Fabric of Hope A Journey in Africa
In the Beginning
ELECTRIC QUILT COMPANY Meet England’s Kate Dowty WEST CORK QUILTERS
A Ruby Jubilee Houston Quilt Festival Turns 40
COVER QUILT
Title: Gift of Appreciation Made by: Kyoko Yamauchi Kumamoto-Shi, Kumamoto-Ken, JAPAN The maker states, “I made this quilt while thinking of my family, teachers and friends who support my quiltmaking. This quilt shows my appreciation to everyone.” Hand piecing, appliqué, trapunto and quilting. Winner – World of Beauty Award, 2014 Houston International Quilt Festival
IN THIS ISSUE 6 Every Company has a History From the Beginning The Electric Quilt Company
8 Red, White & Beautiful International Quilt Festival Turns 40
10 My Story M
E g
’ K
D wy
11 West Cork Quilters
12 Adventures of a Lifetime
16 Fabric of Hope
20 European Christmas Markets & Christmastime Fun
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Welcome to
IQ
During the holiday season, I get sentimental and think about the many blessings I've had throughout the year. I am so grateful to my colleagues and friends with whom I have connected through a common love of cloth. I can't thank everyone enough for their encouragement and support. This year, I have had many quilting adventures with World of Quilts Travel, going through the Panama Canal, to the South of France, to Bali and beyond. Looking back, it is the quilters who have joined me in these travels that I will remember and treasure in the years to come. That's what IQ News is all about - meeting quilters from around the world. In this issue, frequent traveler, Jaunell Waldo, shares insights from the many quilt-related tours she has taken. Also, England's fiber artist, Kate Dowty, shares her story, plus, you will read about an Irish patchwork guild with a unique beginning. Our From the Beginning feature looks back at the beginnings of the Electric Quilt Company - who would have thought that romance was responsible for the launch of this amazing force in the electronic quilt world? 2014 has been a year of incredible accomplishments for the quilting world. Quilt shows are becoming increasingly popular and the number of international entries continues to explode. As far as I can tell, it will only continue to grow! In 1974, who would have thought that the International Quilt Festival would be what it is today? It's amazing to think that they have just celebrated their 40th anniversary and with every passing year, they get bigger and better. Interestingly, quilters in Russia have just announced their very first international show to be held in 2015. Considering the Houston show, I wonder what Russia's endeavor will bring 40 years down the road? I wish them equal success.
Publisher World of Quilts Travel
Editor Deb Roberts
Associate Editor Brian Roberts
Contributors Kate Dowty International Quilt Festival Penny McMorris Marie Sprott Jaunell Waldo
Issue 2 December, 2014 ©2014 Deborah Roberts/QuiltMedia All rights reserved Iqnews.info@gmail.com
Deb Roberts has been interested in quilts since childhood and passionate about travel for as long as she can recall. Her love for travel and work in the quilting industry as an appraiser, teacher, author, designer and researcher/historian for over three decades has led her to a perfect career, planning travel for quilters through World of Quilts Travel. She loves sharing extraordinary opportunities with like-minded adventures and hopes to similarly do so through the pages of International Quilt (IQ) NEWS® “Learning about the quilt and textile traditions of other people and their culture excites me and I consider it a joy to share this heritage with others.” 4
FROM THE BEGINNING
THE ELECTRIC QUILT COMPANY From the Editor: For me, the Electric Quilt Company design software is certainly a quilters dream, allowing one to create and manipulate a design before touching a piece of fabric. Then, there are all of the EQ support products that make it...well, so easy and fun that one can get lost in their computer screen for hours. It was during the mid-1980s when I first learned of Penny McMorris. My interest in quilt history had become a burning passion, and her book, Crazy Quilts (1984), was among the many historical books in my collection. Since then, Penny has worn several hats in the quilting arena, including that of producer for PBS television programs about quilts and curating contemporary fiberart. I was especially intrigued when I learned of Penny's role in the development of the Electric Quilt program, and pondered her transformation from author, producer, curator, to software developer. Well, we are lucky to have Penny's story featured in this issue. It's a great one, and I'm so glad that she shared it with us.
