Basketry

Seymen, N., & Aydın Türk, Y. (2018). City and Craft: Trabzon. In H. Arapgirlioğlu, A. Atik, S. Hızıroğlu, R. L.Elliot, & D. Atik (Eds.), The Most Recent Studies in Science and Art (Vol. 2, pp. 1994-2008). Ankara: Gece Kitaplığı. CONCLUSIONS AND RECOMMENDATIONS: Parallel to the globalizing world, due to the acceleration of capital, commerce, population, consumption and increasing product diversity, identity changes and cultural losses are taking place in the cities. Such changes in the texture of the cities are mostly seen in the old city centers where craft spaces are concentrated. Therefore, the crafts and craft spaces, which have an important place in the identity and culture of the city, are gradually decreasing and disappearing. This is an important problem for sustainability of crafts in the future. For this reason, planning approaches should be adopted in order to protect and maintain the craft spaces, which are distinguishable identities and cultural elements of the city. The historical city center of Trabzon, which was selected as the study area, has important traces in the identity and culture of the city. The historical city center and its surrounding urban areas are known for their craft types. For example, Pazarkapı for carpentry, chest-making, ironworking; Kemeraltı for jewellery, copperworking, silversmithing, broommaking; Tabakhane for shoemaking and leatherworking. Today, these craft spaces have either changed places or have gone to a change of function or are completely lost. It is important to be able to maintain these characteristics of the historical city center of Trabzon and traces it has today. Therefore, it is necessary to protect the craft spaces and bring them back to the city. In the planning and conservation works in the city, crafts and craft spaces should be supported by special projects. Cultural spaces where research projects, exhibitions and activities for the crafts can be made should be created and they must be brought together with the city and urbanites. With public, private and NGO cooperation craft-oriented urban policies should be developed. Sectoral models for different craft types in the city should be produced and cooperation should be provided.

Local baskets play an important role in the Bontok's identity, particularly for women who are married. They must possess sets of baskets that are valued by their community to establish themselves as married women. These have resonance in their life as primary rice farmers and their relationship with their environment. In instances of drought brought on by the El Niño, the disappearance of the basketweaving materials signals the lack of food harvests that are contained within those baskets.Such symbolic occurrences have implications on how they will manage food security for their community.

REVIEW at: https://thebcreview.ca/2022/07/20/1528-laforet-croes-cordage/.

The “brother” to basketry, we have just published a 40-year update on ancient CORDAGE and KNOTS on the Northwest Coast of North America, with a focus on the 2000+ examples from the Ozette Village wet site. As one of the most common artifacts from Pacific Northwest wet (and shell midden) sites, cordage and knots play a key part in the dynamic Maritime Societies for over 10,000 years along the coast and riverways.

The flyer shows (in counterclockwise direction) 1. 3-strand, twisted cedar limb Ozette whale harpoon rope with a running noose knot on end, 2. Daryl Fedje, Director, holding a spruce and grass 3-strand braid string/thread dating to 10,700-years-old from a southern Haida Gwaii, B.C. wet site, 3. Makah Museum replica of the ancient Ozette house (in their museum) showing cedar limb 1-strand withes tying the house wall boards, slung between double pairs of poles, 4. 3-strand twisted cedar limb collar on a 700 year old Sunken Village wet site wooden wedge near Portland, OR, and 5. Ed Carriere, Suquamish Elder and Master Basket/Cordage Maker, shows how he stores his split cedar root in cordage loops for later use (these are common in ancient wet sites too). 

Please check it out at the publisher’s (JONA) web site: https://www.northwestanthropology.com/publications  and Amazon;

And see review in "The B.C. Review": https://thebcreview.ca/2022/07/20/1528-laforet-croes-cordage/

The prehistory of the Neolithic and Copper Age of northern Italy is mainly told through the testimony of durable artefacts: pottery, stone and bone. With the exception of a few noteworthy finds, cloth is rarely considered. Of these the most significant was the discovery over twenty years ago of a frozen man and equipment of predominantly organic materials from Similaun, Val Senales (BZ) dated to c.3300 cal BC, which stimulated discussion about the types of cloth used for clothing in the Copper Age. Particular attention was paid to the absence of woven textiles and the idea that a form of twined basketry made from grass was used as a cape. About a decade later, an exhibition entitled ‘Textiles: intrecci e tessuti dalla preistoria europea’, held at the Museo Civico di Riva del Garda, brought together archaeobotanists and textile researchers who focussed, among other topics, on the evidence of tools for weaving textiles and on flax as a fibre source in northern Italy from the Early Neolithic . While this work has added significantly to the evidence and debates surrounding the types and role of cloth in the Neolithic, the evidence and understanding of the topic remains patchy. The Middle Neolithic seems to fall into one gap in the scholarship, as it is too early to justify comparison with the Iceman and too late to be associated with Early Neolithic flax. Nonetheless, some form of cloth must have existed in these societies. The aim of this paper, therefore, is to bring together recent research and new data to question the types of cloth that were used in the Middle Neolithic of northern Italy.

