ABSTRACT
The Needle arts to which knitting and crocheting belong have not been researched into by many in Nigeria. This claim is substantiated by the obvious scanty materials on the subject. It even appears that no Nigerian has written exclusively on the art of knitting and crocheting. No wonder there is need for an indigenous approach to this important aspect of Art. In this work, an attempt was made to close the gap to a degree. The researcher carried out research in this area. She started by examining the available literatures on knitting and crocheting as well as art in general. The ideas generated in the course of the study helped her to find her bearing as she engaged in series of experimentation in the field of knitting and crocheting. Such explorative investigation studio production resulted to a number of works presented and discussed herein. The content of the works cuts across social and cultural issues. At least, the art works of the researcher which though are mainly in mixed media, are clear evidences that knitting and crocheting are capable of being used to translate ideas into artistic reality.
CHAPTRE ONE
INTRODUCTION
Background of the Study
The art of knitting and crocheting, an integral parts of the needle arts, is somewhat strange to many people including those concerned with the design and production of fabrics especially in Nigeria. Once the term textile design techniques are mentioned, knitting and crocheting hardly come to mind. Even among the students of textile design, only a few people know the meaning of and the differences between knitting and crocheting. Still, only a very negligible number of such people have acquired knitting and crocheting skills. However, the fact remains that “for many years, knit goods represented only a part of the apparel market” (Hollen, Saddler, & Langford, 1979:182).
The art of knitting and crocheting involves the use of woolen or cotton threads. Knitting is the process of making cloth with a single yam or a set of yams moving in one direction instead of two sets of yams crossing each other as in weaving. The single knitting yarn is looped through itself to make a chain of stitches. The chains or rows are connected side by side and thus, produce the knit cloth. Although the use of hand in this textile tradition has remained hitherto, technological advancement brought about more materials
and suitable machines for knitting and crocheting. The end products have
ever remained aesthetically satisfying.
The techniques of knitting and crocheting have come to stay as means of making fabrics, especially, sweaters, underwear and hosiery. Although knitting is not as old as weaving, remnants of knit materials dating back to A.D. 250 were, according to Hollen, Saddler, & Langford (1979), found near the boarders of ancient Palestine. Before 1589 – the year William Lee invented frame knitting machine, knitting was a hand process. Wilson (1988:6) believes that the earliest knitters were probably Arabian shepherds who knitted on the foot as they guarded their flock materials familiar to them. Clothing made of knitted wool insulated the wearer from heat and cold. This also explains why sailors wore such materials. It is said that the early sailors who used them spread the knowledge of knitting to all the ports they visited.
It was Wilson (1988:7) who noted that the sixteenth century brought about a revolution in knitting, chiefly because of the invention of that ubiquitous modern garment, the silk stocking. It is therefore pertinent to say that between late sixteenth and eighteenth centuries in Europe, knitting has become an art and was turning into a popular and remunerative form of fabric construction. It often takes six years of apprenticeships for an apprentice to qualify as a master craftsman. In other words, knitting was not
considered women’s work. Besides, the long duration of the programme, each apprentice was expected to complete in thirteen weeks a carpet, beret, shirt and a pair of hose. Indeed, rigid rules guided the production of masterpieces. It is no doubt that the nineteenth century marked the beginning of the end of hand-knitting as an industry. This was simply because of the industrial revolution which brought about many sophisticated machines.
Crocheting, according to Halliday (1975), is a way of making clothes from wool or cotton, using a special thick needle with hook at the end, to make a pattern of connected threads. The writer explains that:
Crochet was traditionally a lace making technique and when tastes changed, crochet didn’t; it simply grew stale over the years, stagnating in its old-fashioned image – the stepchild of the needle arts. But with the advent of needlework revival, a lot of new talent and creative designing finally pushed crochet out of the Victorian parlor and into the twentieth century.
According to Wilson (1988) crochet is a series of loops created in a single hooked needle. It is said to be useful in knitting for decorative edging, buttonholes, collars, cuffs, and creative embellishments.
The origin of Crochet, according to LeeWards (1974), dated back to the sixteenth century, when French Nuns used a hook to make lace. The French word, ‘croche’, meaning hook gave rise to the term, ‘crochet’. It was
reported that the great Irish famine of 1846 took crochet beyond the confines of the convent to the social circles of Ireland where the nuns taught pupils to crochet so as to raise money for the poor. No wonder, Irish crochet was considered outstanding as it was made with fine threads and had ‘series of shamrocks, roses, little rings surrounded by a lace background’ (LeeWards,
1974). The technique was previously exclusive to the designing of table cloths, doilies, bedspreads and edging for mats and handkerchiefs with crochet cotton. However, today, with the presence of many varieties of yarn and other crocheting tools and equipment, wool and other knitting yarns are fast becoming popular crochet materials.
