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--- resilients:debrouillardise_et_coquetterie [2012-06-03 19:10] – 109.129.58.244
+++ resilients:debrouillardise_et_coquetterie [2012-06-03 19:48] – 109.129.58.244
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-[[Some Notes on my personal methodological approach|Some Notes on my personal methodological approach]]
+[[Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation|Some Notes : on my way of hybridizing ethnography with the ethics of textile conservation]]
+PROCESS
-                    [[Some Notes on my personal methodological approach|Some Notes on my personal methodological approach]]
-                    [[Naikan|Naikan]]
-For ‘Débrouillardise et Coquetterie’ I want to hybridize my ‘ethnographical – encounter’ practice with tools from textile conservation.
+. DOCUMENTING the research topic
-At the core of my ethnographical practice lies LISTENING to the other, as a receiving and a taking care of its story. Hosting the story in my dilated present.
+Fields of interests :
-Somewhere in between ethics and Sensoriality/Sensuality.
+**Débrouillardise**
-Textile is for me intimately related to touching, I like touching with closed eyes. Feeling softness, rugosity, holes, threads.
+ Shortages – rationing– interlace of recyclage and DIY blossoming from bellow / impulsed from above (governmental decrees), as vehiculated by fashion magazines, advertisments, fashion magazines, tips from red cross and women syndicate magazines.
-As listening with the closed eyes is every time again a beautiful and deep sensorial experience.
+Repertory of
+- Governmental decrees / rationing tickets
+-civil societies reactions : from patriotic adhesion to the expression of complaints, black market, smuggling with rationnong tickets, or finding strategies to circumvent the regulations
+- punishments in case of contravening the regulations on clothes (procès verbaux)
-Receiving the voices of my interviewees as a precious gift, enjoying soft, slow, fast, textured voices.
-Textile pieces and threads came up as ‘CONCRETE’ METAPHORS for the sensations i like to focus on when I interview and listen.
+**Coquetterie**
-Deepening the experience of touching a textile, learning the words, concepts and parameters used to analyze a piece of cloth would allows to receive more complex insights in the textures of voices given to me during the process, by analogy-thinking.
+dignity – history of the bodies that is sensitive to a memory of emotions and affect (from proudness to shame, the hiding of precariousness) – costume as overstatement/overacting – choregraphies of the body (costume landscapes) – polarization of ideology – class – gender representation – manipulation of the women body through dressing.
-Textile conservation came up as the most complete approach to analyze textile in depth, its fascinating multidisciplinarity : in between chemistry , biology, art history, craft…A lifelong learning process…
+**
+Resilience**
-If the operating concepts of textile conservation seduced me to apply them on the sensorial level of the voices of my interviewees, it now interest me in the context of D&C to apply them on the story as such. On the very words of the story to be preserved, on how the words are sewen together in sentences, on the narrative structure of the story as a whole.
+Moral, social and cultural resilience
-Textile conservation also attrackts me as a discipline:
+serie of attitudes for protection (textile as a protective skin) and as potential for creativity comme potentialité créatrice (DIY creativity) ,
-Because it is a lived, bodily practice to focus on minutiae – as this focus is also central to my practice of ethnography.
+development of capacities allowing for the psychic transformation of human suffering : in the playfull act of recycling/transforming clothes we find healing strategies for psyche through body dignity and ‘coquetterie’.
+Humour is said to be an important strategy for resilience, a lot of textile practices struck me by their ‘drôlerie’.
-The infinite pleasure I have of focussing on « little » things, I am curious to apply them through textile conservation exercices.
-« Little » things are disscrete and apparently insignificant thruths, that I search for in my ethnographical explorations. ;
+.1. consultation of specialized literature, articles and archives
+.2. consultation of experts:
-Values of the conservator that I admire:
+**Irène Guenther**
--Sticking to the concrete
+– Specialist in modern German cultural and gender history
--Taking utmost care of the piece you are in charge of
+http://www.uh.edu/honors/about/faculty-staff/irene-guenther.php
--Humility in the presence of the object
+ivguenth@central.uh.edu
--Respect of the integrity of the object
+« Nazi ‘Chic’? Fashioning Women in the Third Reich »
--Develop a deep affinity with the object
+current research on the trench postcard art of German soldiers
--Commitment to extremely slow processes
--Accept that after the short moment of excitement you will commit to a long time of routine tasks, you will be bored.