by Penny McMorris The Electric Quilt Company all began with a wish for a way that two people could spend more time together. The story begins in the early 1980s, when I produced 26 television programs on quilting called, naturally, Quilting. The show ran on PBS. Consequently, I did a fair amount of traveling and lecturing away from home. My husband, Dean Neumann, missed me when I was gone, and I missed him, too. When possible, Dean would travel with me and see a lot of quilts and quilters along the way. He has a good eye and developed an appreciation for the design of quilts and the ingenuity of quilters. Eventually, he came up with an idea for quilt design software and taught himself to program in his spare time. Dean believed that if quilters had the ability to view their ideas on a computer screen, it would help them fully realize their creative potential. Moreover, he saw this as a way in which we could both be involved together in the quilting world. A h m ,D w p f fM h m c Oh ’ B w g Green State University. Personal computer use was relatively new back in the early 1980s, and Dean challenged himself to learn programming by writing a programming tutorial, called C Tutor. His next challenge was to create the Electric Quilt program. Everyone incorrectly assumes that I helped Dean decide exactly what this new software should do. However, it was entirely his baby. He was quite familiar with how quilts were designed, simply by looking at thousands of quilts. I knew nothing about computers and at that point, I had never touched one! Besides, I was busy planning another TV series, The Great American Quilt. In 1991, I planned to demonstrate the new software, which was still p g , u g f my h w . Th gh b f h h w’ taping, Dean was up almost the whole night finishing the tool that m b ck “p p” y u .A h p ,Ih v v the software. When it came time to demonstrate the program on my show, the director planned a close-up of me introducing the segment, but then stopped the cameras while Dean came onto the set, knelt beneath my table, and off-camera actually worked the computer keyboard making the blocks dance and form quilt patterns, flipping and rotating as the camera focused on the screen. Then, another close-up of me (having done nothing) smiling and y g, “Th ! W ’ h y?” Th E c c Qu v 1 w born.
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When that show segment aired, we began getting calls at home from quilters asking where they could buy the software. I took down their names and addresses on file cards, stored them in a shoe box, and thus began our customer base. Dean hired one of his students, Ann Rutter, (still his top-notch right-hand assistant today), and we began to figure out how to go into production and run a company even though we still had day jobs. T y, m h 20 y ,D ’ c -of-an-idea has grown into a sturdy oak with many branches. We are delighted that so many of our first software users are still using EQ today. EQ is now in its 7th version, EQ7, and now has a Macintosh brother, EQ7 for Mac. We are jaw-droppingly amazed at how many quilters worldwide creatively use our products to design gorgeous and varied quilts for magazines, books, blogs, shows, or just for those they love. Dean and I are still having fun and yes, he is still the one. Dean and Penny - 1998
A Gift For You...From EQ Feel free to download this darling animal quilt pattern designed on EQ 7 by Heidi Kory for IQ News. Go to: http://doyoueq.com/project_downloads/dogs-andcats/
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40 Y a s i
Maki g…
International Quilt Festival celebrates its
RUBY JUBILEE What do People magazine, Connect Four, The Godfather II, and International Quilt Festival all have in common? Aside from being thoroughly entertaining, each also turned 40 this year. Yes, the 2014 fall Quilt Festival in Houston marked h h w’ 40 h v y, concluded the latest decade—while commencing the next— Qu F v ’ fascinating history.
