Author:
Laila Šteinberga
Traditional craft skills
Title
Band-Patterned Blanket Weaving in the Sigulda Region (2022)
Jostu segas, jostiņsegas, josliņsegas, prievīšu segas
As early as the beginning of the 20th century, band-patterned blankets were known in Latvia as a type of decorative textile, though their weaving involved relatively complex fabric arrangement techniques. In the 1980s, the Folk Applied Arts Studio (FAAS) "Krimulda" developed a simplified technical setup for band-patterned weaving, using 8-digit rounds to allow for a wide range of design possibilities.
Geography
Sigulda region, Vidzeme, Latvia
In band-patterned blanket weaving, we can identify several groups of interested individuals:
• Weavers-artisans dedicated to continuing the complex and colour-rich tradition of band-patterned blanket weaving. Some of the most active weavers from FAAS "Krimulda" and FAAS "Sigulda" were Masters of Folk Craft (MFC): Velta Stege, Inta Drozdova, Antonina Kancane, Lilija Sica, Erika Veinberga, Helga Baumane, Helena Millere, and others, who are no longer with us, as well as Mara Polane, Anda Larmane, Aina Vilka, who have ceased active weaving.
However, Vija Kosarenoka, Laila Steinberga, Guna Zandberga, Dzintra Ginta, Astrida Freimane, Anita Pildegovica, Rasma Rubene, Irena Balode, Eneri Akmentina, and Ludmila Ustinova are eager to share their knowledge and experience in band-patterned blanket weaving.
• New weavers eager to learn and preserve the skills of band-patterned blanket weaving.
Weavers have already been identified from several historically significant regions in Vidzeme: Valmiera (FAAS “Mazsalaca” and the Renceni weaving club), Gulbene (FAAS "Sagsa"), Saulkrasti (Saulkrasti weaving group “Kodala”), Smiltene (FAAS "Smiltene" and Blome weaving club), Madona (Sarkani Craft School), Sigulda (FAAS “Urga”), Jūrmala (Jūrmala weaving group), Limbaži (FAAS "Staicele" and NGO "9 Arodi"), and Cesis (Vaive weaving club), who wish to learn the unique skills of blanket weaving.
The search for more interested individuals continues.
• Wearers who, appreciating the significance of Latvian ethnographic patterns, wish to acquire such items to emphasize and preserve their ethnic identity.
• Wearers who have inherited or received band-patterned blankets as gifts and keep them as a tribute to the craftsmanship of weavers from previous generations (including museums).
Importance in Community Life
Textiles crafted using band-patterned weaving have a wide range of applications, they can be used for interior decor, such as wall hangings, rugs, upholstery, curtains, and throws, as well as for clothing fabric.
Most importantly, the creation of decorative textiles that meet modern standards incorporates ancient blanket decoration traditions and composition.
Band-patterned blankets reflect the Latvian people's deep-rooted and centuries-old appreciation for beauty, combined with technical mastery.
Depending on the weaver's sense of colour, weaving experience, and patience, the work achieves remarkable diversity in geometric and colourful patterns.
Thanks to the publication in the magazine "Sieviete" (February 1994, authored by V. Stege) and training provided by the Latvian National Centre for Culture (LNCC) for applied arts studio directors, many weavers in Latvia acquired the skills for band-patterned blanket weaving, but intensive production of these decorative blankets primarily took place at FAAS “Krimulda” and FAAS “Sigulda.”
A survey of weaving group leaders revealed that only a few skilled band-patterned blanket weavers remain in Latvia, mostly from the older generation and primarily in the Sigulda region.
As a result, these blankets are no longer actively produced. Nevertheless, a new generation of weavers has shown interest in learning the craft, emphasizing the modern relevance of Latvian patterns to preserve the nation’s intangible heritage and cultural identity.
To preserve band-patterned blankets as a unique value for future generations, the Ethnographic Open-Air Museum of Latvia has purchased two band-patterned blankets from FAAS “Krimulda” artisans (created by Liga Sausina and Laila Steinberga), while the National History Museum of Latvia has acquired one (created by Laila Steinberga).
Many band-patterned blankets, crafted by artisans from the Sigulda region and showcasing the excellence of Latvian folk art, are also preserved in private collections both within Latvia and abroad.