--Minutiae /Precision of craftmanship.
-The textile conservator is constantly involved in finding out all kind of strategies : conservation is about inventing ways of handling difficult objects. Your ability to handle difficult situation in everyday life will help you a lot, they say in the guide for textile conservation!
+**Jonathan Walford**
+Founder and Curatorial Director of Fashion History Museum of Canada, Writer
+http://www.kickshawproductions.com/
+wrote « Fourties Fashion, from Siren Suits to the New Look », 2011
+http://www.thamesandhudson.com/9780500288979.html
-I became more and more curious to apply metaphorically the tools for conserving pieces of cloth on micro-narratives from the past.
+**Dominique Veillon**
-FINDINGS:
+« La mode sous l’occupation », 1990, éditions Payot.
+http://www.ihtp.cnrs.fr/spip.php%3Farticle174&lang=fr.html
+"Vivre et survivre en France 1939 - 1947", ed Payot, 1995
+interesting review: http://clio.revues.org/535?&id=535
-The Nature of the piece of textile is of fundamental influence on what can be at best done to preserve it. This rules inspires me ver much… but which words to define the nature of a story ?
+Hannelore Vandebroek, Nel de Mûelenaere, and Carmen Van Praet
+cf ETUDE :
+http://www.cegesoma.be/cms/rech_encours_fr.php?article=1301
-Tex Conservation nations that are ‘operative’ or applying them on ‘narratives’ :
+Le travail des femmes dans la fabrique d'uniformes E. Reitz à Merksem, 1940-1944
-Texture of the piece of cloth : its fabric and structure.
+Cette recherche analyse le travail des femmes dans l'industrie de guerre allemande en Belgique. La participation et l'intégration forcée de la femme belge dans l'industrie de guerre allemande pendant la Seconde Guerre mondiale est un thème peu connu dans la mémoire collective. Pour combler cette lacune, Hannelore Vandebroek a, en 2007, entamé une recherche au CEGES qui sonde les expériences de travail des femmes qui ont travaillé pour l'occupant allemand. Elle se focalise principalement sur les femmes qui ont travaillé en Allemagne. En complément,  des recherches sont effectuées depuis novembre 2009 par Nel de Mûelenaere, puis par Carmen Van Praet sur le travail des femmes en Belgique même. Ces recherches ont lieu sur base du cas des ouvrières de la fabrique d'uniformes E. Reitz à Merksem.
-Characteristics :
-Loose patterns Zig Zag Patterns
-Unevenness in tension
-Missing parts
-Schilferend
-Scheuren
-Extreme cases of total fragmentation
-Qualities:
+side note 1 on 1.1
-Extensibility
-Elastic limit
-Flexibility
-Density
+contacted Documentation Centers in Brussels
-Folds
+- Algemeen Rijksarchief: Magazines, Archief van Winterhulp (umbrella organization that was  responsible for provisioning mainly of food and coals, but also of textiles. This material is not filed, data are very administrative./It can also be interested to consult the christian archives in Flanders. And KAV (christian syndicalist movement for women))
+-Archief en Museum voor het Vlaamse Leven in Brussel (online archive)/recommend to look also at Archives from the KVS (Koninklijke Vlaamse Schouwburg)
-Size – weight – complexity
+- Brussels Museum voor Arbeid en Industrie ‘La Fonderie’
+mainly about the end of the 19th, beginning of the XXth century. There would be a gap in documentation of the second world war period, they start to have a good documentation from the fifties on. Maybe they have info on the industrial inventories.
+My research questions : what was the industrial production level of textile material and where was it requisitionned to (Front de l’Est ?) ; what about labour conditions and entering of the women as workers in the factories, how did the work impacted on women dressing (more practical, introduction of the trouser) do they have propaganda material about women work?
-Fragile zones
+-CINEMATEK
+access@cinematek.be
+Filmmaterial will be accessible, there are pictures but they are not filed at all so it will be quasy impossible to consult them
-How much repair needed ?
+Of interest : belgian film production during occupation, document the dressing in documentary films versus fictions, cinematographic advertisment and actualities. What about the ‘costumières’, ‘accessoiristes’ status working on the filmsets and their access to materials ? / same question for the costumières of the Monnaie Opera.
-How much alteration has bien carried out ?
