THINK STRAW: From Humble Origins to Lofty Heights

Straw work is a uniquely Bahamian craft that is versatile and durable.

By Shavaughn Moss

The tradition of straw work or plaiting has been practiced in the Bahama Islands for hundreds of years and dates back to the earliest inhabitants of the islands, the Arawaks, who used the technique to create baskets used for carrying fruit and catching fish, as well as clothing and head coverings.

Today, what was once a basic, crude-structured bag that was used for shopping has been elevated to such lofty heights that it has been gifted to the likes of the late British Monarch, Queen Elizabeth II, and United States Vice President Kamala Harris. American talk show host, television producer, actress, author, and media proprietor Oprah Winfrey is said to own a unique Bahamian straw piece as well as American singer, actress, producer and dancer Vanessa Williams, who gained recognition as the first African American woman to receive the Miss America title – just to name a few.

Bahamian straw products – bags, briefcases, portfolios, map holders, placemats – have arrived … and soared.

Straw work in The Bahamas has come a long way from its humble origins. The art form, which had once been cast aside as not being refined enough, for many, was too much of a reminder of harsh economic times when there were no alternatives to articles made of straw.

However, after seeing straw products in fresh, new light, more Bahamians are coming to accept its true value. A well-constructed straw bag screams sophistication for many people. And Bahamians have begun to show a greater appreciation for this uniquely Bahamian craft. The finished products are beautiful and functional.

It is absolutely amazing what a Bahamian trained in the art form of straw can do with a roll of plait, needle, and thread.

Eldena Cartwright, who grew up on the southern island of Acklins, is one of those people credited with elevating the appreciation for straw products. She “dibbled and dabbled” in the craft when she was a child growing up on the Family Island with no television to watch. Her family also plaited straw, so she made bags for fun. She took the craft seriously twenty-three years ago and can boast that she made a bag and portfolio that was presented to Harris on her visit to The Bahamas.

The versatility, durability, and uniqueness of straw means that it can be worked into so many shapes and forms. For the home and public spaces, they make floor coverings, placemats, condiment holders, serving trays, fanners for cleaning grain, a variety of baskets for carrying and storage, playthings like dolls. And in the fashion industry, there are hats, handbags, portfolios, shoes and even clothing. Decoratively, there are mirror frames, sculptures, and wall hangings.

The possibilities are endless for what can be produced with straw.

Plaiting straw is a tradition that is passed down from generation to generation of mothers and daughters.

The term “straw” refers to narrow strips of the fibrous dried leaves of several varieties of palms and plants that grow wild in The Bahamas. Three of the most important sources of this material are the coconut palm (cocos nucifera), the silver palm (Coccothrinax argentata), which flourishes in the pine yards of Bahamian islands, especially those of the northern subgroups of the archipelago, and the sisal plant (agave sisalana). The straw becomes straw work when it is woven or plaited, using various patterns, to create utilitarian or decorative products.

The straw process is a simple one – someone goes into the Pine Barracks to cut the new leaves from the hearts of the palm, then the sword-like new leaves are hung on a line to dry. The dried leaves are stripped – the spines of the leaves are separated from the softer material which is used for weaving.

“It is unique to us and indigenous. We use straw grown here. You will not find it anywhere else,” said Cartwright who is also an instructor and travels throughout the Family Islands training people in the versatility of straw.

The silver top palm is used a lot because of its strength and durability and the fact that it can be dyed to whatever colour a person wants.

Then, there are interesting names for the close to 200 straw weave patterns – Sour Sop, Hole in the Wall, Take Through, Jacob’s Ladder, Pineapple, Edging Bahama Mama, Peas ‘n’ Rice, Spider Web, Checkers, Fish Pot, and the regular 15-string or 11-string. Cartwright’s absolute favourite is Fish Pot. She said the plait really gives the bag an elegant look when you use it with a plain straw.

Each island also has a unique weaving and plaiting style. And some of the plait designs and basket styles have become a part of the identity of certain island communities, such as the coil basketry of the Red Bays Settlement in Andros where it was brought by Black Seminoles who fled Florida in the early 19th century to escape re-enslavement.

Bahamian coil baskets bear an obvious relationship to those of the Gullah of South Carolina and peoples of West Africa.

Patricia Glinton-Meicholas, a Bahamian cultural critic and historian, has spoken about the specialness and potential of Bahamian straw. She has actually given the straw industry high marks and called it “perfect” and a “gift.”

In a Creative Nassau interview, referencing the Orange Economy, Glinton-Meicholas said, “It is traditional. It is creative. And it is sustainable. Bahamian straw craft is a gift from our African ancestors and part of a heritage that links us to our southern United States relatives.”

She said in communities such as Cat Island, Long Island, Eleuthera, and Exuma, families often plaited straw late into the night by lamp, lantern, and firelight, because the plait brought much-needed income.

While plaiting, they told traditional stories and riddles to keep them awake which served to preserve another precious part of the Bahamian heritage – its oral tradition.

The unique straw work of The Bahamas has commanded its place on the world stage, combining beauty and utility.

But before that, history shows that along with other women, in the community of Fox Hill, Eunice Albertha Brown began selling straw and sisal goods to tourists in 1936, forging the highly beneficial link between Bahamas tourism and the Bahamian straw industry.

Ivy Simms of Long Island opened a factory in her home settlement and employed many young women.

Glinton-Meicholas also describes Simms as a pioneer in creating straw work for export.

As early as the 1950s, Cat Island-born Della Wilson and her daughters created an entrepreneurial network, linking New Providence and several other islands in The Bahamas with friends and family members as agents. These agents, such as Wilson’s cousin Alean Smith, encouraged plait production and annually purchased thousands of fathoms of this basic material either with cash or through an exchange of goods.

It was a system that she said created small economies by preserving the weaving tradition and bringing hope to depressed communities which functioned mostly at subsistence levels.

“The 21st century has brought new growth to the straw industry, including enterprises which create employment and take Bahamian creativity to the world,” said Glinton-Meicholas.

Claire Sands, trading as The Plait Lady, embellished the network concept pioneered by the Wilsons, employing many in her manufacturing workshop to create her unique range of products. She opened stores in key Bahamian destinations.

Wendy Kelly helped to set in motion the re-energizing of the Bahamian straw industry.

The late Harl Taylor, a trained fine artist, established Harl Taylor BAG. He created straw couture, demonstrating that straw craft could be elevated to the realm of art.

Barbara Jesubatham, a member of a Long Island family of straw weavers and basket makers, made two other significant contributions to the promotion and sustainability of straw work. She authored a book to teach straw plaiting and basketry. She also launched straw classes to preserve these traditions, especially through young Bahamians.

“People say straw weaving is a dying art, but I think it will live on,” said Cartwright.

“People have been saying it is dying for generations, but it still continues. I think it is going to find its way. People plait who have daughters who can plait.”

It is people like Cartwright and others who are well-versed in the art form who continue to push the envelope in elevating Bahamian straw and showing the beauty of it through their product. UA