Baskets? Yes, Baskets!

virgin_islands_national_park__virgin_islands_usSomething happened recently that I’d like to share with you. I’ve decided to change tacks and follow my heart and my gut. Together, Erin Coyle and I have been trying to help others understand the broken health-care system and how to work their way around and through the intricacies of it.  We’ve enjoyed doing it and have even gotten some favorable responses. From time-to-time some of the ideas have shown up as blog posts or as topics on my website: www.imperfecthealthcaremarket.com.

Early in November, I got a call from the St. John Historical Society. They were planning a meeting in December honoring St. John baskets, and they asked me to come down to talk about them. The Virgin Islands, volcanic in origin, rose out of the ocean like mountaintops cropping out of the sea. The two larger ones are St. Thomas and St. Croix. The smallest — St. John — is where I lived for eighteen years. When I first moved there in 1987, I studied St. John basketry. Through basketry, I met Mr. Herman Prince, St. John’s premier basketmaker and basketry teacher. When I told Mr. Prince that I wanted to write an article on St. John baskets, he said, “Before you write an article about baskets and basketry, you

Mr. Herman Prince. St John's premier basketmaker and teacher.
Mr. Herman Prince. St John’s premier basketmaker and teacher. (Picture courtesy of the St. John Historical Society.)

should learn how to make one.” So I took his course at Hawksnest. Not only did I learn how to make a basket, I also learned much about the culture. In 1990, I published a basketry article, entitled, “Basketmaking on the Island of St. John,” in The Clarion, the magazine of The Museum of American Folk Art. My interest in basketry didn’t end there; during my 18 years on St. John, I collected more than 25 baskets, many made by preeminent St. John basketmakers.

The phone call from the St. John Historical Society got me thinking. Sometime in late November, I pulled the collection of baskets out of the attic, looked them over, and realized how special and beautiful they are. Five of Mr. Prince’s baskets arein my collection, as well as others from St. John basketmakers such as Louise Sewer; her daughter, Lorrel; Victor Sewer; Felicia Martin; and Ina George. I also own a basket made by renowned basketmaker Jackie Abrams, who visited St. John in 1993-94.

Looking over my baskets, I thought, “Wow – some of these baskets really are fine art.”

Unbeknownst to me at the time, the Renwick Gallery of the Smithsonian American Art Museum had just launched a basketry exhibit: “A Measure of the Earth: The Cole-Ware Collection of American Baskets” on display from October 4, 2013 to December 8, 2013. Looking over the catalog, I realized that one of the 63 baskets in the exhibit was made by my old friend and teacher, Herman Prince! His “St. John Market Basket” was in the exhibit and is now part of the Smithsonian’s permanent collection; you can see it on the exhibit’s website and on page 144 of the show catalog. One of Jackie Abrams’ baskets was also in the exhibit as part of the Cole-Ware Collection.

I began to really think about my time on St. John, especially the time I spent with the basketmakers. Many basketmakers that I knew, including Mr. Prince, have already died. I quickly realized that if I don’t tell the stories about them, valuable information about the basketmakers and the baskets will be lost, forever.

Preserving the collection – and the stories that go with it – is important not only so people can learn about St. Johnian basketry and its relationship to the culture; it can even preserve and pass on the art of basketry itself. One of the baskets in

Mr. Herman Prince's, St. John Market Basket.
Mr. Herman Prince’s, St. John Market Basket.

the collection is a miniature St. John basket with a cover, made by Ms. Lorrel Sewer. She learned basketmaking – the form called wist work – from her mother, a premier basketmaker in her own right. Ms. Lorrel gave me the basket for the collection in 2000. A number of years later, I got a call from her asking if I would be willing to send it back to her. She wanted to make another one, but she had forgotten how to make the cover.

Ms. Lorrel had lost that skill, and there were no other basketmakers alive to teach her. Because I had preserved the basket by keeping it as part of the collection, she was able to re-learn how to make a basket cover by studying her own work!

So what I’ve decided to do is to make a video that documents my collection of baskets. It will bring the baskets and their history to light and to life. It will honor the basketmakers who came from the small, isolated island community of St. John. I want to help tell the story of how they raised the level of the baskets they produced to museum-quality fine art. I want to make sure that the stories, memories, and culture of these beautiful people will not be lost! I plan to donate the video and  all of the baskets in the collection to the St. John Historical Society. I want to honor the makers and help preserve their stories and culture for future generations of historians, visitors and viewers.

In short, I have decided to follow my true passion. For now, the other important things we have to offer will just have to wait.

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Seeing Some Shelters and Clothing as Fine Art and Fine Craft

yurt
Kyrgyz Yurt, Afghanistan
Photograph by Mattieu Paley, National Geographic
Blanket-draped yaks hunker down outside a young Kyrgyz couple’s yurt on the eve of a summer trading journey. Made of interlaced poles covered with felt, these portable homes are packed up and reassembled for seasonal migration. Wooden doors are imported to the treeless plateau from lower altitudes.

Think of shelters and clothing as art. Some of them are really fine, museum quality art.

At that level each is a masterpiece of achievement. The artist –whomever he or she was –stepped up and used their creative imagination and fine skills to produce a functional and beautiful structure or fine piece of clothing. They accomplished that in spite of the fact that they were constrained by the technology and tools of the time and the materials and resources that they had at hand. Most of the materials were local, some were traded for. Each piece — each fine work of art — came into being as a result of their skill and their creativity using the materials they had available. Furthermore, each artist had a deep understanding and respect for the materials they used. Let’s look at some examples from that perspective.

Having seen them, ideally what would you like to know about each of them? The answer is simple. It would be the information provided for any piece on display at a museum. That includes: