Manchester Jewish Museum - Day 2

I am currently sat in the research room of Central Library in Manchester. It's very quiet and it's got long banks of desks with large grey pillows at every station. These are for laying archive items on while they are examined, which is something I'm going to be doing in just a minute.

You see, myself and Laura, the Creative Producer from Manchester Jewish Museum, have just been down into museum's archive store and found a host of incredible items I want to look at. The museum is currently housed at the library while it's main building is undergoing a major construction and restoration project.

The museum's entire collection of objects, documents, photographs and oral histories is temporarily located in the library's underground store which has fancy shelves that move across the floor opening up new materials to explore at the touch of a button.

Yesterday Laura and I had spent time going through the museum's catalogue to find items that fit my research into women and textiles, specifically items made as acts of devotion. This could be devotion to their, faith, their families or general documentation of life events. The catalogue did not disappoint and today we found objects that fit our search for 'embroidery'.

Starting off, we found a set of huge Ark curtains made for a synagogue which was once in Manchester (the Chaye Adam Synangogue in Cheetham now closed, having merged with other synagogues in the area). Ark curtains surround the Ark which holds the Torah scrolls used in the Jewish faith. This particular set were made and presented by the 'Ladies of the Chaye Adam Synagogue' in 1935 as a memorial to a 'Hannah Judith Tynas'.

The embroidery on them was done in thick gold thread and after all these decades the workmanship is still perfect. In fact the entire pieces were in very good order, all being hand made. Traditionally, women are not meant to touch the Torah scrolls, so I liked the fact that women had made something integral to the ceremony and included the name of their female congregation member in the decoration. It seemed to me, they had used the options open to them to ensure they had a definite presence in the holy observation.

In the same box holding the curtains, unbeknown to us, were a second set of Ark curtains, this time in a rich red velvet decorated with lavish sequins and metallic fringing. I liked these very much. The different textures and colours made the pieces very tactile and both sets of curtains depicted leaves and greenery. Laura explained that trees are important in Israel where there is a lack of them. Every year, people have tree planting drives where others in the UK pay to have a tree planted in order to create orchards. This is a way to give back to the community and provide food and produce.

Next up for observation was a Matzah cover. The covers are traditionally used to cover the Matzo bread during the Passover supper (See yesterday's post for more about Matzo bread). They contain three pockets in which to place symbolic matzo breads and the cover I wanted to see is a great example of a home made item handed down through the family.

It was brought from Poland around 1914 by the Leinhardt family when they left for Berlin. Eventually, in 1933 the family came to live in Manchester and brought the cover with them. It was handed to the museum in 1984. The cover is obviously very old and well used. I discovered the pockets by accident when I picked it up, not realising they are a trait of all Matzah covers. There are still bread crumbs inside, which add to the history of the item. It makes me wonder how many Passover meals it has seen and how many generations of the Leinhardt's have grown up around it.

The decorative work is very delicate and deteriorating now but you can still see the care that went into making it. The box that held this item also held other examples of Matzah covers, though none as fine as this.

Other discoveries in the box included finely embroidered cloths which I can only guess from the info I have found are Challah cloths. These are used to cover two braided loaves for the Shabbat.

Apologies if I am wrong in my guess, but I wanted to share one of these cloths as I thought it was so well embroidered and I was touched by the care that had obviously gone into mending where the fabric had perished. It has been a cherished item in someone's life and shows hand stitching used for both decoration/devotion and repairing. Two aspects women often carry out in the home.

There was also a gorgeously embroidered Tefillin bag which would have held Tefillin boxes used in prayers by orthodox males. It was an unexpected find so came with no information, however what I enjoyed is that the bag is so attractive and embroidered with the initials of the owner. It's a pleasure to hold and look at.

