PART II
WEAVING CENTER IDEAS AND RESOURCES
Weaving centers connect to a number of curriculum areas in the classroom. They build
knowledge, skills and creative dispositions while examining ideas about the function,
artistry, design, environment, and identity of weavers and cultures. Learner’s explore the
range of ancient and time honored traditions to more contemporary ones. They come to
understand the weaving process and designs from various cultures, and different
materials and patterns by creating weavings by hand and on simple looms.
Weaving a World: Simple Loom Weaving
Inspired by diverse cultures, students engage in textile
processes, from building a simple loom to a completed hand
woven fabric. Artistic intentionality and craftsmanship are
evident in the choice of textures, pattern, colors, and various
textile techniques.
 Constructing a Loom
 First People: Nature’s Gift – North America
 The Silk Road: A 7,000 mile trek - Asia
 Common Threads: Weaving a World
 Andean Tunics – South America
 Kente Cloth: An African story
 Kuba Cloth: Weaving Abstractions - Africa
 Contemporary Circles
 Wrapping and Weaving: Sheila Hicks
WEAVING A WORLD:
Simple Loom Weaving
These centers, inspired by weavings from diverse cultures, engages students in the
weaving sequence, from building a simple loom to a completed hand woven fabric.
Artistic intentionality and craftsmanship are evident in their choice of textures,
pattern, colors, and various weaving techniques.
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Building a Loom
First People: Nature’s Gift
The Silk Road: A 7,000 mile trek
Common Threads: Weaving a World
Andean Tunics
Kente Cloth: An African story
Kuba Cloth: Weaving Abstractions
Contemporary Circles
Wrapping and Weaving; Shiela Hicks
WEAVING A WORLD
From the age of bronze
To the age of space,
From Ankara to Zanzibar,
In every time, in every place,
Whenever thinking people are,
The weaver’s craft is found.
For weaving is A common joy,
A people’s art
All peoples did and do –
In ancient times and new.
The loom connects us all
In a community
Of cloth.
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Aneesa Lee and the Weaver’s Gift by Nikki Grimes
BULIDING A LOOM
Creating the LOOM
1. Draw a pencil line ½” from the top and bottom edge
2. Make marks by measuring no less than 1/4 “ across top and bottom of mat board from the
same side.
3. Cut notches at each measure mark down to the pencil line
Warping the LOOM
4. Warp the loom using warping cotton in either way -- all the way around (fringe method) or
by going in and around the notches (non-fringe).
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FIRST PEOPLE: Nature’s Designs and Colors
Materials:
Books:
Duncan, L. (1996). The magic of spider woman. NY: Scholastic.
Dunn, H. (1973). Indians of Nevada. Nevada Department of Education.
Grossman, V. & Long, S. Ten little Indians. San Francisco: Chronicle Books.
Miles. M. (1971). Annie and the Old One. Boston: Little, Brown.
LOOK AND WONDER
LOOK at the artifacts and art references about Native American Weavings.
Examine closely the various patterns and colors.
WONDER about the similarities and differences in the patterns. Could they mean
something special to each people?
GATHER AND EXPLORE
GATHER ideas about the various patterns by looking at the pattern cards. Select the
resources and materials you will need to recreate a Native American design.
EXPLORE by making your Loom first.
POSE – Consider your color choices and chose 3-5 colors. Will they represent nature? Will
they be symbolic, related to something in your life?
Color
Meaning for Native Americans
Black
Blue
Green
Red
White
Yellow
night, underworld, male, cold, disease, death
sky, water, female, clouds, lightning, moon, thunder, sadness
plant life, earth, summer, rain
wounds, sunset, thunder, blood, earth, war, day
winter, death, snow
sunshine, day, dawn
http://nevadaculture.org/index.php?option=com_content&task=view&id=1102&Itemid=27
COMPOSE AND CRAFT
COMPOSE your design, by thinking about your pattern. What will repeat? Will you include
other shapes?
CRAFT – Be thoughtful about your craftsmanship in creating your Native American
weaving. Take care to not pull the weft threads too tight! Keep the weaving parallel on
your loom.
