-1-
INTRODUCTION
Today, people only wear typical costumes during important celebrations but typical costumes are an important part of a country or region’s identity.
At the same time, artcrafts are nowadays mostly decorations in our houses but traditionally, they were the most important part of everyday life some time ago. People used to make their own tools with their own hands and after Industrial Revolution artcrafts, day after day, have become decorations, and part of our identity as well.
Working on this book, students have developed knowledge and understanding of the diversity of European cultures and they want to show how the six different identities of our cities can be added together to build Europe through knowledge and tolerance.
My City + Your City= Our Europe!
INDICE
1.
2.
ARTCRAFTS ................................................................................... 7 1.1.
Artcrafts in the region of Hasselt, Belgium ............................. 7
1.2.
Artcrafts in the region of Uhersky Brod, Czech Republic..... 17
1.3.
Artcrafts in the region of Scaër. France. ................................ 33
1.4.
Artcrafts in the region of Kranichfeld, Germany................... 37
1.5.
Artcrafts in the region of Klaipeda, Lithuania ....................... 45
1.6.
Artcrafts in the region of Albacete, Spain ............................. 53
TRADITIONAL COSTUMES....................................................... 61 2.1.
Traditional costumes in the region of Hasselt, Belgium........ 61
2.2.
Traditional costumes in the region of Uhersky Brod,
Czech Republic........................................................................................ 67 2.3.
Traditional costumes in the region of Scaër, France.............. 73
2.4.
Traditional costumes in the region of Kranichfeld, Germany 75
2.5.
Traditional costumes in the region of Klaipeda, Lithuania.... 79
2.6.
Traditional costumes in the region of Albacete, Spain .......... 85
Hasselt, Belgium
1. ARTCRAFTS 1.1. Artcrafts in the region of Hasselt, Belgium 1.1.1. Basket weaving Also known as basketry or basket making, is the process of weaving vegetable fibres into a basket or other similar form. In our region a little village Stokkem is/was very famous for this kind of making baskets.
Stokkem is situated nearby the river “de Maas”. In that region grown plenty of willows. The one year old branches are cut. The craftsmen, did this kind of work in wintertime. In summer they left their home and travelled around in the villages and towns of Belgium, Germany and the Netherlands to sell their products.
(Picture from http://nl.wikipedia.org/wiki/Bestand:Knotwilg.JPG Salix)
-7-
Comenius 2009/2011 The used material
-8-
Hasselt, Belgium
1.1.2. Brick making "Steenbakken" Making bricks along the River “Rupel” The Rupel region stands for clay digging and making of red bricks. During centuries the brickovens dominated the landscape. Nowadays this is history. A lot of these clay pits were closed and most of the ovens and drying places disappeared. The pits filled with water are now places of nature and are a green area for birds and for leisure for people of the region.
The name of the bricks: “papensteen” The name “papen” refers to the monks who lived in the abbey of the Cisterciënzen in the little town Hemiksem (in the neighborhood of Boom). They started digging in the century.
clay 13the
Most famous is the blue version of this kind of bricks.
-9-
Comenius 2009/2011
The clay is places in wooden forms with hands. It’s a tough work. Then al these bricks are put on stapels to dry in the sun or under a construction.
After drying the bricks are put in ovens and were baked at a high temperature. Nowadays everything is mechanised and also the claypitches do not give enough materiaal to work with. So clay from other regions is imported and mixed with this clay.
- 10 -
Hasselt, Belgium
1.1.3. Bruges lace (= kant)
Typical from Bruges, a (medieval) city nearby the NorthSea (Noordzee)
Foto: Jan Verachtert This handcraft is mostly performed by elder women
- 11 -
Comenius 2009/2011
Mathilde’s wedding dress was also made of lace (the bride of our prince Philippe)
http://t3.gstatic.com/images?q=tbn:ANd9GcQ9uMv3rAasUeVlY4Oen6 OsN8URvoMRJK1JLhCS87AMpxIw3ubw4g
Totally made by handwork (knitting)
- 12 -
Hasselt, Belgium
Therefore it’s very expensive Used in clothes and also as table napping
Bron: http://www.kantcentrum.com/ http://www.google.co.uk/images http://en.wikipedia.org
- 13 -
Comenius 2009/2011
1.1.4. Traditional artcraft: “Wooden shoes” On their feet, farmers in Belgium and even more in the Netherlands wore these kind of shoes. They didn’t wear leather shoes, but wooden shoes in Flemish “klompen”.
These wooden shoes were made from soft varieties of wood: birch and alder.
Advantages of wooden shoes:
easy to made by (nearly) everyone
when a cow or horse is standing on your foot, you don’t feel it
standing on the point of a nail, because the nail won't get into your wooden shoes.
you can get in and out of them easily
In summer, they are refreshing for warm feet
they’re cheap
- 14 -
Hasselt, Belgium How they were made
First take a piece of soft wood
Give it the form of the foot. (Left and right are different!) with a very sharp kind of knife.
Make the place for the foot in it (as you see in the picture)
The equipment
- 15 -
Comenius 2009/2011 Decoration Afterwards you can make drawings on it or give it a color.
