I’m so excited. It is like magic...watching a bunch of string become a wonderful thing. Just enough time to make a cup of tea before the show starts! Congratulations on your getting close to 20,000 subscribers! Thanks for consistent fun and informative content. It’s not easy!
I can't believe how many subscribers there are! I never dreamed I'd have this many. I was super excited to have 200 follow me. 100 times that...mind boggling! Thanks so much for watching!
I really love the way you explain how to set up the cards and give us a little explanation about the historical background, and yes, we have been almost everywhere.
Not sure if there even is a more clear and comprehensive way to explain this. Got my first loom for my birthday, had no idea how this works before this video, now it's not so intimidating anymore. Thank you so much!!
Dear Elewys I have learned so much from your enchanting videos, thank you. At my age I didn't think I'd ever be able to manage the thought process to produce such beautiful braids, but I have! I persisted through some almighty tangles, but can now understand the mechanics of it all and feel that I can almost tackle any design, all thanks to you. I love the music too, it's very magical and uplifting.
Thank You so much for pronounsing Latvian words & place-names properly! It is so rare that non-Latvian speakers get it right. It is really nice to hear! 😊
Hello Elewys thank you for your prompt response,I bought one Inkle Loom Elewys I couldn't wait, think about nothing else than want to start weaving, starting to think I have been struck by some faery weaving spell, Already have several types of yarn, cotton. The silk * I haven't found it yet, the seller (eowyn )you mention is a bit difficult to find and here in Holland they ask a really high price for silk threads, while I wait for my Loom to arrive I watch you weave, need to learn everything. I'm so excited about its arrival.
my loom got here today... now just have to wait for the cards (which actually should have arrived prior to the loom!) and i'm off to the races! can't wait to get started ~ you are such an inspiration!!! thanks
I showed the to The Man About the Place. He has chosen it for the dog leash for his new puppy arriving in late spring. Thank you for all your clear videos and encouragement.
I saw the King Tut exhibit when it was in town too, and the main thing I remember was how I could NOT get over how beautiful the gold was. It looked less yellow than gold I see today, and it really looked a little coppery or something. And I just keep forgetting how skilled and artistic the ancients were - I never seem to recall when I need it the fact that they were just as intelligent and creative as humans are today. I'm spending almost the entire intro pausing and gaping at the beautiful treasures all these people made. So gorgeous!
Similarly, I went to the Seattle Art Museum where they have a long-term Medieval art exhibit--it's been there for a couple years, at least. The gold on the extant pieces is so much brighter than what you get when you photograph it. It's luxurious! Maybe someday I'll have a small trinket box to put my SCA regalia in that is painted with gold details.
Thanks for the video! And thanks for the tip about the movie! I'll definitely watch that tonight. I'm sort of a history enthusiast too and when there's textiles involved, all the more interesting!
They are still making discoveries about the Sutton Hoo burial, and with the work Kent Weeks was/is doing in the Valley of the Kings in Egypt with mapping the tombs we are STILL learning about the ancient egyptian Kings, the society that created them and the world they lived in.These people buried important people with grave goods etc so one can surmise that remembering them was important. I can’t imagine that any of those people would have believed that their peoples, their art and their dead would still be being discussed and spoken of, so many years into their future, but I’m sure they would like the idea. Also for women in particular, they often didn’t have a historical voice, but graves can teach us about their lives, and what was precious to them, and the contributions they made to their societies. Textiles in particular are “women’s work”, and it’s great to see the investigations into archaeological textile remains.
Sorry to double dip but you slipped into my dreams last night. When I woke up I had an image of Elewys of Finchingefeld woven in a band and rolling through the loom. Sort of like words scrolling along the bottom of a tv screen. I’ve never attempted tablet weaving but have worked with basic grid patterns in the past and seeing your skill set am sure you could create a pattern if you like the idea. It could also get the please like and subscribe message across without having to say it. I’ve just created my channel and have been trying to come up with creative ways to express these things to my viewers in a fun way. Thanks again for all the great content and inspiration.
That might be a while. Usually what I do is cut it about 1/2" longer than I need and fold the end under, stitching both sides and ends down on the garment.
@@elewysoffinchingefeld3066 ;) I've been interested in in this type of weaving for a long time. But I'm a practical/utilitarian maker and not a reenactor. But I see "uses" :) that are very cool. And "as yet" not a sewer. So how you put what you make to use is very helpful to me and many others.
Thank you for a very interesting talk about archeology and the pattern. I’m a huge history fan (Time Team fan since the early 2000’s). Digging, which is destruction of the archeology, is usually done more for rescue than just investigation. I hope the snows are not too deep or cold in Washington State. Another pattern to learn! Just need to finish the one currently on the loom...😀😂😂😀
I was an anthropology minor in college, so I'm all about preserving for the future! We got about 10" of snow at my place and it's almost all melted now. It was nice while it lasted, though.
I’ve been to the Egyptian Museum in Cairo and seen the Pharaonic treasures, the mummies, all the different sarcophagus’ Tutankhamen was found in...they are HUGE. It’s all pretty fascinating...