1991
The story begins in, of all places, Texas politics in the early 1970s. Festival Founder Karey Bresenhan ran a hard-fought, but ultimately, unsuccessful campaign for a position in the Texas legislature. And in an effort to repay her campaign loans—many of which she received from family friends—Bresenhan and her mother-in-law decided to open an antique store in Houston, named Great Expectations after a favorite Dickens novel (and, it turns out, a bit of happy foreshadowing of things to come). B h ’ m h ,J w P c P , m y h f m y m mb w avid sewists and quilters. So, naturally, when looking for items to adorn the empty w f h qu h p gv h p c m “h m y” f , h h ugh h g f m y qu h p c … mp f u u m v h p k m unexpected interest. “P
1994
y n, I had more people inquiring about buying the quilts on the walls than the qu h !” B h c . “Bu f h ‘ -h !’ M m ,I w that there was a real interest and a need not being fulfilled. So, I simply adopted a new bu p !” And, so, Great Expectations Antiques quickly evolved into Great Expectations Quilts, and began offering not only quilts for sale, but also fabric, books, notions, and patterns. The store relocated several times over the 30 years of its operation—and expanded to offer classes from both local and national quilting instructors—before closing its doors in 2003. Bu g g b ck 1974… h fh f y f bu ,B h c h w “ h k y u” party for Great Expectations customers. Expecting a modest turnout of people coming to look at the quilts on display and shop from the single exhibitor who had been invited for the event, she was shocked to see hundreds of women lined up around the block (many pushing strollers) in what is often referred to h T x “B u N h ” h ’ T x f f -moving cold front). By h f h “ m ” h k-you party, more than 2,500 people had c m h ugh h h p’ , c m g h cc h f ff c Qu Festival. “Th ’ wh I y knew that quilts and quilting held a powerful attraction not just f m , bu f m y h ,” B h y . “I w v y c m h H u qu h w. A I k my f, ‘W , why ?’” Over the next few decades, International Quilt Festival was forced to change locations (and extend show days) several times to accommodate the growing number of quilts on display, exhibitors offering goods for sale, and, of course, the ever-increasing attendance. Festivals were held at the River Oaks Country Club in Houston, several church gymnasiums, the beloved Shamrock Hilton Hotel, and the Albert Thomas Convention Center.
Photo Credits 1991 – Richard Cunningham 1994 – Mary Stallings 1995 – Mary Stallings 8
“A f u g m c m up m f y c h y w were a h Sh m ck H , wh h qu w u ju k v ,” B h c . “Y u c u g w h bby 3 .m. qu h p j m , sitting up, working on their projects, and just having the best time laughing with friends—some of whom they might have only met a couple of hours before!"
RED, WHITE and BEAUTIFUL
In 1987, Festival moved to its current home at the George R. Brown Convention Center, wh v h v u ’ v yf pub c h w. Th C fw h 40% smaller than its current size, but as the facility has grown over the years, so has Festival, which is now the only show to regularly take up all three levels of the Convention Center.
'Ruby Red’ was definitely the theme of this year’s International Quilt Festival which was highlighted by a red and white quilt exhibit reminiscent of the 2011 red and white Infinite Variety quilt show in New York. This celebratory, Festival 40th Anniversary ‘Ruby Jubilee’ exhibition was anchored by a three tier quilt 'chandelier' hanging from the ceiling of the George Brown Convention Center. Viewers (including myself, a red and white quilt passionista) stood in awe. I believe this was the most photographed quilt display in the building.
Today, International Quilt Festival attracts more than 60,000 people from around the world to Houston each year for its fall edition. Attendees travel from close to 40 different c u , h h w gu y k fH u ’ g .A m y f y u k w, h v y w “H u ”h b c m y ym u w h h “b g h w” w h h qu gw … h ’ h p h h B nhan the most. “Af h y ,I g v y, v y xc p g y f h qu lovers come streaming through the doors with smiles on their faces. Many of them have v up y c m ,” h y . “I m y h v m it to the hallowed halls of the State Capitol building in Austin, but I found something much more rewarding and exciting w h my f . Af ,h wc u y u v qu ?” Article and article images provided by International Quilt Festival; previously included in the Friends@Festival e-zine, www.friendsatfestival.com. Exhibit images provided by Deb Roberts.
