Cultural Appropriation [This is the opinion of the author – only an opinion]

This is an issue fraught with conflict, but this needn’t be true in art. Cultural appropriation as defined in Wikipedia: “Cultural appropriation is the adoption of an element or elements of one culture or identity by members of another culture or identity.” And the Cambridge Dictionary definition is “…the act of taking or using things from a culture that is not your own, especially without showing that you understand or respect this culture”.

So what does that look like? One contemporaneous example is the case of Adele and the Bantu knots she wore in her hair. Was the appropriation or appreciation? Was it appropriation because she is a popular personality with no roots to the Niger region? Or was it appreciation because she thought the knots were beautiful and wanted to share her feelings? Or did she just do it to be different? Can we define whether or not someone understands a culture – what is the measure?

Let’s first be clear that culture isn’t necessarily predicated on race. Culture is loosely defined as, “the arts and other manifestations of human intellectual achievement regarded collectively”. Or “… the customs, arts, social institutions, and achievements of a particular nation, people, or other social group”.

 

A less contemporaneous example might be art of the Renaissance found to have originated in the 13th and 14th centuries in Italy. Does this mean that none but Italians should use Renaissance style in art? Or baroque which came to be in the 17th century. Or how about Greek architecture from the fifth century to Greek Revival in the US and Europe in the 19th and 20th centuries? Art Deco originated in France around 1910. Does that mean that all the architecture, art, clothing design, etc., that originated in the U.S. was appropriation rather than appreciation? Beatnik art originated in the US in the 60s. Does that mean that anyone who used it must also be a beatnik? After all, what is a beatnik – one generation before hippies? Do we have a complete definition that can give us measures of when this occurs? By the definitions is that cultural appropriation or appreciation? 

 

Art in Japan can be traced back to the tenth century B.C. in forms such as ikebana, shikki, and the rest. Should these art forms be used exclusively by those of Japanese origin? Should only the Chinese use calligraphy? Can art not be created by others out of a pleasure for technique, style, materials, etc.? Not to mention sheer beauty?

 

Let’s briefly examine the other side. There are abuses and the most glaring perhaps is all the misuses of Native American cultures and art. Faux feather headdresses, tomahawks, bead weaving, moccasins and the like have been used for centuries to make light of the cultures, tribes, and their people. Most egregiously to minimize the value of these cultures, tribes and humanity.

We have the likes of Carlos Nakai and his flute; Mildred Bailey [the Queen of Swing] and her jazzy voice; Brent Michael Davids, a composer and flutist; and, character actress Irena Bedard is Cree, Iñupiaq. These artists all draw from their roots as Native Americans and tribal specific. But, in the cases of Nakai and Bailey at least, they dip into other cultures as well.

All these crossovers represent examples of cultural appropriation by the textbook definitions but are they really? Does work have to be at the level of a fine art to use elements of other cultures? This is an intellectual insult to artists and those that appreciate art. It is both limiting and confining – not what we want our artists’ culture to be. Please know I am not referring to out-and-out copying aka theft of a design. Not only is this appropriation in the definition sense but also illegal.

I don’t want my art appraised by someone seeking to discover where I got this inspiration and is this design a reflection of appropriation or admiration and other such arbitrary and capricious value judgments. I just want to share what’s in my head and my heart.

And so, we end up with more questions than answers. In the meantime, I will go on creating. Should I not pass muster with this group or that, I expect them to pass me by. And I will not let anyone on Facebook be the arbiter of appropriation or appreciation. I would never be disrespectful in my art. Sheesh!

I Have the Gourd – Now What?

Some of the challenges of creating a design for a gourd is – does the image you created or that already exists fit the gourd shape? I preface this by saying I almost always use Stick ‘n Burn sheets to transfer my images to the gourd. I mention this because the curvature of the gourd may not lend itself to the necessary details of the image or the image can become too distorted. And, also because of perspective. For example: a tall vertical design will best be shown on a vase shaped gourd [See #18 below], while short, squat gourds [See #s 10, 12, 23] provides a better canvas for a similar form. You can also take a vertical design and flip it horizontal or a horizontal design and flip it vertical. The issue here might be the transition on either side of the image. [These are examples but NOT my work]

               

Another issue around design images is one of scale. Sometimes I am torn over this because I want some of the gourd character to show through all my designs and so too large an image does not work. Sometimes when you enlarge a design, and you go to place it on the gourd, you may find that the curves are no longer appealing yet if you shrink it you have an image too tightly detailed to etch well or it is not a good use of space. In these cases, I would suggest modifying your image or find or create one that is a better fit.