Look at this video: http://educatie.ntr.nl/beeldbank/clip/20081231_klompenmaker01
- 16 -
Uhersky Brod, Czech Republic
1.2. Artcrafts in the region of Uhersky Brod, Czech Republic 1.2.1. Bast Fibre Bast fibre or skin fibre is plant fibre collected from the phloem (the "inner bark" or the skin). Most of the technically important bast fibres are obtained from herbs cultivated in agriculture, as for instance flax or hemp, but also bast fibres from wild plants, as stinging nettle. Often bast fibres have higher tensile strength than other kinds, and are used in highquality textiles, ropes, yarn, paper, composite materialsand burlap. A special property of bast fibres is that they contain a special structure, the fibre node. Bast fibre doll 1) Prepare the bast fibres of the same length 2) Bind in the middle and create a ball(a head) 3) Implicate a braid 4) Bind up tightly and make a hard neck 5) Divide bast fibres and create hands 6) Bind up at the bottom and cut the same length 7) Bind up doll’s body and fasten a cable shirt 8) Let other bast fibres hang loose 9) Decorate with a blueprint skirt, an apron and a ribbon 10) You can hang up a doll for its head, fix it on a skewer or stick in a flowerpot - 17 -
Comenius 2009/2011 The skirt is made of a special cloth decorated with a blueprint(blue-white combination)
Children are making bast fibre doll
- 18 -
Uhersky Brod, Czech Republic
1.2.2. Blueprint Blueprint is a traditional folk cloth decorated with blueprint pattern which served for female clothing and as time went, it became an essential part of women's costumes. Blueprint’s manufacture is not so easy. First the fabric made of pure cotton is starched, dried and mangled. After this preparation a special material called ”reserve” is applied by a wooden form and then the fabric is dyed in indigo blue. Then the fabric is washed in a special solution, “a reserve” is removed and the white, yellow or green pattern remains. This traditional production process is used in nearby Strážnice. There is a craft workshop called Arimo which follows the tradition established by master Cyril Joch a hundred years ago. Another craft workshop in Moravia is located at the Danzinger family house in Olešnice. There you can also find a permanent exhibition dedicated to the blueprint manufacture.
Manufacturing process
- 19 -
Comenius 2009/2011
Children´s products: pillows and herb bags
- 20 -
Uhersky Brod, Czech Republic
1.2.3. Commercial Ceramics Since ancient times, clay shaped and molded. Representations of animals created by layers of clay in caves in France and other deposits in Eastern Europe can come up from the ice age, from 37 000-12 000 years BC. The process of firing pottery, first developed in cultures of the Far East, but after years 6000-4000 BC to spread this knowledge further. Manufacture of pottery fired in a revolutionary manner changed people's lives and enabled rural people to produce proof grain storage containers in which the stored surplus crops to protect it from deterioration. Nomads and collectors were invited to settle and grow crops, develop business. The first glazes were developed around 4000 BC in Egypt or Mesopotamia. Faience, often called the Egyptian paste, which is used to create blue or green trim, is generated from naturally occurring stone, sodium carbonate. With more complex technology of burning in the kilns, China was able to develop a glaze that is fired at higher temperatures, allowing the use of a wider range of natural materials. Chinese pottery in Han Dynasty (206 BC220 AD) in the Kingdom Yu experimented with glazes with a high temperature firing. The result was feldspathic glaze on pottery. The pottery was produced in our country (especially - 18 and 19 century). We chose the products processed and manufactured. nature, such as bowls, candlesticks, bells, pots. Our tried to create
that from time immemorial in our region, It was a matter primarily of a commercial cups, pupils
them as our ancestors did. What do you need ? Ceramic clay bowl with water for wetting clay and hand, pad modeling, kitchen rolling pin, spatula, brush, eye, a knife, a rag to - 21 -
Comenius 2009/2011 work with clay, empty cups, for decoration - toothpicks, skewers… There are different types of clay by color and grain size. Clay should be moistened and flexible. Take a smaller lump of clay in the hands and gradually mash it with both hands. Than create the shape by himself. (candlesticks, bells, pots). If you want to stick pieces together you need a "clay glue". What is it ? In the bowl with a spatula or brush mix the dirt with a little water for softer consistency of yogurt. You can work. Or you can stick the sheets and cut off with a knife.
After forming the product and glued together, you can smooth the walls with wet hands. You can decorate it. You can use different parts of a spatula, toothpicks, a sample… If you want to burn the products in a ceramic oven, they must be dried 2-3 days according to product size. Glaze If you have the product from the clay after the first firing in the kiln (depending on the type of clay ( from 900 to 1000 C ), you can put the glaze on it. Glazes are powder soluble in water, which creates a furnace that you see in stores. But don´t paint it from the bottom. Than put them into the kiln at higher temperature. (Again depending on the type of clay and glazes). - 22 -
Uhersky Brod, Czech Republic Our pupils were very interested in these activities and their products are great.
- 23 -
Comenius 2009/2011
1.2.4. Decorating Easter Eggs History and Present: Tradition of painting and decorating Easter eggs, which gives a good evidence of folk art crafts skills in our region, is still kept in various parts of Moravia. It is closely linked with old folk ceremonies in the period of spring equinox. On Easter Monday most boys or men who visit girls and women and whip them with plaited willow cane, are awarded by beautiful painted or decorated hen’s eggs. There were two basic types of decorating techniques: 1) painting eggs without any decorations 2) decorating eggs with various ornaments Various patterns are created by different decorating techniques:
painting eggs with a molten beeswax (wax batik)
decorating painted or white egg shells with colored wax or paraffin
ornament engraving
coloring eggs in onion skin
straw sticking
wiring
- 24 -
Uhersky Brod, Czech Republic Use: Decorating eggs with beeswax You need beeswax. Put beeswax on the spoon and melt it slowly over a candle, kerosene lamp or aroma lamp. Insert the pin into the pencil and make a special pen for decorating. Dip the pinhead into the wax and make an ornament by changing dots and drops, stripes. Finally you can paint the eggs.
