It's interesting to compare the
concept of "original" between Western thinkers and Japanese
thinkers. The opportunity to talk this through with Japanese
masters was an enlightening experience and a very refreshing
one.
It came about from questions from many TalkTemari members and TemariKai
readers that are considering taking the steps of Japan Temari
Association exams - which, for Level 3 (Shihan, Master/Teacher) and
Level 4
(Kyoujyu/Professor) requires submission of "original" Temari designs
and
documentation/diagrams for these temari, for
the exams. Most Western stitchers hear those requirements and come
close to hanging it up - how on earth could there ever be more new
designs and patterns that have not been published somehow in the
volumes of Japanese Temari books, let alone anywhere else, just to
begin with?
The answer - not surprisingly -
also goes back to "keep it simple" and don't overanalyze. While in the
West, our image of "original" conjurs up nightmares of intellectual
property claims and rights, kicking off archival searches to prove that
something was not previously published or performed, and all the
legalities invovled therewith - in the context of Japanese
Temari, the concensus was that it is simply using your learned skills
and acquired experience to sit down with a mari, thread and needle,
apply divison/marking lines and stitch as your imagination guides and
inspires you. This is as opposed to the learning process of replicating
designs from resources such as books, photos, web resources, etc.,
where you follow step-by-step, stitch by stitch from a predetermined
set of directions. If
you will - call it "Thinking outside the book". It's creating a
temari without following a prescribed set of directions, stitch by
stitch, start to finish, to make it.
Perhaps a reasonable analogy would be
of a musical composition. You learn standard notes, chords, music
theory, by learning to play other composer's songs as well as study of
theory. Then, you can go on to create your own compositions, with your
own melody, rhythm, harmonies. An "original design" Temari can be
thought of as being your own composition, using your collected skills
to share a part of you, rather than repeating someone else's.
Does this mean that every section of
the Temari you stitch will be some grand and new, never before
seen stitch combination? Probably not. Does it mean that you are making
an honest effort to use your skills of divisions, extra marking lines,
basic stitches, other stitch combinations you've worked through
experience, colors and different threads, to come up with a different
and unique combination of them than you have repviously seen?
Yes. This means that you are
working from "inside" inspiration in terms of creating the temari,
rather than all "outside" (ie, book or directions). Can it
be because you were inspired from something you saw during daily life,
perhaps out in nature, and you wish to transcribe that concept to a
temari? Yes. Can it be because you admired a temari design but yet
thought "what if I did this instead?" Yes (most times - see below).
Does it mean that something is flowing from "inside" you, sheer
imagination, as you play with whether this stitch and this stitch
here will work with that technique too? Yes. Does it have to be all of
these at once? No. It does mean that you are using your experience and
acquired skills to put together various designs on the mari, as your
own composition. And,
believe it or not - this does come more easily with more experience, so
don't give up if it all seems overwhelming at the moment (just like how
many times you play "Row Row Row Your Boa" on the piano before you
compose a concerto). The
experience levels being testing with L3 and L4 submissions by the JTA
call
for five to eight years (minimum) of temari making experience. It's not
something
that comes to us overnight, or even over the course of several months.
Some fortunate folks do find a creative streak early on but, for the
most part it's everything coming together over time and "clicking", and
it starts happening.
If nothing else- think of it as
the Temari equivalent of a "make your own combination platter" at a
restaurant. You have divisions, extra marking lines, basic stitch
techniques, extra techniques, shapes, spaces, threads, colors and
embellishments to use. Add in other things like freehand/style
embroidery, applique.... and the combinations are
limitless. Pick a one or two from this category, a few from this
one, a couple from over there; use something from each, or not. And
remember- while you need to practice and gain experience so that your
actual division and stitch executions of traditional techniques meet
exact standards - when it comes to design of the overall
temari, just like
someone's opinion - there isn't a "wrong". As with an opinion, not
everyone may agree with you; in art or design, not everyone may admire
it but, there is still no denying that it's your design. Does
every creative attempt work out the way you want it to, or even to a
point where you want someone else to see it ? :>) - nope. It
can take a few (or more!) false starts even with solid ideas to make
something
work out, but remember that all those repeated attempts are more
learning and experience going into your bank.
Another point is that Level 3 and 4
certificates in the JTA mean "Teacher" and "Professor". You are being
prepared to teach temari to others, and this is the most important
aspect of the exams. No one
can "test" anyone's creative abilities and place a score on them, or
even declare "pass or fail". You can are are being tested on your
learning the traditional techniques and your execution of them (For
example, you can use Uwagake Chidori Kagari in whatever creative way in
a design you wish to, but you need to be working the Uwagake Chidori
stitch itself with perfection). What truly is being examined is your
ability to use the fundamentals of Temari, and your ability to
communicate them. If you can stitch temari without having to follow a
stitch-by-stitch set of directions, and you can also clearly diagram
and describe how to do it using the full range of traditional
techniques, then in the JTA's eyes you are capable to
teach Temari to people who desire to learn it, and this is what they
are truly examining for; being able to "stand on your own" in the craft
and art.