All this being said, I do all of this depending on the look I want. Sometimes when I run a horizontal design and it doesn’t terminate well in the space, I use a medallion to finish the piece off. The medallion will only be slightly larger than the wraparound design.

You will find that problem solving and troubleshooting as well as creating good design will include dealing with a lot of transitions. From gourd navels (top or bottom centers) to diameter (outside) or circumference (inside) all create their own trials and your transitions through those can make or break your design. Plan carefully.

Stay Safe Out There

Yesterday and today was a combination of prep work on 6 gourds and design work as well. I am still working on photographing the entire process from start to finish. I realize that that is going to slow me down a lot. Thinking however, I will only have to do it once. Been gathering the items necessary to improve my photography. I now have a light box and tripods for both my Canon EOS and my cellphone. I learned that I can’t really tell much of a difference between photographs taken by both cameras. If anything, the cellphone ones are a bit crisper. This is what you are looking for. I also have been creating my backdrops – one of shaded from white to black and the other of gold. Both help with imaging and I’m looking forward to pulling it all together. 

I was reminded yesterday of safety issues. Because of the pandemic I have been unable to get more N95 masks so I am re-using one that appears to be fully clogged. I was a bit hoarse and dry after working in the shop yesterday and despite safety glasses my eyes really acted up. I am considering using goggles for more protection. The art must go on! I’m working on getting a respirator to wear. My hubs has one for me to try, but I want one that is only for what I’m doing. I was hoping I wouldn’t have to go this far but I know so many gourd artists have been doing that from the beginning. 

I have also realized after several days of intense painting that I am sensitive to Welburn dyes and developed a headache so severe I almost went to the hospital. But luckily a few pills and lying down with a wrap around my face fixed the deal. I must work very close to my pieces because I do highly detailed work. This is never a good idea without some breathing protection. Eyes could use it too. 

UPDATE: Had a 2-day reaction to something or some combination of things in my workshop in the garage. It wasn’t pretty. WEAR PROTECTION ALL THE TIME! 

Safety First

Yesterday and today was a combination of prep work on 6 gourds and design work as well. I am also working on photographing the process from start to finish. I realize that that is going to slow me down a lot. Thinking however, I will only have to do it once. Been gathering the items necessary to improve my photography. I now have a light box and tripods for both my Canon EOS and my cellphone. I learned that I can’t really tell much of a difference between photographs taken by both cameras. If anything, the cellphone ones are a bit crisper. This is oftentimes what you are looking for. I also have been creating my backdrops – one of shaded black and one of gold. Both help with impressive imaging and I’m looking forward to pulling it all together.

I was reminded yesterday of safety issues. Because of the pandemic I have been unable to get more N95 masks, so I am re-using one that is fully clogged. I was a bit hoarse and dry after working in the shop yesterday and despite safety glasses my eyes really acted up. I am considering using goggles for more protection. The art must go on! I’m working on getting a respirator to wear. My hubs has one for me to try, but I want one that is only for what I’m doing. I was hoping I wouldn’t have to go this far but I know so many gourd artists have been doing that from the beginning.

I have also realized after several days of intense painting that I am sensitive to Welburn dyes and developed a headache so severe I almost went to the hospital. But luckily a few pills and lying down with a wrap around my face fixed the deal. I have to work awfully close to my pieces because I do highly detailed work. This is never a clever idea without some breathing protection. Eyes could use it too.

The Company I Keep

Yesterday I was working on painting details on several gourds while listening to Carl Sagen’s book, The Demon Haunted World. In it he dispels many myths carried through time some of which many believe today. Fascinating book and a fabulous way of doing two things at one time. I often don’t have time to read so this is a great outlet. Being read to, especially by someone with an accent, is a guilty pleasure of mine.

