Talking Threads

Talking Threads

One year project helping improve online access to collections

December 2020 – December 2021

Among the vast and diverse collections of the Pitt Rivers Museum is an important but largely unseen resource: its stunning collection of textiles and clothing from cultures around the world. While many of these collections have historically been documented from a Eurocentric perspective, using terminology more appropriate for describing Western dress, we now recognise the vital importance of self-representation for the communities who made and used them.

The Talking Threads Project (2020-2021), funded by Arts Council England, brought together collections documentation and research with community access and engagement to highlight selected areas of this incredible collection. The team focused on textiles from Naga communities in Northeast India, from the First Nations of the Pacific Northwest Coast of America, and Palestinian clothing from the region now spanning Palestine, Israel, and parts of Syria and Jordan.

https://www.youtube.com/embed/uBujp_zpTKU?si=SzE8PwIDQXRikVZD

Textile items have been photographed and catalogued in detail, paying particular attention to materials used and techniques of weaving, embroidery and construction. This work was then widely shared with identified communities through email communication, video link, and even WhatsApp, navigating working conditions during the Museum's closure in the COVID-19 pandemic.

‘Tiger cloth’, worn by a man who has performed the mithun sacrifice, like his father before him. Mithun are a type of horned cattle native to Northeast India, and of great significance in Naga culture. This type of shawl is known locally as kizesü or akwusü. Ao Naga, Yimjenkimong Village, Nagaland, India, made before November 1920. PRM 1928.69.159

Opposing triangle motifs are formed by the addition of supplementary black and red threads, woven into the blue stripe. These motifs are known as jabilee, and represent the old iron rod currency previously in circulation among the Ao Naga. The motif therefore denotes wealth. Ao Naga shawl. PRM 1928.69.159

Microscopic view of red cotton supplementary weft threads woven into a blue stripe to create a jabilee motif. Ao Naga shawl. PRM 1928.69.159

Girl’s dancing skirt, Nggiangni, of white cotton with decoration in supplementary weft and embroidery. This type of skirt is worn during dances by both the Upper and Lower Zeme in Nagaland, Assam and Manipur. Zeme Naga, Baladhan Village, Assam, India, made before October 1927 (1928.69.1164).

Further motifs are formed by the addition of supplementary wefts, worked in at the time of weaving. These geometric motifs are called Tewyine Pui, the Zeme term for the ‘paddy’ or ‘rice’ bug. The ends of the threads are twisted into short tassels. Zeme Naga skirt PRM 1928.69.1164.

Embroidered triangle motifs represent a group of swallows in flight, and are known as Ngaikie individually, or Ngaine collectively. Zeme Naga skirt PRM 1928.69.1164.

Taqsireh (short-sleeved jacket), probably worn by a girl over her thobe (embroidered dress). The material is red woollen broadcloth and the silk embroidery is in the renowned and distinctive Bethlehem style. Bethlehem, Palestine, 19th Century. (1967.28.2)

Floral couched embroidery design on a girl’s taqsireh. Twisted yellow silk yarns are laid on the fabric and stitched, ‘couched’, in place. The leaves or petals are filled in with silk satin stitch. Bethlehem, Palestine, 19th Century. (1967.28.2)

Detail of a cuff. Couching in yellow, purple and green silk cord, with gold thread trimming. Bethlehem, Palestine, 19th Century.

Bride’s thobe of undyed handwoven linen with long, pointed, sleeves (irdan), and tatreez embroidery in coloured floss silk. Ramallah, Palestine, 19th Century. PRM 1967.28.45.1

Qabbah (square chest panel) decorated with dense cross-stitch silk embroidery. The pointed design, the prominent deep red colour, and many of the repeated motifs are particularly associated with Ramallah and the surrounding villages. Ramallah, Palestine, 19th Century. PRM 1967.28.45.1

Microscopic view of an S-shaped alaq (leech) motif, worked in silk cross-stich on plain woven linen. Ramallah, Palestine, 19th Century. PRM 1967.28.45.1

Chilkat Blanket Robe of twine woven cedar bark and mountain goat wool. Ceremonial robes such as this are made and worn by several different First Nations of British Columbia and Alaska, and are known as Naaxiin in the Haida language, Naaxéin in Tlingit and Gwishalaayt (‘the spirit wraps around’) in Tsimshian. The central motif depicts a diving whale, with head, nostrils and mouth at the bottom and the fluke (tail) at the top. Alaska, USA, made before 1951. PRM 1951.2.11.

The central spirit face depicted within the whale’s body represents the human within the animal, from the time when humans and animals were one. Here some of the mountain goat wool weft has unravelled to expose the warp of spun cedar bark and wool. Chilkat Blanket Robe. PRM 1951.2.11.

Coast Salish blanket of twine woven mountain goat wool, possibly spun with woolly dog hair, and dyed commercial yarns. Coast Salish peoples, San Juan Islands, between Vancouver Island and Washington, USA, made before 1870. PRM 1884.88.9.

Colourful chequerboard squares, triangles and zigzag designs are typical of Salish weaving. Coast Salish blanket. PRM 1884.88.9.

Microscopic image showing how two different colours of commercial wool yarn have been woven together to create a copper effect. Coarse mountain goat guard hairs can also be seen in the undyed, handspun wool around the coloured triangle. Coast Salish blanket. PRM 1884.88.9.

With the help of a newly constructed digital setup in the museum’s research space in 2021, the team were able to conduct virtual textile sessions with communities in India, Canada and Palestine. As well as showing live images through digital cameras and a digital microscope, these sessions enabled participants to engage in conversations about the production, use and significance of the textiles both historically and in the present day.

It has become clear through working on these collections, that textiles items from each of the three areas do not only have great aesthetic value and historical significance, but can be expressions of social, financial and marital status, of cultural, religious, political or geographical affiliation, and can be very revealing on ideas of beauty, fashion, gender and identity. Through empowering those with lived experience to describe and interpret textiles in their own words, the stories the items tell become so much more meaningful.

The information provided on this page reflects the research, understanding, and community views shared in the duration of the project. View Collections Online to see available records and for contacting the Museum regarding information about particular items.

With thanks to funding from the Arts Council England.

Palestine: Pieces of Me, Roots of My Homeland

This online exhibition marks the longterm partnership between MultakaOxford and two organisations, Al Amari Women’s Program Centre and the Oxford Ramallah Friendship Association.

View online exhibition

Digital Repatriation of the Gaidinliu Collection

Find out more about the 4-year DiMuse research project with Edinburgh University investigating methods for the digitisation and sharing of collections in the Pitt Rivers Museum with communities across Assam, Nagaland and Manipur in India.

Talking Threads

Talking Threads

One year project helping improve online access to collections

Textiles from Nagaland

Textiles from Palestine

Chilkat Blanket Robe

You might also be interested in...

Palestine: Pieces of Me, Roots of My Homeland

Digital Repatriation of the Gaidinliu Collection