Category: MAIP

It was a windy day, I first saw a letter from Melissini. I had a very rough day, but this letter and hancrafts particularly known as “tatting frivolite” actually brought me a luck in my life.

(I later realised that the craft doesn’t represent ‘luck’… But I decided to use it as a lucky item)

It was very astonishing that the item was handmade. I have never heard of a word “tatting frivolite” in my life. The word was unique and I have found some similarities between Cypriot and Turkish, also some differences between Cypriot and Korean.

I first thought that though we don’t have a concrete result, it was okay to show the process or how it is used as a interior item such as jewellry, headscarfs, clothing and etc.

This is a process of showing me finding something amazaing to do with this item. Plus with intercultural practices and transcultural views.

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The word ‘fervolites’ originates from France, where a similar lace is called frivolité, meaning something that is created with circles.

embroiderers would make fervolites race using different colours, depending on their taste and home décor.

The main motif is the flower. Another commonly used motif is the small circles, feggarka (‘moons’), which are linked together to create square, rectangular, rhombus or round formations.

With the passage of time, the Cypriot fervolites lace took on its own character and traditional Cypriot shapes and motifs. While in other countries they use different colours and sometimes two shuttles, in Cyprus they exclusively use the makoukoudi (refers to a small weaving row) of 2x6cm, a needle, scissors and bobbin thread in the colour beige or white (traditional).

This passage that the Cypriot has its own character and traditional shape was fascinating because Melissini gave me the pattern that is only made in her village. It was very interesting that there is no same pattern in the world except her village.

http://www.unesco.org.cy/Programmes-Fervolites_Lace,EN-PROGRAMMES-04-02-03-16,EN

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These are some questions I had with Melissini. We had few meetings and discussed about the item, process I will work on, and questions she wanted to ask me, and my answers are in between the brackets.

We agreed to hold a discussion on yeh nah’s process every Monday at 2pm uk time.

-whatever the process may be-
Yeh nah will try to record her ideas/ process through documenting in notes, images, videos, sketches, videos of her playing with her cat, videos of her taking a break, resting .
 
All parts of her process are welcome because I want to show how she creates art step by step.
 
23/1/2024
 
1.Yeh nah has decided to create an animation using the object I sent her where her fairy tale character will be the main character of the story, and the item a cloud and a pattern in the environment and patterns of the scenery in the animation.
 
2. Yeh nah will send me a video of her opening up the letter and then she will write what her first impressions are and how she decided on her idea to create a fairytail animation.
 
3. Yeh nah said the item inspired her to create this animation and use it as a cloud because: _________
(you can say because of its shape/ feeling/ history of the item – read the history by looking it up – I included the name and origin of the item in the letter I sent you)
(I wanted to show different type of cloud shape and pattern.)

4. Yeh nah said she will also use a stamp of her cat’s foot in the animation because:
(To make it as my signature mark.)

5. Yeh nah debated what software to use for this animation and decided to animate it in 2D using after effects at first and see if that works out well.
(I will first try to use Adobe and see what will make it best)

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For the third question, I wanted to use the item as a shape of a cloud; use the pattern of the craft into a drawing, however, I decided to not to add in my animation. If I had used in my animation, it would be used as an ending of the story. But because I needed more time to work on it,-and since we have decided to finish everything by February-I decided to make something out of it where Melissini said that ‘it can be used traditionally as jewellry, headscarfs, clothing, curtains, furniture covers, and traditional beddings.

Yet the item did not inspire the animation story, I applied to carry them on my daily routine.

The thing I liked about Melissini’s meeting was that she encouraged me a lot of making a process of my work. She encouraged me that I do not have to make a concrete and final work for this project. Yet I have made some failure works, these could also be added to my work process. It really helped me to analyse my works.

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Tatting pattern used as an interior item

At first, I used the item as an interior accessory. This place became my best photo spot in my living room. I displayed it next to the wooden bookrest (a single bookshelf) and a solid eliminator (one of the famous cat character in Korea named ‘Chunsik’).

