Pick-Up Bandweaving Designs: 288 Charts for 13 Pattern Ends and Techniques for Arranging Color. By Heather Torgenrud. Schiffer Craft, 2024.
Heather Torgenrud continues her deep exploration of the technique of pick-up bandweaving in her new chart and photo-filled book.
I am responsible for adding new books to the Weavers Guild of Minnesota library and was excited to add Torgenrud’s second bandweaving book. I asked Keith Pierce–band weaver, teacher, scholar, and member of the “Banditos” interest group at the Weavers Guild of Minnesota–to say a few words about Torgenrud’s classic first book, Norwegian Pick-Up Bandweaving (Schiffer Craft, 2014). He wrote,
Heather’s first book, Norwegian Pick-Up Bandweaving, raised the bar for publications in the textile arts. Even non-weavers will enjoy the beautiful photographs and thoroughly researched history of the design and use of the bands throughout Norwegian culture. But for weavers, the how-to section shines. Heather clearly explains the technique, and includes enough detail for one to learn on their own. When I first encountered the book, I was about to teach the topic at the Weavers Guild. Her exposition was so much better than mine that I spent the night before my first class revising my notes to follow her techniques! I am confident that any of Heather’s future publications will continue to hold to these high standards.
Keith was definitely right about the high quality of her second book. The first two-thirds of Pick-Up Bandweaving Designs is aptly titled “Charts.” On page after page, each of the 288 charts contains 13 pattern ends, always separated by two background ends. Torgenrud chose 13 ends because “thirteen is my favorite number of ends to work with—enough so I don’t run out of pattern ideas yet easy to keep track of as I weave” (p.9).
Chart Numbers 66,67,68, and 69. Page 30
This is not a “how-to” book, but on page 13, Torgenrud does explain how she positions and reads the charts, depending on whether she’s using a band heddle or inkle loom, or weaving with a pattern heddle. (You’ll find extensive “how-to” information in her earlier book.)
The last third of the book comes alive with Color in Pick-Up with photos of dozens of woven sample bands illustrating Torgenrud’s extensive and thoughtful analysis of, and suggestions for, color interactions. Whether or not you are a band weaver, this part of the book provides insights into color and color theory appropriate for any weaver. She recommends twisting strands of color together or winding yarn wraps to see how colors will interact. She discusses and illustrates the use of color in the background of the band as well as choices of color in the foreground pattern, and shows both the front and reverse sides of the bands, understanding that this is important to weavers trying to learn from a book.
Page 109
In the section called “Transitions” (pp. 86-87), Torgenrud writes that if the weaver decides not to repeat the same motif throughout the band, any of the patterns in the book can be combined in the same band, since all the bands have 13 pattern threads.
In this section, Torgenrud emphasizes “smooth transitions” and “visual interest,” using words like ‘harmonious” and “graceful” and “pleasing” to describe the weaver’s choice of transitional motifs. I think this gives weavers confidence in their personal choices.
Schiffer Craft and Heather Torgenrud have produced a beautiful book. Torgenrud’s bands are meticulously woven. The photographs show clearly each individual background and pattern thread, as if the weaver were seeing the band in person. And like her first book, this book contains so much information so clearly presented that it is destined to be a classic in the field of bandweaving.
The tone of the book is informative and generous with a sincere regard for her readers and even with an appearance by a family of trolls at the end.
Mary Skoy is an occasional band weaver, long time knitter, rigid heddle and Compu-Dobby loom weaver, member of the Weavers Guild of Minnesota since 1972, and admirer and friend of Heather Torgenrud since meeting on a Vesterheim textile tour to Norway in 2007.
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Frida Hansen (1855-1931) was a ground-breaking Norwegian artist at the beginning of the 20th century. Her work was tied to the National Romantic period in Norway, and influenced by the international Art Nouveau Movement. She reinvigorated Norwegian billedvev, [tapestry weaving] from the Renaissance era, investigated natural dyes used in historical weavings, ran a school for tapestry weaving, directed one of the largest tapestry studios in Europe at the turn of the 20th century, and gained international fame for her large tapestries in Art Nouveau style. She also developed a patented technique for weaving “transparent” tapestries with wool warp and weft. Portions of the weavings, usually hung as portieres or curtains, were left unwoven, giving a see-through effect and an emphasis on positive and negative spaces in the images. Hansen’s transparent tapestries drew rave reviews at the Paris Exposition in 1900, and were purchased throughout Europe.
Frida Hansen, JUNI [JUNE], 1918. Now on view at KODE Museum in Bergen, Norway
Frida Hansen inspired a production of transparent tapestries in her signature technique that stretched for decades, and even inspires contemporary artists. She released her patent in 1906, and some of the first pattern designers were weavers from her studio, Den Norske Billedvæveri [The Norwegian Tapestry Studio]. Hansen’s open warp technique became part of the curriculum in early 20th century Norwegian weaving schools, so it was widely practiced.
Below are two details from the JUNI transparent tapestry.
Detail from the Juni transparent tapestryDetail from the Juni transparent tapestry
The transparent tapestries designed by Frida Hansen are well-documented, due to her diligent record-keeping and the incredible sleuthing of her biographer, Anniken Thue. But the names of creators (and weavers) of many patterns designed by her followers remain a mystery. I would like to solve some of these mysteries, and in doing so, demonstrate the enduring influence of Frida Hansen and her innovative technique on decades of weavers. I recently had the chance to do just that on a visit to Norsk Folkemuseum. When exploring in the museum archives I came across boxes of patterns from Husfliden [the National Handcraft Association] dating to the early 1900s, and I made a few discoveries. A young woman named Walborg Nickelsen, who briefly worked for Husfliden, designed at least two patterns for transparent tapestry. This article highlights one of these, and tells the brief tale of her life, as far as I could piece it together.
Norsk Folkemuseum Curator Bjørn Sverre Hol Haugen unfolds a full-sized 1927 pattern for a portiere designed by Walborg Nickelsen. Most patterns in the archives were small sketches, not full-sized.
I have not seen a woven version of the full-sized pattern, with the wonderful deer. The second pattern, from a smaller sketch, must have been woven frequently. I recognized it from the collections of three museums, none of which listed the designer.
The second Walborg Nickelsen pattern. There are admonitions printed on the pattern that the yarn samples must not be clipped off and to please handle the pattern carefully
The color choices made by the weavers give each version an entirely different feel. This copy from Maihaugen is in lighter and softer colors than the suggested yarn colors that were attached to the Husfliden pattern.
The museum record is here: https://digitaltmuseum.no/0210211617142/portiere. I think the pattern clearly includes a tree image, so it is surprising when it is hung upside down. The weaver’s name is unknown, and it is also displayed upside down.