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My Story by Kate Dowty, Dorset, England I worked for many years as a graphic designer after studying Visual Communications in art school. Although I have always dabbled in various stitch-based crafts in my spare time, I began to take it more seriously when I joined a City & Guilds patchwork and quilting class in 1996. Rapidly, I became aware of the creative potential offered by this activity, which proved to be rather addictive. It wasn't long before I started making contemporary fiber art wall hangings, and my work has since been seen in both open and juried shows in the UK, Europe and the USA. Some of my pieces are very simple, whereas others are heavily embellished; yet, all of my work is very colorful. I particularly enjoy the way in which colors play with each other and the textural effects that result from adding stitch to pieced cloth. I also enjoy experimenting with dyeing and painting fabric, which is then incorporated into my work. The beautiful region in which I live provides an ongoing source of daily inspiration for themes to be recreated in fabric and stitch. Examples include the spectacular cliffs on our World Heritage Jurassic Coast in Southern England, the ever changing sea, and the patchwork of small fields and pastureland. In the end, I want the quality of my work to be such that it compels viewers to reach out and touch it. Often, I enter and enjoy challenge competitions as they are an excellent opportunity to try out new ideas on a comparatively small scale. I am interested in line and color, and prefer a non-traditional approach using a mixture of techniques, including both hand and machine quilting. Likewise, I particularly enjoy the textural effects that result from adding dense stitching to fabric.
Dartmoor Walk - 2014
Field May - 2014
I h Qu ’ Gu Contemporary Quilt, I belong to Dorset Visual Arts, Hardy Quilters, All Stitched Up, and South West Textile Group. Since 2002, I have taught occasional workshops that have an emphasis on creativity. I believe that everyone has the capability to produce original and creative work, and my aim is to encourage learners to experiment with design and new ideas, and in a nonthreatening way. Th m g fK ’ w kw k h 2014 European Patchwork meeting where she was a guest exhibitor. Kate Dowty lives in Dorset, England. You may read more about her work or make inquiries at her website. The URL is http://www.katedowty.com 10
Marshwood Vale - 2014
As a quilter and textile enthusiast, Marie Sproutt naturally wanted to meet and connect with fellow quilters in her new city of West Cork, Ireland. She had recently moved from South England and had since found it difficult to find others who shared her interest. Eventually, at the suggestion of her husband, Marie placed an in the local paper seeking like-minded stitching companions in the hopes that at least one West Cork quilter would respond.
To her surprise, the response
was overwhelming and helped to form the quilt guild, West Cork Quilts.
Today, the guild is made up of seventeen quilters who congregate in Marie's cottage studio. These informal meetings foster a spirit of togetherness and fun, where any quilter, beginner or expert, can attend and learn and/or work on quilts in progress. Marie and ladies of West Cork Quits hosted their first exhibition in October of this year, featuring examples of members' and associates' work, as well as quilts from the Quilt Guild of Ireland. Despite its countryside location, the show was deemed a success. A highlight of the exhibition was the fundraising effort (raising 1280 Euro) to support the Baltimore Lifeboat, a group of volunteers who facilitate the fishermen, visitors, and sea-faring way of life in the local community.
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I ’ m z g wh c c mb w life- g f wh h h m A k , Eu p , Au ,N wZ , cu g by D b R b ’W w fu h c by D b’ xp
p , see amazing sites and have fun making quilts along the way, and make m . I’v b v yf u b w h h pp u y xp c I ,H w ’ he Panama Canal with other quilters through tours and f Qu T v . Wh ch u cu h v y ff f cu , h y w qu , x h c cultures.