Easter eggs decorated by children - 25 -
Comenius 2009/2011
1.2.5. Gingerbread History: Gingerbread is perhaps even older than bread, as wild honey was one of the first human foods Gingerbread craft has been recognized for centuries and gingerbread cakes were used as festive cakes and gifts. The first mention of gingerbread, its manufacturing and sales in Bohemia dates back to 1335. In some regions various kinds of gingerbread and pastry were preserved. Gingerbread was used to celebrate various holidays such as Easter and Christmas. Gingerbread had various names according to the regions which it came from. The origin of gingerbread is found at bakers in Prague. Since 1913 a very famous kind of gingerbread has been made in Pardubice in East Bohemia.Originally gingerbread dough was pressed into a wooden mold and then hinged on a baking sheet and let dry. Today small hoops are used to make various shapes. How to make gingerbread dough: Among other ingredients ninety species of rare spices and herbs were originally added to the dough. The taste of gingerbread was determined by these spices and the quality by honey. Gingerbread dough is now often a mixture of wheat and rye flour, eggs, caramelized sugar and honey and spiced with cinnamon and ginger, as well as cloves, cardamom, nutmeg, aniseed and star anise. - 26 -
Uhersky Brod, Czech Republic
Children are making small pieces of gingerbread Ingredients: 250 g ground sugar 100g honey 50g margarine 4 eggs ginger spices 20g soda 2 table spoons cocoa 650g smooth flour
Instructions:
Whip eggs, sugar, honey, and margarine in a bowl.
Add
Add the flour and hand mix well.
The finished dough aside at least 12 hours to ripen.
Next day roll the dough to a thickness of approximately 0, 5 cm.
ginger spices, baking soda,
cocoa and beat up again.
- 27 -
Comenius 2009/2011
Cut the shapes and put them on a baking sheet with baking paper. Bake at 175-200 degrees C.
Icing for decorating 1 egg white 150 g ground sugar (sieved) Beat egg white. Then add sugar and stir. Decorate various with the icing.
- 28 -
shapes
Uhersky Brod, Czech Republic
- 29 -
Comenius 2009/2011
1.2.6. Textile Production Archeological and ethnographic research demonstrates that the productive activities, such as straw plaiting, wicker, wood working, making clay pots and weaving cloth, were the fundamental technologies of humanity. People made products for themselves or for close friends, were always simple, functional and most perfect. They used to wear clothes. The people of our countries for the textile chose those materials which they had in the Central European and Slavic tradition. Flax, hemp, wool. And then silk, nettle and cotton yarn were imported. Depending on the material they chose the appropriate textile technology. People's textile industry is divided roughly into two parts: 
manufacture technology decorative techniques

People used the loom. It is a simple tool for traditional fabrics. History of the Loom Vertical warp taut condition with weights The oldest known findings come from the 7th Millennium BC from Turkish Anatolia. Flax fabric taut outline bonding originated in a solid frame. The vertical warp was known about 1000 years later. In this way, it was made the oldest fabric found in the CR, about 7000 years old. The horizontal warp appeared later. Weaving the "flying shuttle" Englishman J. Kaye invented the "flying shuttle" in about 1733. This system brought up to threefold increase in state power hand (at approx. weft of 40 meters per minute) and was a
- 30 -
Uhersky Brod, Czech Republic prerequisite for a patent of his countryman E. Cartwright of 1785. It was created the first weaving machine. In textile mass production, particularly in Europe, then weaving machines rapidly replaced handlooms. Weaving - one of the oldest forms of craft production. Simple making tape is the simplest technique. Classical making - by weaving plates. Loom This is a device for weaving large pieces fabrics. It led the warp horizontally. The threads are divided into even and odd. Weaving is created by crossing of two threads. Firmly tense warp threads are stretched by hand or machine on the loom and back yarn (weft) wrapped in a shuttle. Fabrics are distinguished by the raw materials from which they are made (from flax, cotton ...) and their ties (plain, kperovĂŠ ...), according to the colour pattem and functions to perform.
- 31 -
Comenius 2009/2011
- 32 -
ScaĂŤr, France
1.3. Artcrafts in the region of ScaĂŤr. France. 1.3.1. Breton And Celtic Jewels : The U-Shaped nail pendants : This one has got a traditional celtic form the Triskell What is the Triskell ? It is one of the most famous symbols in Breton tradition . It represents fire , earth and water and the cycle of life . It dates back to ancient times when the Celts worshipped the gods of Nature. We use the nails for horse shoes but for jewellery too. It is typical breton artcraft Eight examples of nails
- 33 -
Comenius 2009/2011
1.3.2. Clogs Clog making is the only craftwork which requires green wood. In Brittany, the traditional craftwork uses beech, which comes from our forests. Up to the 1950s, people living in the country side used to wear clogs. They wore them with straw and slippers. The breton name for clogs is « boutou coat »
“modern”clog
Clogs
Old clog maker in Britain - 34 -
Scaër, France
1.3.3. Breton Ceramics What Are The « Breton Ceramics ? It's a craftwork of the traditional pottery inBrittany. The main two factories are located in Quimper. The most famous is : “La Faïencerie Henriot”. But there are several factories in Brittany. How is it make ? The potter creates the mold. He introduces the paste into the mold. He fires the paste. The pottery is hand-painted. And the potter fires the paste again.
Before : the painter
Now : the hand painting
- 35 -
Kranichfeld, Germany
1.4. Artcrafts in the region of Kranichfeld, Germany 1.4.1. Basket maker Tradition The basketry is one of the oldest crafts. Already in the Stone Age braids were manufactured as fences and vessels. These were partially sealed with clay. For many hundreds of years of straw and plaiting materials from a variety of natural materials in combination are woven with traditional weaving techniques. Good quality, high utility value and individual execution / design features of masterful basketry.
Today Is still spread out in our region. The basket makers make chairs, arm chairs, other furniture, shopping baskets, journey cases, toys, and many others.