Here is a version at the Sverresborg Trøndelag Museum.
The colors chosen are similar to those in the pattern, except the weaver used white wool for the background, giving a more open feel to the image. Museum record: https://digitaltmuseum.no/021028326715/akle
A version of the pattern is even found in an American museum, Vesterheim Norwegian-American Museum in Decorah, Iowa. It was woven by a Norwegian-American weaver from Portland, Oregon, Ruthi Klever Lunde Clark (1900 or 1903-1981). Clark’s pink and green version was woven in tow linen rather than wool. (You can read more about Clark’s version and other American tapestries that were woven in Frida Hansen’s technique in this article, “Frida Hansen – Transatlantic Ties.”)
Nickelsen pattern woven by Ruthi Clark, found in the collection of Vesterheim Norwegian-American Museum
Since the first draft of this article was written, yet another set of portieres in Nickelsen’s tree pattern turned up on the Norwegian Blomqvist auction site. They were originally listed “Unknown Designer,” but I was able to give them updated information.
The auction house was not able to provide any provenance. I have no verification, but since this version is woven in exactly the colors specified by threads attached to the pattern in the Husfliden archives at the Norsk Folkemuseum, I have a hunch they may be the original set woven by the designer. Will more clues turn up?
Who was Walborg Nickelsen, the designer?
Walborg Weil Nickelsen (1907-1980) was born in Narvik, in the far north of Norway, in 1907, during the time her father, Wilhelm Nickelsen (1874-1953), served as the city engineer. They moved to Oslo in 1910, and Wilhelm spent most of his career as an engineer in the construction division of Asker municipality. According to newspapers of the day, he was a frequent speaker on the radio, often during a program with the tagline, “Small Visits with Big Men.” (One example was in Buskerud og Vestfold, April 11, 1931.)Walborg’s mother, Ragnhild Agnes Marie Nickelsen (born Ruud), cared for the home andlived to 103.
Walborg became a well-trained weaving instructor. She studied weaving at the Kvinnelig Industriskole [National Women’s Arts and Design School] for four years (best guess, around 1923-26), and then worked for Husfliden [the National Handcraft Association] for two years (1927-28?).
Walborg Nickelsen in a Hallingdal costume, 1926. From the Norsk Folkemuseum. Photo: Anders Beer Wise. Full record.
After her stint at Husfliden, Walborg worked as the assistant to Tora Qviller, a well-known Art Deco-influenced designer and weaver in the 1930s. An article in Dagbladet (12/12/1931) described Qviller’s work on two large commissions, for the director’s office of the Oslo Electric Company and 75 rooms at the Continental Hotel. In the General Director’s Office, Qviller proposed designs for upholstery, curtains, and rugs. “Tora Qviller and her young assistant, Valborg Nickelsen, received only a week and a half to create all the samples.”
In 1932 Walborg Nickelsen moved on to teach weaving for a new private weaving school started by Ingebjørg Hvoslef at the Tanberg estate in Ringerike. The ad for the school listed Nickelsen as the instructor. The three-month course had a very ambitious scope – both for learning and teaching! Students would study overshot weaving, linen damask, clothing fabric, home-spun, tapestry, pile weaving, transparent weaving, coverlet weaves, weaving theory, lace-making, pattern design, natural dyeing and spinning of linen and wool.
Aftenposten, July 21, 1932
As far as I could determine, Walborg Nickelsen ended her career as a weaver, teacher and designer after teaching the course in the fall of 1932. Her name was not listed in the advertisements for the Tanberg Weaving School in the years after that. Also, according to newspaper notices in the summer and fall of 1932, Walborg became engaged to Ellef Bennichmann Petersen. She married in 1935, and had one son, Bjørn. She died in 1980. It seems a shame that she didn’t continue her life as a weaver and designer. If anyone knows more about her life, I’d love to know.
Frida Hansen’s influence
What if Frida Hansen had chosen to lead a life of conventional expectations, to work exclusively in her home? She began her career in textiles by opening an embroidery shop out of necessity, when her husband went bankrupt in an economic depression. After his finances improved, he encouraged her to give up outside work, but she refused. She had too much to accomplish, too many tapestries to create.
Walborg Nickelsen’s tree design is just one small indication of the decades of influence Frida Hansen had on weavers and designers in Norway. Nickelsen learned the technique in weaving school, created patterns for the technique as a young designer, and taught the technique as a weaving instructor.
Bibliography
Thue, Anniken. Frida Hansen: Europeeren i Norsk Vevkunst. Oslo : Universitetsforlaget, 1986. “Wilhelm Nickelsen,” Lokalhistoriewiki.no [accessed 10/8/2024]
Robbie LaFleur is a weaver and writer from Minneapolis, Minnesota. She has been following a thread of Scandinavian textiles since she studied weaving at Valdres Husflidskole in Fagernes, Norway, in 1977. She is a Vesterheim Norwegian-American Museum Gold Medalist in weaving, coordinates the Weavers Guild of Minnesota Scandinavian Weavers Study Group, and publishes the Norwegian Textile Letter. In 2019 she received a fellowship from the American Scandinavian Foundation to study the transparency technique of famed Norwegian tapestry weaver Frida Hansen. Contact: lafleur1801@me.com. Blog: robbielafleur.com. Instagram: robbie_lafleur
Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!
Each National Norwegian-American Folk Art Exhibition at Vesterheim Norwegian-American Museum features enormously skilled practitioners of rosemaling, weaving, woodcarving, knife-making, and metalwork. From the Vesterheim website: “It showcases the self-expression of contemporary artists who create folk art rooted in Norwegian traditions. The mission of this exhibition is to celebrate the past, present, and future of folk art by encouraging and inspiring emerging and established folk artists to develop their craft. Artists submit work for evaluation by a team of judges, who offer feedback on their pieces and award ribbons to the very best work.”
Congratulations to the ribbon winners in the weaving category for 2024!
Blue Ribbon and “Best in Show”
Carol Culbertson, “Danskebrogd Vest.” Photo: Vesterheim Norwegian-American Museum
Carol Culbertson, Evansville WI
Vest in Danskebrogd Technique
It has taken several years of experimenting to find a way to weave correctly shaped pieces to stitch together for a vest. Drawing on many years of experience as a seamstress, this year has been the most successful. It was very exciting to stitch the pieces together and have a comfortable vest to wear.
I began with Navajo weaving techniques 40 years ago and changed to Norwegian techniques in the last 10 years. One of my favorites is tapestry weaving which is found in both traditions.