An article about Sutton Hoo in Sapiens magazine. Sutton Hoo's Story Goes Deeper Than _The Dig_ By Martin Carver I first saw the Sutton Hoo burial mounds in 1982. They lay in an English field overlooking the River Deben, overgrown with bracken and overrun with rabbits. As an archaeologist, I knew a little bit about them-enough to feel a burn of excitement plus a twinge of sadness at the state they were in. The next day I put in my application to be the director of a new excavation campaign there: I resolved to solve the mystery of the mounds and make the site into a monument we could be proud of. The place had sprung to fame 43 years earlier, just before I was born, through the surprising discovery of a buried ship under the biggest mound. It was the size of a large yacht (27 meters long). Along with it, archaeologists found a resplendent treasure, with an artistry and wealth unparalleled in England. There were objects of gold, garnet, silver, and bronze, exquisitely worked with animal patterns, together with fragments of many kinds of textiles, an otter fur cap, and a flowering plant. At one end of the ship were spears and a shield; at the other lay cauldrons for cooking, silver bowls, drinking horns, and wooden bottles for feasting; and in the center rested the sword and harness, purse, and helmet of a dead man, along with a pile of his clothes. He had been a warrior and a leader, a prominent person in a wealthy community of still-pagan North Anglica. This was the discovery celebrated in the recently released film "www.smithsonianmag.com/history/true-history-behind-netflixs-dig-and-sutton-hoo-180976923/">The Dig. The movie tells the story of the excavation, promoted through the initiative of the landowner Edith Pretty (played in the film by Carey Mulligan) and first dug by local excavator Basil Brown (played by Ralph Fiennes). Thanks to some superlative performances, the film offers an irresistible portrait of English society (and its cherished customs) on the brink of World War II. The burial was quickly assigned to a king and, given its location in Suffolk County, to a king of East Anglia. By virtue of the art style, it was placed in the seventh century. The buried man was in all likelihood Raedwald, an Anglo-Saxon who dallied with Christianity and died around A.D. 625. For many, this has remained a sufficient explanation for the Mound 1 treasures, now housed in the British Museum and attracting a wide following. However, just as the character of British society has radically changed since 1939, so has the meaning of Sutton Hoo, thanks to a further 75 years of intensive research. This research-begun after the war and led by the British Museum, now owner of the finds-was naturally focused on the objects excavated in 1939, piecing the fragments together and showing the wide range of contacts of the East Angles: from North Britain to Sweden to France and the Mediterranean. The symbolism in the artifacts showed unmistakably that these people belonged to an extensive pagan community of North Sea and Baltic countries, but there was also some exotic silverware bearing Christian insignia from the Mediterranean. A re-excavation of Mound 1 in the 1960s checked for anything that was missed, and the director, Rupert Bruce-Mitford, gathered all the results into a magnificently detailed "www.amazon.com/Sutton-Hoo-Ship-Burial/dp/0714113484">three-volume account of the dig. By the early 1980s, as this book reached the public, the people who studied early medieval Europe were pressing for new excavations at Sutton Hoo. Some were hoping for more treasures, a sight of other kings, or a new flagship project to preen the nation’s identity. But the mood of the archaeological community had changed: These old ideas were no longer the principal drivers. The new questions were different: What was the ship doing in that spot-why that, why there, why then? What did it signify? It was said to “rewrite history” by shining new light on this particular time and place. Very well. What then was to be the new narrative? These were my thoughts as I received the news that I had won the chance to direct the new campaign, sponsored by the British Museum, the BBC, the Society of Antiquaries of London, and the Suffolk County Council. The results of our 1983-1992 campaign were published in 2005. We began with a survey of the whole site to get an inkling of what remained. We found it contained 18 mounds in total. We chose a crossed-shaped area that contained seven mounds in order to examine how the burial rites had developed through time. All but one had been excavated or damaged before (as we had expected), so we developed many new techniques to squeeze the maximum information from what remained. The upshot was that Sutton Hoo could enjoy a new reality. Our investigation showed that there were actually three cemeteries here: a family burial ground of the sixth century, the elite barrows of the early seventh century (including the ship), and two groups of executions from the eighth through the 11th centuries, featuring the remains of hanged bodies and the postholes of a gallows. There were links between the first two cemeteries: For example, cremations in bronze bowls seen in the first family burial ground were also a theme of mounds 3, 4, 5, and 18, the early burials of the elite cemetery. Mound 17 came next: A man about 25 years old had been laid in a tree-trunk coffin that had curved clasps. He was buried with a sword, shield, spears, a small bronze cooking pot, a picnic of lamb chops-and the ornamental bridle of his horse, which lay in a pit adjacent. He was equipped for his last adventure. These were followed by two ship burials: one with a ship over the burial chamber in Mound 2 (excavated three times before) and the famous Mound 1. The most recent burial was that of a woman in Mound 14 who wore silver ornaments and was probably lying on a couch. The execution burials were laid in one group around Mound 5 and in another on the edge of a thoroughfare running along the ridge beside the mounds. There was no doubt that the victims were intended to be seen by those passing by. These new findings prompted a new view of Mound 1 and its surrounding burials. They could now be seen as a kind of theater in which an Anglian people celebrated the kingdom they were creating through a succession of grand burials that expressed the political aspirations of the day. In the fifth century, immigrants had made their way up the River Deben from North Germany to settle in Suffolk. One hundred years later, the area had become very wealthy-as shown by recent finds at Rendlesham, an Anglo-Saxon palace site farther upriver. The family that had buried its dead on the banks of the river (our first