I was very surprised how precise the pattern was made, and I was very impressed about the technique that Melissini’s grandmother had. The pattern seemed simple but very difficult to make. I really wished that this tradition could continue forever.

And I have thought of this approach of continuing someone’s techniques because feelings I had toward this item was astounding. In Korea, we are losing lots of traditional custom and craft masters who represent Korean National Intangible Cultural Heritage. This item is not just an item, it represents the indigenous tradition and its pride.

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My cat looked like a cloud and he really loved the craft. He would always stay in the photo spot to take a rest and nap. He would usually spend his most the day lying on the craft. That was rare moment where he was awake and was looking at me (he would usually sleep). The craft looked amazing on him, so I wanted to make a necklace out of it.

Road really loved playing with the pattern a lot. He especially had a interest on the pattern, if you see the video, you can tell that he’s playing with the key stripes. He was being repulsed, and this was pretty interesting to me. His interests were usually moving balls, but it was the first time he got something interested beside the balls.

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Process of making folk tale image

This character was when I tried to add it to my animation. This was a rough sketch of mine, thinking of what if the ‘tatting frivolite’ was a character. I randomly drew a sketch and this was made. I made a crown highlighting the pattern of the craft. and the earrings are the flower leaves. If I make this character into an animation character, I wish to make a emoji out of it. If I make this concrete project, I might also add a story of a young child who tries to protect his/her village to keep or continue their old tradition and stories.

_Inspired by Melissini’s grandmother.

“Work process of sketching”

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These are the sketches I am working on, and I thought it would be great if I had the character above with the ‘frivolite’ pattern on the background. I interpreted Korean ‘maedeup’ too, to show the harmony between the ‘frivolite’ pattern and ‘maedeup’ knot.

This is the sketch of the colour variation using Korean traditional colour of Mae-deup.

This fish is basically a common fish in Korea, called ‘Myeong Tae’ which is bringing good luck to your house. They usually give fish shaped craft for gifts wishing good luck. The fish eats bad luck and brings new luck and health to you.

And on the background I imagined to collaborate two different but similar patterns and make them look like a background, wishing for those who views this drawing to have good fortune.

Therefore, this would be my final work of the project, integrating two cultures into one and expressing them through artistic lenses by drawing and creating new pieces of art work of my original folk tale story.

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A process of making key stripes and necklace

I went to the stationary store (called Daiso) and bought some equipments needed to make necklace and key stripes.

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How I carry key stripes in my daily lives

This is the short intro of my working space. I filmed a short video of how I carry key stripes with me.

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Some examples of tatting patterns

What is tatting / frivolite pattern?

I also wanted to have an intercultural approaches. These are the pictures from Melissini’s house. It’s not frivolite but just embroidery. She told me that this is what they use frivolite for usually. This gave me a lot of hints to foster intercultural practices. I have researched some similarities which led me to create a necklace and stripes.

Tatting is wrapping thread around one or two shuttles and guiding the thread through a series of knot patterns to create delicate rings and chains.

Interview with Melissin’s grandmother

I wanted to have some interview with Melissini’s grandmother and she helped me to record a video.

Question 1.
I heard that this ‘frivolite’ pattern is used only from your village, do you have a plan to continue this tradition to the next generation?

Question 2.
If so, can you tell me how you want to keep the tradition and how?

Question 3.
If not, why is that?

Question 4.
Is it okay with you for the others (foreigners) to follow your village’s tradition techniques (for them to remember the tradition and the mind), what is your opinion to this?

Question 5.
Have you ever thought of teaching your techniques to others who are new learners and do not know about ‘frivolite’ through online or offline class of how to make ‘frivolite’ patterns?

Question 6.
Have you ever tried other countries ‘frivolite’ patterns?
If so, which one do you think was more easier to make?

Question 7.
Do you have any thoughts of the comparison of similar ‘frivolite’ patterns?

Question 8.
Can you share any of your most favorite piece work of ‘frivolite’ handcraft?
Why is this very special to you.

Question 9.
Can you tell me your favorite quote that is related to ‘frivolite?