My grandson will wear these garters so I selected symbols to protect and hold wishes for him. The Saint Andrew’s Cross is for humility, the 8-pointed star communicates the hope for abundance, the checkerboard is where the game of life is played. The diamond is the woven shape of the sun. The triangular arrows guide man’s time and direction.
I weave on a vertical loom made by Ole Rue of Vinje, Norway. As I have been investigating band weaving, I began noticing the reoccurring band motifs that mark region/valley and the bands’ use as a shield to protect and repel evil.
White Ribbon
Carol Culbertson, “Stained Glass” Photo: Vesterheim Norwegian-American Museum
Carol Culbertson, Evansville WI
“Stained Glass” Wall Hanging in Krokbragd Technique
This wall hanging is a double-point krokbragd (bound weave). With an abundant supply of leftover yarn, I was looking for a way to use some of it. After thinking about how this yarn could be used for several months, a stained-glass window idea popped into my head. After several drawings, using the double-point krokbragd technique seemed like the answer.
I began with Navajo weaving techniques 40 years ago and changed to Norwegian techniques in the last 10 years. One of my favorites is tapestry weaving which is found in both traditions.
White Ribbon and “People’s Choice” Award
Helen Scherer “Medieval Monuments” Photo: Vesterheim Norwegian-American Museum
Helen Scherer, Shawnee KS
“Medieval Monuments” Wall Hanging in Krokbragd Technique
Nine medieval sites in Norway and Denmark inspired the abstract patterns and colors in this wall hanging. From the top down:
1. Crosses and Ribe Cathedral, Lauge and Mette Paintings, Hans Tausen Statue 2. Candles and Hamar Cathedral Ruins, Sira Brynjulf Haraldsson (d. 1348) 3. Horse Runes and Akershus Fortress, Canons 4. Birkebeiner Skis and Håkon’s Hall, High Seat Tapestry 5. Axes and Nidaros Cathedral 6. Clubs and Dale-Gudbrand’s Farm in Hundorp 7. Stone Runes and Harald Bluetooth, Jelling Runestones 8. Ing Runes and Harald Fairhair, Haraldshaugen 9. Gift Runes and Unearthed Gullgubber, Bornholm 10. Crosses and Stars, Poinsettias
My first weaving teacher was my mother, who emigrated from Gudbrandsal. I frequently travel to Scandinavia to meet relatives and friends, explore the sites, and visit museums. The weaving I enjoy most is based on traditional Norwegian techniques.
October 2024
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An exhibition profiling the work of weaver Marta Kløve Juuhl was part of the yearly Nordhordland event Ullveka [Wool Week]. The exhibition, described on the Ullveka website, was on view at the Bergen area spinnery Hillesvåg Ullvarefabrikk from September 27 to October 26, 2024.
By Vigdis Valde Translated by Katherine Larson
The phrase “weaving is life” came to Marta Kløve Juuhl when an English designer visited her weaving studio in 2014, and it has become her motto. “Weaving is life” can be taken as a metaphor for life as cooperation, but for Marta the meaning is literal: weaving is her life, and it has been for her entire career.
Marta Kløve Juuhl at Ullveka exhibition opening, Hillesvåg Ullvarebabrik, September 27, 2024. Photo: Monika Ravnanger
Marta has woven on commission, but also in furtherance of preservation, development and research. She has woven chasubles for churches, upholstery for furniture, and fabric for clothing.
Traditional meets contemporary: A couch upholstered in krokbragd. Photo: Vigdis Valde
And not least she has worked to preserve the rich tradition surrounding the warp-weighted loom in Norway, among other things through the 2016 book Oppstadveven, an interdisciplinary collaboration between Norway (represented by Marta), Shetland and Iceland.
Currently Marta is weaving new vestments for Hamre Church, and was one of several artisans selected to weave new cushion covers for the benches in Oslo City Hall. These tapestry cushions will see their first use during the Nobel Prize ceremony on December 10th later this year.In addition she is a collaborator on a book about coverlets from Nordhordland, and has contributed to a scholarly article about a medieval pile textile from Borgund, with lead author Monika Sunnanå Ravnanger, Marta’s successor at Osterøy Museum.
Marta was educated as a weaving teacher in 1977.In addition to teaching at Garnes Husflidsskule and her years at Osterøy Museum, she has maintained her own weaving studio since 1989.
Wool bodice fabric. Photo Monika RavnangerBunad bodice. The fabric was based on Marta’s analysis of an old bodice from the island of Sotra and is now offered by Husfliden. Photo: Vigdis Valde
There are not many with such broad knowledge of weaving to whom Marta can pass the baton. Fewer and fewer know how to weave fabric for bunads and other useful textiles that we would prefer be made by hand.
Rolls of apron fabric (Nordhordland) Photo: Monica Ravnanger Folded shawls (Voss). Photo: Monica Ravnager Rolls of underskirt fabric with finished skirts in center (Hordaland). Photo: Marta Kløve Juuhl
But perhaps an exhibition such as this can increase awareness of this rich tradition that deserves preservation. Marta continuesthe tradition through her active life of weaving, even if she thinks that perhaps this project will be the last.But… it is difficult to set aside –weaving is life!
Chasubles woven by Marta for Ostereide Church (left) and Hamre Church (center and right); designed by Rigmor Bové (left and right) and Inger Johanne Rasmussen (center); silk, woven in turned taqueté. Photo: Marta Kløve Juuhl Detail of pulpit cloth for use with green chasuble. Photo: Kay Larson Pattern from center chasuble, above. Photo: Kay Larson
I drive up the shore eagerly, forgetting one of my favorite things weaving has taught me: to slow down. Luckily the lake helps; every opening in the trees with a view to Superior correlates with the speed of single lane traffic. We slow in tandem from 68 to 47 miles per hour.
I grew up next to Lake Superior. She has inspired much play, art, and rest throughout my life. A return to her is to home. For years I dreamt of studying a craft at the North House Folk School, a school specializing in traditional crafts, situated on the water, in the charming town of Grand Marais. In April, I was told about a class where we would learn to build our own warp-weighted loom and weave on it. Overcome with urgency and delight, I signed up immediately, excited for a weaving adventure up north.
I arrive to town the night before class begins. I have booked myself a small cabin with a view to the lake. The almost full moon rises as the sky darkens from a lilac pink to royal blue. The moon sparkles on the still water as I settle into the new pace of my life for the next five days. I have left the frantic energy of the city behind me and hope to leave it there so I can fully immerse myself in this trip.