Materials Native willows are primarily used (hemp willow). The osier be grown by the basket makers blissful pastures gamekeepers and prepared. Unpeeled, peeled, boiled, split or sliced, they can be intertwined. Rattan is a fast-growing liana (no tropical wood) and in contrast to the massive and well flexible bamboo. In peeled rattan sticks man known as wicker. Tools Knives, iron and knock bending iron are among the most important tools of a basket maker. They are also shown in the guild signs. A Museum Of basket products and the craft you can find in Tannroda near Kranichfeld. There you can see : - 37 -
Comenius 2009/2011
Chairs and tray's of all sizes and shapes
Bread and fruit bowls
Rattan and wicker furniture
Laundry baskets, clothes chests
Market, shopping baskets and fungal
Travel baskets, paper baskets
Bottle baskets, wine baskets
Dog and cat baskets
Baskets of all kinds
Lamp shades, carpet beater
- 38 -
Kranichfeld, Germany
1.4.2. Brooms binder History The main time of this handcraft was between 1880 to 1930. Even at the Second World War it was shill important. Later it became an industrial production. The getting of the material was very difficult. There was one rule: Cutting the wood after the list freeze of dry weather. Problems were mildew and damage. The workshop was the living room, often the only small warm room in the house. The broom bench was next to bed and table. The broomsbinder even slept on that bench. Here he could put his tools as well. His tools were a knife with a bent blade, a flat wood called “Plel� and some pins for making wooden holes.
Today Today this job is very seldom but still a tradition. You can watch making brooms at traditional festivals or in small private firms.
- 39 -
Comenius 2009/2011
1.4.3. Colouring of Waid History of Waid In the middle ages the dyer wage workers were the other processed cloth guilds. Later an own dyer guild was founded. Since the middle ages there was the distinction of different dyers. The plant of Waid is from the middle ages. You could make blue colour out of it. In Germany it was grown in the 9th century especially in Thuringia. The town Erfurt became centre of Waid trade and got power and richness. Mills were necessary for Waid production. Waid was important for the trade up to the 16th century. Later it lost its important meaning, because the colour material Indigo was invented and was much cheeper. When poor people coloured their clothes, it was good enough although the colour was not as intensive as with Waid. Production The production of Waid takes a long time. First they must win the colouring out of the leaves from the plant. For that you need the hot and sunny days. Dried Waid leaves were brought to ferment in a broth. Human urine was used as ferment. The alcohol solves the dye out of the leaves. The process takes more than two days. Every day they added more urine in the broth.
- 40 -
Kranichfeld, Germany Today Today Waid has some relevance as ecological colour. By the breeding there are yellow and red shades. In Neckeroda, a village near Kranichfeld, women colour clothes with Waid for tradinonail feasts and museums. Sometimes they use the Waid colour for clothes and linen And demonstrate the old tradition.
- 41 -
Comenius 2009/2011
1.4.4. Pottery History Pottery is a technique of ceramics formed in moist earth and then dried and fired to make them water-insoluble and hard. The name is generally used only for vessels such as pots, jugs, cups and bowls etc. and for decorative items, but not for technical ceramics, for example for the production of heat-protection tiles for the space shuttle. Working with clay and the subsequent fire for ceramics is one of the first arts and crafts, which appeared in the emergence of human culture. Pottery is the oldest method for the manufacture of vessels at all.
Production The differences lie in burning temperature and used raw material. The person who is producing the ceramics is known as potter and the place of working is called the pottery, also called workshop. The potter can work at a turntable or create the shapes by himself. After forming the containers they must be dried by air. Then they are put into the stove for a long time dependent on the material and the kind of burning. After burning and going cold the potter takes the containers out and puts a glaze on them according his artificial awareness. Then he puts the products into the stove again and burns them but not so hot. So the pot or vase or plate or cup or mug or something get ready. - 42 -
Kranichfeld, Germany
1.4.5. Weimarer Porzellanmanufaktur 8th of June, 1790 manufacturer Christian Speck founded a porcelain manufacture in Blankenhain. ( china = porcelain ). Some days later the concession to the porcelain production was approved by count Friedrich von Hatzfeld in Vienna. In the future the owners changed. After 1847 the factory was taken over by the family Fasolt from Same. Now the production began in higher numbers of pieces. In 1917 the Hamburger businessman Ernst Carstens acquired the porcelain factory in Blankenhain. The introduction of the Weimar cobalt painting famous since that time is connected with the name Carstens.
In 1928 the protected brand Weimar porcelain was put down. After the 2nd World War the company VEB was established in the GDR. With the fall of the wall the company became private again and was owned by different firms. But it is still called “Weimarer Porzellan�.
- 43 -
Klaipeda, Lithuania
1.5. Artcrafts Lithuania
in
the
region
of
Klaipeda,
1.5.1. Ceramics (Keramika) Ceramics could be called the oldest art craft in Lithuania. First found earthenware are dated about 4000 years BC. Since then various dishes for cooking, eating and storing food, urns and items for fishing nets and weaves were made. In 10-11th centuries ceramicists started throwing kitchen pots in a circular way. This was the stage of enriching the variety of forms and ornamentation of ceramic items. In the 14-15th centuries it became very popular to make various architectural products. Basically there are three branches of folk ceramics: domestic (to cook, eat and store food), architectural (elements to decorate buildings, e.g. tiles), and decorative – vases, sculptures, candlesticks and whistles. The foundations of modern Lithuanian professional ceramic art were laid in the early 1930s, the Chair of Ceramics was led by Liudvikas Strolis. Ceramic art was not held equal with other branches of art, but with time it gained influence. The dominant decoration scheme was based on Lithuanian folk patterns. Ceramicists work in studios with special equipment and furnaces. The cycle of producing earthenware consists of preparing clay (‚molis‘ in Lithuanian), shaping the material, drying and then heating in a furnace. After that products are polished, varnished, waxed, and glazed in various colours. Earthenware are shaped by ceramicist hands, modelled on a potter‘s wheel or pressed in special shapes of gypsum. - 45 -
Comenius 2009/2011 Nowadays every Lithuanian uses some earthenware at home: flower pots, vases, sculptures, etc.
These are the works of art of our Klaipรทda Verdenรท basic school craft teacher Raimondas Prikockis, displayed in our school.