PRODUCE AND REFLECT
SHARE - remove the weaving from the loom and tie off warp and tuck in the tails.
Include the loom and the weaving in your Weaving Book.
REFLECT upon your inspiration for your weaving. Write a sentence or two about your
artistic decision making.
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THE SILK ROAD: A 7,000 mile trek
Materials: Piece of Felt, Silk, Roving, Yarn, Felting Needle (SAFETY), Foam, Silk Road map
Websites: Am. Museum of Natural History http://www.amnh.org/exhibitions/silkroad/
Books: Secrets of the Silk Road. (2010). Santa Ana, CA: Bowers Museum.
Gilchrist, C. (1997). Stories from the Silk Road. Cambridge, MA: Barefoot Books.
Gunderson, J. (2009). Stranger on the Silk Road. Minneapolis, MN: Picture Window Books
Hong, L. T. (1995). The empress and the silkworm. Morton Grove, IL: Albert Whitman & Co.
Johnson, S. A. (1982). Silkworms. Minneapolis, MN: Lerner Publications Co.
Major, J. S. (1995). The silk route: 7,000 miles of history. NYC: HarperCollins Publisher
Mortenson, G. and Roth, Susan L. (2009). Listen to the Wind. NYC: Penguin Group.
Noyes, D.(2007). Red Butterfly. Cambridge, MA: Candlewick Press.
LOOK AND WONDER
WONDER - What were the paths, purposes, and perils on the Silk Road? Why was
weaving an essential part of the Silk Road history? How are the economy, geography,
resources, and beliefs reflected in one’s art?
LOOK – People have been making twisted fiber string and weavings for more than
25,000 years. Examine the textiles found along the silk route in Secrets of the Silk Road.
How did they create such beautiful fabrics so long ago? How were they used?
GATHER AND EXPLORE
GATHER – Select various small samples of roving. Do they feel warm in your hands?
EXPLORE – How is this similar and different than the silk fibers in the scarf?
POSE – Find out the Chinese folktale of the amazing silkworm? How is silk made?
COMPOSE AND CRAFT
COMPOSE – Arrange small colors of roving on a piece of felt creating a composition. Be
sure to insert the needle directly up and down and not tilted to the side or it may bend or
break. Felting needles are very sharp. Watch what you are doing at all times.
CRAFT - Punch the felt to create a design, working with a felting needle on a piece of
styrofoam. Add inlays to make it visually interesting. Are you making the fabric warmer
and more aesthetically pleasing? Add to your weaving book documentation
PRODUCE AND REFLECT
REFLECT - How are the economy, geography, resources,
and beliefs are reflected in one’s art? What is the
relationship between Art & Society?
SHARE – View one of the websites below. Consider the
impact a teacher can make in the lives of children locally
or globally. Share what you can do to make a difference?
http://blinknow.org/about-maggie-doyne/
http://www.threecupsoftea.com/greg-mortenson-bio-and-professional-photo/
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COMMON THREADS: The textile Museum
Materials: Compare and Contrast Handout, Boxes, Weaving warp and yarns, Needle
Books:
Crandell. R. (2002). Hands of the maya: Villagers at work and play. New York: Henry Holt
and Company.
Grimes. N. (1999). Aneesa Lee and the weaver’s gift. New York: Lothrop, Lee & Shepard Books.
Sola, M. (1997). Angela weaves a dream: The story of a young maya artist. New York:
Hyperion books for children.
LOOK AND WONDER
LOOK – Visit the Textile Museum on-line and View Common Threads interactive website
http://www.textilemuseum.org/commonthreads/commonthreads.htm
WONDER – What is common about weavings across the world? How might they be
different? What does the environment have to do with weaving?
GATHER AND EXPLORE
GATHER – ideas about the two weavings from Guatamala and Bhutan from website
EXPLORE their creative expression and traditions by filling in the Compare and Contrast
Chart about the two Weavings
POSE – Which one of these weavings would I like to recreate?
COMPOSE AND CRAFT
COMPOSE – Begin your weaving by creating Box loom or use a matboard loom and draw
a design to slip underneath the warp.