During this research I've been looking for rhymes and patterns in Jewish women's needle work and the overarching one is that every piece serves a purpose yet isn't just purely functional. Items are highly decorated with embroidery and rich colours not only signifying their importance but making them a pleasure to use. The decoration on items of Jewish faith from the most humble to the most ornate are linked by the use of women's time and combined effort. Women's industry and creativity have helped to shape the face of Jewish life in the home and the synagogue.

A very different yet special item Laura wanted me to see is a black silk shawl with an embroidered floral design. It was made by a Jewish woman in a Displaced Persons Camp after her liberation from a concentration camp. This unnamed woman had been in the camp with her husband and two children until the husband died and her children went to America. The Woman was unable to join them due to health reasons and eventually died in the camp too.

The beautiful shawl was given by the women to a Joyce Toacher who was in the English Army and came from Stockport. She was also the person to provide the material and threads for the shawl to be made. Eventually the shawl and it's story were donated to Manchester Jewish Museum. Apparently the Jewish lady had kept diaries of her time in the Displaced Persons Camp but they were destroyed upon her death.

The shawl remains as a legacy of the Jewish woman's story. I can only imagine the emotions she must have had from her time in the two different camps. Loss and sadness perhaps shock and anger. She may have used the shawl as a project to still her mind and focus it, the stitching and placement is perfect. Embroidery can certainly bring an element of mindfulness, and creativity helps to channel energies. I hope this project helped her in some way. It is an unassuming object that was given as a gift of one person's time and devotion to another. It is special in so many ways.

Lastly I just had time to look at some paper embroidery patterns, listed as belonging to the donor's mother and possibly originating in Russia. These cheerful cross stitch patterns also contained ideas for samplers, which are historically used as a young girls entry into needle work. They offer a chance to show off the stitcher's skills and offer a test of ability, with those samplers deemed successful being displayed in the girls home and eventual marital home as a marker of her competence with a needle.

Earlier today I'd seen an example of an actual sampler from 1882 which served as both an example of skilled needle work and a memorial to it's creator. This piece had been made by Rosamund Kohn in Germany. The phrase at the base translates to 'Reminder of my school days'. Rosemund married and had children yet unfortunately became a victim of the holocaust.This sampler, though simple and familiar is a testament to her.

Each item I've looked at today has been more than just it's appearance. Hand made objects always have a story to tell. They hold traces of their maker, they gain meaning through their use and purpose and sometimes they act as a document of time, person and place. I think that gives each piece of needle work I've seen today a greater resonance. The Jewish women who have made them have shaped themselves and the world around them with every stitch.

Manchester Jewish Museum - Day 1

Today I began my week long residency at Manchester Jewish Museum, where I am using the collection to research women and textiles as part of my project about feminine pursuits. I started the day by going over my main objectives for the residency with Creative Producer Dr Laura Seddon. They fell into three categories:

The history of women's needlework:

Jewish history and culture

Identity through practice

Reasons and purpose

The Universal language of needlework:

Finding similarities within artefacts and stories

Patterns

Traditions

Artistic merit:

Looking at needlework's significance

Place in culture

The attention given to each piece

We then went through the museum's catalogue looking for items that fit the criteria. More on this tomorrow when I will be looking at selected items in the collection and finding out more about them.

The afternoon was spent with the museum's Women's Textile Group made up of Jewish and Muslim women who meet once a month to create work together. Meeting them all was brilliant fun and they lived up to their reputation of enjoying a chat!

The session began by the group sharing their most recent sewing based on hamsa hands, a symbol found in both cultures. Their work was beautiful and intricate, and showed off each woman's skill and design flair. Some of the pieces were still being worked on and it was pleasantly relaxing to see people stitching while we talked.

Laura then asked the group to give their opinions on some items she and I had already looked at that morning to see if they could shed more light on them. These included a blue and white embroidered cotton envelope we couldn't explain, a Matzo dish, used for Matzo bread during Passover, and a hand stitched postcard from the First World War.

This ignited much discussion and the group took great interest in the items, studying them with magnifying glasses and keen eyes. The mystery of each was soon solved.