- 46 -
Klaipeda, Lithuania
1.5.2. Baltic Amber (Baltijos Gintaras) Amber found on the Baltic Sea shores is highly treasured and is the only national gem of Lithuania. It is a fossil resin which came from the sap of pines that possibly grew in the subtropical forest, in the present location of the Baltic Sea. Baltic amber is usually found in a variety of tones from pale yellow to dark brown, and reddish, bluish and greenish tinted pieces are very rare. Amber (‚gintaras‘ in Lithuanian) is collected on the shores, especially after storms, washed up from the bottom of the Baltic Sea and the Courish Lagoon Large pieces of good quality are used as gems for jewelry that has been worn for many centuries, especially with Lithuanian national costume. Women wear necklaces, pendants, bracelets, brooches, earings, rings, cuff links, and hair ornaments. Amber is used for making devotional objects (crucifixes, rosaries and medallions). People also like amber figurines, souvenirs and ornaments for swords. Some amber is dug out from small amber deposits along the coasts of the Baltic Sea and Courish Lagoon. Amber was processed 2000-3000 years BC in the present teritory of Lithuania. Artistic manufacturing of amber blossomed out in the 17-18th centuries, especially in Palanga and Šventoji. Holes for pieces of amber are made by special drill, simple but unique, that doesn‘t heat amber and it loses a possibility to crack. Palanga Amber Musuem was established in 1963 in the manor of count Tiskevicius.
- 47 -
Comenius 2009/2011
1.5.3. Papercuts (Karpiniai) In Lithuania, paper cutting has been practiced since the 16th century. The first uses of this art might have been stencils for document seals. Papercutting reached the top of popularity in the end of 19th and the beginning of 20th century. At that time paper cutting was no longer confined to special occasions such as festivals, but was being used in decorations for the home: to cover a window, to decorate a shelf, a lamp, frames of a mirror or a picture or edges of a coffin. The newlyweds used to get presents of papercuts with motifs of birds, horses, apples, etc. Later the artistic content of papercuts has developed to be more diverse. Papercuts have a deep relationship to the mythic image of the tree. There are several types of papercuts: symmetric, asymmetric and mixed; one-coloured and manycoloured. Lithuanians are very circumspect in choosing colours. Usually one-coloured paper (‚popierius‘ in Lithuanian) is used for papercuts, and rarely two, three or four colours are combined. Usually scissors and special cutters are used for papercutting. For symmetric papercuts a sheet of paper is folded several times: once, twice or four times. When cutting with scissors, sometimes the papercutting appears without any design in advance, meanwhile using special cutters a design is necessary. In the end of 20th century two female artists J. Daniliauskiené and N. Juréniené laid the foundations of present papercutting. Anyway they prefer the silhouette of a tree. Their works lead to become a branch of the fine arts. In 1981 the first national papercut exhibition was held in Vilnius. This is the work of art our Klaipéda Verdené basic school teacher Danuté Valužiené, displayed in our school. - 48 -
Klaipeda, Lithuania
1.5.4. Sashes (Juostos) In Lithuania a traditional craft – weaving – is known since the 2nd-3rd centuries. People chose silhouettes of lilies, daisies, tulips and stars to make patterns for sashes. Later various triangles and squares were added, and this led to a great variety of patterns.
In the 19-20th centuries mostly women used to weave in towns and villages when they had more free time in spring and winter. Villagers couldn’t buy any textile so they used to keep sheep, grow flax, and this way they used to make threads for weaving.
Woven sashes (‘juosta’ in Lithuanian means a sash) with hand-picked designs have been known since the 13th century. Geometrical ornamentation, having quite a few variants in ethnographic sashes, is most important in their design. Sashes were used to wrap shirts, to tie an apron, and as bookmarks.
- 49 -
Comenius 2009/2011 Some of sashes are of various sizes: from one to ten or more centimeters width and even several meters length. There isa special device called ‘staklés’ – a loom – to produce sashes. People use tools called ‚šaudyklés‘ - shuttles. Today sashes are given as a present for anniversaries and jubilees, and worn as a part of national costume. People sell and buy them in various fairs.
Pictures from: www.rokiskiotautodaile.lt www.audimomanufaktura.lt www.etnolietuva.com.
- 50 -
Klaipeda, Lithuania
1.5.5. Smithery (Kalvysté) Smithery is one of the oldest and the most important crafts in Lithuania. The evolution of this craft is related with the process of metal. In the 1st century Balts learnt how to get iron from swamp ore. The mining of iron was very hard process. When humanity learnt how to use iron, it became very respectable. Iron-age is dated from 5th century till 13th century in Lithuania. The biggest part of metal was from neighbours, so it was very expensive. Swords and tools were used very economically. An iron was also used making ornaments and clothing details. It is found only few ornaments, because an iron was mostly used for tools and swords. The Great Duke of Lithuania Gediminas invited lots of blacksmiths from other duchies to settle in manors of the Great Duchy of Lithuania in the 14th century. Manor documents proof that both bigger and smaller manors had their blacksmiths since the end of 19th century. Main duties of a blacksmith (‚kalvis‘ in Lithuanian) was to repair the means of transport of county and to make horseshoes for horses. Of course, they also made guns, arrows, armour, knives, axes, daily gear, stirrups, clothing decorations.
- 51 -
Comenius 2009/2011 In early iron-age it was used melting stove with bellows. It was used 1200 degrees temperature to melt an iron. High temperature – 1200 degrees – is necessary to melt iron and to make it become plastic. Metalworks are produced while heating and striking metal. Every blacksmith needs to have main tools: finery and bellows (to heat metal), stithy (to put hot metal on), hammer (to strike hot metal), and pliers (to hold hot metal). Today blacksmiths are asked to make metal gates and fences, interior and exterior house decorations. You may visit the Blaksmith musuem in Klaipáda, established in 1991.
