Sea Shanties and American Music

For the latest Will Rees, I researched sea shanties (or chanties) thoroughly. I’d expected to use that information more than I did. I actually only mention the sea shanties in passing. That’s what happens when one researches something for a work of historical fiction. Either some of the information isn’t used at all or you need more and more of it.

Although I knew of the shanty only as a subset of folk music, it was important for the loading and unloading of cargo from merchant ships.  It is thought that one leg of the shanty’s back ground comes from British ‘chants’. That makes sense to me. Even the language implies a connection.But although other countries had work songs, sea shanties were primarily an American phenomenon.

Shanties were created here. Well, if one strand is the British ‘chant’, where does the rest of it come from?  Where else in our history do rhythmic work songs play such a big role? Answer: the slaves. Contemporary accounts frequently describe the slaves and their songs. The slaves, to the eyes of the white who observed them, were so happy they sang’. The casual condescending racism of the descriptions make a modern sensibility shudder.

However, like the work songs sung by the slaves, the shanties include the same kind of rhythmic repeats necessary to keep everyone on the same beat Keeping everyone together as they pull lines or shift bales is efficient. Since there were so many black sailors at that time (with a name of their own: the Black Tars) it makes sense the rhythmic underpinning of the shanties probably sprang from the same source as the rounds sung by the slaves: i.e. African music.

Back ups and upgrades

Every time I log onto my WordPress Account I am greeted with a frantic message that I should update. But when I click on the link, I get to a page with about a million warnings, telling me to back up first or else I will lose all of the customization.

Really?

Then the ‘quick and easy’ directions begin. On your main control panel fo cPanel, look for the MySQL databases.  I don’t even know where to go. And I started my library career as a computer tech so I am not without any skills.

Who writes this stuff? Not regular users, that is for sure.

I guess I will not be upgrading any time soon.

The Industrial Revolution and the Loom

 

The Industrial Revolution mechanized the entire process of cloth making. According to Brouty, prior to the invention of the flying shuttle in the 1750’s, three to four spinners were needed to produce enough yarn for a weaver. The statistic I’ve read other places is nine. Anyway, many spinners are needed for each weaver. The flying shuttle, again according to Brouty, quadrupled the weaver’s output. If you think that then people would try to find a way to increase the yield of the spinners, you would be right. The spinning jenny was invented in the mid 1700s and the first spinning factory was set up in 1761 by a gentleman named Richard Arkwright. Samuel Compton invented the spinning mule ten years later (unfortunately for him, he was a talented inventor that had his life threatened several times and died in poverty) and now handweavers were hard pressed to keep up. Pressure mounted for a mechanical loom that could keep up with the spinning machines.

Hand spinning and weaving, a honored and important job (primarily done by women) became a ‘craft’. Most people don’t even think of the connection between the clothing on their backs and the process by which it got there.

The Jack Loom

The jack loom is a horizontal loom; i.e. the warp runs horizontally and most of the size is front to back, not up and down. The weaver can sit on a bench. With the vertical looms, like those still used in Scandinavia and previously in Greece, the warp threads hang down and the weaver must stand on a stool or the floor itself must be lowered to provide enough room.

folded loom

A loom this size could easily be put into the back of a wagon and transported from place to place, as I have my main character/detective doing in my historical mysteries. This is a back view, by the way. The white canvas is for the back apron. I prefer to have my finished cloth roll up on the back beam so i tie on the warp threads to the back and then thread them through the heddles and the reed.

Heddles; what are they? I’ve mentioned them several times and then someone emailed me and said I don’t know what heddles are. Well, mine are long metal wires with an eye exactly like a needle. Mine are made of metal, but the looms I saw in Greece had thread heddles. I think I would find weaving with those confusing.

heddles one heddles two

In the first photo, it is possible to see three of the four sheds. Each one has its own set of heddles. Threaded and tied up to the treadles, these sheds make it possible to weave many patterns.

And finally, the reed. The dents, or spaces, determine the fineness of the fiber and is another mechanism for keeping each thread smooth and untangled. I hope you can see the spaces here. Weaving with silk, for example, requires a reed with many many slots,

reed

 

Adventures at Bouchercon

Had an appointment to talk with my editor at Bouchercon. Sounds simple, right?

Well, let me tell you about driving in Albany. The Hilton was not on any of the maps I had and the GPS sent us to a Hilton on the other side of the city. Mapquest and the GPS both send the driver along Washington Ave – which just stops!

Once I got to the Hilton I roamed around outside looking for the door in. Finally, some kind cleaner let me in the back door. The hotel is so modern it is difficult to find unnecessary items like doors.

After my meeting, I walked over to the Egg for my panel discussion. Very interesting and fun and I was really impressed by my panel mates: M. E. Kemp, Leslie Wheeler, Simone St. James, and Mel Bradshaw. After the panel I wandered around, ate lunch, went to the book room, and discovered to my horror that I had a line waiting for me to sign books

Yipes! Memo to self: always be prepared to sign.

I hope I do better next year in California!

Bouchercon

One of the new experiences that came with my new status as a published writer is writers’ conferences. Been to many librarian conferences but these are new. This is my second Bouchercon and I greatly enjoy them. Yesterday, before the opening ceremonies, I attended the annual party given my Minotaur (St. martin’s Press/Macmillan) for the authors. I cannot fully describe the thrill of seeing some of the rock stars of the writing world. Julia Spencer-Fleming, Louise Penney, Charles Finch. I met for the first time some of those who’ve reviewed my books: Lourdes Venata, Oline Coghill. The party was held on a veranda overlooking the city of Albany, and what a beautiful view it was too.