cemetery) had aspired to leadership roles in the late sixth century. In an eventful episode lasting only 50 years, they went on to create the second cemetery-an elite cluster of barrows celebrating their climb to international prominence. The well-preserved Mound 1 and Mound 17 showed that objects had been specially selected to make a statement about the dead: a poem of remembrance constructed in objects. This is how a nonliterate people wrote their histories. We learned that in the Mound 1 burial, the dead man was originally in a large tree-trunk coffin, with a sword and helmet on top and clothes inside it at his feet. It was a piece of theater, leading me to suppose that it was Raedwald’s politically astute wife who had designed it. The message seemed to be: “Times are changing, and we must stand by our people without provoking the Christian alliance that is coming our way.” As we learn from history books, in the late seventh century, East Anglia acquired a series of Christian kings. The executions were mainly those of young men, who presumably failed to conform with the new regime and paid the price: They were denied burial in the churchyard. Instead, they were buried in the company of the once-brilliant leaders of earlier days, who had no written records but who left an indelible mark on the English landscape. Thanks to its previous owner, the site of Sutton Hoo is now in the care of "www.nationaltrust.org.uk/appeal/sutton-hoo-appeal" the National Trust “for everyone, for ever.” The trust has built a splendid onsite museum with heritage lottery funds. "www.culture24.org.uk/history-and-heritage/archaeology/art12007" Opened in 2002 by Nobel laureate Seamus Heaney (an enthusiast for Sutton Hoo), the visitor center attracted a million visitors in its first 10 years. And work goes on-on the Sutton Hoo site, in the region, and across the river, where we are now building a"saxonship.org">full-sized reconstruction of the Mound 1 ship. Each year brings new discoveries of the people who settled in Britain in the fifth century who built Sutton Hoo and became the English. This work first appeared on"www.sapiens.org">SAPIENS under a "creativecommons.org/licenses/by-nd/4.0/">CC BY-ND 4.0 license. Read the original here.
Elewys, this one is fun! I have a question, if I may. Have you ever had threads bleed after weaving a band? Any words of advice on how to counter it? My band, originally purple and white, is now a distinct, though not terrible, purple and pink. I've shed my little tear and moved on, but I'd like to avoid a repeat occurrence if possible. Thanks!
Do you mean after washing? Or while you're working with it? Either way, that sounds like an issue with the yarns you're using, so you'd have to ask the manufacturer. I've never had this problem, personally.
@@elewysoffinchingefeld3066 That's okay, thanks anyway! It was during washing. I used cottolin for the weight of the band I wanted to end up with. I will continue to search for answers, because the band was otherwise really nice. :)
I do a lot of quilting (or I used to...I kind of got sidelined with this weaving thing!) and I found that cotton Batiks were really bad at bleeding. In those cases, it was recommended to pre-wash the fabric in hot-hot water and add a bit of vinegar to set the color. That's harder to do with raw goods, unless you skein it up and soak it in hot-hot water to check for bleeding, then hang to dry. Again, a bit of vinegar can set the color, but that's a lot of work to do before you even warp the loom.
You need to add a spoiler alert ⚠️ before you tell us about a movie! I already watched 👀 The Dig, so you are forgiven. I love your giant tea mugs 🍵 ! You make me want to start weaving!
I'm wondering how long of a ribbon can you do on your loom? And is there a way to make long strips? I'm curious if it could be done. I may be misled by the length I can see on the videos Thank you for the great videos, always a pleasure.
The whole warp is circular, so I weave 5" or so, then loosen the tension and shift the long loop of yarns around the pegs. When I get close to the knotted end--usually the last 8" or so is not weaveable--I cut it off the loom. The full woven piece is 3 3/4 yards long.
I'm not really sure what you mean. I film every part of the weaving from warping cards to weaving the pattern...and sometimes snipping it off the loom, if it goes really fast, but usually it takes a week to finish a project, so I post it before the weaving is done. The only thing I do is switch to my comfy chair for the weaving.
Don't sell yourself short. Time and materials are usually the starting point of any calculation, so if you have $20 in materials into it, that will have to be included. Then time yourself--how long does it take to weave one repeat in the pattern? How long is that repeat? How many repeats per foot? How many feet per piece? Then what is your time worth? $10 an hour? You can look at prices on Etsy, so get an idea what the going rates are, also.
I've dealt with that issue before... whether or not disturbing a grave can ever be clearly defined as a good thing, and it took input from someone else that, as for the ancient Egyptians, their burials were preparations to send them into the afterlife... and by modern day displays of their goods, we are either reminded or introduced to these folks -- giving them new life or extending their life....fulfilling their quest for an afterlife. So, yes, I see a clear difference betwixt robbers and archeology ~ though, I don't personally know any such folk, so I cannot comment one way or tuther what their individual motives were/are. In the end, the philosophy of existence being physical talking folks, or their physical possessions doing the talking for them .... "remember me?"
And... as fate would have it, I stumbled across this (excerpt) less than an hour on a Facebook posting from a month ago: "... When we say "may her memory be for blessing" the blessing we speak of is not "may we remember her fondly" or "may her memory be a blessing to us" the blessing implied is this: May you be like Ruth. Jewish thought teaches us that when a person dies, it is up to those who bear her memory to keep her goodness alive. We do this by remembering her, we do this by speaking her name, we do this by carrying on her legacy. We do this by continuing to pursue justice, righteousness, sustainability. So when you hear us say "May her memory be for blessing" don't hear "It's nice to remember her"-- hear "It's up to us to carry on her legacy." When you hear us say, "She was a Tzaddeket" don't hear "She was a nice person"-- hear "She was a worker of justice." May her memory be for blessing. May her memory be for revolution. May we become a credit to her name. ..."