Sue H (JTA Level 4/ Kyoujyu shares these thoughts: "
.....What is
"original"? Probably the easiest example I could give would be if
I were to stitch part of a design on a mari, then give it to one of you
and say... "ok, now do something with this". You would just pick up
your needle and threads and start adding to what I had started...
thusly creating an "original" design. This is the "original" that the
JTA is looking for. Essentially, they are asking - prove to us you are
comfortable creating temari without detailed instructions... , show us
that you can think "outside the box" and create something of interest.
This is what is meant by "ORIGINAL"! They are NOT looking for something
that has never been done before.
Trying to "prove" that is nigh on impossible.
Another example is when some of us have participated in a stitch-in
where we trade an 8-Combination mari and take turns stitching on one of
the 6 faces of that temari. Each of us is presented a "square" that is
divided into 8 segments. What will YOU do with your square? Kiku? Rose
garden? fan? spiderweb? lacy design? butterfly? abstract? etc.
Essentially, we are working with the same thing, yet each of us creates
something different within each square. "Original" JTA temari is
in a similar thought... use your "traditional" or non-traditional
stitches, and create something with it.
Perhaps one of the easiest ways of creating something "original" is to
develop some kind of theme or idea. Don't go looking in a book - just
start playing with shapes and colors in your mind. Sometimes the ideas
will come when you look at colors of threads, or textures. The only
caveat with all this is that you need to be able to explain to someone
else - in understandable terms, exactly what you did to create that
design. This is where some of our free-hand embroiderers have
difficulty. They are able to create the most stunning and beautiful
designs - but they are stumped when it comes to describing how they got
there. Go ahead and freely create... just take notes on how you got
there!
One should view the JTA requirements not only as a test of one's
skills, but also as an effort on the part of the JTA to broaden the
artist's views, and create inspired designs that can be freely shared
with others. You have started to demonstrate your stitching skills with
levels 1 & 2... now, show how you can use them and create. When I
first started temari, I remember one of the ladies in our Women's
Society Temari Class (in Tokyo, with Sensei Ozaki) had created a
design that Sensei chose to include in one of the Japan Temari books.
(sorry, I don't remember which design, or which book it was in). I
remember all of us looking at the book in awe of all the designs that
had been included, and thrilled that one of our classmates had been
asked to share her work in such a prestigious manner.
I remember being in the Temari museum once, when there was a rather
extensive display of temari that seemed to use a rainbow-like array of
colors. From what I could deduce of what Sensei explained, these temari
were from a particular "school" in Kyoto. Obviously, this school's vein
of creativity was to use lots of bright colors - quite a difference
from the subdued muted colors that are frequently used in Japanese arts.
As many of you know, I successfully applied for my level 4
certification with the JTA. One of my "originals" was a very simple
design that I called my "Harry Potter" ball. I am (obviously) a big fan
of the Harry Potter book series by J.K. Rowling. My design starts with
a C-8 marking on a black, or dark-color base. Near the top are 4
spindles that make up the "broom sticks". Near their base is a single
herringbone-like triangle shape for the "brooms". In between the brooms
is another solid triangle shape that represents the "sorting hat". On
the bottom, are two interwoven square shapes with two small wings that
represent the "Golden snitch". There are assorted lightening bolts
scattered in the open spaces around the ball. To anyone who knows the
HP stories, these "symbols" are quite clear. To others, it's just a
very strange-looking temari. This design uses very traditional stitches
- nothing "spectacular" there. No intricate weaving, just plain and
simple shapes. Another of my "originals" was called Michigan
Lighthouse. Stitched on a
C-10 - blue base, it was just a series of concentric diamonds and
pentagons in specific colors - but stitched off-marking-line
configuration. (that is, the pentagons do NOT follow the C-10
pentagons). In my imagination, I was trying to create the vision of
looking at a light house through a Fresnel lens. (this type of lens
breaks up the light or view that passes through it into concentric
shapes). Again, most people looking at this design would just think it
is a peculiar abstract - but when you realize there are specific colors
being used in each area, and if you are told it is a lighthouse -
suddenly it dawns on one's imagination that the gray represents the
rocks, the black and white, the stripes around some lighthouses, two
shades of yellow are the lights, and the red is the warning light at
the top of the tower. Simple themes... simple interpretations."
Important to remember - original
design means creating something with decidedly your own spin on it,
while respecting and honoring others.
This does not include starting with a prescribed pattern and simply
changing colors, size, thread type, etc. Working a pattern that has
been published somewhere in different colors, or different threads, or
with other such minor adjustments does not constitute "original". It
certainly is your interpretation of said design, and that is how you
would describe it, giving the due respect to the source from which you
worked it. And, if in the end, you have deep reservations about whether
your finished work is your original creativity or composition, then
perhaps it's
really not. Close the book, turn off the computer- and stitch.
Unless you have a photographic memory, you'll most likely come up with
an original temari :>) .
Please remember too
- these thoughts
are "thinking in Temari context" - more philosophical information, and
not binding, legal or professional
advice.
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