Gerri Jergensen
Hum 3320
Issue Paper 2
I first became interested in quilting when on a family vacation to the North Carolina Mountains I spotted a spectacular music-themed quilt from a booth at one of the many art exhibitors in the art district in Ashville. The combination of musical fabrics, playful block patterns and meticulous piecing intrigued me. It was obvious that the design was created for a specific audience and purpose. As I began to research quilts and quilt making, I quickly realized the significant role that culture and tradition plays in the design and purpose of one’s quilt. I chose to research both African American quilting and Native American quilting.
These unique styles of quilting are symbolic of the history and beliefs of the separate cultures. In this paper, I will compare the culture of African American quilting with the culture of Native American quilting. As in our readings from Yutang’ and Mori, I will show the significance that is portrayed in this art form and carried on throughout the heritage for many generations. This form has a significant impact upon its practice of the art and their history of quilts.
I. Statement in the Question and Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
II. Summary of Sources and Analysis of Credibility
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article gives an in-depth review of the quilts displayed at an exhibit entitled “Man Made: African-American Men and Quilting Traditions”. The Anacostia Museum and Center for African-American History and Culture, Smithsonian Institution were home to this exhibit which featured both historical and contemporary male quilting artists. The oldest quilt dates back to 1852 and was made from a slave on the occasion of his owner’s marriage. The article describes the influences that can be identified in certain quilts. The author mentions common themes of the quilts that include similar materials, use of asymmetry, and a rich blend of African and American influences.
This source is somewhat credible. The author describes specific quilts vividly, so the reader can visualize exactly what they look like. Yet the commentary that is given is rather subjective. While the commonalities of the quilts may be accurate between the quilts represented at this exhibit, this exhibit is only a sampling of African-American quilts and only showed ones made by men. The article does bring up an interesting point. On the quilts on display, “the labels “African” and “American” meet in a rich interaction and one has a clear sense of quilt making as a culturally embracing tradition very much alive.”
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
A Communion of the Spirits is a three-hundred-eighty page book that exposes the deeper meanings behind African American quilts, and shares a myriad of stories about the African Americans who create the quilts. The book is divided into two parts. The first part reveals the significance that quilting has had on the author’s childhood and introduces the author’s beginning work on a photo documentation of African-American folk culture. The second part brings the reader on a journey through the author’s completion of a “National Survey”. The author, Roland Freeman, spent twenty years documenting African-American quilters in thirty-eight states. The communion, according to Freeman, “refers to the power of quilts to create a virtual web of connections- individual, generational, professional, physical, spiritual, cultural, and historical.”
This source is highly credible and gives a very personal view of the wide range of individuals who make up the African-American quilting community. The author fully dedicated himself to the study of African-American quilting. Instead of simply retrieving knowledge from books on the subject, Freeman devoted his life to the careful learning and piecing together of the rich history and culture of African-American quilting. It should be noted that especially because this book is a documentary, the author’s perspective is intertwined with the stories of each of the individual quilters.
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article explains what can be learned from visiting the exhibit “To Honor and Comfort: Native Quilting Traditions” at the Washington State History Museum. This exhibit displays forty-five quilts from the years 1920 to 1996 and represents tribal cultures as diverse as Hopi, Sioux, Lakota, Navajo, Odawa, Yup’ik, Eskimo and Hawaiian. The author mentions that although European colonists originally introduced quilting to the Native Americans, today the quilts are very much their own. The author describes the distinctive qualities of Native American quilting. Each quilt tells a unique story, a “visual demonstration of the Native American tradition.” The designs and colors are expressive of tribal history and traditional motifs. The act of quilting has also become a tradition. Quilting circles often include more than one generation and are a time for sharing cultural traditions and stories. On the whole, the article is an unbiased, informative view of Native American quilting.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The article shares the history of patchwork in the Seminole tribe, beginning with the early nineteenth century. According to this article, the first versions of Seminole patchwork were made out of necessity when materials ran short. By the early twentieth century, the introduction of the sewing machine greatly influenced the creativity and production of patchwork. Designs became more intricate. The author of this article traces the history of the Seminole clan through the changing patchwork of their clothing. For example, patchwork bands narrow over time because the efficiency of the sewing equipment continues to improve over time.
This source is credible. The author, Victoria Westermark Many Bad Horses, is an Emmy-nominated writer and producer. She often interviews tribal elders about the complexity of cultural preservation. Her writing is very simple, with no added opinions or emotions. Understanding her own Native American culture and heritages is probably very important to her.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Star quilts are very common in Native American quilting. This source provides an explanation of why the symbol of a star is so important to the Native American culture. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. It is believed that the Great Spirit gave to stars the power to watch over the mortals. The author discusses the purpose of the stars and what happens after a loved one dies. There is much ceremony surrounding the giving and presenting of quilts.
Although this source is a bit short on information, it provides the reader with a credible summary of the beliefs connected with the Native American star quilts. The author himself is a Native American and sells quilts that his tribe makes. For this reason, he should be but wouldn’t dependably be, knowledgeable about the history behind the specific motifs and designs of Native American quilts.
