Crafty Globalization

I must start this post with an admission: I got the timing of my vacation in Pafos, Cyprus, seriously wrong.  

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The rock-hewn necropolis known as the Tombs of the Kings.

 

Let there be no mistake: the area around Pafos is absolutely lovely, of course there is the glorious combination of sea and sun ànd the historian in me was delighted with a terrain of almost 300 ha that is Unesco World Heritage.IMG_1497

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Although very worn, the mosaics are abundant and absolutely beautiful.

 

There was of course a lot of ‘rubble’ too – and this time not only on the ancient sites.IMG_0796 For there is virtually no street in the old town of Pafos that is not broken up in a massive project of public construction works – hence the mistake of my timing: Pafos will be the European Capital of Culture in 2017. 

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Next year one can thus expect an endless lineup of interesting exhibitions, events, all sorts of exciting activities which, with different timing, would have me exposed to serious choice stress. Then but also now the focus of a fabrics blog comes in handy 😉 

Trying to find the bus stops in broken up Pafos I entered a small office, where there was no information whatsoever to be obtained (this resembles the public transport service in Flanders ;-( But my eye spotted a promising leaflet – which set me off ‘climbing’ the streets of the city. 

The Place is an interesting new initiative set to sustain and promote traditional crafts and allow them to survive, including innovative ways to further develop them. Imagine my joy when I discovered these colourful silk cocoons and their application to modern jewelry!

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I was even more lucky: the artist, Angelika Stratinaki was present and explained how she also employed them to continue the old craft of silk embroidery.

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I’ve never seen anything like it. Silk cocoons are cut up in a wide variety of forms and then, carefully because of the fragility of the material, sewn into beautiful designs. I was very happy to buy the bird decoration on the right, a true gem as textile souvenirs go! Alas I don’t seem to be able to find any information on this so-called traditional craft. I have no idea when it started, how broadly it was developed, how many people were and are involved.

What I did find, was a brochure on Pafos 2017. Its motto is “to link continents – to bridge cultures”: the city aspires to be the first European Capital of Culture which will link East and West. The motto also highlights the self-declared need for bridging the differences between the Greek and the Turkish Cypriot communities.

Perhaps there will be an exhibition on the position of Cyprus on the Silk Roads. But what struck me in my textile focus first, is the obvious impact the separation of the island by the Turkish invasion of 1974 is still having. The Cyprus Handicraft Service was set up shortly afterwards in order to provide employment for refugees from the occupied areas who had much experience in the various branches of Cypriot handicrafts. The aim of the Service is “the systematic revival of traditional folk art”. 

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The Limassol centre of the Cyprus Handicraft Service

With shops in all the towns of “the free areas of Cyprus”, the Service further hopes “to promote the revival of our traditional culture”. It is unclear to which extent this includes innovation. Also surprising is that the Service does not actively search for craftspeople. In the shop in Limassol they knew of only one old woman continuing to practice the craft of silk cocoon embroidery- and that can’t have been Angelika ;-).

Cultural antropologist Eleni Papademetriou has done substantial research on the Cypriotic crafts. In Textiles from Cyprus she mentions the omnipresence of silk on the island to the extent that “every family reared silkworms and there was such a supply of silk that in Cyprus rich and poor alike were dressed in silk.” Surely this is an amazing statement! Alas, there is no elaboration on when this happy time has been nor any reference to silk embroidery. 

A documentary to which Papademetriou contributed, does contain some historical periodization: silk appeared on the island in Byzantine times and grew into a substantial economic sector during the 13th, 14th and 15th centuries. Firmly positioned on the Silk Road, Cyprus was the silk manufacturing and trade centre of the Mediterranean and supplied, for instance, the Western Church. I would have loved more historical detail but the documentary mainly shows traditional methods and interviews the last generation of silk producers, a couple of refugees from the North being the predominant characters throughout the film. Documenting the silk crafts in difficulty aims in short to secure their continuity.

This then seems to be the ‘official’ line: the occupation of the North predominates the interpretation of the craft heritage to the extent that survival takes center stage – and leaves very little space for projects of renewal and innovation. The pessimistic tone may in fact discourage a contemporary appropriation of the heritage.