Select the colors and consider the design of your weaving
CRAFT your skills as complete your weaving on a box loom or with a drawn design.
PRODUCE AND REFLECT
SHARE your weaving in its final form in Weaving book.
Take a picture of the box loom before you remove the weaving and add that too?
Include your drawn design if you made one.
REFLECT upon what you learned about the two cultures as you worked. Write a short
paragraph about the tradition you chose.
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THE ANDREAN TUNIC:
Materials: Pre-made cardboard weaving looms, Weaving warp and yarns, Needle
Books: Ancient Peruvian Mantles, 300 B.C.- A.D. 200 by Metropolitan Museum of Art
Meisch, L. A. (ed) (1997) Traditional Textiles of the Andes: Life and Cloth in the Highlands.
Fine Arts Museum of San Franscisco
Related Children’s Books
LOOK AND WONDER
LOOK – Visit Metropolitan Museum Art Past Exhibit: The Andea Tunic 400 BCE-1800 CE
http://www.metmuseum.org/exhibitions/listings/2011/the-andean-tunic-400-bce1800-ce
WONDER – Examine the images on-line or in print. How did they create these beautiful
weavings so long ago? What is the difference between a tunic and a mantle?
GATHER AND EXPLORE
GATHER – ideas about the colors, designs and patterns found in Andean tunics
EXPLORE – by gathering colors and images or symbols that you want to use in your tunic
weaving
POSE – How do you make a SLIT in the weaving and where will it be? Look at the weaving
techniques in your handout.
COMPOSE AND CRAFT
COMPOSE – Begin your weaving by warping a pre-made matboard. Select the colors and
consider the design of your woven tunic.
CRAFT your skills to complete a tunic design incorporating a SLIT in center of the weaving.
PRODUCE AND REFLECT
SHARE your weaving in its final form in Weaving book.
Include your drawn design if you made one.
REFLECT upon what you learned about Andean culture, mantles and tunics and write
about how this simple weaving design as it reflects the people and their culture.
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KENTE CLOTH: The fabric of kings
Materials: Rectangular loom, embroidery cotton, needle, color KEY
Books:
Carle, E. A Very Busy Spider.
Chocolate, D. (). Kente colors. New York: Walker and Company.
Feelings, T. (1972). Moja means one: Swahili counting book. New York: Dial Press
Haley, G. E. (1970). A story, a story. Troll Associates.
Mills, L. (1991). The rag coat. New York: Bantam Doubleday Dell Publishing Group, Inc.
Musgrove, M. The Spider Weaver: The legend of Kente Cloth. Scholastic Books.
Onyefulu, I. (1993/97). A Is For Africa. NYC: Puffin Books.
LOOK AND WONDER
LOOK at Kente weavings and read the Book Kente Colors. Look at the
smooth texture of these weavings and the brilliant colors.
WONDER about how they did these weavings in strips. Look at the
book on the Master weaver of Ghana.
GATHER AND EXPLORE
GATHER a set of colors that could represent things about you and what
you believe. Create a KEY for your colors.
EXPLORE by creating a loom for your Kente weaving.
POSE a possible pattern to follow for your design. Look back at
the Kente Cloth for ideas!
COMPOSE AND CRAFT
COMPOSE your weaving by being mindful about the color
patterns and order of those colors. What is it saying about you
and what you feel is important?
CRAFT – The skills need for weaving a kente are important.
Take your time to develop your consistent over and under
technique. Keep your weaving parallel!
PRODUCE AND REFLECT
SHARE the beautiful Kente weaving in your Weaving Book. Write a description of
what the colors mean to you. Add your color KEY.
REFLECT upon what you learned about Kente cloth including the weaving process and
product?
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KUBA CLOTH: African Abstractions
Materials: Piece of Burlap, Raffia, textile needle
Books:
Weaving Abstractions: Kuba textiles and the woven art of Central Africa. (2011). Washington, DC:
The Textile Museum (exhibit catalogue & handout)
LOOK AND WONDER
LOOK – at the beautiful abstract designs in the two pieces of Kuba cloth. These were
made with a fiberous strand from palm trees called raffia. Run your fingers over the
textiles. What is different between the two? Look closely with a magnifying glass at the
textiles. What techniques were used to weave these fabrics?
