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Saharawi in the field, how and why I come

Luciano Ghersi - Cultural Association Coordination Weavers Training in project Maima
textile - handicraft cooperatives Saharawi

I experience more 'than twenty years of weaving by hand looms of various types and various traditions. I have designed, constructed or adapted many of these frames in person. I am convinced that the design of the fabric (fabric, carpet or tapestry that is) depends primarily by the equipment. Without knowing what it 'equipment, tissue paper and draw a' painting an abstract exercise. Each design "created" on the paper then asks the weaver an actual design work, 'cause he will accomplish his own equipment and to his skill'. In fact, what 'usually happens in the system of fashion designer conceives abstract idea on paper, but they are the artisans that develop, modify it and then realize it in practice. So 'they produce an article, then, of course, the designer will sign' ... and so 'you can' bring to market.
On the contrary, I consider essential to creativity 'concrete craftsman, with his ability' and with its equipment. In this way, I could design and build (cooperatively) Various designs and fabric types with artisans in India, Sri Lanka and Africa (in Ghana). In this same way, I weave the disabled, students, artists and children.

When I consulted for the design of the Saharawi weaving, I proposed a field mission to ascertain the skills' available equipment and materials (yarns) can be found on the Algerian market, and also to trace designs and expressive forms of popular culture Saharawi, traditional or modern it is. These designs and shapes emerge not only in weaving but also in various activities' expressive, artistic or lowly regarded, depending on your point of view: the drawings on the body ("Tattoo"), to jewelry, colors and shapes of clothes, utensils , dwellings and the trappings of cattle, to the ephemeral decorations that adorn the holidays ... 'cause folk art is not confined to museums.
course, this "software" popular culture, it is then applied and adapted to the hard-ware "of weaving and that means': with the frames, possibly traditional looms and you can build the field. Otherwise, you might also propose an appropriate technological development. But it must be, in fact, a development appropriate to the situation on the ground and therefore ': takeover by the Saharawi craftsmen (or artisans, perhaps), without relying on imported equipment and spare parts.
should also be considered if the job will go 'played at home, in places spontaneously aggregate or in specific structures such as craft centers or schools. These different spaces, of course, affect the time (full, partial or periodic) of the activity ', the type of people that may involve (single, married, older, more' or less educated), with their different skills'. All of these factors, of course, also affect the type of products to design and implement.

When I was contacted to design the Saharawi texture, so I offered to a field mission that would last at least a month, with the primary objective to investigate the aspects listed above and the second objective is to organize a textile workshop in the field, where were produced immediately of textile samples and prototypes, aimed at the marketing fair.
The evolution of the project of Miami, with its inclusion in the Draft Framework Saharawi has somehow enriched my primitive setting. In fact, on the occasion of? Saharawi hospitality of four women, in Tuscany for two months, I and 'was proposed to organize a course here and for their prior training. This course will be 'held this summer in Maremma, in the center of agricultural futuristic Chiesavecchia in Murcia (Scansano, GR). The situation will be 'somewhat similar to that of the Saharawi camps,' cause you are staying and working in the open country, with limited water resources and with minimal infrastructure. I hope that here the Saharawi women feel more 'at home and thus can' show many creative aspects of their nomadic lifestyle (later, refugees).
E 'on this ability' to survive, adapting and striving in poor environments, which I intend to base relations training and design of our fabrics. In the field, in Maremma, will available frames of various kinds, variously also present in the Maghreb as well 'as in West Africa. Together we will choose the models most 'appropriate and feasible tissue samples of the yarns with presumably similar to those found from the camps in Algeria. This course work, along with the harmony of the group, who will share 'with the teacher technical experiments, an artistic and (not least) everyday life, can' be of great use 'for further work on the real field (in Algeria), which sets up in the autumn.

Florence, July 17, 2005 - also published in full text on http://tesseramano.blogspot.com/

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