Hi Elewys I'm back and yes you made me fall in love with weaving.Elewys I'm searching the internet for an Inkle loom Etsy as them around 100 dollars only they ask almost another 100dollars to ship it to me in Holland so not doing that, you talk about small ones can you tell me what they are called.Thank you so much Elewys
A small inkle loom is an inklette. If shipping is a problem, you may want to see if a local woodworker can build one for you, or if there is a weaving store near you that can order one for you. Best of luck!
I was asking how to take an extant piece and analyze it to recreate a written pattern from it. Wouldn't you have to start with counting how many warp threads there are? And how do you do that if it's really fine warp?
There are definitely re-creators that look very closely at extant pieces, counting warp threads, doing test weaves and coming up with different options for how they were created. Microscope photography is often used to get really great close up images to be able to not only count the threads, but to determine the twist of the threads used.
I'm curious how these would have been woven, back in the day, without a printed pattern to work from. Would they have worked from memory, or is there a pattern to the turning forward and backward that can be simplified in some way?
Hard to say. I would imagine they had some way of sharing patterns with others or keeping track of different patterns so you can do them later. If only I had a time machine....
@@elewysoffinchingefeld3066 I tried to think of a way; in this pattern it's really very simple, it's either six forward and six backward or else it's four-two-two-four or two-four-four-two, so it would be easy to have a mental map of the pattern, but it might be easier to have a song or something that keeps you focused (like a sea chanty was supposed to do), or it probably would also be possible just to look at the finished product, know your plan, and know where you want each thread to be going for the next row; that just would take more presence as you're working, and less mindless monotony, lol.
They may have also had some kind of written records that haven't survived, or maybe a written code somewhere that we haven't decifered. I know that in Novgorod, they used birch bark as paper for writing notes.
Who says they didn’t have patterns? Besides which, people had much better memories then because they were used to memorising information.That being said, there’s no reason that they couldn’t have have written “aides de memoire” to assist, so to speak. Also, they were weaving for a purpose, usually for family use. Unless it was a very special piece, no one was going to lose sleep over a mistake here and there, and that’s quite likely how “some” (not all by any means, but some) new patterns developed.....by a Chinese whispers mutation of a mistake in a pattern, that led to another “mistake” thru various weavers, that can eventually lead to an entirely new pattern!
@@catzkeet4860 Are there any surviving examples of a written pattern? I'm thinking it might have been a more vertical pattern, closer to a knitting pattern, with numbers and directional information. It would be difficult to convey all the horizontal information for each row without a grid image like what we're seeing in the present day, and I feel like that would be an excessive amount of information to be keeping on hand in an era where paper and other written media was harder to come by than it is today.
Okay you say the difference between grave robbing and archeology is obvious but I think you're ignoring the imperialist aspects that lead to the same conclusion for both.. Most of the time it is "western" aka capitalist, imperialist nations that go into an occupied area and dig for the sake of "discovering history" but then take everything (including the rights to the excavation site) and put it in a museum that they then make money from so what is the difference at the end of the day. If the digs are happening from British or American governments or institutions there is no way that they're doing it for history and not to make money from it because that is what those nations are based on, exploiting other countries for their own gain. It's almost like a new form of colonialism because they get all of the accolades and credit for discovery, as well as the money from the merchandise and tours and such when they should not have been there at all. If they wanted to do the right thing in the name of history, they would leave everything there and let the country of origin enjoy its own history and benefit from the tourism, recreations for resale, world tours, etc.
This is a very interesting point, but so many changes have taken place since the last century to change the 'imperialist' nature of first-world countries digging things up in third-world countries. Many of the things that were done in decades past is now considered unethical, and some items, like many of the Egyptian finds, are being returned back to Cairo.
Thank you for these videos. You have been my teacher for the last year. I love coming here and your blog space for inspiration.
I’m so excited. It is like magic...watching a bunch of string become a wonderful thing. Just enough time to make a cup of tea before the show starts! Congratulations on your getting close to 20,000 subscribers! Thanks for consistent fun and informative content. It’s not easy!
I can't believe how many subscribers there are! I never dreamed I'd have this many. I was super excited to have 200 follow me. 100 times that...mind boggling! Thanks so much for watching!
Thank you Elewys for another brilliant lesson. Just love watching your videos. They are easy to follow and you explain things so clearly 🙏❤️
I really love the way you explain how to set up the cards and give us a little explanation about the historical background, and yes, we have been almost everywhere.
I'm glad I'm not the only one that watched 'The Dig' for the archaeology and not for the drama.
Not sure if there even is a more clear and comprehensive way to explain this. Got my first loom for my birthday, had no idea how this works before this video, now it's not so intimidating anymore. Thank you so much!!
Dear Elewys
I have learned so much from your enchanting videos, thank you. At my age I didn't think I'd ever be able to manage the thought process to produce such beautiful braids, but I have!
I persisted through some almighty tangles, but can now understand the mechanics of it all and feel that I can almost tackle any design, all thanks to you.
I love the music too, it's very magical and uplifting.
Thank You so much for pronounsing Latvian words & place-names properly! It is so rare that non-Latvian speakers get it right. It is really nice to hear! 😊
I enjoy the archeology leading up to the recreation of the various pieces. Cheers!