- 52 -
Albacete, Spain
1.6. Artcrafts in the region of Albacete, Spain 1.6.1. The “Botijo” What Is the botijo? A “botijo” is a baked earthenware pot, used to keep water fresh during the hot summer months in Spain. It is circle-based and has a bulky belly which narrows in the upper part where the handle to hold the “botijo” is found. On a handle’s side you can see the rim from which the botijo is filled with some liquid while in the opposite side is the spout for the flowing water to drink.
How Does It Work? Its working order is very simple: it is based on refrigeration by evaporation. It is made with a really pourous material and its containing water is filtered through these pores and because of the dry Mediterranean climate it slowly evaporates. To get a gaseous state the water needs heat which may be taken from the surrounding environment. But also the water left inside lower the temperature and keeps cool. We call this “botijo effect”.
Which is its Origin? Its history takes us back into the early Mesopotamian cultures where the first pottery remains similar to ours. It achieved its greatest splendour during the Bronze Age across the Mediterranean and along the Hellenistic Greece used as an ornamental item; starting to decline in the second half of the - 53 -
Comenius 2009/2011 20th century with the appeareance of electric fridges. It is traditional all over Spain and it is still kept as an ornamental item.
Who invented it? The inventors were Prehistoric people likely during the Neolitic. First botijos were ostrich eggs for elder people, quail eggs for kids and bird eggs for babies. To distinguish them they painted on their own way with hunted animal blood.
- 54 -
Albacete, Spain
1.6.2. Esparto The dry climate and barren landscape are typical of the southeastern Spain in which herbaceous plants and shrubs, such as esparto grass, are abundant. Although some archaeological studies affirm that esparto was used already in the prehistory of this region, Romans brought this industry to the Iberian Peninsula. Although nowadays the work with esparto takes place mostly in large industrial factories, there are artisans who continue the tradition. At the beginning, it was braided to do baskets, hampers, panniers, that were used later for the harvesting or for the transport of things. Later artisans achieved to make it smoother and it was much easier to braid and so more beautiful and skilled artworks could be made, like espadrilles, saddle-bags, tacks for animals,.
- 55 -
Comenius 2009/2011
1.6.3. Wineskin The wineskin (bota de vino) is a typical Spanish cup-shaped or tear dropshaped container, usually made of leather (the best ones are made of goatskin)
Use The main use of the wineskin is to store and cool the wine, preferably dry. They are not very big (and therefore more easily transported). Nowadays, its use has declined a lot, but it is still widely used when people go to see a bullfighting.
History The story of the wineskin is lost in ancient times. We found written evidence of their existence in Ancient Greece, in the Bible, in the immortal Don Quixote of Cervantes and throughout the Golden Age of Spanish literature there are lots of references.
- 56 -
Albacete, Spain
1.6.4. Cuervera What is the “cuervera”? It is a kind of container used to prepare the “cuerva”: a drink made from wine, sugar, water, lemon juice and fruit (peaches, pears and apples). The “cuervera” is a craftwork of the traditional pottery in the province of Albacete. It is bowl- shaped, with two small handles. Around its edge there are some coasters called “puestos”, where some little tankards are placed on. These tankards are used to get out the liquid and also to drink.
History of the “cuervera” It was made for the first time in the 18th century by a potter in a workshop in a cave settled in Chinchilla (Albacete) It is made of glazed pottery or ceramic.
How is it made? The making process of the ´´cuervera´´ is complex and delicate due fundamentally to its peculiar shape and size. 1. It begins with the accomplishment of the big bowl which will be the most important part of the craftwork. - 57 -
Comenius 2009/2011 2. Later the “puestos” are done, one by one. 3. As soon as the bowl has hardened a bit, some cracks are done along all its edge and the “puestos” are located there. 4. Then the tankards are made one by one and a handle is placed to each one. 5. Let it dry off. 6. After that, the cuervera, the “puestos” and the tankards are coloured dipping them in glaze. Honey and green are the most used colours. 7. And finally it is fired in an oven.
- 58 -
Albacete, Spain
1.6.5. Navaja A “Navaja” (penknife) is a kind of knife with a bull horn handle where you can keep its blade. For centuries knives have had a fundamental importance in history and not only as a domestic utensil, but also as a defensive weapon. The classic “navaja” appeared in the 16th century in Spain and it was spread all over Europe from here. This weapon was necessary to defend yourself from an unexpected attack from someone because there was no police and no streetlights in the streets where people could frighten you some centuries ago.
People started to use “navajas” because after the reign of Carlos I, king of Spain, they couldn’t wear a sword at night. Penknives were very cheap, small and easy to carry and hide in clothes. Spanish people introduced these penknives in America, and other countries started to make this useful object, such as Portugal and France. “Navajas” made in Albacete are the most famous in Spain and the city of Albacete is known all over the world for this fine craftwork. This object is very useful. You can use it in different ways: to defend yourself from somebody, to cut your own beard, to sharpen for example a pencil or a bird’s feather to write like in the past, to cut food, and many other things.
- 59 -
Hasselt, Belgium
2. TRADITIONAL COSTUMES. 2.1. Traditional costumes in the region of Hasselt, Belgium Traditional male clothing ofpeasants in Belgium (beginning 20the century)
- 61 -
Comenius 2009/2011 The Flemish region was a very agricultural region. Therefore the clothes were adapted to the work on the fields. The clothes have to be very strong, so they were made from cotton. The cotton was often painted dark blue, so you don’t see that they were messy
On their head they wear a cap, we called it “een klak”. This protects the farmer against sun but also against rain. Around their neck they wore a very big handkerchief very often painted red decorated with white paintings. They use it for cleaning their nose, but also to wipe the sweat away when it was very warm. On their feet, they didn’t wear leather shoes, but wooden shoes in Flemish “klompen”. In summer, they were cool and in wintertime they put straw in it to warm their feet. These wooden shoes were made from soft varieties of wood: birch and alder.