Although knitting and crocheting are popular both in practice and use in the western countries, this tradition appears somewhat recent and its products are scarce in most West African Countries, including Nigeria. No wonder, knitted and crocheted products are imported sometimes illegally into Nigeria. Usually they are found in marketplaces especially as second hand fabric. The emergence of new technologies and the high cost of locally produced materials have guaranteed the continued presence of such materials in diverse designs and colours. This has provided unlimited opportunity for creative artistic creations. Thus, it is not only possible for people to practice these techniques with ease, any visual artist can now
explore these techniques or use knit/crochet materials to produce astonishing and thought-provoking art works. The form, design, quality and function of such works in any genre of visual art will undoubtedly hold the admiration of many.
Therefore, the researcher who, overtime, have come to exhibit great delight in the processes of knitting and crocheting themselves as well as its products, have explored the possibilities of these techniques in various studio experiments. Some of her works serve decorative purpose. Furniture, for instance, which is made of wood by carpenters, can be embellished with knitted and crocheted materials. In an attempt to extend the frontier of her studio experiments, she delved into other dimensions of textile art which may be considered as mixed media art. In this study, the researcher’s seemingly irresistible urge to knitting and crocheting why most the materials used were made by her. The essence of the entire work is to help readers of this project for whatever purpose they have in mind (be it the acquisition of simple knitting knowledge, research work or for leisure) to appreciate the works of art made mainly of knitted materials. It would also serve as a motivating factor for the critical study of the fundamental principles, system and evolutionary changes in knitting and crocheting as vital means of making fabrics.
Thankfully, many are today becoming aware of the uniqueness of fabrics produced through knitting in particular. We, today, see most school children on knitted materials also known as school cardigan. The school authority often ensures that colour of the material reflect that of the school uniform. Here, the usefulness of the material goes beyond that of identity. The warmth it provides the students especially during rainy and harmattan seasons cannot be over stressed. It further shields the wearer’s uniform from dirt.
STATEMENT OF THE PROBLEM
Over time, knitting and crocheting have been means of producing things of high aesthetic standard and functional value which can be treasured. They have been used by different peoples, tribes, cultures and generations in various capacities such as clothing, costumes, fashion accessories, interior decoration materials, and wall hanging, among others.
However, most people including artists in Nigeria are yet to understand and appreciate the rich creative potentials of knitting and crocheting. Hence, writers seem to ignore the art. For instance, it is amazing to the researcher that Themes and Foundations of Art, a voluminous book written by Katz, Lankford and Plank (1995) on various genre of visual did not mention the
words – knitting and crocheting especially on the pages where fiber and fabrics are discussed. Besides, these techniques have been not fully explored by Nigerian artists, perhaps, as a result of lack of knowledge and/or interest. Many do not yet know how to knit or crochet because of the obvious absence of teachers who are competent in these areas. Moreover, it is neither contained at the moment in the undergraduate programme nor that of the postgraduate in the universities where textile/ fashion design courses are taught. Such omission does not in any way favour the acquisition of such skills.
Thus, this study is aimed at awakening the interest of people especially the Artists in the art of Knitting and Crocheting. Only a painstaking exploration of the art can lead to the realization of this goal. To further add to richness of crochet or knit works, the researcher would employ mixed media in most of her studio experiments.
RESEARCH OBJECTIVES
The general objective of the study is to explore the art of knitting and crocheting which is unpopular in Nigeria. Also, the specific objectives are to:
1. formulate and present ideas which are traceable to the study.
2. translate the ideas which emerged from this study into art works.
3. arouse the interest of people in the art of knitting and crocheting by presenting in a simple terms the step by step knitting and crocheting methods so as to inspire those unskilled in the art of knitting and crocheting to learning the skills?
4. enumerate some basic tools and materials the researcher used to carry out the study?
5. discuss ways works resulting from this explorative study have added value to the development of the studio art?
RESEARCH QUESTIONS
To enable the researcher to find ideas and resources for the study, the following issues were raised:
1. What kind of idea can emerge from this study?
2. What art forms can emerge from the artist’s experiment?
3. How can the study arouse the interest of people in the art of knitting and crocheting in order to inspire those unskilled in the art of knitting and crocheting to learning the skills?
4. What tools and materials can the researcher use to carry out the study?
5. In what ways have works resulting from this explorative study added value to the development of the studio art?
SCOPE OF THE STUDY
The scope of this study is limited to the arts of knitting and crocheting. The researcher explored two different techniques: knitting and crocheting, which have enjoyed widespread recognition over the years across diverse cultures. The researcher used different media such yarns, wools, twins, fabrics, paper, beads, raffia and other pliable materials for better expression of her inner thought. The major tools used are hook and needle. The symbols and motifs the artists used were adopted from social, traditional and religious life of the people, especially from the Igbo traditional patterns.
SIGNIFICANCE OF THE STUDY
The study provides ideas and works that will make the art of knitting and crocheting to thrive in Nigeria. Nigeria designers will be motivated to explore other aspects of knitting and crocheting, perhaps with different materials and tools – the products of new technology. This will encourage
entrepreneurial culture among the people, so that they can produce wearable art, fabrics and other forms with different end uses for commercial purpose. The artist’s work will serve as a reference material to researchers. The study will also aid local craftsmen as well as textile artists to be conversant with new approach of knitting and crocheting. This may encourage the development of local knitting industry in various parts of Nigeria.
This material content is developed to serve as a GUIDE for students to conduct academic research
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