Author:
Edīte Kuzmane, Anete Karlsone
Traditional craft skills
Title
Making of Traditional Latvian Belts and Belted Fabrics (2024)
Long ribbon-like fabrics with a width of approximately 0,5 cm to 15 cm in most cases up to 8 cm are considered to be narrow or belted fabrics,.
Belted fabrics may be divided:
• by moulding technique and composition;
• by their use;
• by local types or distribution region, etc.
Division of waistline fabrics by moulding technique and composition (in order of development thereof):
• cellanes (striped, shaven, patterned);
• ducks;
• Aulejas;
• Canvas (striped, floral, patterned).
The traditional Community of waistline fabric makers is made up of people who make waistline fabrics without using looms and have mastered these skills from both a master or family and written sources or videos. This way of doing it enables a wide range of people to engage in acquiring skills – without age or any other restriction, as simple tools available in the home (sticks, cardboard, threads, strings, etc.) are used.
The core of the Community is the masters - Lilija Balgalve-Treimane, Edīte Kuzmane, who managea nd practice traditional belted fabric-making skills and passes them on to other interested parties. This can be done either directly through masterclasses, individual or group classes, or through the introduction of records and video material.
The basis of the Community is the scientific and methodological writers, Anete Karlsone and Sanita Kozuliņa, who study, describe and publish descriptions of historical material and prepare methodological literature.
The Community is expanding with the involvement of a section of society interested in traditional Latvian culture that wants to learn traditional craft skills, make and wear a folk suit, celebrate traditional anniversary and family festivities, etc. There are Community members who also use traditional waistline fabrics as part of contemporary clothing.
A cluster of big Lielvarde name belt weavers brings together people from all over Latvia. There are those who attend monthly appointments regularly, but there are also those who only refer to topics of interest to them. More than 50 weavers have traditionally mastered belt-making since 2016. Some continue to weave belts solely for family purposes, others share lessons learned in their applied arts studios and gatherings, such as the Community “Savieši” in Ķekava, the applied arts studio “Rota,” the handcrafted studio “Krustaines” in Saulkrasti, the society “Baltaine” in Koknese, the applied arts studio in Krustpils, the weaver cluster “Kodaļa” in Saulkrasti, the belt weaver cluster “Sauleskrasti” in Engure, etc.
The open nature of the cluster's activities has enabled its members to acquire skills in the Lielvarde and carry them on to their places of life and activity. When preparing submission information, we conducted a survey to identify traditional belt weavers. (The survey results and the list of sash weavers are available on the Community's website in www.balticbelt.com)
Importance in Community Life
Weaving traditional belts with simple tools enables traditional craft skills to be practised in a place and time desired by them without attachment to a particular workshop, while at the same time allowing an unlimited number of weavers to combine in a shared activity. Traditional belt-making uses a variety of technical solutions that allow the weaver to create a very diverse range of objects: both precise replicas of ancient objects and new works created within tradition. Weaving traditional belts for Community members is both self-education and self-expression, socialising, and connecting with traditional cultural heritage, as well as caring for the Latvian identity.
Activities/Actions
The weaving of traditional belts begins with the preparation of warp and tissue materials (yarns, threads). In order to obtain a quality product, the wolves need a Grod yarn which, if not available, must be prepared by the weaver himself. When the weaving technique is known, tools shall be selected, adapted or manufactured. Sticks shall be used for braiding, warp - for wrapping of order, cords - belts for tying and stretching of warp. Weaving of belt fabrics is mostly done by securing the wolves at one end. For the lace weave technique, the wolves can be secured at both ends. Square boards (plaques) of wood, cardboard or other material are required for weaving in the knees, with a hole in each corner for inserting thread. It is best to make them to the size (5-7 cm on average) suitable for the hand of the weaver. Weaving of canvases requires: boom/roller - for winding up the warp, thread and stick - for binding the cane, string - for tying and tensioning the warp. For narrow waistline fabrics (garters), a special strip of wood can be used to replace the boom and the bound bundle. Weaving takes place by steadily securing one end of a wolf braid and another, the tip of a weave, by tethering the waist of the weaver to a bandage. The weaver provides the required drag tension with its body strength. Tools for the weaving process include a knife, bundle, weaver belt and other accessories. Each belt technique has many variations in different colors and patterns. They can be consulted in books and publications on belt weaving, as well as in countless videos. (See the list of major publications below!)