Question 10.
Can you share your story of how you started making ‘frivolite’ handcraft?
Or any stories that are related to it.

Thank you for your lovely interview, do you have any words to say?

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Melissini wanted to edit some questions so that they look and sound more interesting.
(hey i looked at the questions and i wanted to ask u to edit them a bit hahahah so that theyre more interesting)

Question 1 and 2
Answer : that she continues the tradition by creating more and more fabric for us to inherit. 

Question 5
Answer : she doesn’t know what online classes are she is a very village raised grandma and she does this as her own passed time, if she were to teach someone it would maybe be her daughter/ grand daughter. 

Question 9
Answer : There is no quotes or poetry in relation to this tradition.

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She also mentioned that I should add some questions too.
(Below questions are additional questions)

Question 1. Can you show us how its created?
Answer : She would show the technique and show us her pattern and books that have tutorials which is awsome

Question 2. How did you learn frivolite?
Answer : She would explain how her mother taught her and how it was a practise in her village

Question 3. Why did women do this practise? what did they use it for?
Answer :

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INTERVIEW WITH MELISSINI’S PATERNAL GRANDMOTHER ( Polixeni/ Πολυξένη) ABOUT TRADITIONAL
FRIVOLITE (TATTING) TECHNIQUES FROM CYPRUS, PARTICULARLY FROM KARAVAS (HER VILLAGE).

Question 1.
I heard that this ‘frivolite’ pattern is used only from your village, do you have a plan to continue this
tradition to the next generation?

Grandma Polixeni: Frivolite is used all around Cyprus and its surrounding regions traditionally, but this
particular technique and pattern was passed down from mothers and grandmothers for generations in
my village Karavas. My daughter (Melissini’s Aunt) doesn’t have the patience to learn this technique as it
takes precision, and patience to create such small details and she has a very busy lifestyle with her
family and job, but my granddaughters have expressed that they would be interested to learn it so I
gave them my books of patterns in hopes they will one day come to me to learn the skills.

Question 2.
If so, can you tell me how you want to keep the tradition and how?

Grandma Polixeni: The tradition in modern times is kept by people still using frivolite to decorate their
homes. My niphi (word for daughter in Law) Souli (Melissini’s Mother) has always apreciated my frivolite
creations. I have created for her more than 20 curtains and a lot of tabletops for her house. I just want
to create as much as I can before I am gone from this earth so that my grandchildren have something to
inherit.
Melissini’s note: (My grandmother can be dramatic…hahahahaha)

Question 3.
If not, why is that?
Melissini’s note: I have no answer for you here.

Question 4.
Is it okay with you for the others (foreigners) to follow your village’s tradition techniques (for them to
remember the tradition and the mind), what is your opinion to this?

Grandma Polixeni: Frivolite as a practice is native to all countries touched by the Mediterranean Sea. It
is something that bonds all of our regions, and a shared culture. I can only hope that my children will
learn our village’s unique way of creating frivolite so they can teach it to their children and the skill
won’t die out. If they want to teach it to foreigners it’s their choice, I just wish that they would learn it.

Question 5.
Have you ever thought of teaching your techniques to others who are new learners and do not know
about ‘frivolite’ through online or offline class of how to make ‘frivolite’ patterns?

Melissini’s note: My grandmother doesnt know what online and offline class mean so i asked if she
would be willing to teach others how to make frivolite patterns.-

Grandma Polixeni: I would be open to teaching any woman that comes to my house, but this cannot be
taught in a day. They would have to visit me regularly.

Question 6.
Have you ever tried other countries ‘frivolite’ patterns?
If so, which one do you think was more easier to make?

Grandma Polixeni: I have tried many other Cypriot village’s patterns. Other women have shared theirs
with me and I even have a book full of different patterns that my son bought for me a few years ago. My
daughter’s husband is Italian so my simpethera (his mother) has shown me her own frivolite in her
house. It’s not that different from ours.

Question 7.
Do you have any thoughts of the comparison of similar ‘frivolite’ patterns?

