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INTERVIEW:
Carolyn Mazloomi
February 20, 2004    Episode no. 725
Read This Week's November 7, 2008
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Read more of the R & E interview with quilt historian Carolyn Mazloomi, founder of the Women of Color Quilters Network and co-curator of the American Bible Society exhibition "Threads of Faith":

When you think in terms of the African-American community and art, there is no other art form so closely identified with the culture as quilt making. Quilt making and jazz -- they're synonymous as art forms in the African-American community.

Photo of Carolyn Mazloomi African Americans have been quilting since coming here. There's a long history of needle arts, [including] quilt making in Africa. When African people were brought to this country, they did not come without needlework skills. They could do patchwork, they could do appliqué. The quilts were not used as bed quilts in Africa. But there's a very rich patchwork tradition -- patchwork clothing, patchwork armor, horse blankets in Mali, and tents and clothing in Nigeria. Pieces of patchwork -- cotton patchwork cloth -- have been found in ancient tombs in Egypt, so there's a long history of African people involved in needlework. It was very easy bringing those skills here to apply them to the traditional American bed quilt.

Slaves made quilts on the plantation for the plantation owners and their wives, who would direct them in the traditional American patchwork pattern. But once they would do that work on the plantation, they were free, if they had materials, to make their own quilts, which were quite different from the quilts that were made for slave owners. They pretty much did their own thing.

Photo of exhibition placard for Threads of Faith You observe in this show [that] the greater body of the work is narrative work. There's a long tradition of narrative quilts used in Africa -- as quilted banners, appliqué banners. West African history is told by the griot. It's an oral history -- the griot handing down the stories of a village from one generation to another. When African people were brought to this country as slaves, they were not allowed to read; they were not allowed to write. I would like to think that it was an easy assimilation from that oral history into a pictorial history. We are people with a lot of stories to tell, so what better way to tell [them] than in a story quilt?

I like to think in terms of quilts as historic documents. There's a lot of scholarly research going on with quilts. In fact, that's how I came to be involved in quilts, because of all this scholarly research. In the late 1970s and early 1980s, there was a lot of emphasis on African-American quilts. Many scholars were writing about African-American quilts. And what most of the scholars did is they went to the South, the rural South, and observed quilts being made by African-American people, and they came up with a set of criteria to define what an African-American quilt is. But the criteria were based on a very narrow segment of the African-American community that was just there in the South. If people didn't see a quilt that was patchwork, improvisational-type quilt, they didn't think of African Americans being associated with that quilt.

Because of all the research, these quilts were written about and exhibited throughout the country. This is one of the reasons that I started the Women of Color Quilters Network. I wanted not only to save quilt making within the African-American community, because there's so few of us -- there are very few quilters in the African-American community -- but there was a need to educate African-American quilt makers about the cultural significance of the quilts that they make, as well as the monetary value, in the hopes that some of these quilts would be saved within the African-American community on a national level.

Photo of quilt At the same time, I wanted to show the diversity of quilts that are within the culture. The quilts are just as diverse as we are as a people. It's not just about one type of quilt. You only have to look at this exhibition and you see a variety of quilts, with all sorts of materials and all sorts of technique. There's diversity of style, and that's important.

The network is open to everyone. We do have men in the network, and they keep asking me, "Carolyn, when are you going to change the name to reflect our participation?" Well, it's four guys out of 1,700 of us. And I keep saying, "Well, we're going to change the name," but we haven't really gotten around to it. We have whites; we have chapters in other countries -- anybody who's interested in quilt history. For those members in other countries, it has been about social and economic development among women who make the quilts, and the quilts are sold here in the United States. We have had a couple of our members, notably Jenetta Miller from Hartford, Connecticut, who has gone out to other countries and has actually taught the women to quilt -- patchwork type or appliqué types of work that are good for sale in those markets. I think it's important that women be able to sustain themselves. That has become a mission, too, of this network. Women have the most important job on the planet -- the most influential job, and they're, first, teachers. All of humanity comes through women, and as mothers they influence the world. I think it's important that women be able to sustain themselves. If they can make these quilts in their homes, or in a group, and sell them, and they're able to take that money and send their kids to school or put food on the table -- that's important. That is the most important thing.

When Dr. King traveled across the South, he was given quilts that were made by women. There are many commemorative quilts about the civil rights movement. There are quilts -- and notably there are two in this exhibition -- that deal with the historical significance of the civil rights movement and slavery, personal stories of the artist and how slavery, discrimination, has touched their lives. They have indicated this in the making of their quilts. One of the founding members of the network had a project where blocks were made to celebrate the life of Dr. King ... I think there were maybe 30 individual blocks that celebrated Dr. King's life, and that quilt was given to the King Center in Atlanta. It's a commemorative quilt.