Beliefs, Rituals, Unwritten Rules
The condition is to weave in good spirits, because in anger the threads do not “listen”, braid and burst. Each weaver can create their own habits, which they adhere to during the belt weaving process, such as starting weaving in a phase of a new moon to make the work work fast.
Inheritance and Transfer
Weaving techniques are best learned by the master directly or, exceptionally, remotely (via video). Written sources can also be used to acquire skills. For the acquisition of traditional weaving techniques, it is very important to familiarise yourself with the stock of waistline fabrics stored in museums, which provides direct information on all aspects of the quality of the creations. Since 2012, Lielvarde craftsmen and later (from 2016) the Lielvarde belt weaver set, led by Edīte Kuzmane, have been participating in the event “Meet your master!”, where it is offered to learn to make belts without looms - traditional belt-making techniques. Lielvarde has established the Lielvarde National Costume Centre “Belt,” where meetings, individual counselling and training sessions of the belt weavers Community are held to introduce those interested to the traditional waistline weaving. The number of Community members is variable because both craftsmen and stakeholders who want to acquire knowledge and skills are here to do just some specially conceived belt for themselves or family.
In the school year 2018/2019 Edīte Kuzmane created an interest education programme “making traditional belts of Latvians.” The transfer of traditional belt weaving skills is also carried out by other Community members.
Traditional belt weaving master Lily Balgalve-Traimane, living in exile - Canada, was active in maintaining and transferring this skill: provided masterclasses in 2x2 Latvian camps in America, Australia and 3X3 Latvian camps in Latvia. After returning to Latvia, the master continues to work on the methodical material on the making of belts and has published the book “Celaines. weaving of knee belts and footwear” (2018). Ms Balgalve-Traimane provides masterclasses at the Lielvarde craft Centre, Dobele's craft house, the People's applied Arts studio “Kamene” and other interest groups.
Traditional culture researcher Anete Karlsone has published several articles about Latvian belt types and published a book titled “Patterned belts: the common cultural layer (2014), as well as lectures, masterclasses and theoretical and practical lessons on making traditional waistline fabrics and preparing yarns – colouring with plant colouring.
• Belt-making master and belt-stock researcher Sanita Kozuliņa has collected material about braided and Lielvarde-style belts, provides theoretical and practical lessons about making traditional waistline fabrics.
History
The earliest waistline finds in Latvia date back to the 6 th century (Ģinters 1936:16), but in the period from the 9 th to 13 th centuries there is already a development of a diverse tradition of waistband weaving (Zariņa 1970, 1988). Evidence of waistline fabrics as components of clothing has also survived from subsequent centuries (Žeiere 2008). A very large typological variety of waistline fabrics can be seen in Latvian ethnographic material, which is available in Latvian museum repositories both in a multitude of objects and in the form of drawings, photographs and written news.
The simple tools required to make traditional belts point to the great ancestry of this skill, which dates back to the origins of weaving history, while implicitly suggesting the existence and inheritance of this skill in the family, the family, the family. At the same time, this traditional type of belt weaving also existed as a craft industry (Lauva1894, Niedre1930): making more sophisticated belts became a more agile source of income for handcraftsmen, but working tools remained the same - easily available and to be made, because the mastery of the belt maker prevailed. As a result, museum collections and private collections have retained a magnificent collection of traditional Latvian belts.