Grandma Polixeni: There is plenty of different ones. Now that I have my book it’s not that difficult to
make any pattern on there, but the one my mother taught me holds a lot of sentimental value. Back
then they didn’t know how to write or read, so my mother and her mother and all women had to learn it
through teaching each other. They inherited the skill through spoken word.

Question 8.
Can you share any of your most favorite piece work of ‘frivolite’ handcraft?
Why is this very special to you?

Grandma Polixeni: I have made so many for everyone in my family (She has made it for even distant
relatives) that I truly cannot pick a Favorite because I dont remember every single one,. However, I do
think I did a wonderful job with the dowry I made for my daughter in my youth. ( Dawry in this instance
means the daughters belongings to pass to her when she is wed). I also feel like this is my most valuable
skill and I cherish it greatly.

Question 9.
Can you tell me your favorite quote that is related to ‘frivolite?

Melissini’s note: there is no quote related to frivolite- at least that she or I know of.

Question 10.
Can you share your story of how you started making ‘frivolite’ handcraft?
Or any stories that are related to it.

Grandma Polixeni: In my generation these were the types of hobbies for a young girl, my mother would
sit and make them outside in the sun and so I learned from her. All of my friends and Neighbours know
it too. My simpethera ( Melissini’s maternal grandmother) knows how to make it through her mother
too, but her village has a different pattern.

Melissini’s note: I asked her this following question out of my own accord because I think the answer
would help you with your project.

Question 11: Why did women do this practice? what did they use it for?

Grandma Polixeni: Back then it was what made a home elegant. Women would work hard until their
fingers would go numb in order to make their homes look nice. We use it for tabletops, curtains, wall
decoration, and even headscarves. In the past brides would have a dress decorated with this and in
recent years people have asked me to make it so that they could wear it as earrings! You can even make
bedding out of this, or pillowcases, which would sell for very expensive.

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Based on the answers from Melissisni’s grandmother, I wanted to created a small drawing gift for her, her one of the favorite piece she maded for her daughter in her youth. I wanted to draw and express her caring heart toward her daughter through art work. The fish symbolises luck and fortune, so I wanted to show a connection between the young girl (inspired by Melissini’s grandmother), showing that a fish is protecting the girl from the shadow (bad luck). This is to wish that she (Melissini’s grandmother Polixeni) will always remember and never forget good memories of her piece she made for her daughter.

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It was so interesting that only women produce this kind of work and that this kind of ‘frivolite’ pattern is only found in Melissini’s village in the whole world. It was a feminine rare, however, compare to Korean culture, we have male Korean artist we continue old crafts, ‘maedeup’.

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Korean Knot (tatting pattern)

While I was making a research of the ‘tatting’ pattern, I found some differences and interesting facts about between Cyprotic and Korean tatting pattern.

We say, ‘Maedeup‘ (매듭), which is the Korean traditional crafts of knots and one of the oldest forms of art. 

Various colors of Korean knots were used for belts, identification purposes, and instrument decoration elements.
In the palace, knots were used to represent the dignity and authority of the wearer.
For religious reasons, Buddhist ornaments were also adorned with knots.

The most common use of knots was for the traditional Korean accessory called “norigae,” worn by women to adorn their clothes.
Norigae (노리개) was carried separately in a decorative pouch by people of all ages and genders to enhance the beauty of hanbok. Knots were used across all social statuses, but there were instances where they were only permitted for specific individuals. For example, using knots to decorate fans was restricted to high-ranking officials.

There are 38 types of traditional knots that originated from the Joseon Kingdom (1392-1910).
These decorative accessories are used for men’s and women’s official robes to indicate one’s status.
Also used for norigae ornaments, jewelry, pouches and musical instruments.
In the ancient times, maedeup was used for fishing nets and hunting.
Maedeup is generally made from silk cord of varying thicknesses. 

Each knot varies in shape and holds different meanings. 