Activities/Actions
In the first half of the 20th century, complex weaving techniques were used for band-patterned blanket production, including pattern threading with the help of scales, double-thread setups, a pulling device, or Vilumsons looms with numerous (10–16 or more) shaft layers, making the process labor-intensive.
Competition among weavers drove them to seek new ways to create increasingly elaborate fabrics with simpler methods. Most rural households owned looms that could be equipped with 2, 4, or 8 shaft layers, prompting the search for innovations to simplify the process while preserving ornamental diversity.
The technical simplification of the weaving process was achieved by using a warp-faced rep technique with 8 shafts.
This method is similar to the well-known "rosepath" with a 4-shaft setup and open pointed threading.
By doubling the shaft count to 8 and adjusting the treadling sequence, skilled combinations of pattern elements allow for greatly expanded possibilities in pattern and ornament variety.
The patterned warp-faced rep is a commonly used weaving technique for striped blankets, allowing both sides of the fabric to be equally functional.
This weave has a slightly ridged surface with densely packed weft threads, and its structure is reinforced by mirrored sections of the same pattern.
The weave density is high, so warp threads are not visible, with the design created by weft threads woven in contrasting colors.
For patterned rep weaves, at least two colors are used, one for the front and another for the back. This results in a matching pattern on both sides, but with reversed colors, similar to the weaving of Auleja-type belts.
The weaving of band-patterned blankets is divided into at least three equally important stages.
1. The technical setup of the fabric base on the looms, where cotton threads are used for the warp and wool yarn for the weft.
2. Combining ornamental bands and creatively deriving patterns using the base design of the fabric.
Depending on the order in which the weft threads are woven, it is possible to create ornamental bands of varying widths and configurations.
3. Before weaving begins, a colour design or colour sketch is created. According to this sketch, wool yarn is dyed in various shades using either plant-based or chemical dyes.
When planning a colour sketch for band-patterned blankets, the Vidzeme striped blanket composition is often used, with shades arranged in subtle transitions from lighter to darker tones or vice versa, forming repeating and symmetrical pattern sections.
Common sources of inspiration for the colour compositions include the Latvian landscape: the blue skies, rivers, and lakes where currents and waves caress grey stones, brown sandstone, the green of linden and oak trees reflecting in the Gauja river, the white blossoms of bird cherry trees in Sigulda, and more.
Inheritance and Transfer
Weaving in Latvia today takes place both individually and collectively. Some artisans have established craft workshops and work professionally, bringing their products to market.
However, weaving most commonly takes place in applied arts studios or groups led by professionally trained weaving specialists, where enthusiasts work together at a hobby level.
Māra's woven blanket was so unique that other studio participants eagerly embraced the new challenge. Unlike the previously made band-patterned blankets, the weavers from Krimulda combined blankets and sashes using finely shaded yarns with subtle colour transitions, creating a cohesive composition through a harmonious, interconnected colour rhythm.Māra's woven blanket was so unique that other studio participants eagerly embraced the new challenge. Unlike the previously made band-patterned blankets, the weavers from Krimulda combined blankets and sashes using finely shaded yarns with subtle colour transitions, creating a cohesive composition through a harmonious, interconnected colour rhythm.
The main advantage of collective work is the presence of a knowledgeable instructor who can help resolve technical or artistic issues as they arise, enabling participants to exchange experiences, gain theoretical knowledge, and develop practical skills.
Currently, weaving skills in Latvia are taught across 67 studios affiliated with the LNCC.
To recognise, research, preserve, and inspire the younger generation in the skills of creating band-patterned blankets, as well as to foster interest in Latvian ornamentation and folk art, the following is required:
• provide practical training for interested individuals,
• organise exhibitions,
• promote the uniqueness of this craft and the weaving techniques within the community.
To showcase the band-patterned blankets preserved in the private collections of masters from FAAS “Krimulda” and FAAS “Sigulda”, an exhibition "From the Dowry Chest: Band-Patterned Blankets" ( “No pūra lādes. Jostiņsegas”) was held at the Sigulda New Castle from 16 March to 18 April 2022, continued at the Krimulda Community Centre (22.04.–23.05.2022.).
A total of 17 blankets were displayed for public viewing, attracting an audience of over a thousand visitors.