III. Application of Sources to the Question
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
This article from the New York Times focuses on quilts made by African American males. My question requires that I understand both quilting cultures separately before I come to a conclusion of what exactly is the difference. The information in this article, including historical references to slaves who made quilts, details on characteristic African patterns, and the participation of men in “women’s work” such as quilting, provides an explanation of the essence of African American quilting. In particular, the focus on talented male African American quilters in this article is interesting. The author notes that “increased attention both to non-Western cultures and identity politics in the 90's has produced new models for what constitutes gender-specific art” (Cotter). I suspect that the role of gender in the two cultures, African American and Native American, may differ. Also, the heritage and ancestry of African Americans are significant within the patterns and designs of the quilts. Cotter states that, “The pattern of three jagged-edged upright poles on a gray ground in Charles Cater's jazzy ''Triangle Strip'' (1985) suggests symbolic forms with African sources.” Not only do the African American quilters preserve the visual history of their heritage, but also interweave contemporary American styles. “Paul Buford's narrative wall hangings partake of a figurative tradition in African textiles but apply it to American subjects: one piece depicts the home of the black poet Paul Laurence Dunbar in Dayton, Ohio; another is a vivid evocation of musicians performing on a New Orleans street.” (Cotter)
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
Written by a highly regarded photodocumentarian, this large text is a compilation of sixty years of the author’s experience involving African American quilters and their quilts. This book contains a wealth of information relating directly to my question concerning the culture of African American quilts. The author makes the point that the range of work by African American quilters is very broad. Turning over the pages, I am dazed by the assortment of colors, patterns and designs of the pictured quilts. However, in his conclusion, the author states, “It is important that we don’t let this diversity prevent us from recognizing that there is a distinct world of quilting by African Americans, even if its precise borders are elusive” (376). The author quotes a folklorist by the name John Vlach, “Although black quilters have made all manner of pieced quilts, often using the same approaches as Euro-American quiltmakers, the strip technique is the method found most frequently in Afro-America.” He continues to mention the various communities where strip quilting is observed. Vlach says, “This wide distribution makes the strip quilt the most commonplace domestic example of black material in the United States. Why a single approach to the task of quilting should be so dominant among Afro-American quiltmakers may be traced to the retention of design concepts found in African textiles.”(49)
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
This article relates directly to the Native American portion of my question. Discussing the importance of quilts to the Native American tradition, the article gives the impression that quilts are involved in various special occasions. While quilts have been used as bed covers and drapes, more significant roles include “robes in rite-of-passage ceremonies such as baby namings, as decoration and to recognize heroic acts or sacrifice” (McNally). Originally, quilting came from the Europeans as a functional tradition. “But when Native Americans adopted the technique from the colonists, they made it their own - by using the quilts to tell their stories” (McNally). One such quilt was made in 1992 by Hana Kangas, a Yup'ik Inuit Indian. This quilt features the twenty mothers and daughters of the woman’s family. This type of generation dedication is prevalent among the Native American quilting communities. In the article, the author states that “The act of quilting is itself a tradition. Quilters share sewing techniques and community traditions.” (McNally)
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
The information on this website provides the background for how the quilt became an integral part of the Native American culture. The author of this article concentrates on the historical aspects of Seminole patchwork. This knowledge leads me to a possible historical difference (or similarity) between the Native American and African American quilting tradition. According to this website, the first versions of Seminole patchwork evolved out of necessity during the late 1800’s. “When cloth ran short, and a journey to town was not likely, women would take the small strips remaining from the ends of the cotton rolls and make strips out of the remnants. These were hand sewn into larger pieces for clothes, referred to as strip clothing. Necessity turned into wearable art” (Westermark). By the 1920’s, the sewing machine had transformed the Seminole patchwork. The women not only made clothing for their families, but created intricate artwork that contributed to the tourist trade. Over the twentieth century, the distinguishing qualities of the Seminole quilting continued to evolve. Westermark states that “Patchwork bands narrowed over time. This was carried to an extreme in the 1960's when the small scale bands became known as "postage stamp work"”.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Understanding the meaning behind the common designs of Native American quilts will assist in answering my question of How does the culture of African American quilting differ from the culture of Native American quilting? This article describes the spiritual motive and tradition behind the creation of the star quilt. The star quilt is unique to Native Americans. The stars and heavenly bodies are a sacred part of the mythology for many Native American tribes. The author discusses the purpose of the stars. According to this website, “It is thought that to the Stars, the Great Spirit gave the power to watch over mortals on earth and impart to them spiritual blessings” (Wicasa). After a loved one dies, a special ceremony is held that includes a presentation of quilts to those who were especially kind to the deceased.
IV. Conclusions
Evaluation of Hypotheses
Hypothesis: The physical attributes of the quilts, including appearance, materials and patterns, is the main difference between the culture of African American quilting and Native American quilting.
