Michiele's Featured Teachers

Cristeane: It looks like bone needles started out long and then they would be resharpened as they broke. Plus, that way I have the length to get an awl for about six inches.

Michiele: Interesting. My son made me some naalbinding needles and I enjoy using them much more than wood. I like that I can pick one that fits my hand just so, and the bone has a warmth and a smoothness you don’t get with wood.

Cristeane: My favorite awl was bone, and I have misplaced it, or it was misplaced for me. Either way, the absolute smoothness of it made it so much better for silk threads than anything I have dealt with in the past.

Michiele: How do you use an awl with silk threads?

Cristeane: Mostly as a laying tool. So laying the silk over the awl to either guide it or keep it from twisting while drawing it through the fabric. It gives a beautiful flat even stitch. It's great for things like satin stitch.

Michiele: Don’t forget to wear a mask. Snorri warned us about bone dust.

Cristeane: Lol! I'm getting over covid which is why I'm home today and not up at Coronet. I thought you were reminding me to wear a mask for the 1st period. Lol!

Cristeane: Yes, I have a mask I was using when I thought I wanted to get into metalworking. So many hobbies, so little time.

Michiele: That could be my motto, as well as many other SCA folk, I suspect. I see you are teaching three classes at A&S Tourney. Do you have one that you are most excited to teach?

Cristeane: I was going to say it was a toss up between the travel kit and the period embroidery kit. The travel kit I'm excited to teach just because I'm still traveling back-and-forth taking classes in both San Francisco and at the Royal school of needlework in London. And I have a lot to share and why I suggest what I suggest and some tricks on getting everything through TSA. But, that being said, I really am passionate about teaching about the period embroidery kit. It is years of research that I have done and I am finally able to share that with people. It feels really great to be able to share that sort of knowledge with others.

Michiele: This is great. I’m so happy to be doing these interviews because it would take me so much longer to find out how deep everyone’s knowledge is. I’m so impressed with your international scholarship! I’m happy I get to share a little insight to the populace as well.

Cristeane: I have been enjoying reading them.

Michiele: Have you looked at the class list? Are you planning on taking any classes?

Cristeane: I haven't made my decisions yet. I love to take classes, but I always decide at the last minute. It saves on disappointment when the class I really wanted to take is against when I am teaching. I saw you were doing an indigo pot. So cool.

Michiele: Yes, a urine vat. It’s part of the stinky class track that I coordinated with Red/ Angela Butt (Bucking hides) and Rosario “Rosie” de la Torre/ Rosario Depew (Paper from linen rags).

Cristeane: I love it.

Michiele: Here are a few of my standard get-to-know you questions: How do you pronounce your name? What area of the Kingdom do you live in? And do you have any social media featuring your projects that you can share?

Cristeane: Kris-chee-on Ree-gan MAC Nab. I live in Golden Rivers, in Cynagua. The few photos I have available currently can be found in my Facebook album Needly-bits {SCA}. I am working on a new website.

Michiele: Would you like to give a shout-out to anyone?

Cristeane: Ayla Zengerlin/ Noelle Chipman is a new instructor who has just moved up from Caid. I am not sure if you want to include the fighting-based class instructors, but Thomas Logan/ Thomas Moore. Having listened to his class prep, it is going to be interesting.

Michiele: I’m 100% in support of martial inclusivity at A&S events. The more people involved the better. It lifts everyone up.

Cristeane: That's a fabulous attitude, I wish more shared it.

Michiele: Can you tell me about Ayla’s art or science? What makes her shine?

Cristeane: She will be teaching kumihimo to make cording for two different levels. She really loves the technique–she is actually in Caid teaching this weekend at Potrero War, and just wants to share it with others. She is extremely enthusiastic.

Michiele: And Thomas?

Cristeane: Thomas feels it is really important for people to get a base of conditioning and fitness for fighting and has been working on putting together his experience in the SCA as well as outside as a long distance athlete to help others avoid injuries. He is a great teacher and when I was fighting really helped me deal with a number of original issues which improved my game.

Michiele: Awesome! Thank you.

Michiele: It’s been nice getting to know you. I look forward to seeing you at events and your website when it’s finished.

Cristeane: I look forward to seeing you at events coming up. Thanks again.

Michiele: One of my favorite things about doing these interviews is getting a peek at the depth of the research people are doing. Before I forget, can you tell me how to pronounce your name? And do you use an honorific?

Kikaku: Sure thing. The phonetic spelling would be Key-Kah-Coo. I rarely use an honorific, but when I do, I usually use the suffix -bozu, which was used for Japanese monks in period.

Michiele: Thank you for doing the Mists Webminister job. The behind-the-scenes jobs don’t get enough love. Also, what area of the Kingdom do you live in?

Kikaku: You're welcome! It has been really interesting to try to get the website updated and running well. Before me, our Webminister had been in the role for about twelve years. So, I’m trying to transition things, so we can hand it off more easily and not have that level of burnout.

Kikaku: I'm currently in the Province of the Mists (Berkeley area).

Michiele: Not to make this about me. lol. But, did you know shibori is a period Japanese dye process?