History
One of the oldest types of textiles – woven belts and sashes – was an essential and often one of the most luxurious components of Latvian clothing, with its significance changing only in recent centuries.
The first band-patterned blankets were created in the 19th century by sewing together multiple belts and sashes. They quickly gained appreciation from wearers.
However, the complex crafting technique prompted weavers to seek simpler ways to achieve results.
The idea of weaving band-patterned blankets using the twill technique at FAAS "Krimulda" emerged in the 1980s when the member Mara Polane presented an heirloom from her mother Ella Enoks – a woven decorative blanket adorned with ornamental bands (see images), which the family used as a piano cover.
Ella Enoks had woven this blanket as a masterwork or final examination project upon graduating from the Kaucminde Home Economics Seminar (in 1932).
The blanket can be regarded as a family relic that accompanied Ella throughout her exile in distant Siberia and successfully returned to Latvia.
Perhaps it was this very blanket and its patterns that preserved Ella's connection to her homeland, warmed her heart in the cold of Siberia, helped her endure the harsh trials of exile, and inspired her to return home.
Mara's desire was to continue her mother's work and encourage other weavers to create something similar.
After thorough research on the fabric, FAAS "Krimulda" leader Vija Abele, together with folk art master Velta Stege, resolved the technical design of the fabric, allowing the weaving process to begin.
Mara's woven blanket was so unique that other members of the studio eagerly embraced the new challenge.
Unlike the previously made band-patterned blankets, the weavers from Krimulda combined blankets and sashes using finely shaded yarns with subtle colour transitions, creating a cohesive composition through a harmonious, interconnected colour rhythm.
The rise and decline of band-patterned blanket weaving are largely linked to the political and economic developments in Latvia.
Starting from the first half of the 20th century, woven blankets were mostly used for ornamental purposes, being sewn together to create blankets (Aina Alsupe. “Audēji Vidzemē”. Riga: Zinatne, 1982).
In the 1920s and 1930s, during Latvia's first period of independence, there was a strong desire to express a sense of belonging to one's ethnic group through folk art.
This fostered a connection between the prevailing expressions of national romanticism and the exploration of folk antiquity, ethnography, and Latvian ornamentation.
Notable Latvian ornament researchers during this time were artists Jekabs Bine and Ernests Brastins.
In his book "Latvian Ornamentation" ("Latviešu ornamentika", Riga: Valodze, 1923), Ernests Brastins calls for an awareness of the Latvian ornament as an ethnographic heritage from the past.
In the 1980s, towards the end of the Soviet occupation, the representation of Latvian ethnography and ornamentation in folk art served as a testament to ethnic identity and a quiet protest against the absurd restrictions of the prevailing political regime and Soviet propaganda.
In the review "Folk Applied Arts in Soviet Latvia 1970–1985" ("Tautas lietišķā māksla Padomju Latvijā 1970–1985" by A. Alsupe, A. Kargane, Riga: Zinatne, 1988), it is stated:
"Traditional band-patterned blankets are very popular. While in the first half of the 20th century they were made with various contrasting patterns, contemporary weavers aim to maintain unified colour tonalities, creating more subtle designs and selecting motifs that adhere to a more cohesive rhythm. As a result, current band-patterned blankets appear more delicate, monotonous, and better suited for small spaces."
In turn, the 1990s were associated with the national awakening, the restoration of Latvia's independence, and the public's enthusiasm for it.
This period awakened a deeper understanding among people of Latvian ethnography and ornamental patterns as a value of national identity.
During this time, band-patterned blankets also received the highest recognition from society.
In 1993, at the XXI Nationwide Latvian Song and XI Dance Festival's applied arts exhibition, the woven band-patterned blankets by the weavers of FAAS "Krimulda" were awarded the brother Ernests and Arvids Brastins Memorial Medal.
The new millennium opened the curtain on the exploration of the cultures of European and global nations, bringing changes to community life perspectives.
Commercialization took the lead, with the multicultural style and minimalism becoming fashionable, leading to a rejection of ethnic styles that contributed to the decline of band-patterned blanket weaving.
Today, in light of current geopolitical events, there is a renewed interest in the Latvian identity and culture.