- 62 -
Hasselt, Belgium Traditional clothing in Flanders (Belgium) beginning 20 the century
- 63 -
Comenius 2009/2011 The Flemish region was a very agricultural region. Therefore the clothes were adapted to the work on the fields. The clothes have to be very strong, so they were made from cotton. The cotton was often painted in dark colours, so you don’t see that they were messy. The women did work on the fields and helped with the harvest. So the clothes must be very easy to wear.
- 64 -
Hasselt, Belgium or worked at home: they made bread or made clothes
On their head they wear often a white cap, we called it “een muts”. This holds her hair in model. On their feet, they didn’t wear leather shoes, but wooden shoes in Flemish “klompen”. In summer, they were cool. It was also easy to clean them and they were very easy tu put on. These wooden shoes were made from soft varieties of wood: birch and alder.
- 65 -
Uhersky Brod, Czech Republic
2.2. Traditional costumes in the region of Uhersky Brod, Czech Republic 2.2.1. SLOVÁCKO REGION In the Czech Republic there is a relatively small region where twenty-eight types of costumes were developed, and twentyseven of these have survived. The region,called Slovácko is the wine-growing region in southern Moravia skirting the Slovak border hills,and the Austrian frontier,east of Brno, south of Zlín. Most of the twenty-seven types of folk costume bear names of important cultural centers: Uherské Hradiště, Veselí, Strážnice (group Acostumes known as dolňácké“ ), Břeclav, Kyjov, Hodonín (group B-costumes known as podlužácké“), Uherský Brod, Vlčnov (group Ccostumes known as “zálesácké“). a folk costume from Vlčnov The people of Slovácko region have great respect for this cultural tradition.Old people, youths and young children dress in their local costume on the occasion of district regional festivities, for weddings, harvest festivals and public performance.
- 67 -
Comenius 2009/2011
a folk costume from PrakĹĄice
Differentiation can be observed in the embroidery the colours, shapes or certain parts of the costume,the shape and ornaments of the women´s overblouses, trouser-legs, hats, leather boots, the ribbons worn by the bride and bridesmaids,the number and length of cock or peacock feathers. Such fine distinguishing features characterize both variety according to the locality and the social and marital status, age, different period of the season or holiday.
a folk costume from BĂĄnov
- 68 -
Uhersky Brod, Czech Republic
2.2.2. UHERSKÝ BROD REGION In urban parts of Uherský Brod-in villages called Havřice, Těšov, Újezdec u Luhačovic, Prakšice and Pašovice people wear a folk costume typical for Uherský Brod region. This type of costume is in essential features identical in all these villages. Women´s folk costume. Parts: Sleeves are frilled with the yellow-black embroidery on the shoulder straps, front and collar. Bodice called”kordula” is made of cloth and decorated with red embroidery with 2 equal rectangles on the front parts. Rear skirt is white. The top skirt called “fěrtúšek“ is sewn from white and red linen. As a head-wear is worn a bonnet. Men´s folk costume. Parts: The shirt has pleated sleeves with yellow and black embroidery on the shoulders and on the collar. On the front there is embroidered heart. Bodice called “kordula” is decorated with silver studs and on the neck is tighten with a ribbon. The blue shorts are tighten with a belt and there is a scarf in the cut out. A hat has a round roof and on the right side is decorated with a nosegay of artificial flowers supplemented by cock feathers. The top shoes are decorated with a blue-red pompon and a blue tassel.
- 69 -
Comenius 2009/2011
2.2.3. WOMEN’S FOLK COSTUME
- 70 -
Uhersky Brod, Czech Republic
2.2.4. MEN’S FOLK COSTUME
- 71 -
Comenius 2009/2011
- 72 -
Scaër, France
2.3. Traditional costumes in the region of Scaër, France 2.3.1. The coiffe of Brittany
What’s the coiffe ? A coiffe is a sort of hat for women only. Each a region has a different coiffe. It’s one of the most important symbols of Brittany.
On this photo taken in 1912 in Scaër this young woman is wearing her wedding coiffe.
The typical coiffe is made of lace and embroidery. The coiffe is starched to keep its shape. Today women don’t wear coiffes anymore except on special occasions such as festivals. You may see some old women wearing their coiffe in small villages.
- 73 -
Comenius 2009/2011
2.3.2. Traditional Breton costumes There are tens of Breton costumes according to the place of origin.
The first real Breton costume appeared in the years 1800s.
- 74 -
Kraninchfeld, Germany
2.4. Traditional costumes in the region of Kranichfeld, Germany 2.4.1. Traditional clothing in Thuringi (Germany) Between 1750 and 1850 is the costume belonged to clothing style of the people. With costume we call the clothing of the rural state. It is common to wear another robe at any fixed event, as it was previously, too. The festive national costumes reflect the wealth of their carrier and the modest dress of the working day laborers. Through new forms of production of the city the costume was forgotten more and more and was considered unfashionable. At the beginning of the 20th century this costume was worn again to document the wisdom of the Ancients. Those who wear a costume today is showing his attachment to the homeland with pride.You show respect for the services past generations and are ready to prepare a living heritage to preserve.
- 75 -
Comenius 2009/2011 Folk costumes in paper for cutting out
- 76 -
Kraninchfeld, Germany
- 77 -
Klaipeda, Lithuania
2.5. Traditional costumes in the region of Klaipeda, Lithuania National men costume of the Klaipeda region A full set of traditional holiday clothes of a lietuvininkai man consisted of a shirt, trousers, a vest, sermega (a homespun coarse overcoat or a jacket), head cover, a scarf, a belt and footwear. Male shirts were made of the same cloth as female ones. In the 19th century, men in Western Lithuania would wear short (arm-length) shirts thrust in trousers. The lietuvininkai men would wear their trousers either long and not wide or short and tied below the knees. Before the 20th century, woollen, semi-woollen or linen home-made cloth was used for trousers. The scarf presented a thin fancy kerchief, folded in a triangle and worn around the neck. The best home-made or manufactured kerchiefs fashionable at the time, linen, woollen, cotton or silk, were used. Starting with the 18th century, sermega became the main male outdoor garment, a prototype of the present overcoat. The sermega was worn as a holiday garment both in winter and in summer. A compulsory part of a male costume was felt hats of different shapes. Felt hats were not too high, - 79 -
Comenius 2009/2011 with very wide or medium-wide brims. Men would decorate their hats with one-colour or multi-colour bands or with rooster or pigeon feather. Men would wear either footcloth or socks on their feet and calves. In the late 19th century, knitted multi-coloured socks were popular. The most expensive holiday type of footwear was high boots. Both in winter and in summer, the compulsory parts of man holiday costume were a shirt, trousers (long or short), a vest, a sermega or a jacket, a felt cap or hat, a scarf, high boots or shoes, patterned knitted socks, a sash or a belt.
National women costume of the Klaipeda region The costume of a lietuvininkai women consisted of skirts, a shirt, a vest or jacket, an apron, a head cover, footwear (stocking and shoes), sashes, delmonas, jewellery, scarves or kerchiefs, gloves, a wrist muff, a coarse homespun overcoat and a furcoat. The lietuvininkai women of the 17th-18th centuries used to wear margines, i.e. non- tailored skirts. In the early 19th century, long and wide tailored woollen skirts, gathered at the waist and fastened in the front, used to be worn. In the late 19th century, black or dark brown skirts, interwoven with diagonal coloured stripes, pleated or in accordion pleats, appeared. Several skirts used to be worn simultaneously. Shirts used to be white, linen or cotton, made of rectangular pieces of cloth, generally collarless, with a heavily gathered low-cut neck or a folded-over collar. The sleeves were wide, with cuffs or without them, gathered at the wrist with wide loose ends. The upper part of the sleeve and the collar were decorated with embroidered red, black or blue patterns. The apron of the lietuvininkai women in the early 19th century were white linen, with woven patterns forming red longitudinal stripes. In the - 80 -
Klaipeda, Lithuania second half of the 19th century, the aprons became darker, one-colour with evenly distributed multi-coloured patterns, flowery or with longitudinal stripes, made mainly of silk. The delmonas presented a cloth pocket worn at the waist, with geometrical or plant designs embroidered with coloured threads or beads. It was held by a sash and worn on the apron on the right-hand side (and for the left-handed women, on the left- hand side). In the late 19th century, Klaipeda women would wear knitted patterned stockings, woollen in winter and cotton or linen in summer. The nicest summer stockings were white, knitted in openwork in diamond- shaped, small bend or herring- bone designs. In the 17th18th centuries, the lietuvininkai women would wear wooden clogs or nagines (sandals made of a single piece of leather) every day, while betteroff women had shoes for holidays. In the 19th- 20th centuries different kinds of leather shoes would be worn.
- 81 -
Comenius 2009/2011 The pictures are devoted to the national costume of Lithuania Minor. It presents traditional 19th-20th century holiday clothes of the lietuvininkai (inhabitants of Lithuania Minor). National costumes present sophisticated holiday clothes of peasants of the 19th century with their specific tradition of manufacturing and wearing that were transfered to a different historical period and different social and cultural medium. The national costume reflects the concept of beauty as created not by a single person, but passed from generation to generation, and corrected by fashions and economic bonds that had predominated in the city and among the nobility in the 19th century.
- 82 -
Klaipeda, Lithuania CUT OUT
- 83 -
Comenius 2009/2011 CUT OUT
- 84 -
Albacete, Spain
2.6. Traditional costumes in the region of Albacete, Spain 2.6.1. TRADITIONAL MANCHEGAN OUTFITS Female Outfit Hairstyle: The hair is separated with a middle line into two different bands, and form “rodeles” on the temples. The bun has the traditional latch shape.
Bodice: It´s made up of a black velvet, with a full neckline and a full sleeve, with lacy ending.
Apron: It´s also made up of black velvet, with a big or a rectangular shape, with black point lace around the perimeter, again it has lacy ending.
Skirt: Made up of wool, with a homemade fabric, vault shape, transversal lines (in zig-zag) and a great variety of colours.
Neckerchief: Made with Cashmere wool, it should be crossed backwards.
- 85 -
Comenius 2009/2011 Stockings: Made up of white cotton, it must be weave by hand using five needles, without any lace (tiny decorative holes) but with some pattern.
Shoes: Usually black, smooth and warm (that is because in Albacete the cold weather starts in September, and that is the month when the people wear this outfit) goat´s fur (the fur is inside the shoe), with very medium heels.
- 86 -
Albacete, Spain
http://laesquinadeltuerto.blogspot.com/2009/07/los-trajes-tipicos-de-manchegos-en.html
- 87 -
Comenius 2009/2011 CUT OUT
- 88 -
Albacete, Spain CUT OUT
- 89 -
Comenius 2009/2011
2.6.2. TRADITIONAL MANCHEGAN OUTFITS male Outfit HAT: Made of rabbit skin or little lamb skin (short hair).
SHIRT: It´s made up of white cotton or linen, without collar and with cuff links made of bone.
JACKET: Made of black, plain and thick cloth and, with a band of bright alpaca around the lapel and front, pockets with button hole and lined with red cloth.
CUMMERBUND: Made up of red or blue wool.
TROUSERS: Made of the same cloth as the jacket called ``mandil´´ not very tight, under the knee, opened by the outer side of the leg, with silver buttons. - 90 -
Albacete, Spain VEST: Made up of plain, black corduroy and dinner-jacket collar.
SHOES: Made of black leather.
SOCKS: Made of white, plain cotton.
http://www.spaincenter.org
- 91 -
Comenius 2009/2011
- 92 -
Albacete, Spain CUT OUT
- 93 -
Comenius 2009/2011 CUT OUT
- 94 -
Albacete, Spain CUT OUT
- 95 -
Printed in Spain, April - 2011