All in all, a really great experience.

Dyeing with indigo

sweater-indigo

I’ll return to looms next blog. But I wanted to post about the indigo dyed sweater. Indigo loses strength with repeated dyeing I like the marbled effect but if one dyes the fiber in successive batches, as I did, the later skeins of yarn are lighter. See the sleeve? Still a few bits of darker dye, but overall the color is a lot less intense. Just FYI for all the dyers out there.

Early looms – warp weighted

No discussion of early looms would be complete without mentioning warp weighted looms.

As I mentioned in a previous post, weights have been discovered in archeological digs. The earliest date from the seventh century B.C. in Anatolia. In Europe, this type of loom was used since Neolithic times ( and according to one of the books I read is still used in Norway!). It is thought that this is the type of loom used in Ancient Greece.

What makes this loom different? Well, most of the modern looms are oriented horizontally. The weaver sits on a stool or bench. The warp runs from a front beam through the reed and heddles to a beam at the back. The tension or the warp threads can be adjusted by tightening the beam. The warp weighted loom is oriented vertically. In a warp weighted loom, the weaver stands.Moreover, she must walk back and forth and she pushes her shuttle through the sheds. How did she obtain several yards of cloth? With the modern jack, the warp can be very long and rolled around the front beam, and unrolled gradually as the weft threads are woven through. From what I’ve read, the warp weighted looms were tall. From the descriptions, she would have had to stand on a stool for the first bit of weaving. And pieces of cloth would have had to be sewn together to achieve the necessary length.

Tension is very important. To achieve a closely woven cloth, the warp and weft threads must be tightly packed together. So, the warp in every loom is under tension. In the warp weighted loom, warp threads are tied around weights that hang to an inch or so above the ground. Sticks would have had to be put through the warp to form the sheds.

All in all, weaving with this type of loom would have been much more physical than with a more modern loom. And, as a weaver, I wonder how it would have been possible to create the different patterns possible to construct on even a four shed jack loom.

A word about Norway and the Norse. The warp weighted loom is the type that would have been brought to the Norse (and Viking) colonies. Think Iceland, Greenland, and even early North America. Remnants of these looms, as well as cloth and weights, have been excavated from digs in all these areas. Ostergard, in Woven Into the Earth, discusses the digs in Greenland and the artifacts removed from just such a dig. The colonies were originally established during the middle ages. I always thought that the name Greenland was a lie,  chosen to lure colonists to a harsh and forbidding land. But the climate during this time was much warmer than it became later. In England, the climate was so warm grapes were grown and England had its own wine industry. But after the eleventh century, the climate became much colder. (It is call the Little Ice Age). So much for English made wine. And the climate in Greenland (and in North America) became too harsh for these colonies and they had to be abandoned. Or else the colonists died out.

An interesting study of the burials in North America shows that the bones, coming forward, show evidence of starvation and nutritional deficiencies. The dead also had to be buried in much more shallow graves since the permafrost line rose and graves couldn’t be dug as deeply as formerly.

Weaving and an interest in looms has led me far afield.

 

Early looms

Why am I so fascinated with looms? Well, partly because textiles themselves fascinate me. I quilt, dye fabric and have tried my hand at weaving. Some hand weavers I know also spin. For most of human history, spinning and weaving were core to, not just the production of cloth, but to a central experience of living. Every culture has some form of weaving. Egyptian paintings, images on Classical Greek pots, excavations in Greenland all speak to the ubiquity of looms and the equipment by which cloth was made. Some times fragments of clothing are discovered as well, clothing that was worn by people of that era

.Looms, in other words, developed in some form everywhere in the world. All looms must hold the warp threads straight, must be able to form sheds (the opening that is formed by lifting alternate threads and allows a space for the weft thread (or shuttle if one has been invented) to go through, and a beater that presses the weft threads together to form the cloth.

Broudy suggests that basket weaving predated weaving with fibers. That makes sense since the reeds or other vegetable matter are intertwined in much the same way as the warp and weft. No loom necessary. Early looms were probably a cord strung between two poles, or trees and the weft is woven from the top. It must be hard to weave this way. But it is easy to see how the warp weighted looms developed. The hanging threads, especially of some softer fiber, would need to be weighted to maintain the necessary tension.

One type of early loom that I find fascinating is the ground loom. Two pegs are driven into the ground at either end. The weaver sits on the floor. Primitive right? Nonetheless, the Egyptians managed to weave sheer  linen in this manner.Sher linen, I might add, that the mechanized looms do not seem able to duplicate.  And linen is a difficult fiber to weave since the linen yarn has no give or stretch.

Anyway, back to the warp weighted loom. Pictures on Greek pottery clearly show looms with weights at the ends of the threads. Weavers were able to weave tapestries on these looms and both Barber and Broudy suggest that the cloth Penelope was weaving while she waited for Odysseus was a story tapestry. (This makes sense. If it were straight weaving, the suitors would have to be idiots not to realize she was ripping out the rows she’d woven during the day. ) Warp weighted looms have also been found in Scandanavia.