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Gladys A. Reichard - Weaving a Navajo Blanket

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Gladys A. Reichard Weaving a Navajo Blanket
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Weaving a Navajo Blanket: summary, description and annotation

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The author spent four summers (193033) living and working among the Navajo, during which time she learned the principles of weaving. In this book she takes readers through the same process, introducing the careful details, the personalities she encountered, and the materials and methods of weaving in the Navajo style.
The spinning of the yarn, the dyes, the equipment, the weaving processes, the designs and colors, even the tensions and textures of the final product are all part of weaving a Navajo blanket. The author guides readers through each step, from choosing the wool through carding and spinning warp and weft yarns, building and setting up a loom, creating a design, and carrying out the actual weaving. Although the emphasis is on typical blanket weaving, the author also covers the related arts of saddleblanket weaving, warp weaving, scalloped edge weaving, double-faced weaving, and sandpainting tapestries. She also comments on history, patterns, symbolism, the effect of the market, and other matters that affect the Navajo weaving style. In five appendixes she reviews the implements and materials of weaving, Navajo materials for natural dyes, weaving terms, and simple lessons in learning to weave a Navajo blanket. Nearly 100 photographs and line drawings illustrate the processes and finished work.
Crafters, whether they want to start from scratch or gradually add Navajo elements to their other weaving skills, will learn from this book the authentic steps of Navajo weaving. Collectors, ethnologists, and others will learn more about materials, techniques, and related matters that will help them in judging, appraising, and enjoying the processes that go into weaving a Navajo blanket.

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Table of Contents Acknowledgments I was afforded the opportunity to learn - photo 1
Table of Contents

Acknowledgments

I was afforded the opportunity to learn Navajo weaving through the generosity of the Council for Research in the Social Sciences, Columbia University, and of the Southwest Society, and to them my initial thanks are due. I have mentioned in the Foreword my debt to Red Points family and other Navajo teachers. I accord gratitude also to Hastin Ganis Wife, Mrs. Nanaba Bryan, Della Digrote, Eleanor Curley, and many other weavers whose names I do not know who have taught me by letting me watch them.

For aid of such various kinds that it often becomes intangible, being measured in terms of cooperation, stimulation, hints, and willingness to take no end of trouble in my behalf, I make deepfelt acknowledgment to the following: All connected with the J. L. Hubbell Trading Post, and especially to Mr. Roman Hubbell for introducing me to Red Points family; all connected with the Crownpoint Trading Co., and especially to Mr. Lloyd Ambrose and Mr. Horace Boardman for photographs and sketches; Mr. and Mrs. Arthur F. Newcomb; Mr. and Mrs. B. I. Staples; Mr. Robert Karigan, and Mr. Hugh Bryan.

To the following who rendered expert advice and criticism in their respective fields, I am greatly indebted: Dr. B. Youngblood who criticised the chapter on Wool; Dr. L. C. Wyman and his colleagues, Drs. Harris and Walker, of Boston University for information on plants and chemistry; Mr. Edwin Eckel of the U. S. Geological Survey for advice on minerals. Although I greatly appreciate the services these friends rendered, in no case do I hold anyone but myself responsible for the interpretations and deductions made in this book.

My thanks extend to the following institutions for active and prompt cooperation: the Southwest Laboratory; the Museum of the American Indian, Heye Foundation; the American Museum of Natural History, and the Metropolitan Museum, all of which put all their facilities at my disposal. The American Museum of Natural History and the Metropolitan Museum furnished photographs also. I am grateful to McClurg and Co. of Chicago for permission to use the reproduction of the Little Weaver, from James, INDIAN BLANKETS AND THEIR MAKERS.

At the present time dye-history of the Navajo is in the making and Mr. Harrod, of Wells and Richardson, furnished me an unlimited supply of dyes for experimentation, as well as numerous suggestions regarding dyes. At my request he had developed the dyes now called rust and tan which are meant to match certain odd shades made ordinarily with natural dyes.

Barnard College,

Columbia University.