In the epilogue of her book on Cypriotic textiles Papademetriou is equally despondent. She lays stress on the fact that skill used to be interwoven with daily life. “With the leveling of the economy and globalization, this inspired tradition is under threat today more than at any other time. It can, though, be its own unique pebble in the mosaic of not only European but also world art, if we manage to preserve it and to promote it as it truly deserves. We have very little time.” (my italics)

I don’t know whether Papademetriou is involved in the organization of Pafos Cultural Capital. To me it would be obvious that crafts receive ample attention, ideally as part of a larger discussion on what the good life may be and how that may not only require preservation but also adaptiveness, flexibility and an open attitude to the world. The antropologist refers indeed to globalization, but in the gloomy and increasingly prevailing sense that it constitutes an almost insurmountable threat to virtually all our traditions and values. 

Fortunately, there was the Summer reading which I announced in an earlier post: Peter Frankopan’s The Silk Roads. A new history of the world. As the subtitle indicates, this is an ambitious book which sets out to demonstrate how our standard view of Europe as the centre of the worldSilk Roads is ‘only’ a few centuries old. In fact, Frankopan argues, the navel of the world lies between the Black Sea and the Himalayas, in the other words in central Asia. The reason why the author concentrates on the importance of non-European regions is, of course, historical revisionism but perhaps more important for the wide audience Frankopan hopes to reach: a broader viewpoint on globalization – which currently scares us so.  

The Silk Roads (it was the late 19th-century geologist Ferdinand von Richthofen who coined the term Seidenstraßen) present an alternative frame of reference: it is a history of networks, first of all economic but very much religious, intellectual and cultural too. The Mediterranean – with Cyprus at its very east -, is thus the terminus of the Silk Roads that stretched all the way from China across Central Asia. With legion references to neglected rulers, peoples, cities and empires, Frankopan stresses time and again how the world has always been connected, far wider than traditional historiography has led us to believe. Whether exploring the Roads of (among others) silk, religion, fur, slave trade, gold, wheat or oil, the emphasis is on the century-old global exchange of goods, ideas, arts and crafts.  

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The fabrics of the Silk Roads were highly desired all over the then known world. They were sometimes even used as currency!  Here the famous horses of central Asia (8th or 9th century AD).

Three examples of how cross-fertilization influenced what standard historiography recognises as Western historic highlights. 

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Jan Van Eyck’s Madonna by the Fontain (1439). Also note the amazing rendering of the fabrics!

(1) The commercial success of the Italian city states in the ages of the Crusades was largely due to the stability and good relations between the Muslim and the Christian world. (2) The delightful paintings of the so-called Flemish Primitives would look very different indeed without the deep blue, pigment made of lapus lazili, original to Afghanistan and traded over hundreds of miles. (3) The Renaissance had not been possible without the Arabic translations of the classic Greek texts, made available again to European scholars through the intensification of commercial and cultural contacts between East and West. 

In short, the velocity of communication (to which the Frankopan pays surprisingly little attention) may have increased but the ground motive is always the same: the world is so fundamentally interconnected that to reject globalization is to deny the light of the sun. Our traditions and values have always been influenced by developments along or at the other side of the Silk Roads. And to establish how significant those cross-fertilizations were in the past is helpful to imagine and shape the future.

Obviously this doesn’t mean globalization does not inspire feelings of insecurity and fear. But it’s not new, it’s a fact of history – and it’s unlikely that such an ingrained pattern will change in our lifetimes. Wouldn’t it be better then to concentrate our energy on a better understanding of the actuality? On establishing what is possible within the long-standing frame? On imagining flexibility and innovation rather than conservation of what is in flux anyway? I would hope we all can adopt (more) constructive attitudes – which may set us on the path of renewal in many different areas. In Pafos 2017 a contemporary appropriation of Cyprus’ rich craft heritage – and all that it can contain, would be a crafty contribution indeed.

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An attractive update of Cypriot heritage at the airport of Pafos.

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