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Ethnic Knitting:
A Roundtable Discussion (cont'd)
by L'Tanya Durante
Sahara Briscoe,
SistahCraft,
www.sistahcraft.typepad.com
 On
inspiration…
"By 'ethnic' I will define the
term as it pertains to me, being an American of African descent.
Currently, I am investigating the visual language established by the use
of symbols in Kente´ and Adinkra cloth, for communication in
African-American society. I translate symbols into graphs (Afri-graphs)
that I incorporate into designs, using intarsia knitting. I also studied
the “strip weaving technique” involved in the making of many types of
cloth throughout the continent. I was able to adapt this technique for
knitting, by the use of a method that connects a strip to one that is
already knitted."
"It is easy for me to
explore the inexhaustible wealth of color and pattern inherent in
cultures of color, and particularly throughout the African diaspora; the
connection is in us already. Our quilting tradition is an example. There
are some things that 400 years and an ocean does not change. We need to
investigate our design devices, in order to garner validity in the larger
crafting establishment, and to represent what we make."
On
passion…
"{I'm passionate about} the use of
symbolism, pattern and color and stitches to communicate important facts
about the wearer: their tribe or clan, their location, environment, events
and feelings."
On
process…
"I travel to see friends, as a starting
point, which is why blogging has been helpful. As a black woman, I have to
be careful. I’ve had very different experiences and interactions with
other cultures, some good and some bad. I don’t travel specifically for
inspiration. I do talk with people, go to museums, galleries, etc., but
it’s generally focused; it can become overwhelming to just wander about,
collecting stuff, and then you forget the connection of these pieces once
you return home and they’re out of context. Some things only look good in
the environment they’re in. I collect very little; it has to REALLY move
me. Everything in the world is available online, so I’m very focused when
traveling. I take tons of photos, if I want to 'wild out.' Photos are a
precise link to a place for me. Then, if there is something applicable to
a design down the road, I can investigate further online. My friends love
to buy fabric when they travel; now, they have to climb into their
apartments, there’s no space. And it’s not like they’re using any of
these fabrics. I think there’s a difference between collecting and use."
On advice…
"Due to deadline constraints, I
don’t deal with a lot of trial and error. There are specific reasons for
this. So, I’ll present three challenges. They’re pretty basic, but hugely
important. One, you must understand the medium you want to use––its
strengths, limitations, and applicable techniques. Wool is not silk, and
ribbon is not yarn. Each has its own peculiarities. If you don’t
understand that, it won’t matter what your inspiration is, the medium
will fight you."
"Next––learn what you need to learn, in order
to create what you want––don’t be lazy; you must be willing to do the
work. If you can’t read instructions, how can you use stitch books to
manifest your idea? If you can’t figure out the placement of decreases,
how will you create a shape? You must take the time to learn. A lot of
sisters are math-phobes, and it’s hard for me to be sympathetic; we
live in a world of technology. Besides, it’s only knitting. There are
things that are far more complicated."
"Finally, be flexible
and patient. We live in such a 'now' society. You cannot knit or craft the
same way you shop. It takes time. If I’m not on a deadline, the path from
inspiration to creation is a process that I do not measure. I equate
success––the manifestation of my vision––with time well spent."
On
her style…
"As a designer, I
will say that my style mission is to be remembered when you leave the
room. This doesn't happen when you wear something that either doesn't
stand out or represent who you are."
<<Continued
on next page>>
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