Hello Elewys thank you for your prompt response,I bought one Inkle Loom Elewys I couldn't wait, think about nothing else than want to start weaving, starting to think I have been struck by some faery weaving spell, Already have several types of yarn, cotton. The silk * I haven't found it yet, the seller (eowyn )you mention is a bit difficult to find and here in Holland they ask a really high price for silk threads, while I wait for my Loom to arrive I watch you weave, need to learn everything. I'm so excited about its arrival.
I love history and archeology and the history of fiber arts.
Beautiful pattern, I will definitely have a go at this one. Thanks for your cheery videos, I’m always delighted with them.
I find archaeology fascinating...just because it makes these people ...real. Roots of our past.
A particularly nice pattern. I like the visual simplicity of the design.
I love your tutorials and weave-alongs. Thank you so much, as always! Will definitely add this pattern to my to-weave list.
my loom got here today... now just have to wait for the cards (which actually should have arrived prior to the loom!) and i'm off to the races! can't wait to get started ~ you are such an inspiration!!! thanks
Love 💕 this pattern! Thank you. So informative and clear directions. Always love watching your videos.
I showed the to The Man About the Place. He has chosen it for the dog leash for his new puppy arriving in late spring. Thank you for all your clear videos and encouragement.
Much archeology is done now to preserve history before the site is lost due to construction.
I saw the King Tut exhibit when it was in town too, and the main thing I remember was how I could NOT get over how beautiful the gold was. It looked less yellow than gold I see today, and it really looked a little coppery or something. And I just keep forgetting how skilled and artistic the ancients were - I never seem to recall when I need it the fact that they were just as intelligent and creative as humans are today.
I'm spending almost the entire intro pausing and gaping at the beautiful treasures all these people made. So gorgeous!
Similarly, I went to the Seattle Art Museum where they have a long-term Medieval art exhibit--it's been there for a couple years, at least. The gold on the extant pieces is so much brighter than what you get when you photograph it. It's luxurious! Maybe someday I'll have a small trinket box to put my SCA regalia in that is painted with gold details.
Thanks for the video! And thanks for the tip about the movie! I'll definitely watch that tonight. I'm sort of a history enthusiast too and when there's textiles involved, all the more interesting!
Your freaking delightful! 💙
They are still making discoveries about the Sutton Hoo burial, and with the work Kent Weeks was/is doing in the Valley of the Kings in Egypt with mapping the tombs we are STILL learning about the ancient egyptian Kings, the society that created them and the world they lived in.These people buried important people with grave goods etc so one can surmise that remembering them was important. I can’t imagine that any of those people would have believed that their peoples, their art and their dead would still be being discussed and spoken of, so many years into their future, but I’m sure they would like the idea. Also for women in particular, they often didn’t have a historical voice, but graves can teach us about their lives, and what was precious to them, and the contributions they made to their societies. Textiles in particular are “women’s work”, and it’s great to see the investigations into archaeological textile remains.
Sorry to double dip but you slipped into my dreams last night. When I woke up I had an image of Elewys of Finchingefeld woven in a band and rolling through the loom. Sort of like words scrolling along the bottom of a tv screen. I’ve never attempted tablet weaving but have worked with basic grid patterns in the past and seeing your skill set am sure you could create a pattern if you like the idea. It could also get the please like and subscribe message across without having to say it. I’ve just created my channel and have been trying to come up with creative ways to express these things to my viewers in a fun way. Thanks again for all the great content and inspiration.
I love your videos, they got me interested in tablet weaving. I hope to try it one day.
Beautiful!
Have you shown (or could you show): Once you have a nice long weave. Where/how do you cut it if you are going to use it as trim on a garment?
That might be a while. Usually what I do is cut it about 1/2" longer than I need and fold the end under, stitching both sides and ends down on the garment.
@@elewysoffinchingefeld3066 ;) I've been interested in in this type of weaving for a long time. But I'm a practical/utilitarian maker and not a reenactor. But I see "uses" :) that are very cool. And "as yet" not a sewer. So how you put what you make to use is very helpful to me and many others.
Have you seen the 10 Things video that I did a few months ago? That might spark some ideas.
Thank you for a very interesting talk about archeology and the pattern. I’m a huge history fan (Time Team fan since the early 2000’s). Digging, which is destruction of the archeology, is usually done more for rescue than just investigation. I hope the snows are not too deep or cold in Washington State.
Another pattern to learn! Just need to finish the one currently on the loom...😀😂😂😀
I was an anthropology minor in college, so I'm all about preserving for the future! We got about 10" of snow at my place and it's almost all melted now. It was nice while it lasted, though.
Omg, I’m a couple videos into your channel and only just realised it’s ‘s’ and ‘z’ because that’s the shape it makes lol
I’ve been to the Egyptian Museum in Cairo and seen the Pharaonic treasures, the mummies, all the different sarcophagus’ Tutankhamen was found in...they are HUGE. It’s all pretty fascinating...
I am here!! Whoo hoo!
Also, living civilization continues to move on, graves are a snapshot in time.
An article about Sutton Hoo in Sapiens magazine.
Sutton Hoo's Story Goes Deeper Than _The Dig_
By Martin Carver
I first saw the Sutton Hoo burial mounds in 1982. They lay in an English field overlooking the River Deben, overgrown with bracken and overrun with rabbits. As an archaeologist, I knew a little bit about them-enough to feel a burn of excitement plus a twinge of sadness at the state they were in. The next day I put in my application to be the director of a new excavation campaign there: I resolved to solve the mystery of the mounds and make the site into a monument we could be proud of.