Some of you may choose music or just the purring of your cat. Some of you like to open your windows, listen to the sounds of the birds and the breezes. Some of you listen to New Age things keeping you centered and focused. In all cases I believe this is a great thing. For me, gourd art has a way of slowing the world down for a few moments, allowing the creativity to flow and for me to catch my breath. Art is like that, yeah it is! [Audible app, www.audible.com] It is not free, but for the convenience I have found it worth the money and at least at this time you get a free book a month.

Learning Curves!

I was out taking photos yesterday morning by the early morning light. I needed some background photos to use on Instagram for my feed. I was interested not just in color but texture as well. What a goldmine I found on our own property. Grass, texture, and stained concrete, areca palms, plain concrete, a small bamboo panel with screw heads visible; layered drop cloths from painting, and the backs of my wicker chairs. I took photos of my leather chair – closeup and some lattice on the end of a table. I had such fun I went out again early this morning. I found still more subjects and captured them too. 

I recently finished an extensive class on Instagram and photography is one of the areas covered in the class. CANVA is available to make up your own feed pages, but I want to include as much of my own work/photos as well. This afternoon I began building my own repertoire of photos. 

It is exciting learning new skills and being able to see the results nearly immediately. The class I took is called Instagram Makeover by Kat Coroy. It can be found on this link: https://katcoroy.com/. She is a delightful, knowledgeable, and quite thorough. If you are a gourd artist, and considering starting your own business, it would be worth the money. In addition to the discussions on design elements we were introduced to design software – called Canva. It is quite fun to use and somewhat like PowerPoint. Canva can be found at: https://www.canva.com/. There is a free version available with tons of options. 

Go forth and create. 

Taking Breaks and Teaching

Took a break today because I have been working non-stop and recently inherited a new student. New students are always an inspiration because their fresh eyes on my work helps me remember why I started all this in the first place. When Lynn came over the first time, I blazed my way through as many bits of information as I could impart. She was like a sponge – they are the best ones to teach. When she left, I began a list of the things I needed to share with her the next meeting.

The second time she came she brought a piece of her own work she had done freehand. It was a nice start, and I could tell she not only absorbed what I shared but was applying it as well. The other thing about a new student is that they tend to be fearless. They are starting something entirely new, with endless possibilities; how exciting! It has taken me 2 years to get that fearless and less a perfectionist.

When Lynn arrived this morning, I had a large box of gourds to share. Unfortunately, I had not read the ad well and what had arrived was a lot of damaged gourds, a bunch of gourd scraps and several small gourds which I tend not to do. Most of the gourds were cracked to the point of my not being able to use them for my work. Lucky for me Lynn is not trying to build a business but is doing gourds for the pure joy of it. She was elated when I offered to sell her as many out of the box as she wanted. We shared the gourd scraps for testing and experimenting and I gave her the small ones. She took all but three of the gourds which I had indicated I thought I could save. It was a win/win for both of us.

This is how things tend to work. One day you are cruising along working on something and suddenly you realize you need something. Perhaps you have decided to use horsehair around the rim but, what you have on hand is too short or you may not have enough. Check-out Gourding Destash on Facebook. People put “ads” of a sort on there to sell long pine needles from northern Florida, leftover paints and dyes, miscellaneous tools and even gourds. It’s always worth a cruise through and I find the prices mostly reasonable – don’t forget you will need to pay shipping.

Gourds and Commerce

Gourds have been used in commerce for a long time. They are bought and sold or even swapped. It was through this commerce that many new varieties were discovered with seed exchanges. This continues today as artists exchange or sell gourd seeds expanding their options and creating new hybrids. This is quite easy if you self-pollinate. It is all a risk if you don’t want your gourds mixed. If you want complete separation, they need to be planted roughly one-half an acre apart. 

There is nothing more fun, if you are a gourd artist, than growing your own gourds, if you have adequate space and live where the climate is conducive to success. Gourds are a little fussy to get started, some are known to not transplant well, and without pollination the plants will simply shrivel and die. However, once they are started and the second set of leaves appear, you are on the right track. There is much more to growing your own gourds and that information is available on the web and through gourd groups on Facebook. They grow quite quickly – you will be surprised and amazed at how quickly they take shape. They will climb to very high reaches or spread across the ground which is how many commercial growers grow them. They should be left on the vine until the stem browns and shrivel up. If one or two drop off, you might still consider trying to dry them out OR you can green clean them. Too, might also opt to use the Hawaiian technique called Pawehe, or Ni’ihua which means Hawaiian tattooed gourd. Those will be covered in another blog page. 