WONDER – What were these textiles used for in the Kuba culture/tribes? What do the
shapes symbolize in their work? What types of woven objects did they make?
GATHER AND EXPLORE
GATHER – Ideas for your weaving by looking at the bold graphic designs and patterns in
the Weaving Abstraction Catalogue. EXPLORE a design for your weaving by using a piece
of graph paper to draw out your idea.
POSE – How will you use weaving, cut-pile, appliqué, embroidery or stitching to create
your abstract patterned design?
COMPOSE AND CRAFT
COMPOSE – Begin your Kuba weaving. Be thoughtful of the overall design and patterns
you create. Select the colors and consider the aesthetic operations in your Kuba textile.
Incorporate geometric patterns and decorative techniques to create a strong visual
impact. Which techniques will you be using in your design?
CRAFT your skills in the various techniques as complete your Kuba cloth.
PRODUCE AND REFLECT
SHARE your Kuba Cloth in the Weaving book and identify the techniques you utilized in
making the textile. Include your drawn design.
REFLECT upon what you learned about the Kuba culture and what the uses of Kuba
textiles. How are they used today in our culture?
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CONTEMPORARY WEAVING: Outside the Loom
Materials: Circle, warping cotton, your scissors, tape.
LOOK AND WONDER
LOOK at the Contemporary Weaving concertina book with works by Ted Hallman and
PASELA children at the Banana Factory. Read the Introduction.
WONDER about the type of materials and looms that Ted Hallman used in his weavings
that he found.
What could you use to create a weaving loom or material to weave with from your
environment?
GATHER AND EXPLORE
GATHER materials to make a CIRCLE LOOM.
EXPLORE - You will be leaving your weaving on the loom so
decide if you want a vertical weaving or a circular weaving.
Cut the notches and warp your loom.
POSE – What artistic problem have you already solved?
What new ones will you need to make now?
COMPOSE AND CRAFT
COMPOSE – Begin to plan for your weaving by selecting colors, textures, and fibers and
objects you might want to add to your weaving.
CRAFT – Begin your weaving being mindful of the overall design. Consider the
craftsmanship and the use of aesthetic operations in your weaving.
PRODUCE AND REFLECT
REFLECT – Review the Contemporary Weaving concertina
and reread what Ted Hallman says about his work in his
artist statement.
SHARE - Write an Artist’s Statement to explain your artistic
choices. Were you successful?
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WRAPPING AND WEAVING: Sheila Hicks
Materials: Cardboard loom, Cotton weft, yarns and roving, weaving needle, white glue Books:
Sheila Hicks: 50 years. (2011). Institute of Contemporary Art, University of Pennsylvania. (exhibit
catalogue and images).
LOOK AND WONDER
LOOK – Through the interesting book created for the exhibit Sheila Hicks: 50 years. How
many different kinds of weaving do you see? What is different about these weavings?
WONDER – How did she create some of the large scale weavings? What feeling do you
get from her work over the years? How does she apply the five Aesthetic Operations in
her work?
GATHER AND EXPLORE
GATHER – Look at the different materials at this center. Which
aspect of Sheila Hicks work inspires you? Which of her techniques
(slits, angles, wrapping, twining, twisting, knotting, and
embellishing) can you incorporate into a weaving?
EXPLORE your technique handout and try out the various
techniques you might use to express your creative ideas.
POSE – An interesting weaving problem to solve in your overall
composition.
COMPOSE AND CRAFT
COMPOSE – Begin your weaving and incorporate some of Sheila Hicks technical ideas in
your work. Be thoughtful of the Aesthetic Operations you are using to create a overall
design.
Select an overall color palette to emphasize the techniques.
CRAFT your skills as complete your weaving design.
PRODUCE AND REFLECT
SHARE your weaving in its final form in Weaving book and identify the techniques you
used. What did you learn about contemporary weaving?
REFLECT – An Artist’s Statement: How did you think like an artist in this woven piece?
What did you discover about yourself as a Textile Artist. Use art language. Speak to your
strengths as an artist. Be positive!
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