In her book "Patterned Belts: A Shared Cultural Layer" ( "Rakstainās jostas: kopīgais kultūrslānis", Riga: LNCC, 2018), Anete Karlsone highlights the possibilities of belt weaving and notes, "Belt weaving today is not only about creating items belonging to folk costumes. Since the recognition and widespread promotion of the Latvian ethnographic heritage in the 1920s and 1930s, they have become a significant reflection of the ornamental richness of cultural heritage."
Therefore, it is now especially important to preserve not only belt weaving but also the craft of weaving band-patterned blankets as a valued part of intangible cultural heritage.
Masters
The masters skilled in weaving band-patterned blankets using an eight-harness twill technique: Laila Steinberga, Dzintra Ginta, Guna Zandberga, Vija Kosarenoka, Eneri Akmentina, Ludmila Ustinova, Marija Linina (FAAS "Krimulda") and Anita Pildegovica, Rasma Rubene, Irena Balode, Astrida Freimane, Anda Kalanepa (FAAS "Sigulda").
Agencies and Institutions
Sigulda municipality,
FAAS “Krimulda”,
FAAS “Sigulda”,
NGO “9Arodi”.
Strengthening
To preserve and promote the skills of weaving band-patterned blankets, several significant activities have been carried out.
1. Organised seminars and training:
• In 1993, a training course for leaders of folk applied arts weaving studios in band-patterned blanket weaving was held at the LNCC, under the guidance of Vija Abele.
• From April 8 to 10, 2022, during the event "Meet Your Master!" (“Satiec savu meistaru!”) organized by the LNCC, a band-patterned blanket weaving workshop was held under the guidance of masters from FAAS "Krimulda" and FAAS "Sigulda".
2. Publications in press, media:
• Stege, V. Band-Patterned Blankets (Jostiņsegas), Sieviete, 1994, No. 2;
• Deksne, D. Inherited Beauty, (Pārmantotais skaistums), Praktiskais Latvietis, 2009, No. 23;
• Deksne, D. Band-Patterned Blankets (Jostiņsegas), Praktiskie Rokdarbi, 2021, No. 6;
• Latvian Blankets for the Latvian Millennium (Latvijas segas Latvijas tūkstošgadei).
Riga: Sana Solaris, 2018, 574 p. (the publication features several band-patterned blankets woven by Latvian artisans using the twill technique).
3. Blankets have been displayed in various exhibitions:
• 1990 – XX Nationwide Latvian Song and X Dance Festival exhibition;
• 1993 – XXI Nationwide Latvian Song and XI Dance Festival exhibition;
• 1994 – Riga City Exhibition;
• 2002 – FAAS "Krimulda" Exhibition at the Krimulda Civil Parish Community Centre;
• 2003 – XXII Nationwide Latvian Song and XII Dance Festival exhibition;
• 2008 – XXIV Nationwide Latvian Song and XIV Dance Festival exhibition;
• 2009 – FAAS "Krimulda" Exhibition at the Krimulda Civil Parish Community Centre;
• 2009 – Exhibition "Jostas, jostiņas, josliņas" at the Latvian Ethnographic Open-Air Museum;
• 2016 – "Latvian Regional Blankets" ("Latvijas novadu segas") national exhibition in Kuldīga;
• April 2022 – Exhibition "From the Dowry Chest: Band-Patterned Blankets" ("No pūra lādes. Jostiņsegas") at Sigulda New Castle;
• May 2022 – Exhibition "From the Dowry Chest: Band-Patterned Blankets" ("No pūra lādes. Jostiņsegas") at the Krimulda Civil Parish Community Centre;
In the Vidzeme region (initiated by FAAS "Krimulda"), interested individuals have been identified who wish to learn the skills of weaving band-patterned blankets in the coming years, gradually involving other FAAS and weaving masters in the training process.
The best way to periodically showcase the work of artisans and engage the public is through exhibitions. These exhibitions attracted a wide audience from both Latvia and abroad, and undoubtedly offered respect and admiration for the achievements of our masters. Often after the exhibitions, participants expressed interest in joining the FAAS to learn weaving skills and gain knowledge about folk art, as well as those wanting to purchase the unique blankets for themselves. Thanks to the published band-patterned blanket weaving techniques in local press publications, weavers were able to access information and experiment with the process themselves. In 1993, the FAAS "Krimulda" collective received high recognition at the XXI Nationwide Latvian Song and XI Dance Festival's folk applied arts exhibition, thanks to their vibrant band-patterned blankets, earning them the brother Ernests and Arvids Brastins Memorial Medal.