Photo: Holly Hildebrandt
In the morning, I head to the school. The first two days of class – building the warp weighted loom with David Susag. There are only four of us students and we range in comfortability with power tools from never having touched one to regular weekend use. I worked some construction in college, but besides using my husband’s drill as a bobbin winder now, it has been some time for me. David is an avid woodworker and Scandinavian folk craft enthusiast. He can often be found teaching or taking Scandinavian folk art classes. He also demonstrates at Viking reenactments, showcasing one of his many crafts such as spring-pole lathe and woodcarving. He also has an affinity for traditional fiber arts including bunad sewing and crafting skinfell ornaments. He is thorough and patient in his instruction to us, and laces our work-time with tales of his travels and incredible teachers. We use table, miter, and band saws, drill presses, chisels, and mallets. By the end of our second day, we each completed a tabletop version of a 9000 year old style warp weighted loom.
Photo: Holly Hildebrandt
Warp weighted looms are some of the world’s earliest discovered technology and can be found globally in different prehistoric cultures. The earliest found warp weighted loom is from Palestine, dating back to about 7,000 BCE. This particular style of loom is an upright loom, in that the warp runs perpendicular to the ground, much like a tapestry loom. The warp is then bundled and tied to stones that pull the strings down, providing the necessary tension. Coverlets, rugs, and other textiles are typical pieces that can be created on this style of loom. The versions we built are smaller than what would have typically been used – they are about 20” by 24”, excellent for tabletop work, are easily deconstructable, and are able to be packed flat. This portion of the five-day long class is timely for me – I am currently reading Women’s Work: The First 20,000 Years by Elizabeth Wayland Barber, and have been marveling at the “courtyard sisterhood” culture that correlated with the work on original warp weighted looms. I feel a similar camaraderie as depicted in the book as we work in the shop. In between the roars of the sawdust collector, we all visit with each other, chatting about our projects at hand and lives back home.
My evenings after classes are filled with smoked herring, a local beer on the beach, agate hunting, reading, and long calls home to my husband. In the early mornings, I sip hot coffee at the lake as I watch the sun paint the sky pinks, purples, and periwinkles.
Lakeside coffee. Photo: Holly Hildebrandt
The third day of class, our looms are assembled and ready for dressing. Melba has arrived. She begins the morning by turning out three IKEA bags of wool yarn onto tables–a glorious, fluffy mountain. We pick our color schemes, plan our weavings, dress our looms. The room fluctuates in volume as we shift from laughter and chatter to intense focus.
The warp threads on the warp weighted loom are under tension with rocks. Photo: Holly Hildebrandt
I met Melba Granlund a year and a half ago. She was weaving on the most impressive loom when I wandered into the Weavers Guild of Minnesota to do some shopping for an upcoming project. She detected my peeking from afar and invited me over to come watch her. She was welcoming, and informative, and I adored her. Melba walked me through the mechanics of a Glimarka loom and explained the beautiful design she was weaving was called Telemarksteppe. I thought the pattern looked like geometric waves. It seemed intricate to me, but she was serene. It must have been apparent that I was enthralled. She invited me to an open house for the group she was weaving this project with: the Scandinavian Weavers Study Group. I attended the following week, signed up, and have been a member of the group ever since. I joke with her now that she’s responsible for my obsession with Scandinavian weaving. I know the draw has always been there, but I am forever grateful to her for opening the door to this world.
Melba Granlund and the author. Photo: Holly Hildebrandt
Melba is a Scandinavian folk artist and long-time weaver. Over the years she has studied under master weavers and fiber artists in Norway, Sweden, and Finland and teaches her own classes here in the Midwest. She often participates in Viking reenactments with her full size warp weighted loom, measuring nearly 6 feet tall and wide. On it, she is currently working on a traditional style coverlet, true of its time in color and pattern. Coverlets were traditionally used as the decorative top side of a thick blanket in the cooler-climate Scandinavian countries. The decorative blanket was woven in bright colors and intricate patterns to offset the long, dark, and grey winters. Then the coverlet would be attached to a sheepskin or woven rya (a high-pile textile made to imitate sheep’s wool), and used wool-side-down as a thick blanket to trap in the heat on a cold night. Melba’s in-depth understanding of these ancient crafts is inspiring and not limited to weaving. She is also an avid crafter of nålbinding, felting, sewing, and spinning, to name a few. The world is blessed that Melba enjoys sharing her abundance of knowledge and expertise with us.
A bag woven by Melba Granlund in pick-and-pick technique. Photo: Holly Hildebrandt
The project I originally choose to create on my warp-weighted loom starts with the intention of becoming a bag. I decide on an earthy color scheme with unexpected pops of highly saturated lime greens, teals, scarlet, and the occasional contrast of black. The pattern is a pick-and-pick array of stripes, blocky teeth, and squares. The blips of color are nestled into a geometric sea of creamy whites, warm greys, and chocolatey browns. For the flap of the bag, I decide on peeling apart the plys of a white wool yarn for rya knots. However, I fell so madly in love with the rya, that I have since completely changed my mind on the finished end product – something that never happens to artists, I’m sure. Since returning home, I have shifted direction and will make a tapestry that celebrates these squiggly white ryas. The color scheme will remain the same, but will mostly be visible from the backside. The front will now be filled with these rya poms, with little peeks from the background visible in between the clusters.
Rya on the new warp weighted loom. Photo: Holly Hildebrandt
On the last day of class, none of us have finished our projects, but are tickled that we get to continue them from home–-one of the greatest benefits of building our own looms. For that, it was a low pressure class, knowing we did not need to rush to complete everything in our allotted time. I’m happy to say we have all made new friends and connections. One woman has invited me to her home this winter where she will teach me to spin wool. The other two women have decided to get together the next day in Duluth for a swim.
I make the long drive home that evening. I feel full having gotten this sweet time connecting with Melba and my classmates, and also having connected with some long-lost roots of my heritage. I savor the last views of Lake Superior out my window and as she disappears in my rearview mirror. I don’t even touch my radio on the five hour drive–my mind is swimming with all of the things I want to learn next and the places I’ll go.
Holly Hildebrandt lives in Minnesota where she is a commercial interior designer by day, and weaver by night. She taught herself how to weave on a frame loom in 2018, and was gifted a floor loom in 2019. This led to many classes, lectures, joining the Scandinavian Weavers Study Group, participating in makers’ markets, and an inevitable lifelong passion for weaving. Holly is inspired by natural surroundings, uncovering family history, and studying global design history. With her craft, she hopes to excite an appreciation for functional art, connection to the past, and an intentional way of living in the world today.
October 2024
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By Katherine Larson With information and excerpts from memorials (published in Aftenposten) by Ingrid Røynesdal, Director, with Stina Högkvist, Director of Exhibitions & Collections, National Museum, Oslo; and Nina Refseth, Director, Norsk Folkemuseum, Oslo.