I met Deb a few years ago on a trip to the Birmingham Quilt Show, which was combined with her cruise around the British Isles. I was attracted by both the itinerary and the guest teachers. Imagine spending two weeks with Pam Holland, Yvonne Porcella and others, and not only learning their techniques, but getting to know them personally at meals and other activities, both on and off the ship. The time spent with the experts was enhanced by getting to know others in the group and exploring the various ports together. Deb provided us with many surprises during our journey, starting with bonus stops in Bath and Stonehenge on the way to the ship. On-board classes were scheduled when the ship was at sea, so it I never had to choose between land excursions and quilting activities. Deb also supplied us with information on quilt shop locations and other textile-related stops at each port, and gave us the choice of shore activities that most interested us. I felt that Deb went out of her way to make the trip special. For example, in Ireland, Deb arranged for a private showing of a dozen of the oldest quilts at the Ulster Folk Museum and then led us to a local quilt shop that opened especially for us on a Sunday. The World of Quilts Travel cruise to Hawaii was similar to the British Isles cruise in terms of having a large variety of classes from well-known teachers and being presented with information about port possibilities. My new friends and I visited at least one quilt shop on each island and still managed to see the major tourist sites. As usual, tour members were treated to various surprises at group gatherings. I was actually lucky enough to win an AccuQuilt Go at the farewell party.
Deb surprises the group with an array of gifts.
Port quilt shops are always a highlight on the cruises.
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Deb always provides top of the line machines and support to go with them.
A great mix of group parties, dinners, and high tea on the Alaska cruise provided opportunities to get to know other quilters who joined us from around the world. Our talents were featured in h b ck c , f D b’ p, h w c that appealed to our varied interests. We also learned a few new techniques while completing several demos and fun make-ittake-it projects. In port, there was plenty of time for pursuing our own interests, such as whale watching, visiting grizzlies, observing eagles and in the case of one brave quilter, snorkeling in the frigid Alaskan waters. And of course we all made it a point to explore the excellent quilt stores in Juneau, Sitka and Ketchikan.
Th
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Cruising was also a wonderful way to see parts of Australia and New Zealand. In Sydney, we had a chance to get an overview of the city, see some of the local animals and, of course, visit a great quilt shop before setting sail. Classes started while we sailed to Tasmania. We then explored Melbourne prior to quilting our way across the Tasman Sea to New Zealand. We hopped up the coast of both the north and south islands, exploring the local sights and quilt shops and continuing our classes at sea. The journey gave us all a new appreciation of those dedicated southern hemisphere quilters who pay $25 or more per yard for fabric. Quilt class fun and WILD animal watching were favorite Australia/New Zealand activities
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On our journey to Bali, we learned how batiks are made, made some of our own and bought large quantities of fabric in the markets at considerably less than U.S. prices. Batiks are around $2.40 a meter, so ’ h f u u c f h p h m . D b’ xp tour planning is highlighted in Bali. The trip was a nice mix of experiences to broaden our understanding of the people and culture and opportunities to observe local craftsmen. Half the time was spent at a beach resort with wonderful amenities and half was spent in the more mountainous artisan area. I ’ h yp f p g h m k D b’ u c v b h qu h f p u h accompany them. Surprises like lunch at the Bali Zoo make for even more interesting days. A definite highlight for all of us in Bali was the Hoffman factory, a stop u qu D b’ u . We gained a new appreciation for the many
The author having lunch with a tiger at the Bali Zoo
steps that go into creating these batiks as we were shown the whole process, from the arrival of the white fabric to shipping of the final product. After observing the complexity of the lengthy process, I doubt that any of us will ever again complain about the price.
Happy Batik Shoppers
Fabrics drying in the Hoffman Fields
Balinese Cultural Dance
Stamping wax patterns with a tjap
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Amazing Bali scenery
Cruising through the Panama Canal provided many opportunities to learn a bit about the history of the region, the textiles created by the locals, and new quilting techniques from our wonderful teaching team. Class offerings varied from the more traditional blocks taught by Anita Grossman Solomon, art quilt projects by Frieda Anderson, Patt Blair, and Melinda Bu , G g y C ’ ph g phy Ph h p classes, which appealed to both quilters and non-quilters alike. Some very unique squares showed up in the Pirates of the Caribbean block challenge and, as usual, there were many other games and surprises along the way. Passage through the canal during its 100th anniversary was a highlight of the trip, and I even fulfilled my personal goal of finding a wild sloth in the trees of Costa Rica.