The place had sprung to fame 43 years earlier, just before I was born, through the surprising discovery of a buried ship under the biggest mound. It was the size of a large yacht (27 meters long). Along with it, archaeologists found a resplendent treasure, with an artistry and wealth unparalleled in England. There were objects of gold, garnet, silver, and bronze, exquisitely worked with animal patterns, together with fragments of many kinds of textiles, an otter fur cap, and a flowering plant. At one end of the ship were spears and a shield; at the other lay cauldrons for cooking, silver bowls, drinking horns, and wooden bottles for feasting; and in the center rested the sword and harness, purse, and helmet of a dead man, along with a pile of his clothes. He had been a warrior and a leader, a prominent person in a wealthy community of still-pagan North Anglica.
This was the discovery celebrated in the recently released film "www.smithsonianmag.com/history/true-history-behind-netflixs-dig-and-sutton-hoo-180976923/">The Dig. The movie tells the story of the excavation, promoted through the initiative of the landowner Edith Pretty (played in the film by Carey Mulligan) and first dug by local excavator Basil Brown (played by Ralph Fiennes). Thanks to some superlative performances, the film offers an irresistible portrait of English society (and its cherished customs) on the brink of World War II.
The burial was quickly assigned to a king and, given its location in Suffolk County, to a king of East Anglia. By virtue of the art style, it was placed in the seventh century. The buried man was in all likelihood Raedwald, an Anglo-Saxon who dallied with Christianity and died around A.D. 625. For many, this has remained a sufficient explanation for the Mound 1 treasures, now housed in the British Museum and attracting a wide following.
However, just as the character of British society has radically changed since 1939, so has the meaning of Sutton Hoo, thanks to a further 75 years of intensive research.
This research-begun after the war and led by the British Museum, now owner of the finds-was naturally focused on the objects excavated in 1939, piecing the fragments together and showing the wide range of contacts of the East Angles: from North Britain to Sweden to France and the Mediterranean. The symbolism in the artifacts showed unmistakably that these people belonged to an extensive pagan community of North Sea and Baltic countries, but there was also some exotic silverware bearing Christian insignia from the Mediterranean. A re-excavation of Mound 1 in the 1960s checked for anything that was missed, and the director, Rupert Bruce-Mitford, gathered all the results into a magnificently detailed "www.amazon.com/Sutton-Hoo-Ship-Burial/dp/0714113484">three-volume account of the dig.
By the early 1980s, as this book reached the public, the people who studied early medieval Europe were pressing for new excavations at Sutton Hoo. Some were hoping for more treasures, a sight of other kings, or a new flagship project to preen the nation’s identity. But the mood of the archaeological community had changed: These old ideas were no longer the principal drivers.
The new questions were different: What was the ship doing in that spot-why that, why there, why then? What did it signify? It was said to “rewrite history” by shining new light on this particular time and place. Very well. What then was to be the new narrative?
These were my thoughts as I received the news that I had won the chance to direct the new campaign, sponsored by the British Museum, the BBC, the Society of Antiquaries of London, and the Suffolk County Council. The results of our 1983-1992 campaign were published in 2005.
We began with a survey of the whole site to get an inkling of what remained. We found it contained 18 mounds in total. We chose a crossed-shaped area that contained seven mounds in order to examine how the burial rites had developed through time. All but one had been excavated or damaged before (as we had expected), so we developed many new techniques to squeeze the maximum information from what remained.
The upshot was that Sutton Hoo could enjoy a new reality. Our investigation showed that there were actually three cemeteries here: a family burial ground of the sixth century, the elite barrows of the early seventh century (including the ship), and two groups of executions from the eighth through the 11th centuries, featuring the remains of hanged bodies and the postholes of a gallows.
There were links between the first two cemeteries: For example, cremations in bronze bowls seen in the first family burial ground were also a theme of mounds 3, 4, 5, and 18, the early burials of the elite cemetery. Mound 17 came next: A man about 25 years old had been laid in a tree-trunk coffin that had curved clasps. He was buried with a sword, shield, spears, a small bronze cooking pot, a picnic of lamb chops-and the ornamental bridle of his horse, which lay in a pit adjacent. He was equipped for his last adventure.
These were followed by two ship burials: one with a ship over the burial chamber in Mound 2 (excavated three times before) and the famous Mound 1. The most recent burial was that of a woman in Mound 14 who wore silver ornaments and was probably lying on a couch. The execution burials were laid in one group around Mound 5 and in another on the edge of a thoroughfare running along the ridge beside the mounds. There was no doubt that the victims were intended to be seen by those passing by.
These new findings prompted a new view of Mound 1 and its surrounding burials. They could now be seen as a kind of theater in which an Anglian people celebrated the kingdom they were creating through a succession of grand burials that expressed the political aspirations of the day.
In the fifth century, immigrants had made their way up the River Deben from North Germany to settle in Suffolk. One hundred years later, the area had become very wealthy-as shown by recent finds at Rendlesham, an Anglo-Saxon palace site farther upriver. The family that had buried its dead on the banks of the river (our first cemetery) had aspired to leadership roles in the late sixth century. In an eventful episode lasting only 50 years, they went on to create the second cemetery-an elite cluster of barrows celebrating their climb to international prominence.