Kikaku: I did! I've only just started looking at possibly experimenting with some dying, but there are a lot of really great resources on shibori out there that I'll probably check out if I actually get into it.

Michiele: Hana gave me a link to an Emperor's collection of household goods, including textiles. There's a jacket (I don't know its japanese name), that is done with what I think is the itajime fold-n-clamp technique. I'd like to try to recreate it. Maybe we could work on that together?

Kikaku: If it's the same one I'm thinking of it is an amazing collection. The jacket is probably a dofuku or something similar. I'd love to work on a project like that!

Michiele: Great! I wanted to make it, but it's not something I'd really wear. The collection is called: Shosoin Imperial Repository. The jacket I was thinking about is called a Hō.

Kikaku: Oh, a Hō! There are a bunch of garment's with that name. This would be a secular version based on the rounded collar. It likely would have been used prior to the Emperor retiring and taking monastic vows.

Michiele: Embarrassingly, I don't really know any good questions to ask about martial stuff, so is there anything you want to share?

Kikaku: On the martial side, most commonly when we see people fencing in the SCA they are using a style that is heavily based in Italian schools of rapier. Sometimes, we will get French or German styles added, but they often are pretty similar to Italian. I'm excited to be able to share a Spanish style, since it is very different from what you typically see in the SCA. The basic stance is more vertical and the sword is usually held closer to shoulder height, which poses a very different approach to engaging the enemy. There is also a larger focus on circular footwork than other styles.

Michiele: As a fighter, do you find any obstacles getting into A&S? Do you have any ideas about developing more crossover between the two groups? Do you have someone encouraging your A&S participation, or did you just have an intrinsic interest in Japanese folklore?

Kikaku: I've always had an interest in folklore and theater, but admittedly didn't have the confidence to actually teach a class. I've kind of just kept studying and researching for my own interest. Then I'd end up down a rabbit hole and come out wanting to learn mask carving, or sewing niche monastic garments. As a result I never really thought that I had ENOUGH knowledge to really teach. Baron Luiggi/ William Conn reached out to invite me to teach something and really encouraged me to not feel restricted to only teaching martial classes. Having someone personally reach out and ask for me to share my knowledge, both theoretical and practical, was really what I needed to nudge me to actually teach. I think there are a lot of people out there, both Martial fighters, and not, who would benefit from having someone reach out with that same encouragement. I also think that continuing to push for having a martial track at A&S events like this is a great way to get fighters to open up and share some of the other things they do outside of combat.

Michiele: Beautifully said, really. Thank you. I will spread that around. I have just recently learned that it takes a direct ask to get most people to sign up to teach. We just need to nudge fighters to ask fighters, as well. The SCA is a great place to start teaching because no one is paying you to teach, so it's ok to be a beginner!

Kikaku: Definitely. I think A&S has a somewhat scary reputation, whether deserved or not, so a lot of people don't want to put their art or knowledge forward fearing it isn't good enough and will be judged for not being "Good enough". From my experiences this isn't the case in the West Kingdom, but it can be scary to put something forward. I think the more we can show the populace that we aren't necessarily grading their work, and that we just want to be excited about it with them, the easier it will be to get more people to come out.

Michiele: AMEN!

Kikaku: Back to the Hō. I have a project that I need to start working on again that is a version of this garment and uses gold leaf to create designs on it.

Michiele: OMG! That's so exciting! Will you use leaf or shell paint or? Stencils? Katazome?

Kikaku: Traditionally, it would have used gold leaf with a rice starch glue. For this project I will probably start by using a more modern adhesive and a stamp. Then gold leaf over it.

Michiele: Very exciting! Do you have a stamp?

Kikaku: Not yet. I have a 3D printer that I'll end up using to print a stamp for the design.

Michiele: One of the things I learned from my Japanese textile mentor is that many of the processes used for the high-end Japanese fabrics–like Tsujigahana, that combines shibori, hand painting, and stencil-applied dyes–are not washable. It is not expected that you would ever wash a high end kimono.

Kikaku: Yea, this would definitely end up being a court garb piece, most likely only to be used at indoor events. If I had to guess, that probably goes back to a belief in the impermanence of things. Japan has a really interesting tradition of reusing clothing once it has started to fade, been stained, or torn, by cutting it up and using the remaining good pieces of fabric to create composite garments. And if it was really bad it would be donated to a monk who would use it to create a Kesa (The Japanese equivalent of the saffron robes seen in Indian & Tibetan Buddhism).

Michiele: I'm seeing a future class in Japanese clothing-something-or-other.

Kikaku: lol, I've wanted to teach a class about the Kesa but always feared that that was a bit too niche to garner any interest.

Michiele: I would like to take that class if we can get our schedules to align. Maybe at Collegium on November 11, 2023?

Kikaku: If we can't get our schedules to align to do a class then I'm always down to just sit down and nerd out about these sorts of things!

Michiele: I think for the niche classes we just need to promote them. I've decided to give myself the job of A&S promotion, so if you teach that class I will promote the heck out of it.

Kikaku: Sounds good! Maybe that'll be the push I need to finally finish making my second Kesa.