The envelope was an 'Afikoman' bag, used to hold Matzo bread which is hidden somewhere in the home during the Passover supper or 'Seder'. Children are encouraged to find the bread and get a reward. The Afikoman bag is sometimes monogrammed with the child's initial, as this one was with a letter 'H'.

The Matzo dish with it's delicate embroidered hebrew and lace cover was indeed hand made and some member's even translated the inscription which related to the eating of the bread. We all thought it was very well made, including the little buttons that fastened it to the dish. However as one lady pointed out the fabric was perishing in places which might account for one reason why hand crafts aren't as valued as other arts, because of their tendency to deteriorate with time and use.

Lastly the hand stitched postcard got many ooh's and ahh's over it's pretty design but caused a stir when it was properly studied as it said 'To my dear wife, from your loving husband'.

This started much debate over whether a man would have actually stitched it, as one lady said a solider wouldn't have done it himself in front of other men for fear of ridicule. This sentiment might have been a sweeping generalisation if we hadn't already witnessed two men react in similar ways when confronted with the idea of sewing for themselves. These included the male volunteer at the museum who looked perplexed and slightly fearful at the invite to stay for the group's meeting before leaving fast, and a staff member who made a clear point that he was , 'someone whose never sewn before in his life!'.

On conclusion the ladies decided on two outcomes. Either a nurse had stitched it on a soldier's behalf or indeed a man had done it by following the pattern that could just be seen beneath the threads. Either way this is a curious item with a mysterious backstory.

I then got the chance to ask a few questions and find out more about the group. Here's what followed:

Do any of you have a background or interest in needle work?

-At an amateur level. I was taught embroidery, sewing and knitting as a child but never realised it could be a profession.

-It was similar for me, it was a tradition. My mum made covers for everything in our house, including the double cassette player! When I showed her what we were doing in the group she said, 'you're just like me!'  and brought all her own embroidery down to show me. It connected us.

What made you want to attend the group?

-I thought it was nice to meet new people with a shared interest.

-We are all from different walks of life but the sewing connects us. It's a chance for peaceful dialogue. I attend various inter faith events and for me this is a similar chance to show what we share in common rather than what makes us different. Since we set up the group there has been visits to the mosque to meet the Imam and ask questions. That kind of peaceful dialogue is needed now more than ever. It brings communities together and allows us to learn from each other.

What do you enjoy about the process of needle work?

-For me it is mindfulness. I enjoy the colours, textiles and rhythm of the stitches. Its more about the journey than the end product

-A bit like Strictly Come Dancing!

-Yes! But really, like this scarf I'm knitting, I'd happily unravel it and start all over again once it's finished.

-For me, it IS about the end product. it means I've achieved something. It's self accomplishment and we should feel proud.

As women we are usually running after kids or care giving. It's a chance to give ourselves some time and it's good to learn a new skill.

-I started to sew again when I retired and I really enjoy it. It forces you to stop, there's no intensity, and you're doing it with people you wouldn't normally be in contact with.

-Before I started the group I saw it as purely embroidery initially, but once I got involved I saw all the other aspects it entailed [we had earlier mentioned creativity, relaxation and socialising]

Do you think men would enjoy what you do in this textile group?

-No. There's a fear of labels of what women do.

- My nephew is artistic and might enjoy the creative process but wouldn't want to join in the practical side of it.

-Men are competitive because they have to be good at what they do.

-I've found that there's a level of conversation in women's groups, but women's voices get lost when men are involved.

-Men like to do things on a professional level. Women are more chilled but men feel defined by what they do.

-Possibly men in the arts would be more open to what we do

-Men's voices are louder than women's in the art world.

-I think this subject can never be important to a mans life, however if we were a carpentry group it might be different.

-Women find it more natural to teach and are less judgemental.

-That's not always true! But in this group at least it is.

-We don't think twice of men as artists so why not embroidery?

I think it's professionalism verses home orientated arts and crafts.

-Well, everyone has to begin somewhere!