Norway’s museum community lost a leading figure in the world of textiles, costume and textile history with the passing of Anne Kjellberg in July of 2024. While her name may not be well known to readers of the Norwegian Textile Letter, her impact on the subject of our shared interest is undeniable.
When I began research for The Woven Coverlets of Norway in 1989, I received a welcoming reception and a helping hand from Anne Kjellberg, who at that time was First Conservator at the Museum of Applied Arts [Kunstindustrimuseet] in Oslo, now part of the National Museum.For my initial research trip I made arrangements to visit museums throughout the country, my first stop being Oslo. Museum professionals are incredibly busy people who receive many requests from a curious public, and with no credentials other than a Norwegian surname and an intense interest in Norwegian textiles, I was unsure of the reception I would receive.I was therefore thrilled when Anne Kjellberg agreed to meet with this unknown entity from America.Welcoming my interest in Norwegian weaving traditions, she granted me access to museum records and offered useful advice on further resources I might want to consult. On several subsequent research trips we renewed our acquaintance, and years later I was extremely grateful when she agreed to undertake a content review of the coverlets manuscript, freely sharing her expertise on Norwegian textile history with me and with future readers of the book. I still have that copy of the manuscript with her cogent comments penciled into the margins, and I am happy to add this recollection as an introduction to the following excerpts from museum professionals who knew her well.
Helgelands Blad, Tuesday, Feb, 28, 1995
Anne Kjellberg worked for both the Norsk Folkemuseum and the National Museum during her long career. As a daughter of the Norsk Folkemuseum’s director, she had a lifelong familiarity with museums. Her early career began in 1971 as a research assistant at that institution, where she advanced to the role of conservator in 1976 after earning a Master’s Degree in Art History.In 1989 Anne accepted a position as First Conservator with the Oslo Museum of Applied Art [Kunstindustrimuseet], now the National Museum. There she was instrumental in its eventual transformation, serving as Acting Director to the new institution from 2006 to 2007. Ingrid Røynesdal, current Director of the National Museum, notes that Anne Kjellberg “became a leading voice who generously shared her knowledge and experience. She taught us the importance of managing a museum collection, our cultural heritage, which encompasses detailed and precise archiving.”Even after retirement in 2015 Anne Kjellberg continued as a consultant, playing “an invaluable role in development of the new museum.”
In retirement Anne Kjellberg also returned to the Norsk Folkemuseum, where Director Nina Refseth recalls that she “became an extremely important advisor. Her phenomenal memory of the museum’s collections was especially impressive. She conveyed this capability in her characteristic way: calm, well prepared, orderly and impartial – she always delivered.”
NTL readers may recognize the names of Anne Kjellberg’s early mentors at the Norsk Folkemuseum, Astrid Bugge and Marta Hoffmann.According to Director Refseth, those two museum professionals “instilled in her a basic understanding of the utmost importance ascribed to artifacts in a museum.”Kjellberg’s extensive publications include articles and books, notably her first book on embroidered “name cloths,” Navneduker [Samplers] in 1985, and Strikking i Norge [Knitting in Norway], which she edited in 1987.
She is also well known for curating several major exhibitions, among them “Queen Maud – Royal Fashion 1896-1938” in 1995 and “Per Spook. Norwegian Fashion Designer in Paris” in 2006.
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Katherine Larson is an Affiliate Assistant Professor, Department of Scandinavian Studies at the University of Washington, Seattle, and the author of The Woven Coverlets of Norway (2001).
Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!
When I was asked to write a few words about the symposium, I started applying myself to what exactly I should focus upon. For every lecture, every craftsperson and every small business I encountered, I kept thinking that this is the talk/person/craft I will choose. It turned out the event was filled with so much of interest, so many exceptionally skilled people and so many interesting lectures that I couldn’t choose just one or even a few to focus upon. Instead, I will try to give a broad overview of what the participants enjoyed over those beautiful autumn days in Skien.
To set the scene.
Skien is a town in Telemark. It nestles on the banks of the river Skienselva and the city centre itself is located where another river, the Farleva, forms the Hjellevatnet lake. Arriving in Skien on the Friday morning, I was welcomed by clear blue skies, crisp autumnal air and an incredible show of golden autumn leaves.
The Norwegian Textile Symposium was arranged by Norges Husflidslag [The Norwegian Folk Art and Craft Association] and has taken years to plan and arrange. For many of the participants the week started with a practical course, which was booked in advance and separately from the weekend’s lectures. Here is a list of the courses and the teachers, with their Instagram handles. All well worth looking at to see some of the exceptional work done by these craftspeople.
The courses were divided into three day, two day and one day courses and were held at Telemark Museum as well as the main symposium venue, Ibsenhuset.
I opted for the drop spindle spinning with Vigdis Valde, who is passionate about all things fibre and is a highly skilled spinner.During the course we were able to try different types of drop spindles and different types of wool. Carded or combed wool from the Norwegian White Sheep (the most common crossbred type in present day farming) Spælsau (Old Norwegian Short Tail Landrace) and the breed known as Old Norwegian Sheep. The hours flew by and before I knew it, it was time to rush off and change into my bunad for the opening party at Telemark Museum.
My notebook with samples. Photo: Magnhild Peggy Jones Gilje
Opening party with Her Majesty The Queen Sonja.
The party at Telemark museum marked not only the opening of the Textile Symposium, but also the opening of a exhibition of Åkle [coverlets] from Vest Agder, curated by Kathrine Bringsdal.
A group photo of some of the symposium participants. Photo: Dag Jenssen, Telemark Museum.
Telemark museum was an excellent venue for welcoming Her Majesty The Queen to the Textile Symposium. It commenced with a screening of the film Historjá which tells the story of Britta Margareta Marakatt-Labbas’s work on the epic embroidery piece of the same name. This was followed by drinks and nibbles, folk music and a wander round the exhibition, with plenty of exciting textile elements. *
Her Majesty The Queen inspecting an Åkle. Photo: Dag Jenssen, Telemark Museum
Saturday morning started off with an open market area in the large and light foyer of Ibsenhuset and this stayed open all weekend and was open to the public. The market held a wide array of stalls, from the bigger textile companies such as Krivi and Tyrihans, to smaller businesses such as Stormdal Ull, Løvli Naturull and Dalebutikken as well as artists and artisans such as Borghild Telnes and Ann Mari Jore. The local and regional branches of The Norwegian Folk Art and Craft Association were also well represented with an exhibition of local crafts.