The increase in interest in traditional craft techniques, including belt making, which had already been partially forgotten, increased in Latvian society with the creation of a national state. Eduards and Alma Paegļi contributed greatly to this area (Birgel-Paegle 1925, Paegle 1925, 1929). Weaving traditional belts became a popular type of Latvian handicrafts, it was also included in the school handicrafts program. During the Soviet occupation, traditional belt weaving was popularised by an ethnographic lead, a rock worker and head of a applied arts studio, Ilga Madre (Ivanova, Madre 1968). Overall, however, the weaving of belts in belt looms or weaving floors (wide fabric looms) took precedence during this period. The traditional way of making belts with special weaving tools continued to remain an activity of individual handcraftsmen.
After the restoration of Latvia's independence, traditional belt weavers such as Maris Manins, Inese Krumina and others were increasingly prominent in society. Lily Baltgave-Treimane has made a big contribution to this.
Some belt fabric techniques can also be made in looms of wide fabrics, which are mostly practised today. However, changing the technological process also changes the quality of belts – weaving in looms makes it impossible to achieve the required density of fabric structure and the fineness of the product. Latvian traditional belts are still in active circulation, they are made and used, but mostly use simplified styling technology – weaving in looms, which is not always available to a wide range of handlers. The skill of making loom-free belts is fading because of the lack of information in the public space about the highest level of belt quality that can be achieved directly with the simple weaving tools. The use of these tools, on the other hand, makes this traditional craft skill available to a wide range of handcraftsmen. We consider it an important long-standing skill to protect and preserve for future generations.
Additional Information
Dyeing of yarns with plant dyes.
In older waistline fabrics, the use of coloured yarns painted with plant dyes is clearly recognisable. This factor is also important when imitating objects as accurately as possible. Using naturally coloured yarns in modern versions of waistline fabrics is also interesting and accessible.
Tradition of wearing a countrysuit. Latvian life message.
Very many waistline fabrics, preserved and available for research and mimicking, are directly part of the taut. These outfits, as well as individual belts used in activities related to the passages of time and life, make it possible to feel the identity of the people better and make them topical today.
Masters
Master Lily Balgalve-Treimane, master of traditional belt weaving, teacher, author of books.
Belt weaver and researcher, Dr hist. Annette Karlsson, lead researcher at the Latvian Institute of History at the University of Latvia, author of books.
Edite Kuzman, founder of the Lielvarde belt weaver set, Chairman of the Board of the foundation “Lielvarde belt weavers.”
In Latvia and the world, masters who make waistline fabrics in a traditional way are of great value. The initiators of the application, the masters mentioned herein, are found in the Total of Lielvarde belt weavers and elsewhere in Latvia. Transfer of skills is also implemented through online courses.
For other masters who have agreed to collaborate as makers of traditional belts and transfer their skill to others, information is available in the Annex.
The Master List will continue to be updated and available in the Lielvarde belt weaver set.
Agencies and Institutions
Foundation “Lielvarde name belt weavers”
National and county museums - keepers of belt supplies.
Artisan centres and clusters such as the Community “connected” in Hoekawa, the applied arts studio “Rota”, the crafts studio “crosses” on the Sunbanks, the society “Baltaine” in Koknese, the applied arts studio in cross Palace, the set of weavers “kovient” on the Sunbanks, the set of belt weavers “Sunescripts” in Engure. etc.
Strengthening
Participation in the event of the national cultural Centre of Latvia “meet your Master!” for acquisition of individual and group class skills. The belt-making program as a gathering of interest education at Lielvarde name Edgar Kaulins High School from 2018, at Ogre's 1 st High School from 2022. As of 2016, a set of Lielvarde name belt weavers has been in operation.
By increasing public knowledge of the great diversity and typological richness of Latvian traditional belt making as the value of our traditional culture, it is possible to increase the demand for these types of belts by promoting their making. Every year, publicity measures for the “meet your Master!” event draw attention to this traditional skill. Many participants in the activities offered by the Grand valve belt weaver set continue to learn how to make belts: joins a set of Lielvarde belt weavers, continues to take individual courses, looks for materials in museums, learns independently, practicing the making of waistline fabrics. Children have had the opportunity to familiarise themselves with the intangible cultural heritage and successfully apply the skills acquired in modern life, creating small objects in traditional belt-making techniques and delighting themselves, friends and family.