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I've done many quilts. Every other quilt I do is about African-American history, in hopes that when young African-American people see these quilts, they will know our history, my history. My children will know my history, living as a black woman in the South during the civil rights movement -- the things that touched me, that helped shape me and make me the person that I am, issues that have affected my life. I've quilted those out in my work. And these cultural documents are important. ... You have to look back into your history to know where you are going in the future. There are issues for us as African Americans that we can't forget because they helped shape who we are. You create these images in hopes that you don't forget. You create them to celebrate the ancestors who walked through fire for us to be here. We walk through fire every day. This is what our faith is. This is what this show is about.

There's a spiritual song -- "We have come this far by faith." It's faith that brought us through the slave era. That belief, that Supreme Being, that God was with us, in our spirit, to make us strong to get over. It was faith that got us through slavery; it was faith that got us through the civil rights movement; it's faith that we deal with on an everyday basis in hopes that our lives will be better. It helps get us through -- fuel for the soul, fuel for the spirit.

Photo of visitors Most of the artists in this exhibition have not had any quilting lessons. Most of them are self-taught quilt makers. They give birth to their work in their own way. Whatever technique, whatever material that they want to use -- it's their decision, and it's a spiritual thing. When you're giving birth to that quilt, then you have to get it out. You're going to use whatever materials and methods that can help you tell that story, that can help you give birth to that quilt.

Some of the techniques are very unorthodox. There's no rhyme or reason to it. And it's done with total abandon, total abandon. That's the one thing that's really neat about African-American quilting -- we don't follow the rigid rules of quilt making. The spirit has to be free to fly. It has to be free to give birth to these creations, and it is a birthing.

We are all on a spiritual quest. That's the connection between religion and art -- to know or have knowledge of our own humanity and our own spirit. We're all on a spiritual journey to know ourselves. Hopefully, we get that through our religious study. We get that through the creation of art. With everything that we do, we come closer to knowing ourselves, working out issues of our own spirituality and trying to find ourselves within this work. You have to concentrate to make this work, and to me, that's like a meditation in itself. You have to go deep. You have to really get to the root of your spirit.

I really don't feel that one can explain what "soul" is. You can feel it, you can see it. You have a spiritual connection to the soul, and art is the fire, the fire that makes it burn and just be fuel for our soul.

[Every artist in the exhibition] comes from a Christian background. Our parents and grandparents are Christians. But not everybody in the show is Christian. I'm a member of the Baha'i faith. A couple of members have gone back to traditional African beliefs. We have a Buddhist in the show. But we have that commonality -- that we come from Christian beliefs.

I have to speak for myself as an artist. I feel that our primary objective in life is to learn about God and to try and be closer to him, try and be a good person. When we create art, and through the meditation on that creation, it draws us near to that goodness that's God. We talked in the beginning about art and worship. That's our primary objective; that would be my objective -- to try to get closer to God, to try and find our own spirituality.

Some of the quilts have been inspired by biblical quotes. Some have been inspired by African-American history. Some are quilts that commemorate families or special events. Some of the quilts deal directly with prayers that were created and chanted by the artist. There's a wide range of inspiration that comes together.

Very few of the quilters will hand-quilt their work or do handwork. [There are] many quilts with computer-generated images on them, and people have drawn their work via computer. [There are] materials such as cotton and synthetics and rocks and shells and sequins and beads and just the whole gamut. If you can sew it, glue it, pad it, whatever, and put it onto the quilt surface, it's there. Everything is there.

Photo of quilt Not only will people come away knowing a little bit about African-American history, but hopefully they will be touched spiritually, especially when thinking of the timbre of the times. Here we have this show about spirituality; here we have this show about God. Even as our world is in conflict, still it is just one God that is personified in this show. There is one God, and we're all blessed to have that one God, regardless of what form, what religion, what culture, what ethnic group we come from. It's just one God.

This show is so diverse it sends a message out to the world: this is what can be; this is what should be; this is good. Because it's about unity, it's about love, it's about faith; it's about bearing witness to history, bearing witness, hopefully, for a better life. Bearing witness for a change in the world that will unite all faiths, because "we have come this far by faith." We have come this far as a people, believing in God. Regardless of the religion, it still is just one God.

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