Professional Workshops
I was hit in the head by a virtual skein of yarn the other day after a post. (See comments on Stitching Gauge, January 29th) I welcome discourse as it allows us to debate points. The commentator was pointing out the close personal relationship that could have developed between two professionals working together at a frame due to conversations (more commonly known to us in the trade as “stitch n’ bitch) and that this had resulted in distress when the relationship ended. I had chalked up the distress at loosing a partner to more technical issues of getting the work done ala work style.
I thought it would be interesting to all to talk about ‘talk’ at the frame in the workshop as I had just had a very interesting conversation about this very subject just a week ago with a colleague. There are a few professional workshops that I am aware of their rules and practices. One is the Japanese workshop (Kurenai-Kai) and the spin-out teaching workrooms in the USA. In the workroom, quiet behavior is of the essence. In fact, if the master needs to show you something, he does not tell you but instead sits down at your station and starts embroidering. You are supposed to watch intently and deduce what he wants to show you. For those of us western embroiderers, this is the most difficult part of learning this embroidery. As I progressed through the levels, I began to really enjoy going to Japanese embroidery as it was one of the most calm and contemplative parts of my hectic life. Total quiet except for the specific break times. I also got allot done in class.
At the Bard Symposium, I met a colleague from the Royal School of Embroidery. We were talking about our workrooms for the jacket and for their private commissions. I was shocked to learn that the workroom procedure (in place for over 100 years and only modified in the last decade) was for total silence among the embroiderers. Indeed, if a break was taken by an embroiderer, her absence is noted and that stitching time must be made up. My colleague was noting other strict guidelines and how some of them had been relaxed a bit in the last ten years.
I laugh because our workroom is staffed by volunteers (including myself and Wendy) who have given up time and money to be there. For those of us volunteers who are there every session – out goal is quality and reducing the number of sessions which take us away from our families by making progress. Of course, we understand that for the other volunteers, this is also a social gathering where there is lively discourse on the history of embroidery, technique, interesting collaborations and of course more than a few funny stories. But we have found a SIGNIFICANT correlation to progress versus talk. In fact, those who talk allot make the least progress and those who are silently listening sometimes make as much as 3-4 times the progress. I therefore totally understand how the paid workshop has a ban on socializing in the workroom.
I will admit that sometimes if it gets bad and my husband screams again about having to take care of the kids while I am monitoring the workshop, I have a CD turned on in the room the next day to discourage conversation and to pick up pace! Now you know our secret.
Tricia
Tags: colonial, embroidery, plimoth, plimoth plantation, plymouth
February 8th, 2009 at 11:31 am
Fascinating! I assumed that there would be quiet talk among pairs of embroiders who spend their work day together. Of course if all you do is talk, well, nothing gets done.
I still feel that solid friendships would develop among many folks who work elbow to elbow so that when these partnerships were severed, folks would often not be happy. But you are right, very often a professional workshop would demand quiet.
It’s an interesting point, and one that we probably can’t go into except by mining our own experiences. I imagine this is something no one thought to talk about at the time!