Financing of the State Culture Capital Foundation has been received for preparation of the visual part of the application. An opportunity has been received to use the foundation material of the Edgars Kaulins Gold Museum of Lielvarde municipality. It is planned to receive support from the Latvian Ministry of Culture Culture Capital Foundation the State Culture capital Fund, the municipality of Ogre, the local governments of the places involved in the projects (for example, in the project “grow in nature”) and other institutions involved in the implementation of the planned activities. So far, support has been received from the public-private partnership society “Land of flowers” for participation in the Colabora Lielvarde project in the co-creation space; Financing of the State Culture Capital Foundation for the preparation of a value application. Co-operation with State and local Government cultural institutions, Ogre municipality local government, rural support service, thematic related non-governmental and professional organisations is planned.
Continuity/Development
During the period from 2025 to 2030, the foundation “Lielvarde belt weavers”, a cluster of Lielvarde belt weavers, in co-operation with State, local government and non-governmental sector institutions, shall provide for:
1. To start identifying and documenting traditionally made belts from private stocks and museums of lesser public knowledge in the counties where the Community structural unit of belt weavers has been established;
2. Continue to explore the collections of waistline fabrics of the national Museum of History of Latvia, the Latvian ethnographic open-air museum and regional museums;
3. Launch a permanent workshop – a museum, educational, research and consultative centre;
4. Organise an educational seminar “belt around the Baltic Sea”, inviting specialists, practitioners and theorists from different countries to present their work in research, preservation and transfer of traditional waistband-making skills;
5. Create publications that promote traditional belt weaving.
During the period from 2025 to 2030, the foundation “Lielvarde belt weavers”, a cluster of Lielvarde belt weavers, in co-operation with State, local government and non-governmental sector institutions, shall provide for:
1. Practicing and self-learning:
1.1. To regularly create waistline fabric exhibitions and participate in the national cultural Centre of Latvia's offers of folk applied art exhibitions;
1.2. Improve the offer of activities for the “meet your Master!” event by attracting lecturers and masters;
1.3. Invite lecturers to broaden the vision of members and other stakeholders of the Lielvarde set – for education.
2. Training:
2.1. Development of certification procedures, which will result in a belt weaver (Community Member) being able to demonstrate that he has acquired knowledge and skills as well as the ability to work practically within the framework of the tradition. This attestation will entitle the weaver to act as a master - practitioner of traditional skill, teaching this tradition further;
2.2. Develop an offer to schools under the School bag programme;
2.3. Organising belt-weaving camps for children in summer;
2.4. Implement a cycle of high-quality classes, which includes workshops and masterclasses on traditional belt making, which will be implemented both at the sites of Community members' activities and at other craft sets in Latvia, with a view to further developing and transferring skills.
2.5. Initiate the development and publication of methodological material for training in traditional belt making for children and adults.
3. Visibility:
3.1. Maintain and update a website on traditional belt weaving;
3.2. To develop labelling signs for the recognition of traditionally made waistline fabrics in the public space. This is an important component of the artisan's communication with the buyer in order to build public understanding and resolution in the common craft market;
3.3. To create and commence implementation of the project “belt day Museum”, within the framework of which weavers weave belts in the museum exhibition premises for one or several days. It is planned to offer activity to museums throughout Latvia. According to the museum, tailored types of weaving belts – the Latgale belt is woven in the Daugavpils museum, the Alsunga belt, etc. is woven in the Kuldiga museum. During activity, the weaver explains and demonstrates the principles of weaving traditional belts. Implement other public belt weaving shares;
3.4. Start work on the festival – “belt day”. Venue - Lielvarde. The programme would include workshops for children and adults, theoretical workshops, etc. activities. In order to facilitate exchange of experience, it is planned to invite representatives of other countries to the festival.