Will Riedlinger demonstrated metal lace work in the foyer after attending the three-day course with teacher Anne Kolle. Photo by Magnhild Peggy Jones Gilje.
The lectures on both Saturday and Sunday were varied and informative, and although I would like to give a full account of them all, a list will have to suffice. The Master of Ceremonies Kim Sølve Jackobsen (known for hunting traditional skills and crafts) guided us through the tightly packed program with endless smiles and boundless enthusiasm. (More on Kim’s work: @school_of_folk_skills )
Saturday:
Anne Bamle and the Rødtrøyebunad – Guro Nordby
From fertility symbols to status symbols – use of symbolism in textile objects. – Mikkel B. Tin
Panel debate about the safeguarding of traditional crafts, led by Ellen Krageberg.
Our textile cultural heritage – Solveig Torgersen Grinder
A landscape of threads –Borghild Telnes
Woolology and stichmagic, learning through crafts. – Vigdis Valde
Sunday:
Woven coverlets from West Agder – Kathrine Holmegård Bringsdal
Skautfelling (the folding of the Hardanger headdress) – Agnete Sivertsen
Award for “red listed” heritage. Awarded to Møre and Romsdal Folk Art and Craft Association for their work on Senger og Nordmørsåkle (woven coverlets)
DNB Savings Bank Foundation, possibilities – Tuva Løksne
Singing Stones, the Warp Weighted loom –Monika Ravnanger
Tabletwoven finds from the Oseberg excavations – Bente Skogsaas.
Knitting needles tapped gently in the audience. Photo: Magnhild Peggy Jones Gilje
Kim’s enthusiasm mirrored that of the audience–seldom if ever have I experienced a lecture theatre quite so full of skilled, knowledge-hungry craftspeople and textile enthusiasts. The gentle tapping of knitting needles and the gasps of wonder as one incredible textile was discussed after another was quite something. Importantly there was also a strong thread throughout the weekend, tying in the most important questions: how can we safeguard our textile cultural heritage and the intangible knowledge surrounding it? How do we make sure we are securing this knowledge for future generations and how do we ensure that becoming a craftsperson is a viable choice today?
The name of one of the exhibitions at Telemark Museum sums up the weekend well; ALL THIS IS YOURS. It is all this material culture, the learning the skills, the knowledge of how to use them, the work that goes into growing, farming or sourcing the materials, processing them and the significance of the individual objects.It is ours, our collective cultural heritage, and I hope we keep working hard not only to preserve it but also, and most importantly, to keep it alive and thriving.
The Queen with Agnete Sivertsen who is head of Norges Husflidslag and is wearing her Hardanger headdress. After the weekend was over Agnete said, “The Textile symposium was a wonderful weekend that gathered textile enthusiasts from around Norway.” Photo: Dag Jenssen, Telemark Museum
Greetings from Gjøvdal, Magnhild Peggy Jones Gilje @magnhild.peggy
*If you happen to be visiting Skien, Telemark Museum is well worth a visit. The staff are engaged and helpful and the museum enjoys hosting a variety of courses, most recently courses in rose painting and spinning. https://www.telemarkmuseum.no/en/
Magnhild Peggy Jones Gilje has completed an apprenticeship in the craft of bunadtilvirking. Since 2015 she has, together with Eldbjørg Breivik Smeland and Olga Maria Breivik, worked on cataloguing woven bands in the Åmli area. Magnhild has been awarded a Norwegian Crafts Institute three-year scholarship, which she started in September 2024. She will be using this opportunity to further study woven bands and develop her skills as a craftsperson. She will be keeping an informal record of her work on her blog, which will include summaries in English: https://stipendiat.handverksinstituttet.no/bandveveren/velkommen-til-bandveverens-blogg/
October 2024
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By Laurann Gilbertson, Curator Vesterheim Norwegian-American Museum
There is a coverlet at Vesterheim Norwegian-American Museum in Decorah, Iowa, that has always bothered me. It shouldn’t. It’s beautiful and interesting and came with some family information. This coverlet was from Troms or Vestre Toten, a gift of Valborg Ravn. To try to understand the Valborg Ravn Coverlet better, I compared it to other overshot coverlets in the collection and dug into its history. [Note: the coverlets are identified by the donors’ names.]
The Ravn Coverlet from Troms or Vestre Toten. Wool on cotton, 57” x 72”. Gift of Valborg Ravn. (1980.097.001).
The Valborg Ravn Coverlet has a ground of unbleached cotton, woven in unbalanced plain weave. The warp yarn is single and the weft is used double. The pattern weft is two-ply wool. Two shades of red, two shades of green, and white were used, with the darker shades of red and green appearing dominant. The coverlet was woven in two sections and joined with a handsewn center seam. The ends have tiny, rolled seams that are carefully handsewn.
As Kay Larson explains in The Woven Coverlets of Norway (University of Washington Press, 2001), there are two types of designs of skillbragd or overshot coverlets, depending on whether the patterns were controlled by the threading of the loom or whether the weaver used a weaving sword to bring forward patterns stored at the back of the loom.
Thread-controlled patterns are characterized by smaller repeats with multiple, long vertical stripes where the ground is not covered by wool pattern wefts. One example of this type is the Helga Lund Parsons Coverlet (1974.018.001), brought from Oppdal in Sør-Trøndelag, Norway.
Helga Lund Parsons Coverlet from Oppdal in Sør-Trøndelag. Wool on linen, 51.5” x 69.5”. Gift of Helga Lund Parsons.(1974.018.001)
Because the Valborg Ravn Coverlet does not have vertical stripes characteristic of a threaded pattern, it may have been woven with a weaving sword. Diamonds, large Xs, and eight-petal flowers are common motifs on coverlets woven with a sword. And this one has diamond and Xs patterns.
Valborg Ravn Coverlet, detail
In an email, Kay described another difference between threaded patterns and patterns on coverlets woven with a weaving sword. “I guess I think of the distinction between threaded and stored-pattern skillbragd as indicated by the size of the repeats: limited by the number of shafts for a threaded pattern, but usually just by practicality for one that’s stored. Your subject piece, the Valborg Ravn Coverlet, looks like it has a pattern repeat of about 12 rows, whereas threaded patterns when regularly repeated are usually 4.”
Part of what has bothered me about this coverlet is the smaller-scale pattern along the center seam. Shouldn’t that be on the sides? Lauryn Johnson, Collection Assistant at Vesterheim, took a photo of the coverlet. Using the digital photo, she cleverly divided the image along the seam, rotated each half, and put the halves back together with the small-scale pattern as side borders. Ah! Much better.
A photo of the Valborg Ravn Coverlet, digitally altered, flipped symmetrically.
