Patricia Brayboy , calls “Lock Down,” when we look around to start creating something with what we have — it’s beading!  We love beading!  We collect beads!  We trade beads!  We’ve got beads!

White & Crystal Seed Bead Mix

When studying with Christine Zoller @ ECUtextiles, I started collecting beads when I saw how many beads she had.  I never saw all of her stash but when she said she had a room for her beads I was impressed and knew I needed to step-up my game.  In 2018 I was a visiting artist in New Orleans with Desmond Melancon, Big Chief of the Young Seminole Hunters.  When I visited his home studio and saw his collection and organization of beads, I was amazed.  My collection of beads is modest compared to both Christine and Big Chief.  I have then organized by color on a 4-shelf unit in my living room next to my beading work desk.

With my home studio in chaos, my sewing room trashed, no space to do embroidery or oil painting and the pandemic raging, I felt depression swirling around me.  I was in danger of falling down The Blues rabbit hole of loneliness, despair and feelings of being a motherless child since the death of my momma.  Looking around while crying tears from the stress of feeling overwhelmed, I saw my neatly organized collection of glass seed beads.  It’s not much in terms of quantity but opening the plastic bins of colored beads helped me realize that I could survive this pandemic.  I hadn’t done bead weaving since a cousin and childhood friend and I had fallen out over my beading.  The pain of the drama had caused me to neatly pack up my bead weaving supplies and set them aside.  The joy from Kumihimo beading was gone!

However, in these quarantine circumstances with the blessings of Divine Mercy what was lost is resurrected and made new.  My little stash of glass seed beads helps me to relax and focus on being kind to myself.  In turn I have energy to demonstrate love and friendship to others.  In the two months of quarantine, I’m reconnecting with my childhood association with glass seed beads.  We never had many beads on Down East Tusky land because historically you had to have sex with the traders to acquire beads.  What seed beads that were available during my childhood we used for bead embroidery and crochet beading.  Now that I’m living in lock down, I’m falling in love with Kumihimo braiding with beads because it’s something that I can do in the middle of the night or early in the morning.  I rarely sleep all night.  When I wake instead of stressing about having little money and being isolated at home, I can sit up in bed and start beading.  Kumihimo is self-contained once you set up the form board.  It’s ideal for starting and stopping and working on the fly.  It requires focus, attention to details and it’s relaxing.

My quarantine beaded necklace patterns are born from using what I have to create something new.  My goal is to make accessories for my regalia until I’m able to sew.  Now my niece, Allison Lowery, wants to learn.  I’m the proud auntie to Allison and Chana Smith.  My necklaces are meant to honor calmness and inner peace during difficult circumstances.  There are three versions, the white necklace is called Something New, so I can remember my grandmother’s teaching that each sunrise is a new beginning.  The candy stripe lavender and white I call Algonquin Dreams to remind me to hold on to my ancestral heritage and don’t let myself get dead in this pandemic.  The purple necklace which is a different pattern is called Purple Love.  It’s meant to help me meditate on love and kindness to others.

Woke Up This Morning With My Mind Stayed On Freedom

May 02, 2020 | First Saturday in May Devotional
#seed2runway
Fiber Art by Carola Blog

Music is the key that opens the lock to our healing.  Music empowers us with the energy to transform ourselves.  My Momma would say, “you don’t know what love is until you know the meaning of The Blues!”  Life 101 is about The Blues!  The Blues hurts and stings like a hard slap in the face but it’s part of our humanity.  Life isn’t fair, never has been and never will be.  It’s just how it is.  For indigenous people “Waiting On The World To Change,” our time to stand up and say “Not Today Colonizer” is now.  It begins with us applying the lessons of Sage Paul Cardinal and the healing philosophy of Tala Toostoosis to take ownership of what we wear.  We need to take responsibility for healing our own intergenerational trauma by healing ourselves and our land.  Take action by learning to bead, machine sew and slow stitch by hand.  The process of creating something from nothing with your hands, will help heal you.  Let music open your heart and mind to “What If?” possibilities.