The package is planned to:
1) to continue research of the submitted element;
2) to realise the preservation (practice) of skills and ensuring the quality of knowledge in the Community;
3) to implement qualitative skills training – transfer;
4) to promote the public recognition of the element.
Threats
Traditional belt weaving practices and inheritance are threatened by a lack of information on the benefits and qualities of making waistline fabrics with special belt weaving tools. The commercially crafted handicrafts environment is dominated by the making of waistline fabrics in looms, which are able to deliver higher productivity but significantly reduce product quality. The lack of public awareness of the high value of traditional belt weaving skills and their added value makes it difficult to compete in the sale of craft products, as the buyer lacks information on the circumstances that determine the highest price of traditional woven belts. There is also a danger from the lack of information on the varied use possibilities of waistband fabrics today, both as part of the national costume and as part of contemporary clothing, among other things.
Applicant
Edite Kuzman, foundation “Lielvarde belt weavers,” TAIL. No. 40008324476
Image Gallery
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Video Materials
Text Materials
Publications
Whitehead-Treimane, Lily (2018) Celaines: weaving knee belts and shoes. Riga: [Scripture dowry]
Bicka, Annette (1990) again … and again about the Lielvarde belts. Natural and historical calendar for 1991. Riga: Science, p. 251-256.
Bicka, Annette (1991) thoughts on Lielvarde belts. Daugava articles. Riga: Science, pp. 88-100.
Birgel-Paegle, Alma (1925) knees. Latvian Sun. No 28-30: 17 (321) pp.
Cranberries, Alexandra, Treimanis, Lily (1982) Latvian belts. Canada: Toronto's Daugava Vanadze
Ginters, Voldemars (1936) the backdrop of Latvian folk costume. Introduction to the history of Latvian folk costumes. Riga: J.Greenberg, pp. 6-92.
Ivanova, Gundega, Madris, long (1968) belt patterns. Riga: flame
Carlson, Annette (1992) Sen belt writes the basic principle of composition. Natural and historical calendar for 1993. Riga: Science, pp. 229-233.
Karlsone, Annette (1993) looks at the problems of exploring the Latvian belt pattern. Journal of the Latvian Institute of History, No. 2: pp. 19-31.
Karlsone, Annette (1994) “zalktis” in Latvian belt fabrics. Ornaments in Latvia: materials for the history of art. Riga: Science, p. 78-84.
Carlson, Annette (1996) searches for lost Kurzeme belts. Journal of the Latvian Institute of History, No. 3: pp. 58-72
Carlson, Annette (1996) newfound in Kurzeme belt typology. Four types of Alsunga patterned belts. ZA messages of Latvia, No. 6: pp. 83-92.
Karlsone, Annette (1998) Latvian woven belts in the context of the Baltic Sea region. Journal of the Latvian Institute of History, No. 1: pages 58-75.
Carlson, Annette (2014) patterned belts: Common cultural layer. Patterned sashes: the common cultural layer. [Riga]: Latvian National Centre for Culture
Lion, J. (1894) Women's national Clothing in Lielvarde. Ethnographic information on Latvians. Annex No. 7 to the newspaper “daily Page”
Reed, John (1930) cross Palace terrain belts. Supplies from the country's historic museum. Riga: State historic Museum
Paegle, Edouard (1925) belt ends. Latvian Sun, No 34: 12-14. (pp. 364-366)
Paegle, Edouard (1929) will rise. Latvian Sun, No 77-78: 5-6. (841-842) pp.
Zarina, Anne (1970) ancient Latgalian clothing in the 7 th to 13 th centuries. Riga: Science
Zarina, Anne (1988) Libyan outfit 10-13 s. Riga: Science
Jiere, Irita (2008) archaeological evidence of clothing in Latvia in the 13 th-18 th century. Riga: National History Museum of Latvia
Websites
Edite Kuzman. Traditional belts. Lielvarde belt weaver set - interviews with members of the set about the importance of skill in their lives - stories of inspiration.