The center seam of the Valborg Ravn Coverlet appears to have been sewn at the same time as the end hems and both early in the life of the coverlet. Was this an accident or did the weaver prefer the effect of the fine patterning in the center? Was the weaver a rebel, asking “Why should the side borders be on the sides?”
Am I viewing this coverlet with my own aesthetic? Perhaps, but let’s look at the Floyd Fairweather #1 Coverlet (1986.093.035). It was woven in one width so there could not have been an accident in the placement of the finer patterning on the outer sides.
Floyd Fairweather #1 Coverlet Wool on linen, 54” x 67.5”. Gift of Floyd Fairweather. (1986.093.035)
Side borders of small patterns appear on many of the sword-woven skillbragd coverlets in Vesterheim’s collection. The Erling A Dalaker Coverlet (1997.079.015) is a stunning and old coverlet from Rogaland County in western Norway. The side borders are made up of small, equal-armed crosses. What catches your eye first, though, is the color. The weaver has intentionally changed the color of the yarn while weaving so that there is a center green block (and several smaller red or green blocks). An overshot coverlet with a center color block is sometimes called sparlaken and was used over a coffin during a funeral. The solid-color square marks the spot where a Bible or candle was placed.
The Erling A Dalaker Coverlet from Rogaland. Wool on linen, 41” x 60”. Gift of Erling A Dalaker. (1997.079.015)
There are also intentional color changes on the Floyd Fairweather #2 Coverlet (1986.093.032), though just for some of the eight-petal-flower motifs. This is only half of a coverlet. What is probably the side border is made of concentric Vs.
The Floyd Fairweather #2 Coverlet (a half coverlet). Wool on cotton, 25.5” x 60.5”. Gift of Floyd Fairweather. (1986.093.032)
Vesterheim has far fewer sword-woven skillbragd coverlets than loom-controlled. And only three of Vesterheim’s ten sword-woven coverlets have information about where they came from or who might have woven or owned them. There wasn’t much on the Valborg Ravn Coverlet, so I dug a little deeper into its background.
The coverlet had belonged to Theoline Knatterud and Karl Høegh. Theoline was born in Vestre Toten in eastern Norway and came to Minnesota as a young woman with her family. Karl was born in Troms County, Norway, and worked for a merchant before moving to Spring Grove, Minnesota, in the 1860s and opening a hardware store. He went by Charles Hoegh in Minnesota. Unfortunately, when Theoline and Karl’s granddaughter, Valborg Ravn, donated the coverlet, she didn’t know or didn’t say which parent had brought it from Norway.
My next step will be to explore sword-woven skillbragd coverlets on the Norwegian museums’ online catalog at digitaltmuseum.no. When I search “skillbragd” and then select “things,” I’m presented with 3,712 beautiful textiles to review. There isn’t a Norwegian term that differentiates the sword-woven and loom-controlled skillbragds, so this might be a task saved for a rainy or snowy day. Perhaps you’d like to explore, too.
Laurann Gilbertson holds a BA in Anthropology and an MS in Textiles & Clothing, both from Iowa State University. She was Textile Curator at Vesterheim Norwegian-American Museum in Decorah, Iowa, for 19 years and is now the Chief Curator there. Among her duties are overseeing the collection of more than 30,000 artifacts, creating exhibitions, and leading Textile Study Tours to Norway.
October 2024
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Editor’s note: On Friday, April 12, a very special weaving symposium was held under the auspices of Her Royal Majesty Crown Princess Mette-Marit, “Samlede Tråder” [Unifying Threads]. Many of the invited weavers posted in social media about the gathering. Jon Fredrik Skauge wrote a heartfelt memory of the day in an essay on his Facebook page. He agreed to share it.
I noticed it as soon as I walked in the door of Queen Sonja’s Art Stable [Dronning Sonjas KunstStall], a feeling that is still with me. All the staff members stood waiting to receive the assortment of weavers. And if it wasn’t all of the palace staff, it was many. Everyone greeted and directed us; it was like being led into a safe textile embrace.
A scene from the symposium, taken by the palace photographer.
When I attended my church meeting on Saturday, Bishop Ragnhild Jensen asked, “How was the weaving symposium yesterday?”
Yes, it felt nice. The stable was converted to a weaving studio for that day and Her Royal Highness the Crown Princess invited 260 women weavers and a few men to gather to pay tribute to weaving.
For that day the stable made for Queen Maud wasn’t filled with sawdust. No, it was as if the large hall was wrapped in the softest and finest of textiles. I felt like I was lifted in the finest woven comforter filled with down.
I and many others have our favorite textiles, “hobby horses,” those we like to take out and ride in and out of season, and that would have been fine in the stable. But no, the Crown Princess made us put them away that day.
Everyone was there for weaving – multi-faceted weaving that joins fibers of different threads into one another and creates the most beautiful expressive textiles in various techniques.
Why was this day at the palace so special? I pondered this between the long sessions of my church meeting. Because it was exceptional, a true red letter day for Norwegian textiles, a day I’ll never forget.
What was it that the Royal House and Crown Princess did that day? They did what the Royal House is so good at, acting as a host – a host who sees and values everyone. Because there I sat, with noted artists, weaving teachers, researchers and talented craftspeople, weaving students, and us everyday weavers. We who love to throw a shuttle.
There were many fine presentations that day, and conversations. I was lucky enough to participate in one of them.
All of the elements were so well-arranged the program couldn’t have been better. The content was like colorful stripes in a weaving, and Kare Slaatsveen brought this fabric together by leading in her safe and warm manner of speaking.
But there is one conversation I especially remember: Her Majesty Queen Sonja’s brilliant dialogue with weaver Anne Britt Lotsberg, born in Fjærland, who has taken it upon herself to copy the weavings at Gamlehaugen in Bergen. There was an even playing field at that moment, the Queen and vevkjerringa [weaver] on the same level. And they played on stage, weaving words about this meticulous craft together. Because yes, it is painstaking work, weaving that takes quite a long time. The Queen was probably curious about whether Lotsberg would manage to copy everything at Gamelehaugen, so the Queen asked how old the weaver was.
Lottsberg replied, “It’s not a question of how old I am, but how old I can get.” Because that’s the way it is; good handwork takes time, and it takes the time it takes.
A huge heartfelt thank you to Crown Princess Mette Marit for allowing me to participate and contribute to this memorable day. I thank the good Lord that the Crown Princess found weaving, and hope she will continue for many, many years. I will attend the last day of the church meeting in thankfulness.
Jon Fredrik Skauge posted this on Facebook on April 14, 2024.