The well-preserved Mound 1 and Mound 17 showed that objects had been specially selected to make a statement about the dead: a poem of remembrance constructed in objects. This is how a nonliterate people wrote their histories.
We learned that in the Mound 1 burial, the dead man was originally in a large tree-trunk coffin, with a sword and helmet on top and clothes inside it at his feet. It was a piece of theater, leading me to suppose that it was Raedwald’s politically astute wife who had designed it. The message seemed to be: “Times are changing, and we must stand by our people without provoking the Christian alliance that is coming our way.”
As we learn from history books, in the late seventh century, East Anglia acquired a series of Christian kings. The executions were mainly those of young men, who presumably failed to conform with the new regime and paid the price: They were denied burial in the churchyard. Instead, they were buried in the company of the once-brilliant leaders of earlier days, who had no written records but who left an indelible mark on the English landscape.
Thanks to its previous owner, the site of Sutton Hoo is now in the care of "www.nationaltrust.org.uk/appeal/sutton-hoo-appeal" the National Trust “for everyone, for ever.” The trust has built a splendid onsite museum with heritage lottery funds. "www.culture24.org.uk/history-and-heritage/archaeology/art12007" Opened in 2002 by Nobel laureate Seamus Heaney (an enthusiast for Sutton Hoo), the visitor center attracted a million visitors in its first 10 years. And work goes on-on the Sutton Hoo site, in the region, and across the river, where we are now building a"saxonship.org">full-sized reconstruction of the Mound 1 ship. Each year brings new discoveries of the people who settled in Britain in the fifth century who built Sutton Hoo and became the English.
This work first appeared on"www.sapiens.org">SAPIENS under a "creativecommons.org/licenses/by-nd/4.0/">CC BY-ND 4.0 license. Read the original here.
Elewys, this one is fun! I have a question, if I may. Have you ever had threads bleed after weaving a band? Any words of advice on how to counter it? My band, originally purple and white, is now a distinct, though not terrible, purple and pink. I've shed my little tear and moved on, but I'd like to avoid a repeat occurrence if possible. Thanks!
Do you mean after washing? Or while you're working with it? Either way, that sounds like an issue with the yarns you're using, so you'd have to ask the manufacturer. I've never had this problem, personally.
@@elewysoffinchingefeld3066 That's okay, thanks anyway! It was during washing. I used cottolin for the weight of the band I wanted to end up with. I will continue to search for answers, because the band was otherwise really nice. :)
I do a lot of quilting (or I used to...I kind of got sidelined with this weaving thing!) and I found that cotton Batiks were really bad at bleeding. In those cases, it was recommended to pre-wash the fabric in hot-hot water and add a bit of vinegar to set the color. That's harder to do with raw goods, unless you skein it up and soak it in hot-hot water to check for bleeding, then hang to dry. Again, a bit of vinegar can set the color, but that's a lot of work to do before you even warp the loom.
You need to add a spoiler alert ⚠️ before you tell us about a movie! I already watched 👀 The Dig, so you are forgiven. I love your giant tea mugs 🍵 ! You make me want to start weaving!
I'm wondering how long of a ribbon can you do on your loom? And is there a way to make long strips? I'm curious if it could be done. I may be misled by the length I can see on the videos Thank you for the great videos, always a pleasure.
The whole warp is circular, so I weave 5" or so, then loosen the tension and shift the long loop of yarns around the pegs. When I get close to the knotted end--usually the last 8" or so is not weaveable--I cut it off the loom. The full woven piece is 3 3/4 yards long.
@@elewysoffinchingefeld3066 Thank you for clarifying. That is more than I thought.
To be fair, Trimaris does play a major role in the the space program, so there's that... ;)
Could you do a demo how to get from carding up to ready to weave as I can't see how you smooth out the threads. Thank you Gail xx
I'm not really sure what you mean. I film every part of the weaving from warping cards to weaving the pattern...and sometimes snipping it off the loom, if it goes really fast, but usually it takes a week to finish a project, so I post it before the weaving is done. The only thing I do is switch to my comfy chair for the weaving.
very pretty! going to try this one ;o)
Love the pencil idea lol I tried a pattern that didn't use all the holes and was just like screw this crap. I'm going back to a normal pattern XD
You’ve mentioned that you sell some of your finished pieces. Do you have any advice on pricing and selling weaving and other handcrafts?
Don't sell yourself short. Time and materials are usually the starting point of any calculation, so if you have $20 in materials into it, that will have to be included. Then time yourself--how long does it take to weave one repeat in the pattern? How long is that repeat? How many repeats per foot? How many feet per piece? Then what is your time worth? $10 an hour? You can look at prices on Etsy, so get an idea what the going rates are, also.
I've dealt with that issue before... whether or not disturbing a grave can ever be clearly defined as a good thing, and it took input from someone else that, as for the ancient Egyptians, their burials were preparations to send them into the afterlife... and by modern day displays of their goods, we are either reminded or introduced to these folks -- giving them new life or extending their life....fulfilling their quest for an afterlife. So, yes, I see a clear difference betwixt robbers and archeology ~ though, I don't personally know any such folk, so I cannot comment one way or tuther what their individual motives were/are. In the end, the philosophy of existence being physical talking folks, or their physical possessions doing the talking for them .... "remember me?"
And... as fate would have it, I stumbled across this (excerpt) less than an hour on a Facebook posting from a month ago:
"...
