quiltersmuse.com Blog

The quilt block images on the cover of this book, Jubilee, are derived from a highly-valued, African-American made quilt that is now owned by the Slave Relics Museum. The Slave Relics Museum is located at 208 Carn St., Walterboro, SC 29488; telephone:
(843) 549-9130.

An African-American made quilt, formerly owned by Mr. Polk who died in 1864, was appraised by Nancy Druckman on the Antiques Roadshow program. This quilt is believed to date from 1825-1830. An estate inventory lists Polk’s slaves, as well as his household goods. Druckman set an appraisal value for the quilt at between $40,000 and $60,000, at the time she viewed it.

Roadshow Archive

The remarkable book that presents some of the quilt blocks on its cover is titled, Jubilee: The Emergence of African-American Culture – The Schomburg Center for Research in Black Culture: The New York Public Library. This hard-cover volume was published by National Geographic, Washington, D.C. and is the result of work done by Howard Dodson with Amiri Baraka, Gail Buckley, John Hope Franklin, Henry Louis Gates, Jr., Annette Gordon-Reed, and Gayraud S. Wilmore.

With 224 pages, the book follows through on its promise to chronicle “the true nature and impact of 300 years of slavery in America.” Quilters will be pleased to see Harriet Powers’ quilt included, as well as an image that depicts a slave in chains, the same one that appears on a number of 19th century quilts. The book’s ISBN number is 0-7922-6982-9 (hc)

Right now, in my home state, Dr. David Watters, an English professor at the University of New Hampshire, who has a strong interest in history, is attempting to spearhead a legislative action that would place a tribute memorial to all the former slaves in New Hampshire, as well as to document all of them. See the Concord Monitor article that describes Watters’ efforts.

They say, “Don’t judge a book by its cover.” In this case, “they” are wrong. This is a quality book, through and through, from its high level of scholarship to its fabulous photos. One feature I love about this book is that when the dust cover is removed, the outlines of all the quilt blocks appear, in Black on a lighter Black background.

Anyone who hopes to better understand African-American Culture should have a copy of this book in his or her own library. Don’t let this one get away!

Patricia Cummings
Quilter’s Muse Publications

I have been aware of the Gollywog doll and its history for a number of years now. My doll was ordered from England, where they are still made and are popular, apparently. At the time I sent for one, I did not realize that there were any racial slurs attached to it. I’m not sure how I might have missed that fact. The doll’s image is still located in one of my related files online: African and African-Inspired Textiles.

This morning, I stumbled upon three interesting links:

1) http://www.gollyville.com/story.htm

2) A quilt named “Gollyville One,” which won a blue ribbon at the Pacific International Quilt Festival and has the same design as the “Gollyville 1 kit” sold by gollyville.com

3) Gollyville 1

The quilt, #1028, that won a prize for “Best Hand Workmanship” was made by Ruth DeBord and Wendy Reyes. The quilt was made from a kit that originated in Australia where Golliwog dolls are popular and are not meant to be derisive. To those who speak the King’s English, a “wog” is anyone of color: an Egyptian, an Indian, etc. You get the picture.

I would like you to think about this topic. When we make drawn caricatures or dolls that overexaggerate the physical characteristics of other humans, such as the emphasis on large lips, or curly hair, or skin color, does that always constitute racism or just poor taste? When, if ever, is that practice acceptable?

A second question is this: Should quilt judges award blue ribbons to quilts that are done perfectly, but carry a message that is contrary to acceptable and ethical social responsibility? In other words, is perfect appliqué more important than the message a quilt conveys, one that could be offensive to many others?

These are just words for thought on this dreary, rainy day. You would probably enjoy reading the file I prepared about “Mammy Quilts and other Black Memorabilia”, as well as the opinions of Dr. David Pilgrim, an African-American who finds many (most?) of these kinds of collectibles to be degrading and humiliating.

Touchy subject, I know. All comments welcome.

Patricia Cummings, pat@quiltersmuse.com
Quilter’s Muse Publications

A very important presentation will be given by Raymond Dobard, Jr., Ph.D. of Howard University on October 27, 2009 at 7 p.m. at the Calvert Library, Prince Frederick, Maryland. Again, he will be addressing the “secret quilt code,” the theme of his 1999 book, Hidden in Plain View, a book that has been highly disputed. He is now calling it “The Charleston Code.”

Is calling “the secret quilt code” the “Charleston Code” an attempt to confuse the enemy? Hmmm …

Initially, Raymond Dobard, Jr., Ph.D. (Art History professor), deemed his connections between slave escapes and quilts/quilt blocks to be “pure conjecture.” As time went on, Dobard appeared to become more defensive of his theories.

His thoughts were derived from the testimony of the late Ozella McDaniel Williams, as shared by his co-author, Jacqueline Tobin who interviewed Williams. Tobin teaches creative writing classes for women, last I had heard.

Dobard came under heavy fire for information that other scholars feel is not true. There are many reasons for this disagreement. I have written and published a number of articles on this topic, which are available to read/ and hear on our website.