Passing through the canal
Melinda Bula teaching on Panama Canal Cruise
S m
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On World of Quilts Travel tours, the days are not overprogrammed. Having been on tours with tight schedules, I value that flexibility. Th ’ p y f m bu h y h p, v local attractions, and pursue other leisure activities. For those who choose to explore on their own, Deb is available to provide advice about possible activities, safety tips, and recommendations on the best places to eat, and even a little coaching on bargaining in the market places. One of the best parts of all the tours was making new friends. Many of us still keep in touch through Yahoo and Facebook groups. I’m looking forward to exploring other parts of the world with Deb in 2015, seeing new sights and meeting a whole new group of friends. 15
Fabric of Hope Africa, a land ravaged by AIDS and characterized by extreme poverty, is being ff h f h p by h w ’ qu . I first learned about some of the economic development opportunities being created by both individuals and small groups when I had the opportunity to travel to South Africa. My first discovery was mere coincidence. After signing up for the trip, I happened to see a short article in a quilting magazine about a program established by the South African Quilt Guild to teach quilting to the local w m . Th gu ’ h p w h h w m w u u m y m k qu f sale, knowing that the profits from just one quilt sold to a tourist for $40 to $50 would help the quilter feed her family for a month. For me, travel experiences are enhanced when I have the opportunity to do something for someone else. Having a chance to learn a little more about textiles on other continents makes the experience that much better. I immediately emailed the contact person and asked what I could do to help. They were open to donations of any type of quilting supplies or fabric. I raided my stash, asked members of my local guild for donations, purchased a number of basic sewing kits from Ikea, and arranged with members of the tour group to carry the excess baggage. On our arrival in Johannesburg, two of the teachers came to our hotel to talk with our group about the work of the local women and to pick up our donations. Since all of the quilters were off at a retreat, the ladies could only show us a picture of a few of the women participating in the program. Ina le Roux, founder of the Tambani project, then told us about th qu h ’ b ugh g. Th particular quilts were made up of a series of embroidered panels. Each panel p p c f h V p p ’ . Wh c mb , h m qu f h cu u ’ . N y were the quilters becoming economically stronger through this learning process, but they were also preserving their oral heritage and sharing it with others. Each of the finished quilts came with a pamphlet describing the quilters and relaying that particular story. I bought one depicting the boy without a face, the story of a grandfather that carved a series of masks for a child with burn scars, making him comfortable enough to come out of his hut and move on with his life. The other, which I bought because I liked the chickens on it, is about a woman who was mistreated by her husband and learned to thrive on her own. The best part of the story was that the husband eventually got what was coming to him. Thanks to marketing help from a local quilter, embroidered panels from the Tambani project can now be purchased on-line, so they are available for those of us wishing to incorporate them into our own quilts. Each panel comes with a copy of the associated legend. 16
Boy Without Face
Tambani Quilters
Kaross Embroidery
Twenty years ago, another local woman founded the Kaross embroidery project to provide jobs and preserve the culture of the Tsonga people in the Letsitele Valley outside of Johannesburg. Starting with five female farm workers, images from their traditions were stitched into modern artworks. As the project grew, more female stitchers were added. Men soon saw the difference the profits made in the lives of the embroiderers and asked if they could also participate. The founder told us that it is not uncommon to see men on their lunch hours sitting next to road building equipment or at similar jobsites, working on their embroidery projects, trying to supplement their income. With marketing help from the founder, the business has thrived, now employing a thousand people. Like Tambani, a wide