When we say "may her memory be for blessing" the blessing we speak of is not "may we remember her fondly" or "may her memory be a blessing to us" the blessing implied is this: May you be like Ruth. Jewish thought teaches us that when a person dies, it is up to those who bear her memory to keep her goodness alive. We do this by remembering her, we do this by speaking her name, we do this by carrying on her legacy. We do this by continuing to pursue justice, righteousness, sustainability.
So when you hear us say "May her memory be for blessing" don't hear "It's nice to remember her"-- hear "It's up to us to carry on her legacy." When you hear us say, "She was a Tzaddeket" don't hear "She was a nice person"-- hear "She was a worker of justice."
May her memory be for blessing.
May her memory be for revolution.
May we become a credit to her name.
..."
Oh the woe of living through the Great Antarctica War!!
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Also: is it odd to be knitting something while watching you weave?😉
Not at all odd, no. :D
How do you go about creating your patterns? Do you use a program, or make yours by hand?
I use web-based design software. Link is in the description.
Hi Elewys I'm back and yes you made me fall in love with weaving.Elewys I'm searching the internet for an Inkle loom Etsy as them around 100 dollars only they ask almost another 100dollars to ship it to me in Holland so not doing that, you talk about small ones can you tell me what they are called.Thank you so much Elewys
A small inkle loom is an inklette. If shipping is a problem, you may want to see if a local woodworker can build one for you, or if there is a weaving store near you that can order one for you. Best of luck!
Also, does it ever happen that you might have some of the threads in a given card S-threaded, while others are Z-threaded?
No--if you have both S and Z threaded in the same card, it won't turn.
@@elewysoffinchingefeld3066 I thought it might either do that or else tangle, kk; thanks!
@@elewysoffinchingefeld3066 Oh!!! Ok! That makes more sense now!
I was asking how to take an extant piece and analyze it to recreate a written pattern from it. Wouldn't you have to start with counting how many warp threads there are? And how do you do that if it's really fine warp?
There are definitely re-creators that look very closely at extant pieces, counting warp threads, doing test weaves and coming up with different options for how they were created. Microscope photography is often used to get really great close up images to be able to not only count the threads, but to determine the twist of the threads used.
@@elewysoffinchingefeld3066 Ok, thank you! That helps a lot!
I'm curious how these would have been woven, back in the day, without a printed pattern to work from. Would they have worked from memory, or is there a pattern to the turning forward and backward that can be simplified in some way?
Hard to say. I would imagine they had some way of sharing patterns with others or keeping track of different patterns so you can do them later. If only I had a time machine....
@@elewysoffinchingefeld3066 I tried to think of a way; in this pattern it's really very simple, it's either six forward and six backward or else it's four-two-two-four or two-four-four-two, so it would be easy to have a mental map of the pattern, but it might be easier to have a song or something that keeps you focused (like a sea chanty was supposed to do), or it probably would also be possible just to look at the finished product, know your plan, and know where you want each thread to be going for the next row; that just would take more presence as you're working, and less mindless monotony, lol.
They may have also had some kind of written records that haven't survived, or maybe a written code somewhere that we haven't decifered. I know that in Novgorod, they used birch bark as paper for writing notes.
Who says they didn’t have patterns? Besides which, people had much better memories then because they were used to memorising information.That being said, there’s no reason that they couldn’t have have written “aides de memoire” to assist, so to speak. Also, they were weaving for a purpose, usually for family use. Unless it was a very special piece, no one was going to lose sleep over a mistake here and there, and that’s quite likely how “some” (not all by any means, but some) new patterns developed.....by a Chinese whispers mutation of a mistake in a pattern, that led to another “mistake” thru various weavers, that can eventually lead to an entirely new pattern!
@@catzkeet4860 Are there any surviving examples of a written pattern? I'm thinking it might have been a more vertical pattern, closer to a knitting pattern, with numbers and directional information. It would be difficult to convey all the horizontal information for each row without a grid image like what we're seeing in the present day, and I feel like that would be an excessive amount of information to be keeping on hand in an era where paper and other written media was harder to come by than it is today.
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Do you ever heard of Lielvārdes josta-the belt of Lielvārde in Latvia? Its long and complicated thing. Do a research on Internet,please!
Beautiful! I have added an image of a re-created piece to my Historic Tablet Weaving Pinterest board. I will have to look into it further!
Okay you say the difference between grave robbing and archeology is obvious but I think you're ignoring the imperialist aspects that lead to the same conclusion for both..
Most of the time it is "western" aka capitalist, imperialist nations that go into an occupied area and dig for the sake of "discovering history" but then take everything (including the rights to the excavation site) and put it in a museum that they then make money from so what is the difference at the end of the day. If the digs are happening from British or American governments or institutions there is no way that they're doing it for history and not to make money from it because that is what those nations are based on, exploiting other countries for their own gain. It's almost like a new form of colonialism because they get all of the accolades and credit for discovery, as well as the money from the merchandise and tours and such when they should not have been there at all.
If they wanted to do the right thing in the name of history, they would leave everything there and let the country of origin enjoy its own history and benefit from the tourism, recreations for resale, world tours, etc.
This is a very interesting point, but so many changes have taken place since the last century to change the 'imperialist' nature of first-world countries digging things up in third-world countries. Many of the things that were done in decades past is now considered unethical, and some items, like many of the Egyptian finds, are being returned back to Cairo.