Michiele: I asked Symon/ Kris Agerbeek for a fighter to interview and he pointed me at you. So, you have Luiggi and Symon both supporting you as a teacher. I think it's official, you're a teacher.

Kikaku: lol. There we have it then! Now to live up to their expectations.

Michiele: Is there anyone you would like to give a shoutout to?

Kikaku: There are a couple of people I'd like to thank. First is Saionji no Hana/ Lisa Joseph for listening to me when I excitedly talked her ear off about the new things I had learned in my research and for providing resources when I got stuck trying to figure out how to put together some garments. Second is Savage Buffie/ J Bruce Bubba Bufkin for being a friend and encouraging me to teach rapier and to continue developing telling folk tales.

Michiele: It's been fun getting to know you. Your enthusiasm is contagious. I definitely will be looking for your name on the class rosters from now on. Before we end, do you have anything else you would like to share?

Kikaku: I'd like to encourage people to come out to the martial classes, even if you aren't authorized in Rapier, or have the gear. Some classes may have loaner gear available, and I can work with you in ways that anyone can participate.

Kikaku: It has been really great talking with you! We'll have to do it again sometime.

Michiele: Introduce yourself if I don't recognize you, and I will try to do the same.

Kikaku: Will do!

Michiele: That’s great!!!! I have tried to make a DemiSun pattern, too (threaded in, though), and given up. I cannot wait until you have it worked out. I hope you teach classes, and/or share the pattern. The Kingdom weavers would be grateful, I’m sure.

Michiele: Speaking of taking your classes, your lettering on your bands is especially clean. I need to take your class! I’ve been intimidated by double face. How difficult is it compared to brocade?

Ciarán: Thanks! I'd say it's probably easier than brocade and a bit faster too since you're handling fewer weft threads each pass.  The most helpful thing I've found was changing how I thought about having 2 packs of cards: for threaded-in designs I'd have a pack for turning away, and a pack for turning towards me.  With Double Face, instead they'll change which turning direction every 2 turns so it's easier to refer to them as a "foreground/pattern pack" and a "background pack.”  Helps reduce confusion of which way cards need to turn if you lose track.

Michiele: That’s a great explanation. Besides teaching, how else do you support A&S, or the SCA in general?

Ciarán: I enjoy jumping in to help with things, keeping a good balance between my capacities and helping/being involved can be tricky, but I’m slowly learning how my brain works. I've found, especially during the past few years, it’s a lot easier for me to maintain focus/passion on a project requiring planning if I'm in more of a supporting/assistive role. More specific to weaving, I’m always happy to chat about or teach tablet weaving. I usually carry a couple looms with me to events: usually a threaded-in, double face, and sometimes inkle bands, ready so folks can give it a try. I figure it gives an easy way to try weaving and if you try weaving and like it, you're much more likely to put up with warping a loom!

Michiele: That’s much appreciated. I also see myself as a support person, for example: these interviews and my class outreach for A&S Tourney. I like to promote the arts. As such, I really appreciate that you do an excellent job making your work accessible online. In my opinion, it’s an absolute must for all artisans in order to get the exposure they deserve. So often the displays at events are only seen by a few, and rarely photographed. You are everywhere online:

Michiele: Have you considered teaching a class on getting your work out there? I think artisans need a guide to help get them to put their work online.

Ciarán: I haven't, I'm not sure what such a class would look like. Although some thoughts are starting to percolate, so I'll see where they go.

Michiele: So, one of your classes is fudge making. I’m sure someone is going to ask if fudge is period. So, why don’t we talk a little bit about that.

Ciarán: Sadly, the fudge recipes started cropping up in the early to mid 1950s. The closest I've found for a period recipe similar to fudge is tablet (a type of confectionary) from the early 18th century. Fudge may not be period, but it certainly is YUMMY!

Michiele: Could be funny to call it “Making New-fangled Fudge,” since it's not old compared to medieval.

Ciarán: Haha, yeah, that'd be fun

Michiele: I will categorize the class in my head as anachronism and think of it like those luau parties they have at Pennsic with their Hawaiian print garb and plastic leis. Also, I think there’s a disclaimer somewhere about fiber artists and chocolate. Something like: fiber artists should always have an easy stash of chocolate of their choice to keep the fibers spinning/knitting/dyeing/weaving/etc.

Ciarán: Haha, I certainly always have some kind of snacks about me!

Michiele: Lastly, do you have an artisan that you think deserves a shoutout? If so, who and what art(s)?

Ciarán: I'd be remiss to not shout-out my partner Josephine Daigle (Amy Marie). I only started on inkle weaving originally as a way to help make a spare loom for them.  She's been a fiber artist for years starting with knitting in HS and has since done just about everything between cleaning, carding, spinning, dying, knitting, sewing, weaving, and more recently during the pandemic, started making amazing vegan watercolors.

Michiele: It’s been a pleasure getting to know you a little better. I hope to see more of you and your projects in person and online. Thank you for taking the time to answer my questions.

Ciarán: Thank you for asking me and doing these interviews with artisans.