My Take Action Music Playlist
*Drum | Northern Cree | Dancerz Groove
Dance with Me
Dancerz Groove
Earth Angel

  • Turtle Island Waltz | Robert Tree Cody & Will Clipman | Heart of the Wind
  • Ancient Mi’kmaq | Ulali > Eastern Eagle Singers | Eagle Song
  • Buffalo Song | Olivia Tailfeathers
  • Waiting On the World to Change | John Mayer
  • Woke Up This Morning With My Mind Stayed on Freedom | James Horner & Sweet Honey In the Rock | Freedom Song
  • New Woman’s Shuffle Dance | Young Nation | Creation’s Journey
  • Round Dance | Smokey Town Singers | Round Dance Song
  • Do What the Spirit Say Do | Sweet Honey In the Rock | Experience 101
  • A Cappella Native American Church Song | LeeAnn Brady | Songs of Native American Women
  • Tapwe Oma | Fawn Wood | Songs of Native American Women
  • Beautiful Dawn | Radmilla Cody | Songs of Native American Women
  • Euphony | Nitanis “Kit” Largo | Songs of Native American Women
  • Never Let Go | Nitanis “Kit” Largo | Songs of Native American Women
“My Eye On The Prize,” Pencil Drawing on Paper

I began my weekly Fiber Friday Blogs dancing with the world wearing flowers in my hair.  I’ll share something that I know about textiles from a Tosinot Skaru’re Curricuk point of view each Friday.  These are teachings that I learned from my momma, Doris Jones, who was a Home Economics teacher for 43 years.  I’ll also share teachings from two grandmothers, Minnie Haskins and Mattie Randolph, and two great-grandmothers, Mary Burnette and Hattie Harris.

Artistically, I’m a result of the Art Department at Carolina through Xavier Toubes, Marvin Saltzman, Carol Mavor,  Dr. Sherman Lee, Jayne Bomberg and David Branch Sutton.  My arts and crafts philosophy comes from participating in The Penland Experience on top of a Tsalagi Energy Vortex.  Mentors include Eva Kwong, Kirk Mangus, Paulus Berensohn, Cynthia Bringle, Edwina Bringle and Gay Smith. Special thanks to Cherokee Studies at Western Carolina University.  I dance in The Sacred Circle because it connects me with both my past, my present and my future. The dance is my medium for active prayer for Divine Mercy for the world. The dance given to me by Mattie Burnette and Minnie Haskins at an Algonquin Picnic (unofficial Pow Wow) on Roanoke Island in 1955 is Women’s Southern  Cloth. I’m also gifted old fashion flat footed Jingle by Dr. Karlee Feller, Cree/Metis, Associate Professor at University of Calgary, Canada in honor and support of Poo’miikapii: Niitsitapii Approaches to Wellness.

I’ve also learned from Christine Zoller at East Carolina University’s Textiles Department, and from textile workshops at Penland School of Crafts with Charllotte and Sophia Kwon from Maiwa, Luke Haynes and Katherine Diuguid.  My indigenous teachers and mentors are Sage Paul Cardinal and Pura  Fe and Tala Tootoosis.

Feeling Something Drawing Me On

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Fiber Art by Carola Blog
Feeling Something Drawing Me On
Happy May Day! | Solidarity 2 All!

May Day 2020

Flowers in hair | Sacred Drum Circle Ceremony | Dance with the world | Song: Harvest to the World | Isley Brothers >>

May Pole Dancing

Memories of wearing white on May Day at Nash County Training School. Momma was making red candied apples with her students. Mrs. Clyde Harris, had all third grade girls dressed in white. Boys wore dark pants and a clean shirt. We all wore finger woven sashs in bright colors woven by Elders. My Yat wove mine in green, pink and yellow wool yarn. The band played. We danced. We sank. We wrapped a pine pole with every color crepe paper streamers weaving ourselves over and under each other.