Would you still want to attend this group if it were mixed men and women?

-Yes!

-No. When women do things together they enjoy each others company, its more relaxed. I enjoy the the company of women more than men, but that's my personal preference.

The group meeting was very relaxed, with much laughter and a supportive atmosphere throughout. There was even a large box of luxury biscuits brought out near the end!... and the conversation didn't stop with the sewing; Families were asked after and children's progress noted. It really was an oasis of calm where chat about each other's interests and ideas, religion and culture brought the members closer rather than divided them. It was refreshing and uplifting and the fact that needle work was the catalyst that brought the group together cannot be ignored.

I found the whole experience fascinating and it has given me loads to think about. My thanks to the museum's Women's Textile Group for sharing an enjoyable and informative afternoon with me

Feminine Pursuits at Manchester Jewish Museum

I'm very excited to share that I will be doing a week long artist residency at Manchester Jewish Museum beginning next Monday!

This will be a perfect opportunity for me to explore certain strands of my new project looking into 'feminine pursuits', specifically women's history of needlework and its ties to acts of devotion.

Manchester Jewish Museum has a vast collection of artefacts dating back to the 1800's and I've already been told a little bit about some of the textile and craft pieces that I'm keen to look at.

I'll also get the chance to meet and chat to the museum's Women's Textile Group, a collective of women from Jewish and Muslim backgrounds, to find out about what they do and ask more about the whys and hows behind their shared activities.

I'm keen to find out more about the history of women's needlework in Jewish history and culture and how it has helped to shape a sense of identity for the individual, the community and the subjects it represents. I also want to look into the universal language of needle based crafts and try to unpick some of it's meanings to translate into my own work.

My Dolly Parton embroidery in process

I do a lot of embroidering in my art practice and my current stitched portraits of glamorous iconic women from popular culture has been my own act of worship or devotion to them. It's made me want to know more about this way of communicating ideas and also why things like glamour and needlework are classed as 'feminine pursuits', and as such are down graded in artistic importance.

I hope that from my research at Manchester Jewish Museum I'll get a good start in finding out some of the answers or leads to what I want to know and be able to frame my ideas in new ways. I'd like to find a way in the future to use 'feminine pursuits' to empower their users, regardless of gender, and help to give the acts themselves more artistic significance while retaining all the fun and fabulousness they evoke!

During the week long residency I hope to blog regularly about the things I find and share my thoughts with you! So stay tuned, much more to come!...

Becoming Miss Scarlet...

I regularly costume model for drawing events and recently did a Cluedo themed drawing night where I got the opportunity to play Miss Scarlet! It was such a fun night and I loved the opportunity to get my murderess on! For this post I thought I'd share a bit about what went into costume modelling behind the scenes.

Firstly I searched for images of Miss Scarlet from the famous board game and various TV shows to get an idea of how she looks. I then compiled an outfit to fit the character. Usually I use things I already have, but sometimes I borrow items from friends. I rarely buy any new bits unless they are something I know I'll love and want to wear again.

For this outfit I put together a vampy red dress with a fascinator and some black leather gloves I thought would be perfect for murdering someone and not leaving any prints!

I then worked with the event organiser to put together an itinerary for the evening including the number of poses and the length of each pose. This was a drawing session for all levels so I wanted to keep it fun and mix up short poses with longer ones. I also like to take into consideration what props I can use and this time I had the full compliment of Cluedo weapons! With this in mind I tried out different poses in front of a mirror and jotted down the ones I thought worked well. When posing I like to keep things interesting and think about shapes and angles as well as staying in character to give the drawers something different each time.

On the day I took some time to do my hair and makeup then packed my case, traveled to the venue and got changed there. Changing rooms for this type of thing are usually a back room or toilet as can be seen in this ever so glamorous toilet selfie at the Cluedo night.

It was a really fun evening with my posing accompanied by a playlist of jazz classics to help further set the mood. The participants really got into the spirit of things and created some brilliant drawings. I love to check out what everyone has captured and thought this night's work was especially good.