One main reason for objections is the time frame in which certain quilt blocks are known to have been first made. The theory simply does not jibe with known information. To date, there is no supporting evidence, from any source, for the verbal secret quilt code that was provided to co-author, Jacqueline Tobin.

Many more details are provided in what I have already written, so please visit my website, if you are interested in this topic.

One of Dobard’s greatest detractors was the late Giles Wright, a Black scholar who poked holes in the argument. There was a lot of “chatter” among historians. I publicly disputed the faulty conclusions of the book in one newspaper article of more than 4,000 words, and in two lengthy magazine articles.

The pity of the misinformation or misinterpretation of the secret quilt code is that is has been used in school curriculum plans to develop teaching modules for “Black History.”

This is an attempt to fill a niche need to envelope racial differences and make History more appealing and pleasant. This type of revisionist history is dangerous because it does not acknowledge the truth of what actually happened.

It is ridiculous that children are being forced to memorize the secret quilt code of Ozella. In addition, children are being urged to re-create certain quilt blocks and memorize their “meaning.” The teaching of malarkey is not teaching anyone anything. Instead, it is an insult to the minorities it hopes to serve.

Charleston, South Carolina is the location where Tobin first met and spoke with the elderly and dying Mrs. Williams, an Black woman who graduated from Howard University and held a law degree. Ozella was selling quilts in a marketplace and Jacqueline Tobin returned, year after year, to finally be given the whole “secret quilt code,” not that the code was lengthy.

This new talk is an interesting development. I’d love to hear it. Most of the people I know who are deeply interested in quilt history just want to move on. I will go out on a limb and say that I, and they, are tired of the rehash of misstatements by those who are not dedicated historians/or quilt historians/ or scholars.

Like influenza, bedbugs, or annoying people, we wish that the “secret quilt code” would just go away. Alas, it seems to be about to get a new injection, making it last a little longer.

Read the Baynet story

Patricia Cummings
Quilter’s Muse Publications

The UPS truck pulled up in front of the house, and I merrily opened the door, thinking that perhaps my new sneakers had arrived, although I would have been surprised at 2nd day delivery. Instead, the truck driver handed me a heavy package from Bob Jones University Press.

Hurriedly, but carefully, I opened the package, only to find that it contained a copy of The American Republic, Third Edition, that features a photo of the Harriet Wilson statue in our home state of New Hampshire. (See page 259). This 606 page textbook is a remarkable compilation of facts and photos about American History that have been gathered together by Rachel C. Larson, Ph.D.

On days like this, I so proud of Jim and all of his photography work, especially as they complement my writings, on the web, and in print, making them come alive! His photos have been featured in a number of other books, but the thrill does not go away.

The other book published this summer that utilized one of Jim’s photos is called, Dolls Remembered, by Madonna Dries Christensen, for which I contributed a story. (Proceeds from that book go to a program for Down’s Syndrome disabled youngsters, in Virginia.)

This most recently published photo depicts a statue that is a tribute to a poor indentured slave whose book, Our Nig, is considered to be the first African-American novel written by a woman. The book contains scenes that are believed to represent true experiences of the author, a mulatto woman. A Boston sculptor created the statue, based on Harriet Wilson’s descriptions of herself. No photos of her are known to exist.

I think that I am in love with this new History textbook, dated 2010! It is wonderful!

Jim’s photo honors the struggle of one of our Black sisters who served as an indentured servant and underwent many abuses in the household in which she found herself. Read more about Harriet Wilson on our main website.

Patricia Cummings

FOR IMMEDIATE RELEASE

Four Quilt Kits and 19 Solid Fabrics Available at Retailers Worldwide in November 2009

GEE’S BEND, AL – (September 23, 2009) – Just in time for the holiday season Gee’s Bend and Baum Textiles/Windham Fabrics announce a partnership to present four quilt kits and 19 Gee’s Bend solids. The kits and solids will be shipping to quilt stores worldwide in November 2009. The quilt kits include instructions, fabric for the quilt tops and binding; batting, backing; thread, needles, and thimble are additional. The suggested retail price for the quilt kits is $60 to $70 and the suggested retail price for Gee’s Bend Solids is $9/yard. For a full list of colors, kits and retailers please visit Baum Textile or Windham Fabrics.

Based on designs by acclaimed Gee’s Bend Quilters, Mary Lee Bendolph, Mary L. Bennett, Qunnie Pettway and Rita Mae Pettway, Windham Fabrics encourages “every quilter to be inspired by the vision and courage of these modern quilting pioneers.” The four quilters will share a percentage of the royalties with The Gee’s Bend Quilters Collective and The Gee’s Bend Foundation.

According to Windham, “We have recreated the genius that this group of quilters in rural Alabama has made famous. Every bit of the distinctive style that has made these remarkable quilts come alive is now available in a kit from Windham Fabrics.”