Jon Fredrik Skauge is a historian, bunad maker, cultural mediator and farmer from Orkdal, Norway. His book, Dei tapte tinga [The Lost Things], came out this year from Dreyer Publishing. When thieves broke into the family farm in 2022, objects worth hundreds of thousands of kroner and priceless sentimental value disappeared. In the weeks after the burglary, he spent a lot of time cleaning up every room, every cupboard and every drawer. He had to find out what was missing. In this process, he began to write down the stories of the things.
Skauge was recently awarded first prize in the Holdbart håndverk [Lasting Handcraft] competition from Husflid magazine. He was recognized for weaving diamond twill placemats from linen he grew and processed himself. Skauge also has a long, narrow linen tablecloth with sprang at one end featured this summer in an exhibit at Gudbrandsdalsmusea, Fra frø til tråd [From Seed to Thread].
Help support wonderful articles on Scandinavian textiles with a donation to the Norwegian Textile Letter. Thank you! Tusen takk!
Her Royal Highness Mette-Marit, the Crown Princess of Norway, is an avid weaver. On April 12, 2024, in honor of her 50th birthday, she held a weaving symposium, “Unifying Threads.” These are her opening remarks.
Welcome to Queen Sonja KunstStall [Art Stable] and to the weaving symposium.
Today we are gathered in what is Queen Maud’s old riding stable. Imagine that a hundred years ago, Queen Maud sat up on that balcony and looked down on her beautiful horses. They were her great passion. And today, in the same place, we get to highlight and hold on to some of what is most important to us. I think there is something very beautiful about that.
And had it not been for our beloved Queen Sonja’s ability to take care of culture and history, this beautiful room would not appear as it does today.
So I would like to thank the Queen for allowing us to gather here, but most of all for the fact that throughout your work you have held fast to the fact that culture and traditions are a vital part of being human and an important part of the task of the royal house.
Last year I turned 50, and I really only had one wish: To be able to invite people from all over the country to a national weaving event. And so, dear all, I am very, very happy to be here with you today.
Many of the 260 invited guests at the symposium. Photo taken by a palace photographer.
I am so lucky to have been surrounded by handicraft throughout my upbringing. My mother and my three aunts sat bent over their handwork early and late. And if someone knitted, that was what all four were doing, and if someone embroidered, all four were doing it… I discovered quite early on that I was never very good myself. I don’t think I ever finished knitting a sweater. I just didn’t get it. Maybe I’m too imprecise. Maybe too impatient.
But that was until I discovered weaving.
I started weaving just before the pandemic, and for me it has been a revelation. I want to say something about what it has meant to me. The first thing I learned was that warp and weft are only part of what creates a weaving. Perhaps the most important ingredient is patience. Patience is not something I was born with. And the times we live in and the technology we surround ourselves with have done something to our patience – the amount of information and the expectation of an immediate response has meant that our attention and our patience are divided into ever smaller pieces. But as with anything else, you get better with practice. Sitting at the loom trains patience. You can’t rush when you have to weave, and you gain patience with yourself and others. Have I become a more patient person from weaving? I don’t know what the Crown Prince would answer, but at least no less patient!
I have also realized that “handcraft” and “handwork” are perhaps slightly misleading terms. That they are a bit mundane. Because the work may be done with the hands, but weaving is a complicated interaction, both in the loom and in the weaver. A direct connection is opened between the head, the heart – and the hands.
It also means that the loom becomes a mirror in many ways. The weaving is affected by how you feel about yourself. And if I am ever in doubt as to what kind of mood I am in, it becomes very clear when I sit down at the loom.
I think everyone needs to have a space that is just for ourselves. And for many of us, our loom is that space.
***
Elisabeth Haarr once said that stepping into the world of weaving is stepping into a world that is wide, beautiful and full of love. I have really felt that.
For one thing, the work is there at the loom – you and the loom. It is something else when you are lucky enough to have a place in a weaving community. This generous, wonderful community, where people ask and help and support each other, has really been a revelation for me. When I sit at the loom and can’t get things to work, all these lovely ladies come – with experience, smiles and often a good story. I learn something new, gain some new self-confidence – and the result is always better.
I have realized that starting to weave is really the same as learning to ask for help. And it’s quite beautiful, because every time a human asks another human for help, when we help each other, the bonds between us are strengthened. In this sense, a weaving studio not only produces weavings, but also community. And really, we should all get better at asking each other for help when we need it – both within the weaving studio and without.
***
These are exciting times for weaving. Most people sitting here today know that weaving and textile art have not always received the recognition they deserve. Therefore, it is incredibly gratifying to note that textile art is really on the rise. Interest and recognition in the textile field has increased considerably in recent years. All over the world, prestigious galleries and art institutions now showcase new and old textile artists on an equal footing with other art forms.
In Norway, we have been weaving since time immemorial, and fortunately there are quite a few men in the Norwegian weaving community. But weaving in Norway has traditionally been a women’s arena. And when you feel this strong community that arises around weaving, you sense a timelessness. You can hear the echo of weaving women who have sat shoulder to shoulder and helped each other.
The threads you work with stretch back, so to speak, hundreds of years, to the looms of the past. And these long lines emphasize how important it is that we take care of this history and its traditions. Therefore, we must make sure that there is a future for weaving.
When I sit in the weaving room, I am often among the youngest – the hair colors in a weaving room tend to be – without offending anyone – 50 shades of grey. That is why it is so heartening to see that there are many young people now who want to study the old traditions, that more people choose weaving when they want to express themselves artistically, and that the Norwegian weaving community is growing. But for it to continue to flourish, we have to ensure good soil and good growing conditions. We have to make sure that the craft is not taken out of curricula and does not disappear from schools, and we have to make sure that it is possible to obtain a practical education in weaving.
That is part of the reason why we are gathered here today. Because the more densely woven something is, the more durable it becomes. Therefore, today we will try to gather some of the threads that make up the Norwegian weaving community. Because we really are diverse! There are 260 people here – weavers and weaving enthusiasts from art and handcraft, from organizations, educational institutions, galleries and museums. From small spinneries and large producers of wool products. Many of you already know each other, but we still hope that you will make some new connections during the day.
***
Now I’m really looking forward to the program. We have tried to bring out the great diversity in the craft and art to which we all belong. Everything from great artists with names we all know, to the many anonymous women and men who make everyday life more beautiful. I would like to thank each and every one of you sitting here today for your contribution to holding on to our culture and our traditions.
And with that, I think we can welcome the woman who will lead the day with a somewhat strict but very friendly hand, Kari Slaatsveen. Welcome!
Jon Fredrik Skauge is a historian, bunad maker, cultural mediator and farmer from Orkdal, Norway. His book, 