Gladys A. Reichard

Appendices
Appendix I. Implements and Materials for Rugs

It will be necessary for the learner, to have a full set of tools and materials ready before beginning to work. They have all been mentioned in the body of this work as the various steps in the weaving process were taken up. It may, however, be convenient to have a full list of the most important necessities and one follows. The items are mentioned in the order in which they are used:

1. One pair towcards (available at most trading posts for about $ 1.25). This is for the preparation of the wool (Chapter II).

2. One spindle. For spinning and twisting of the yarn (Chapter III and Lessons 2 5).

3. Dyes: as many packages as there are colors other than white, gray, or natural sheep brown (Chapter IV and I).

4. Round sticks: at least three, about one inch in diameter, two of them as long as the blanket is wide, one somewhat longer. Broomsticks are ideal. Used in stringing warp and in constructing loom (Chapters VII and VIII).

5. Reeds, about one-quarter to three-eighths inch in diameter; at least two for ordinary weaving, four for the diagonal weaves, to serve as heald rods. It is best to have many of these for they dry out and break easily. Then too, they should be graduated in size, thinner ones being better for the work as it gets tight when nearing completion. A straight piece of balewire may be the last heald (Chapters VII, VIII, and IX).

6. Battens: a whole set, the largest three inches wide, and three or four others each gradually becoming smaller until the last is only half an inch or less wide. Add to these a set of reeds of small diameter (not more than one-eighth inch), each one of which has a flat end, smoothed down by shaving and use. For weaving, see Chaps. IX, X.

7. Combs: a set also of graduated sizes, beginning with a broad heavy comb, and ending with a slim narrow one. Three or four are sufficient, two would do, a large and a small. See Chaps. IX, X.

8. Reeds: about one-eighth inch in diameter not specially smooth and with naturally broken ends. Three or four of these to serve as shuttles for large expanses of self-weaving. See Chaps. IX, X.

9. Sacking-needles : several of different sizes. If only one, let it be small or not more than medium in size. See Chap. X.

If large rugs are to be woven, the size of the sticks which hold warps and of everything except battens and combs must be proportionately larger. There is a natural limit to the size of the reeds used for healds, four feet let us say. The shortness is overcome by using two or more across the wide rug. One is not able to weave a space four feet across at a sitting anyway so it will not matter that more than one rod is used to form a shed. The chief difference between the small and large rugs lies in the manipulation of the loom parts.

The weaver will have her kit with her whenever she sets about weaving. The tools not in use will lie handy behind the loom ready at a moments notice to be pressed into service.

The following materials are necessary for the blanket:

10. One ball warp, large or small according to the size of the blanket. The color makes no difference, for in a properly woven rug the warp does not show.

11. Four to six hanks yarn of different colors, the number and colors depending upon the size and pattern to be woven. This is the weft yarn. The worker should be sure when dyeing it to dye enough of each color to finish the rug. It is difficult, almost impossible, to match colors perfectly in home dyeing, even our most expert silk manufacturers fail to do so.

12. A quantity of coarse string, two-, three-, or four-ply, at least somewhat more than four times the width and four times the length of the blanket. Each length and width should be in a single piece. This is to be used as end twining and as edge. By carefully selecting the colors and combinations of end and edge strands great subtlety may be secured. Not much of the edge shows, but that which does gives a fine air of thoughtful finish. Next to the consideration of quality and quantity of warp the Navajo weaver estimates carefully the amount and color of her edge cords.

13. Lengths of strong string (from six to nine inches) for various tying purposes. It may be two- or three-ply; mohair makes the strongest.

14. Balewire.

15. A large quantity of medium weight smooth cord. For making heald loops. See Chap. VIII.

16. A long strong heavy rope (mohair is best, clothesline is excellent, especially after use). This become the tension cord. See Chap. VIII.

The items 10, 11, 12 will be used in the particular rug being made, 13-16 may be used again and again. They will become ever shorter and weaker but may be pieced and reinforced indefinitely. New pieces of string and rope will be used for the larger rugs, the used ones will be unobtrusively delegated to smaller ones. Everything used must be above all strong. Strength may be attained by tightness of spinning and doubling or tripling the ply of the cord. Bear in mind always that the strain on every thread is tremendous and that the whole web is only as strong as the weakest thread.

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