Dr. Darby Stapp, Editor, wrote this introductory editorial announcing Ed Carriere, Suquamish Elder and Master Basketmaker, national award by the First Peoples Fund, one of four Community Spirit Awards in 2022: https://www.firstpeoplesfund.org/ed-carriere .  He also points out our new approach: Generationally-Linked Archaeology, which is explained in the article posted on this page from the SAA Archaeological Record magazine: https://www.academia.edu/48503826/GENERATIONALLY_LINKED_ARCHAEOLOGY_explained .  No doubt Ed's recognition is partly because of his work with ancient Salish Sea archaeological basketry from wet sites, and learning from up to 200 generations of weavers in his traditional territory.  Through this work he has made up to 4,500 years of ancestor's teachings available to all future peoples of the Salish Sea and beyond.

The research involved the efforts of a wet archaeological site specialist (Dale Croes) and a Master Basketmaker and Elder from the Suquamish Tribe (Ed Carriere), who joined together to replicate and scientifically analyze the 2,000-year-old basketry collection from the Biderbost wet site, Snoqualmie Tribal Territory, housed at the University of Washington (UW) Burke Museum Archaeology Program (Figure 1). Working on this analysis and replication project over the past four years, we concluded that it was not enough to call this a case of Experimental Archaeology; we describe our work as a new approach termed Generationally-Linked Archaeology, an approach that chronologically connects from both directions, linking contemporary cultural specialists with ancient and ancestral basketmakers through the science of archaeology. We present our approach here after publicly presenting our efforts to both indigenous and scientific archaeological audiences, including Native peoples at the Northwest Native American Basketweavers Association, Indigenous Ainu of northern Japan, and at a National Maori Weavers conference in New Zealand, and to archaeological scientists at two annual SAA conferences, the Wetland Archaeo-logical Research Project (WARP) 30th Anniversary Conference in Bradford, England, and a Wetland Archaeology Conference in central France.

After half a century at the forefront of scholarship, the topic of artistic creativity in sub-Saharan Africa has lost much of its glamour. In light of her apprenticeship to a basket maker in northwest Zambia the author revisits the work of several scholars who have written on the topic, arguing that visualism and logocentrism are ultimately detrimental to the understanding of the creative process. Creativity, she argues, blossoms in art making when the artist’s mind and skillful body coalesce in engagement with materials. Consequently, a theoretical and methodological reorientation to the study of creativity is in order, one in which, together with observation and interviewing, the experiential methodology of apprenticeship is uniquely promising.

"SUMMARY - Chronological and cultural contribution of the Corsican Late Bronze and Early Iron ages vessels analysis - The present contribution aims to present recent research results, obtained in the frame of a PhD thesis, concerning the morphological evolution of Late Bronze Age and Early Iron Age ceramic production in Corsica. The collections described in this study are unpublished and for the majority are coming from old excavations with a good level of stratigraphic reliability, providing them with a coherent chronology. The Late Bronze Age is so far solely documented in the south of the island where archaeological activity has developed considerably over the last half century. The Early Iron Age concerns the whole island and is documented through a series of old (in the south) and recent (in the north) excavations. This study shows the significance of diachronic traditional mechanisms in the southern area between the twelfth and the sixth century BC, with a gradual passage between the «Apazzu-Castidetta-Cucuruzzu » and «Nuciaresa» facies. At the other end of the island, the group of «Tuani-Mizane» emerges as totally different from southern assemblages. The complexity of the Corsican cultural geography from the Early Iron Age appears as a geographical specialization of production spheres. Concerning the borrowing phenomena, Late Bronze Age in the south of the island is characterized by several morphological and technical transfers operating at the beginning of the period with both the ligurian-tuscan coastline and northern Sardinia. Subsequently, ceramic industries evolved according to strictly local models. This article will strive to characterize the complexity of cultural processes which is clearly expressed in the evolution of production techniques, vessel morphology and consumption patterns.