My research showed that there is a distinct difference in appearance between quilts made by the two cultures; however, there remains a consistency among the types of materials used by both of the cultures. The nature of the fabric that was and is used by the Native Americans and African Americans in their quilting projects involves many factors. These factors include time period, availability, intention and, to some extent, cultural tradition. The general progression of fabric type through the years is constant across many quilting cultures. In the early days of quilting, scraps of wool and discarded clothing were used. By the 1920’s, the use of synthetics and cotton flourished. The article, “Unexpected Vistas in Quilting by Men”, “Seminole Patchwork” and my interview support these inferences that both Native American and African American quilters utilized similar materials.
As observed in the article, “African American Quilting: A Long Rich Heritage”, “one cannot look at a quilt and easily identify the cultural background of the artist”. However, my research led me to the supposition that one can discover distinct cultural characteristics of quilts when one looks at the broader quilting spectrum. For Native American quilts, the designs often originate from tribal symbolism. For African American quilts, the designs often include bold patterns with the essence of Africa. The book A Communion of the Spirits and the articles “Star Quilt Tradition” and “Native Americans Piece Their Stories Through Art of Quilting” directly addressed this hypothesis.
Hypothesis: The purpose behind the creation of the quilts is the main difference between the culture of African American quilting and Native American quilting.
My research strongly supported this hypothesis. Every one of my sources included information on the unique and specialized purpose of the quilts made by African Americans and by Native Americans. The book, A Communion of the Spirits, gives a broad list of reasons why quilters make their beautiful quilts. “Quilts were made to keep warm, record history, commemorate struggle and triumph, give to loved ones, heal and hurt, generate income” (376). While many of these purposes are shared by both cultures, the unique reasons really set each culture apart. One special purpose of quilts for Native Americans, especially the Hopi tribe, is the baby-naming ceremony. Originally, men wove a blanket with the father’s name to give to the newborn. Today, quilts have replaced the woven blankets and continue to be a prominent gift in other special ceremonies. Conversely, African Americans often use quilts to tell a story. Story-quilts, as they are called, usually are made with appliqué and often convey a biblical message.
Null Hypothesis: There is no difference between the culture of African American quilting and Native American quilting.
While all my resources described distinct differences between the cultures of the Native American quilting and African American quilting, I also discovered many commonalities that the two cultures shared. There is a sort of balance between standard mainstream quilting and cultural and ethnic touches in every quilt. From my research, I have discovered that each culture is proud of its own quilters’ accomplishments and attempts to sustain a distinct world of African American quilting and world of Native American quilting.
Analysis of Effectiveness of Original Hypotheses
How does the culture of African American quilting differ from the culture of Native American quilting?
My hypotheses were accurate and effective in answering my question. Even though I originally knew very little about quilting from specific ethnic groups, my two hypotheses greatly assisted me in directing my research. I was pleasantly surprised to find that almost all of my sources discussed both the physical characteristics and unique purpose of various quilts. This allowed me to outline what exactly are the differences between the cultures in regard to quilting.
Statement of Theory
I believe that the following accurately answers my question:
The history and evolution of the quilt differs in the Native American culture and African American culture.
The ethnic, spiritual and traditional influences that go into the designing and making of quilts differ in the Native American culture and African American culture.
The reasons and purposes for creating quilts differ in the Native American culture and African American culture.
One question that remains unanswered is: what role does gender play in the Native American and African American quilting communities?
V. Implications
This research paper opened my eyes to the importance and prevalence of quilts in two very diverse cultures. I have always been captivated by the unique styles and wondrous handiwork of another cultures’ art. I have great respect for quilters and thought nothing of the long, tedious hours that quilters spend perfecting their spectacular art pieces. I am astounded by the diverse and special world of quilts and quilt makers. I have learned that there is a complexity in each quilt, a visual message crafted by the artist, whether he or she is Native American or African American or any other ethnicity. There is also a difficulty with deciding, what exactly is the difference between the same arts of two cultures. As for future research on quilts and quilt history, I believe that it is more important to learn about the story behind individual quilts than to pick out the differences.
VI. Works Cited
Cotter, Holland. "Unexpected Vistas in Quilting by Men." New York Times 29 May 1998, sec. E: 35. ProQuest. King County Library System, Sammamish. Web 1 Oct. 2012.
Freeman, Roland L. A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories. Nashville: Rutledge Hill P, 1996. Print
McNally, Shana. "Native Americans Piece Their Stories Through Art of Quilting." Seattle Times 2 July 2000, Weekend ed., sec. B: 1. ProQuest. King County Library System, Sammamish. Web 30 Sept. 2012.
Mori, B. L. R. "The Tea Ceremony:: A Transformed Japanese Ritual." Gender & Society 5.1 (1991): 86-97. Print.
Westermark, Victoria. "Seminole Patchwork." Absolutely Florida Magazine. 1990. Ah Tha Thi Ki Museum. Web 30 Sept. 2012 <http://www.abfla.com/1tocf/seminole/semart.html>.
Wicasa, Wambdi. "Star Quilt Tradition." American Indian Culture Research Center. Web 1 Oct. 2012 <http://starquilts.com/tradition.htm>.
Yutang, Lin. "The Importance of Living [Paperback]." The Importance of Living: Amazon.co.uk: Yutang Lin: Books. William Morrow and Company, n.d. Print
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