The Strips and Strings quilt kit is based on Mary Lee Bendolph’s design of that name. The manufacturer’s style is #30552 and the final quilt measures 75” x 50”. Mrs. Bendolph (b. 1935), the 7th of 17 children, descends from generations of accomplished quilt makers. She learned to quilt from her mother, Aolar Mosely and a network of aunts and female in-laws. She worked in the Alabama fields and attended school intermittently until she was 14, when she began her own family. Bendolph was one of many Gee’s Benders who accompanied Martin Luther King Jr. in his march at Camden, AL in 1965. Her quilt making style marries a flair for improvisation to traditional construction techniques that emphasize rectangles and squares. Her minimalist patches, small compositions of cloth, build to create intricate overall compositions that contain humorous touches and autobiographical references.

Housetop 4-Block Variation is 57” x 65” and styled after the work by the same name by Mary L. Bennett – manufacturers style #30550. Mrs. Bennett (b. 1942), granddaughter of Delia Bennett (1892-1976) ancestor of many quilt makers in Gee’s Bend. Mary L. Bennett pieces primarily “Housetop” and “Bricklayer” compositions and imaginative variations on them.

“I was born down here in Brown Quarters and got raised by my grandmother. I started out working in the fields for my uncle Stalling Bennett. I didn’t get no schooling – every now and then a day here and there. Didn’t nobody teach me to make quilts. I just learned it by myself, about 12 or 13. I was seeing my grandmama piecing it up, and then I start. I just taken me some pieces and put it together, piece them up till they look like I want them to look. That’s all,” states Mary L. Bennett.

Lazy Gal Variation, based on the design of the same name by Qunnie Pettway measures 52 “x 62” – manufacturers style #30549. Mrs. Pettway (b. 1943) is the great-granddaughter of Dinah Miller who is said to have arrived in the United States aboard a slave ship from Africa, the “Clotilde” that docked in Mobile Bay, Alabama prior to the Civil War. Qunnie learned to quilt House Tops under the tutelage of her mother, Candis Pettway. After she married in 1960, she found her unique artistic voice and began making patterned quilts including Wedding Ring, (which she learned from her sister), Chestnut Bud, Bear Paw and Crazy Z. Qunnie’s daughter, Loretta P. Bennett is one of the youngest quilters actively creating extraordinary quilts today.

Housetop, measuring 52” x 64” is based on the same titled design by Rita Mae Pettway – manufacturer’s style #30551. Mrs. Pettway (b. 1941) made her first quilt at the age of 14. She was raised by her grandmother, quiltmaker Annie E. Pettway, and still lives in the house that her grandfather built for the family in the 1940s.

Rita Mae says, “Onliest thing we did after everything else was done, we sit by the fireplace in the wintertime and piece up quilts. Me and my grandmama Annie. She didn’t have no pattern to go by; she just cut them by the way she know how to make them.”

Piecing quilts, according to Rita Mae, was done individually but quilting “we all did together.” Rita Mae, along with her ancestors and her daughter, renowned quilter Louisiana Bendolph share a penchant for creating strip quilts in concentric squares resulting in Housetops or Hog Pens, each artist though has a unique style and variation on the theme.

About the Gee’s Bend Quilters

Gee’s Bend, a miniscule rural community, is nestled into a curve in the Alabama River southwest of Selma, Alabama. Founded in antebellum times on the site of cotton plantations owned by Joseph Gee, the town’s women developed a distinctive, bold, and sophisticated quilting style with a geometric simplicity reminiscent of Modern Art. The women of Gee’s Bend passed their skills and aesthetic down through multiple generations to the present and in 2002, an exhibition of 70 quilt masterpieces from the Bend, organized by Tinwood Alliance of Atlanta, Georgia, premiered at the Museum of Fine Arts in Houston. Since then, “The Quilts of Gee’s Bend” exhibition has been presented at more than a dozen major museums, including the Whitney Museum of American Art in New York. Newsweek, NPR, CBS News Sunday Morning, House and Garden, and Oprah’s “O” Magazine are just a few of the hundreds of print and broadcast media organizations that have celebrated the quilts and history of this unique town. Art critics worldwide have compared the quilts to the works of important modern artists, such as Henri Matisse, and the New York Times called the quilts “some of the most miraculous works of modern art America has produced.” For more information, visit www.quiltsofgeesbend.com.

About the Manufacturer

A family run business since 1955, Baum Textile Mills, Inc. has produced the finest quality WinterFleece™, flannel and Flurr™ fabrics for the home sewing industry. In 1995, after recognizing a need for more quality quilting and crafting fabrics, Baum began to add beautiful cotton sheetings to its collections and saw the popularity of these lines grow rapidly. In response to this growing market, Baum decided to focus its efforts on the needs of the independent quilt shops and introduced a new division, Windham Fabrics. Working extensively with quilt historians, industry experts, an in-house design studio, and well-known designers from all around the world, Windham Fabrics has become a leader in the marketplace. Known for its authentic reproductions of antique fabrics, Windham also offers florals, textures, retro and many other fabric collections exclusively for quilt shops only.

This press release, sent by Dindy Yokel, is provided as a courtesy of Quilter’s Muse Publications