RESUME – Contribution chronologique et culturelle de l’analyse des ensembles céramiques du Bronze Final et du premier âge du Fer de Corse - Cette contribution vise à présenter les recherches récentes menées sur l’évolution morphologique de la production céramique du Bronze Final et du premier âge du Fer de Corse, effectuées dans le cadre d’une thèse de doctorat. Les collections décrites ici sont inédites et, pour la plupart, issues de fouilles anciennes présentant un certain degré de fiabilité stratigraphique leur assurant une bonne cohérence chronologique. Le Bronze Final est à ce jour uniquement documenté dans le sud de l’île, où l’activité archéologique s’est plus particulièrement développée depuis un demi-siècle. Le premier âge du Fer concerne toute
l’île et fait intervenir des fouilles anciennes (dans le sud) et récentes (dans le nord). L’étude fait apparaître l’importance
des mécanismes de tradition en diachronie dans l’espace méridional entre le XIIe et le VIe siècle av. J.-C., avec un passage entre les faciès «Apazzu-Castidetta-Cucuruzzu» et «Nuciaresa» qui se fait de façon graduelle. A l’autre extrémité de l’île, le groupe de «Tuani-Mizane» se définit comme totalement différent des ensembles méridionaux. La complexité de la géographie culturelle de la Corse à partir du premier âge du Fer s’apparente donc à
une spécialisation géographique des sphères productives. Du point de vue des phénomènes d’emprunt, le Bronze Final du sud de l’île est caractérisé par un certain nombre de transferts morphologiques et techniques qui se font avec l’espace littoral liguro-toscan d’un côté, et avec la Sardaigne septentrionale de l’autre, au début de la période. Par la suite, les industries céramiques évolueront selon des modèles strictement locaux. Le présent article s’attachera à caractériser la complexité des processus culturels dont l’expression se développe de façon assez évidente dans les techniques de production, la morphologie des récipients et leurs modes de consommation."

An overview of basketry and basket making in sub-Saharan Africa. Topics covered include types of woven objects and weaving materials, different functions and uses, decoration, weaving techniques, specialization by gender, age and other criteria, and regional and international markets. Includes two photos of basket use and basket making in Zambia, Africa. It also includes a list of suggested readings on the topic of basketry and basket making in Africa south of the Sahara desert.

L’étude récente et globale du mobilier céramique de l’Âge du Bronze de la Corse a permis de reconnaître une originale technique d’aplatissement des fonds de récipients sur des paillasses circulaires et plates, faites de végétaux tressés de façon concentrique. Ces pratiques ne sont documentés que dans des espaces géographique (Sartenais, Alta Rocca et golfe de Porto-Vecchio) et chronologique (Bronze final) restreints et ne concernent, sur chaque site, qu’une minorité des fonds (autour de 15 %). Les fouilles étant anciennes, ou les informations provenant souvent de ramassages superficiels, on déplorera la rareté des contextes stratigraphiques fiables. L’analyse fait apparaître la récurrence des caractères généraux de la technique et du contexte culturel auquel elle appartient. Ainsi, il a été possible d’observer que la vannerie corse protohistorique est concentrique et non spiralée, ce qui est particulièrement original. Elle met aussi en évidence le caractère parfois standardisé de la production (formes concernées, disposition des impressions, épaisseur et diamètre du fond). Dans un cadre plus global, l’étude des associations récurrentes montre que la production s’intègre tout autant dans un cadre matériel continental dont l’inspiration se rattache aux groupes nord-italiques (vases biconiques) que dans un jeu d’interaction avec le nord de la proche Sardaigne (formes basses). Cette dichotomie illustre parfaitement la position et le rôle qu’a pu jouer la Corse en Tyrrhénienne dès la fin du IIe millénaire. Pour conclure, quelques confrontations archéologiques (objets découverts en contextes palafittiques et petits bronzes sardes) et ethnographiques (vannerie sarde sub-contemporaine) permettent de proposer des hypothèses quant à certains aspects de la sparterie protohistorique de Corse et de Sardaigne, notamment concernant les végétaux utilisés, leur mode de tressage, la forme et la fonction des vanneries. Étant donnée la carence de découvertes insulaires pour les objets en végétaux tressés, ces témoignages indirects constituent la source de documentation principale pour ce type d’artisanat.

En Corse, à partir de la fin du IIe millénaire, assiettes et plats prennent une place prépondérante au sein des vaisselles en terre cuite, au point de devenir les formes les mieux représentées dans plusieurs contextes majeurs du sud de l’île. On présentera ici une classification morphologique et morphométrique des différents types définis avant de s’intéresser à l’originale chaîne opératoire de production qui les caractérise. Celle-ci, qui fait intervenir des vaisselles en végétaux tressés dans une optique de standardisation des gabarits, trouve vraisemblablement son origine dans un transfert technique depuis le nord de la Sardaigne, à situer vers 1200 avant J.-C. Ces protocoles sont bien reconnaissables car l’opération laisse des stigmates très caractéristiques sous le fond des récipients. Ces empreintes de vanneries discoïdales à tressage concentrique montrent que les paniers utilisés par les potiers étaient en fait des couvercles. Ces derniers servaient donc à produire des formes céramiques basses qui, une fois retournées, pouvaient elles-aussi être transformées en couvercles. Il y a encore quelques années, cette hypothèse concernant la dichotomie fonctionnelle des formes basses avait été avancée à la suite de comparaisons éloquentes avec les vanneries figurées dans la bronzistique nuragique, ainsi qu’avec certains aspects de la sparterie sarde vernaculaire. Des fouilles récentes et des révisions de mobilier ont complexifié ce constat en mettant en évident l’existence de formes basses munies d’un dispositif de préhension sous leur base, attestant formellement d’une utilisation monofonctionnelle en tant que couvercle, certaines de ces pièces ayant aussi été produites par percussion posée par vannerie.
L’analyse globale des techniques et des formes illustre, au final, un dialogue constant entre les chaînes opératoire de production des vaisselles céramiques et végétales, en même temps qu’une superposition fonctionnelle des formes en terre cuite et en végétaux tressés.

"Prestamos pouca atenção aos cestos que nos rodeiam, mas é através deles que Sónia Silva retratou a história de Angola dos últimos cem anos. Os objectos de cestaria que apresentou na exposição do Museu Nacional de Etnologia são “objectos-testemunho”, como os designava Ernesto Veiga de Oliveira, das vivências dos seus construtores e utilizadores, da história de populações sobreviventes à experiência colonial, à guerra civil, às deslocações forçadas. Sónia Silva olhou-os, estudou-os, reconstituiu a história da sua recolha, juntou novos objectos, falou com colectores e produtores, e finalmente concebeu a exposição e catálogo onde nos apanha na teias do seu encantamento por estes objectos aparentemente esquecidos na (pela) sua normalidade. A exposição, inebriante pela narrativa criada em torno dos objectos e representações expostas, viveu o tempo efémero dos conjuntos exposi­tivos, entre 2003 e 2005. Mas o relato-descoberta em que Sónia Silva nos conduziu pela história de populações refugiadas, sobreviventes, adaptadas, ao longo último século de convulsões sociais, políticas e económicas das populações luvale de Angola, foi transposto para o catálogo-livro-objecto que escreveu e que passa além da efemeridade expositiva.

Este livro — pois trata-se de uma obra que ultrapassa os limites informativos e discursivos habituais dos catálogos expositivos — assume-se como um percurso de reconhecimento da vida social dos objectos, retratando a sua biografia em relatos vividos. Elementos profundamente imbuídos da história social de Angola, pela visão de Sónia Silva os cestos falam-nos diferentemente de três épocas da história de Angola: até 1975 (período colonial a que corresponde o primeiro acervo), entre 1975 e 2002 (guerra civil, aqui evocada através de fotografias da comunicação social que documentam a contínua utilização de objectos de cestaria durante esse período) e 2002, data da última recolha, realizada já pela autora." (excerpto da recensao redigica por Clara Carvalho para a revista Etnograpfica)

This is a large, hardback reference book. full color & history black & white illustrations. Each profile features tribe, clan, residence, education, teachers, students, awards, exhibitions, documents, photographs, documentaries, publications, websites.

A construção do presente dossiê surgiu a partir das discussões engendradas no simpósio temático "Tecnologias Perecíveis: abordagens arqueológicas e etnográficas", realizado em 2019 no XX Congresso da Sociedade de Arqueologia Brasileira (SAB), em Pelotas-RS. Durante o simpósio, destacou-se, de diferentes formas, que as tecnologias perecíveis costumam ser invisibilizadas na Arqueologia como um todo. Na ocasião, os trabalhos reunidos 1 realçaram o quão dispersas e presentes estão essas tecnologias nas sociedades humanas ao longo do tempo. Elas são fundamentais para a moradia, obtenção, armazenamento e produção alimentar, na significação da vida de modo geral e nos seus momentos marcantes, como nos funerais. Neste volume, os assuntos debatidos no referido simpósio estão amplificados e aprofundados com a reunião de 14 artigos e um resumo de tese, agregando pesquisas realizadas nas regiões Norte, Nordeste, Sul e Sudeste do Brasil, no centro da Argentina e na região circum-caribenha.