variety of products are available locally and on line. In my travels, I discovered that teaching women to quilt is not the only learning that must happen before their work is . A u u gu ’ qu , w h v m f u qu g upp f h Zu u w m v g Isandlwana, a later stop on our trip. Our sewing supplies helped with both their day to day projects, like making uniforms so their children could attend school, and could be used to create quilts to supplement their meager incomes. I c v , h w v , h , h wh h w m h qu , h y h ’ y c m v u h w k. I w offered a lined vest created from log cabin squares, as well as a matching tote bag, for only $15. When I asked the coordinator why she charged so little for items requiring so much work, her response was that those items were not h gh y v u b c u h yw “ju m f c p .” Th quilters did not understand that we admired the work precisely because it WAS made of scraps. A long talk with the local coordinator about their artwork and the financial standing of the guests at this exclusive lodge, I left believing that future pricing w b m w h h p uc ’ true worth. I ’ ff cu v wh p p v w h w m h g h p h m. M y Am c have joined with local counterparts to offer a hand up to these impoverished people. Various projects have been created in areas where families are lucky to have one meal a day. Generally, these families live in mud huts. They have no running water, and cooking, heating, and light are provided by small fires on the floor in the center of their homes. In these rural areas, projects are being undertaken to help people work with the materials and technology available to create an economic base that will insure their survival. Working with a needle and thread can be done anywhere, even by firelight. In addition to Tambani, and Kaross many other organizations are springing up across Africa to help ease the crushing poverty on the continent and to share their culture and traditions with the rest of the world. When you attend your next quilt show, keep an eye out for the rich mudcloth from Mali, the color kente cloth from West Africa, indigo prints from South Africa, embroidered panels, and the colorful paper beads. The fabrics we choose to incorporate into our quilts tie us to people all over the globe and are enriching their lives as well as our own.
Writer Jaunell Waldo, lives in Northern California. Retired, she spent the bulk of her working career as a Land Use Planner, evaluating the environmental impacts of new development and, on a part-time basis, teaching grad students how to do the same. An avid quilter, she has pursued this art form for thirty five years. In retirement, Jaunell has combined travel with her quilting activities and also enjoys choral singing, painting, and writing. 17
It’s an Amazing World of Quilts
My Turkish Plate by Valda Sutton, New Zealand
Chinese Journey in Three Parts by Stephanie Crawford, United Kingdom
My Brothers I Seek, by Shani Leser, Israel
Diminishing Creatures by Hiroko Soeta, Japan
A Selection of International Entries from the 2014 World Quilt Competition
Red Forest by Klara Schafler-Landesberg, Israel
In the Mughals Midnight Garden by Hazel Foot, New Zealand
Blue and White Plus One by Phillida M. Fischer, South Africa
Pickeled by Rose by Sheryl Anicich, New Zealand
The European Christmas Markets Celebrating special customs and traditions is something we all have in common this time of year. In Europe, vendors set up their outdoor stalls to celebrate the season in the European Christmas Markets, effectively "rolling back the clock" a few hundred years. These unique shopping opportunities originated in Strasbourg in 1570 when the oldest Christmas market in Europe took place. At the time, it was known as "Christkindelsmarik," which translates to, "market of the Infant Jesus." Today, these time-honored markets are found in many European cities and villages. For generations, these enchanted European Christmas Markets have provided locals and travelers with a magical holiday experience, complete with handmade crafts, mulled drinks, baked goods and other treats. Christmas in Europe is a time for elaborate pastries straight out of a medieval cookbook, hot wine and ciders, caroling and for lyric midnight masses in Gothic churches. Visiting the European Christmas Markets with other quilters has always been one of my favorite tours with World of Quilts Travel. Enjoy these Holiday scenes from various Christmas markets.