I'll be modeling again THIS Thursday (5th Dec) at Bloom Coffee Co in Bury for a special Christmas themed drawing event with Ale and Arty. There'll be an amazing playlist of cool seasonal music as well as prizes to be won and some fun costumes to draw. Hope to see you there!

Glamour: The Real Fake

In my last post I explained my fascination for people who use glamour to assert their identity. People who curate a specific image on the outside to express who they are on the inside.

To some extent we all construct an image every day and we all wear the way we are perceived by the rest of the world. Every outfit and the way we style them are the psychical manifestations of our current situation and mindset. Whether we think about it much or not, our outward appearance is more than just clothes and make up. As RuPaul  says, 'we are all born naked, and the rest is drag'.

Yet, there are some people who are able to tap into their genuine selves and tell us the story of who they are through their cosmetic surface with extra flair and fantasy.

For this post I thought I'd go a bit further in pinning down what this magical quality of glamour is and show how it's not just a case of frippery or charade which makes it so easy to dismiss as trivial (although there's nothing wrong with a bit of these too). Glamour is constructed, but it can project a very powerful form of expression, freedom and creativity. It can be the real fake.

Talking to Dolly Parton for an interview on Australia's '60 Minutes', the presenter said,'You were once described as being part sincere, part synthetic', to which she replied, 'Well, I think that's probably true. I think part of what magic I may have as far as my personality, is the fact I look totally fake, and I like to think I'm totally real'.

There are many examples of other individuals who fit this idea. People who have devoted their time and energy to creating a little bit of magic every time they dress. These men and women have used glamour to satisfy their need to project the inside out and in most cases their personal branding has lead in some part to their success and a sense of self...

True style is unique to the person and to copy someone's glamour is to never really capture them, all you will ever get is a caricature. How many Marilyn Monroe wannabe's have you seen sporting the same blonde hair and white dress yet never coming close to the real thing? Glamour in it's truest sense comes from within, and of course, it's not just the rich and famous who follow this rule, I often see remarkable people out and about who trigger my admiration and fascination.

In the most recent edition of The Chap magazine, there is a snappy little article about Marilyn Monroe and the image she built and maintained with thorough dedication. The Chap calls this her 'dandyism', which I think is a brilliant way of labeling this use of glamour. 

Catherine Spooner, the author of Fasioning Gothic Bodies states, 'Dandyism is not merely surface, but rather the managing of surface'. This is certainly something that can be attributed to Marilyn, who worked hard to maintain her outward image at all times and literally became the 'wonderful', her private self aspired to be.

There was no set of rules to being Marilyn Monroe, she just tapped into something inside of herself and projected it out, it was clothing and hair, make up and talent, her own special brand of glamour. Marilyn was one of those people who naturally tuned into their inner self and turned the dial all the way up to 11. 

Baudelaire once said, 'The dandy should aspire to be uninterruptedly sublime. He should live and sleep in front of a mirror'. I don't think this means dandy's are vain or self absorbed, more that they see themselves as an ongoing creative project. Even if they don't have an audience they are still able to enjoy the image they have constructed for the sake of itself... and why not?

This has been my second post for the new project (as yet untitled) where I am looking at ideas of gender and identity through the lens of 'Feminine Pursuits', specifically at needlework and cosmetics. This began when I started creating embroideries of inspiring individuals who use glamour to express their identities.  Please take a look at my last post for more background and a fuller explanation of the work so far.

 The art of make up and styling is truly a powerful tool that can create a work of art, empower an individual and leave an indelible impression on the cultural landscape. For this reason I am a devotee of cosmetics and styling. I see them as wonderful tools to be used for our sense of well being, as little or much as you need. As we've seen, they are not exclusively just for women, though why they are associated mostly to the feminine is something I hope to find out. The art of glamour, is a true art form yet rarely recongnised as such. I hope in the work to come I can help to question and change that.

Join me next time to find out more...