In the past these steps were done by different artisans. 
Today, one artisan completes this process because artisans are fewer.https://overseas.mofa.go.kr/no-en/brd/m_21237/view.do?seq=123

The most beautiful and sturdy colored cross

https://www.chf.or.kr/brd/board/696/L/menu/314?brdType=R&thisPage=6&bbIdx=110570&searchField=contentAll&searchText=매듭

A knot using one or more strands of rope or string, knotting, weaving (hainmul) is one of the techniques of Korean handicrafts, creating beautiful patterns and forms for clothing, jewelry, and ornaments.

These ropes or knots arose from the necessity of our daily lives. Initially, they were created for practical purposes such as wrapping or connecting objects, but gradually evolved into decorative functions in household items.

Used in various household items, knots have become recognized as exquisite products embodying the beauty of Korea with splendid patterns and harmonious colors.

https://www.chf.or.kr/brd/board/696/L/menu/314?brdType=R&thisPage=6&bbIdx=110570&searchField=contentAll&searchText=매듭

The process of making ‘maedeup’

We have four major steps for maedeup:
1. Dying the cord
2. Making the 다회/dahoe (cord)
3. Making the 매듭/maedeup (knots) 
4. Making the 술/sul (tassels)

1. Dyeing: The process of making knots begins with dyeing silk threads.
   To weave the knots, silk threads need to go through several processes before being placed on the frame.
   First, the silk threads are boiled in soapy water, rinsed thoroughly to remove impurities, and then dried in the shade.
   This process is called “jeongnyeon (정련)” or “suk (숙).”
   Natural dyes such as irises, indigo, pagoda tree, kaki, gromwell, arrowroot, vitex, sophora, jujube tree, mulberry bark, dyer’s knotweed, goldenrod, red beans, pear tree bark, etc., are used to dye refined silk threads, including flowers, roots, and leaves of various plants.
2. Wrapping: After dyeing, the well-dried silk threads are hung on a frame and wrapped around it.
   This process is called “jaeaejil (자애질)” or “haesahanda.”
   Once wrapping is completed, the threads are combined.
   The combined thread ends are firmly attached to the tip of a bamboo stick, and then the threads are twisted with the palm of the hand.
   Depending on the purpose, it can be twisted into 4 strands, 8 strands, or 12 strands.
3. Knotting: To tie a knot, first fold the rope to a certain length, hold the center, weave the two strands of rope in order, and then adjust the knots tightly while straightening the rope’s ends in order.
   The tightening process is crucial for the beauty of the knot.
   Finally, maintain a neat balance by arranging the loops (a loop-shaped end of a thread used to prevent the knot from coming undone when tying garments or straps).
4. Making tassels: The process varies depending on the type of tassel, such as bong tassel, strawberry tassel, bead tassel, club tassel, and octopus tassel.
   https://overseas.mofa.go.kr/no-en/brd/m_21237/view.do?seq=123

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My choice for some similar tatting patterns with Melissini’s Cypriot ‘frivolite’ pattern

This is called Seok Ssi knot (석씨매듭)

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This is called Nabi knot (Butterfly) (나비매듭)

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This is called Gukhwa Knot (Chrysanthemum) (국화매듭) and 공작매듭

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History of Korean Maedeup

It was very interesting that post ‘frivolite’ and ‘maedeup’ pattern designs are symmetrical and have the same front and back.

Also, that they use more than three dimensions and that it takes a lot of time and effort to make single handcraft.

 In the beginning, it was used around the waist to hold hunting and fishing tools such as stone axes and swords but evolved into a form of decorative art.
Not just an ornament, it was also considered a peace and happiness. 
These knots were used in the royal court and decorations for Buddhist ceremonies, as well as being finishing touches to clothing, accessories, musical instruments, pockets and buttons. 

This influenced me to carry ‘frivolite’ key stripe like ‘norigae’ as a symbol of peace and happiness.
Though ‘frivolite’ pattern does not symbolises luck, maybe because I was Korean and as Korean, the ‘frivolite’ pattern seemed like ‘maedeup’ to me and it made me to carry them to feel like I was carrying a ‘norigae’.

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University of the Arts London Tutorial Record Sheet: MA Intercultural Practices