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Not Quilty - Just for the Fun of It… The History of Gingerbread One can't help but be enveloped in the smells of spiced ciders, cinnamon and gingerbread when wandering through the Christmas Markets. Second only to the handcrafts for sale, gingerbread and other hand baked delights are found everywhere. The origins of gingerbread are clearly rooted in Medieval Europe, as ginger was among the many spices brought back by the crusaders in the 11th century. It is believed that Catholic monks were the first to incorporate ginger into the making of cakes and bread. S , h qu f wh f “ c v ” h g g m y uses remains somewhat of a mystery. Some say that the spice was first used in ancient Greece and Egypt for ceremonial purposes, whereas others point to ancient China, where the spice was likely used as a medical treatment for a variety of stomach ailments. Regardless (and fortunately for us), ginger made its way to Europe and into countless recipes for ginger cakes, cookies, and flavored bread. Before it was commonly known as a desert- k c k , h w v , “g g b ”w m h mp y m , “p v g g .” A f m h b y m k h f c y gm , h spice was found to have a preservation effect when added to cakes and bread. It can only be assumed that someone (eventually) noticed the taste of this ginger-enriched bread as being somewhat of a delicacy. By the 15th c u y, “g g b ” h m v up u b c m w f g u gh . I f c , m yf b c m k w “g g b f ,” h wc g h y f h h p c k treats. Different shapes were associated with different seasons, with buttons or flowers at Easter fairs, and animals or birds in autumn. Often, these works of art served as a story board that told the news of the day, b g h k f k g , qu , g u ymb . Th v b “g g b m ” c Queen Elizabeth I, after she had some made to bear resemblance to the dignitaries visiting her court. Gingerbread in all its forms, from soft cakes to crisp cookies, has become a longstanding staple of the holiday season. Among the holiday favorites is the construction of gingerbread houses, a pastime that originated in 16 th century Germany. After the Grimm brothers rewrote the German fairy tale of Hansel and Gretel, in which two children discover a house made entirely of gingerbread and candy, the making of gingerbread houses became cemented as a holiday tradition. Despite having originated in Europe, it is in America that one finds the largest collection of gingerbread recipes. It is a seasonal favorite around the world.
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Family Favorite Gingerbread One of the things I know many like to do around the holiday season is bake. In keeping with one of the European Christmas Market themes, which is gingerbread everywhere, my holiday gift to you is a favorite salt-free cinnamon gingerbread recipe adapted from Joy of Cooking Ingredients
3 C all-purpose flower 1 ½ tsp. of baking powder ¾ tsp. of baking soda 1 tbsp. of ground ginger 2 tsp. of ground cinnamon ¼ tsp. of ground cloves 6 tbsp. of melted unsalted butter ¾ C of brown sugar 1 large egg ½ C of molasses 2 tsp. of vanilla extract ½ tsp. of lemon extract (optional) 1. Directions: 8. Preheat oven to 375 deg. Prepare baking sheets by spraying with nonstick coating or lining with parchment paper. 9. In a small bowl, whisk flower, baking powder, baking soda, salt, ginger, cinnamon and cloves until blended well. 10. In a separate large bowl, beat butter, brown sugar and egg until blended 11. In the large bowl, add molasses, vanilla and lemon extract and continue to blend. 12. Stir in the dry ingredients from the small blow until blended and smooth 13. Divide the dough in half and wrap each half in plastic wrap and let stand at room temperature for AT LEAST 2 hours (it needs the 2 hours to disperse the flavor). Dough can be stored in the refrigerator for up to 4 days. If it is refrigerated, allow it to return to room temperature before using. 22
1. Place 1 pack of dough on a lightly floured surface and sprinkle flour over dough and rolling pin. 2. Roll dough to about ¼ inch thick. Thinner cookies are crisper. If you want them soft and/or chewy make them a little thicker. 3. Cut out cookies with your favorite cutters. 4. Space the cookies about 1 ½ inches apart on your cookie sheet. 5. Bake for 7-10 minutes. 6. Remove sheet form oven and allow the cookies to stand until they are firm enough to remove from the sheet. 7. After cookies are cool, decorate as desired.
Consider joining us next year -