+Interesting reading : « Henri Storck, le cinéma belge et l'Occupation», Benvindo Bruno, Collection Histoire , Éditions de l'Université de Bruxelles, 2010http://www.ulb.ac.be/oratio/notegen?f_context=unibooks&noteid=500&style=&f_type=view&data-file=bib1
-The irreductible individuality of the story.
+-MJB Musée Juif de Belgique
+-Koninklijk Museum van het Leger en de Krijgsgeschiedenis
+information about the requisitioning of the materials from the army, and more important : how textiles from the army was on its turn used, transformed or costumized for DIY casual clothing. Does the museum has a collection of parachutes from the english?
+-Musée National de la Résistance
+interesting material : double pockets that were sewen to transport weapons.
+The museum does not have examples of it, but can try to put me in contact with people then involved in Resistance who did such a textile practices.
-Actions / Performatives:
+-CEGESOMA,
+does have a research center for WW II
--cleaning  (I don’t like the ideo of ‘cleaning’ a story though)
+http://www.cegesoma.be/cms/index_fr.php
--sewing (steunweefsel naaien) : the stories I collect from elderly spontenously receives ‘steunweefsels’ from helping people surrounding, for example from other pensionees, or from their children that actively support them in the process of remembering,reactivating by details the flow of the story, filling the holes, proposing corrections or other interpretations, raising questions, identifying contaminations from remebrances from other epochs (fusion of timelines).
--To raise the piece of cloth/ to raise the story
--To cover the piece of cloth/ To cover the story
--Framing, positioning the piece of cloth/ the story
--Unroll the cloth/ the story
-Pinning : involves making holes, or having marks that tends to remain
-Transfer to other contexts : the fragile condition of the story that is being displaced
-Unprotected condition of the released object/story
-What does this displacement of concept from the conrete realm of the cloth pieces to the immaterial realm of the words and narratives mean to me, and what does they mean to you ?
-IN TEX CONSERVATIONS AND IN MY ETHNOGRAHICAL ENDEAVOURS, WE BOTH WORK WITH OBJECTS/STORIES AT RISK.
-At risk of dissapearing.
-Decaying is part of their very essence.
-The responsability of our disciplines is to slow down these built in process of decay.
-                    Some Notes on my apprenticeship in Textile Conservation:
-Hands on !
-course followed at the Kunstakademie of Anderlecht, sectie ambachtskunsten.
-http://www.academieanderlecht.be/index.php?textiel
-teacher : http://jokevandermeersch.be/
-Joke has an impressive knowledge in chemistry, crafts, art history and insects. She tries with a lot of patience to transmit me the basic skills of a textile conservator. The skills needed in this course are very challenging and difficult to me : patience, concentration, assiduity.
-Something Joke says that I like very much : « Behandel elk stuk alsof het het meest waardevolle ter wereld is. »
-I still can’t separate the Gutterman thread into its 3 consitutive threads. It’s a kind of choregraphy with the fingers you have to master, I just can’ grasp it. We have to do this because when restauring a piece we have to use the finest thread possible, so that the intervention is as invisible as possible.
-I like the cleaning ritual of textile conservation :
-Conservators have to obsessionally clean their hands before manipulating the cloth pieces, but also regularly during the process. First year students have the tendency to forget this, so part of the teaching process of Joke is to repeat it all over again…
-In the beginning of the apprenticeship we learn :
--the core (ethical) values of conservation through the little gestures of the practice, ‘richtlijnen bij het manipuleren’
-- how to make a ‘behandelingsrapport’ : identification form of the textile piece, description (from technique to art history background) // condition report every action that is executed on the piece of textile has to be thoroughly documented (through pictures, calques, draing, samples, formulas…) cf. ‘dagboek der werkzaamheden’
-- to make a support fabric and a protection fabric, to learn the most important sewing techniques in this regard
-Bibliography :
-« Textile Conservation: Advances in Practice », ed. By Frances Lennard and Patricia Ewer, 2010
-« Textile conservation and research: a documentation of the textile department on the occasion of the twentieth anniversary of the Abegg Foundation », by Flury-Lemberg, Mechthild, 1988
-« The textile conservator's manual » by Landi Sheila, Butterworths series in conservation and museology, 1985
+[[Sidenotes historical readings WII - Tex - Resilience|Sidenotes historical readings WII - Tex - Resilience]]
+[[Communities of Resilients // from the perspective of Clothing as a resistance strategy|Communities of Resilients // from the perspective of Clothing as a resistance strategy]]