Storied Gourds

Some of these storied gourds are pyro-engraved using only a small twig and a fire. That method makes the gourds even more amazing. Individuals would have to find time in a daily life that was devoid of all the conveniences we enjoy today from electricity to regular running water and nestle up near the fire to write their stories.

You may not have thought about it, but another way of pyro-engraving is branding.  Many talented wood workers and turners use a brand on the bottom of their pieces – sometimes with their company name and logo and sometimes just their name. These are a lovely finish to some amazing woodwork. A brand makes a lot of sense if you consider wanting to be consistent and maintaining desired sizes.

Sometimes artists include their “signature” right into their art pieces. This is seen less in gourd work, and you have to be creative to do it. Perhaps it is too large. A good excuse for a second, smaller brand. I just use my wood burner for now but am considering a brand.

The World Too!

To continue our journey let’s explore the roles of gourds in domestic life and for emerging crafts people. Historically, ancient gourd shells hold clues about tools and materials and the human need for a sense of design. They also give us insight into the refinement of tools, as well as peoples’ belief systems, social roles, activities and, as a means of explaining the world all around them.

Follow your map of the world and find Peru in South America. Peru has been the home to gourd artists for more than 4,500 years. Some of the most intricate gourds have been coming out of Peru for hundreds if not thousands of years. Gourds remain in continuous use. After European contact, gourds continued to be decorated but now color was added. These gourds tell whole stories about daily life, religious ceremonies, and even political events. As seen here, post European contact, the detailing and colors used make an exquisite example. Originally the darkened recesses were filled with ash and soot with water added and then wiped off leaving only the lines. Notice all the ways lines are used in this example.

 

 

Until next time, aloha and Goddess Bless!

1         The Complete Book of Gourd Carving, Jim Widess and Ginger Summit, 2014

The World

So here we are looking across a map of the world. With the exceptions of the North and South Poles, there is archeological evidence of personkind using gourds in every place they can grow. A myriad of uses appear such as musical instruments and dishes among them. Gourds have been used in sacrificial rites and part of bridal dowries, drums to communicate and of course decoration. Pieces have been found that could infer jewelry making or other body adornments.

In Africa they still use gourds for many purposes and even combining a gourd with grass weavings. Large gourds are used to carry water and food, smaller are used for drinking and even shards are used for cutlery. Gourds are used for hunting, fishing, and even wares to sell. It is wonderful to see such a versatile plant used in so many creative, simple, and practical ways.

“The depiction of real and the imaginary or the sacred and the whimsical are found in every place of human habitation where stones exist, or plants grow.”1 From the dawn of time humans have had a need to draw and create to explain so many things they didn’t understand. The gourd was evidenced in Egyptian tombs and even more ancient times to record a hunting trip, the birth of a child and even burials. It would seem humankind has always needed ways to tell their stories!

1  The Complete Book of Gourd Carving, 2014, Jim Widess and Ginger Summit

Blog, November 8, 2020

I have a thing about gourds! I love their shapes, sizes, coloration, flaws, holes, cracks, you name it. I have no idea where this comes from, I just know I read anything and everything that has to do with gourds. I surf Facebook and Pinterest until I’m certain I have more pins than anyone else. When someone is better than me there’s a need to understand why their work stands out more than mine.

In moving from a strong textile background into gourd art one of the differences between them is that there are no annual Panettone colors of the year, no trends of style like hem length, pant leg style, dresses or pants…you get the idea. And best of all there is no catwalk or fashion week! Because of the varieties of gourds, even between the regions they come from, I feel no limits. There really is something magic about planting a seed, watching it bloom into amazing oftentimes large gourds that you can then watch as they dry on the vine even through snow and sleet. At last, you pluck your prize. Ahead is cleaning, sanding, wood burning, painting, staining, sealing and sometimes selling! There are pages and pages of gourd work on Facebook and Pinterest and more and more now on Instagram.

Stick with me and I’ll tell you a little history, perhaps sometimes a joke or two, and share what other artists are doing. I’ll tell you about the gear you may need and little tricks along the way. Share my adventure with me. And please do not hesitate to ask any questions you may have. Mahalo!