The greatest support and assistance in the development and preservation of weaving skills for band-patterned blankets has come from the state: the LNCC has coordinated the activities of weaving groups and folk applied arts collectives, organized various textile exhibitions, and partially financed (targeted grants are provided to motivate artistic collective leaders) the work of FAAS leaders.
Additionally, the Sigulda municipality financially supports the activities of FAAS "Krimulda," FAAS "Sigulda," FAAS "Vīgrieze", and FAAS "Urga", providing facilities, necessary technologies, and recruitment of competent instructors.
From March 16 to May 22, 2022, the Sigulda Culture Centre held the band-patterned blanket exhibition "From the Dowry Chest: Band-Patterned Blankets" ("No pūra lādes. Jostiņsegas") at Sigulda New Castle, showcasing 17 band-patterned blankets preserved in private collections.
Media involvement is also crucial; for instance, the magazine "Praktiskie rokdarbi" published the weaving methodology for band-patterned blankets in the 6th issue of 2021, sparking interest in the use of this weaving technique.
For the planned development of band-patterned blanket weaving skills over the next five years, see the appendices.
Continuity/Development
The participants of FAAS "Krimulda," in collaboration with weaving masters from other folk applied arts studios in Vidzeme (NGO "9Arodi") and Sigulda region, will carry out research within the collections of the Latvian Ethnographic Open-Air Museum, the Latvian National History Museum, and other history and applied arts museums across Latvia with an objective is to uncover the historical development, alternative weaving techniques, and traditions of band-patterned blanket weaving within Latvia and abroad, documenting their findings and producing instructional materials.
To preserve, protect, pass on, and popularise the skills of weaving band-patterned blankets, initiatives will focus on four main areas.
1. Training weaving studio participants through masterclasses.
FAAS "Krimulda" members will regularly organise masterclasses and seminars to attract new weavers. So far, interest in weaving band-patterned blankets has come from weavers across 11 studios in the Vidzeme region, though further outreach is ongoing.
With a generational shift occurring in folk applied arts studios, it is particularly important for new participants to gain knowledge of ethnographic ornamentation and ways to incorporate it into textiles.
2. Evaluation of training.
FAAS "Krimulda" members, together with the Sigulda municipality and other studios (in collaboration with LNCC), plan to hold a band-patterned blanket exhibition in 2027, where trained weavers will showcase their works.
3. Educating the community, particularly children and young people, in accordance with the values of Latvian folk art, helping them understand ethnographic ornaments and Latvian colour combinations.
As part of the annual event "Meet Your Master!", the weavers of FAAS "Krimulda" will present the application of patterned fabric weaving techniques in the creation of woven products.
Participants of TLMS "Krimulda," together with the Sigulda municipal council preschool educational institutions and art school students will provide information on Latvian folk ethnographic ornaments and their applications in everyday life.
4. Promoting the Latvian ornament as a code of Latvian identity in the Sigulda region.
In collaboration with the Sigulda Tourism Information Centre and with the support of the local government, a special line of souvenirs dedicated to band-patterned blankets, belts, and Latvian ornamentation is planned to be created.
The objectives of the aforementioned measures are:
• to promote an increase in the number of skilled artisans in band-patterned blanket weaving;
• to promote the Latvian folk ethnographic ornament both within Latvia and beyond its borders;
• to cultivate respect and understanding of Latvian cultural values among young people;
• to raise awareness of contemporary ethnic and national identity in response to the challenges of globalization.
Threats
There are several threats to the weaving of band-patterned blankets in Latvia.
1. Lack of weaving masters.
There is a noticeable aging among weaving masters, with few young people interested in acquiring these skills. Globalization, digitalization, and commercialization have shifted societal values, lifestyles, and priorities.
As a result, to secure stable income with greater profit potential, young people tend to choose more lucrative professions.
Furthermore, there are now numerous alternatives for leisure activities, leading to a decline in the number of enthusiasts for folk arts.
2. High product cost:
• expensive looms with 8-shaft setups and equipment necessary for the weaving process;
• expensive material – cotton threads for warp and dyed wool yarn in various colours for the fabric is required (the cost of materials for one band-patterned blanket can range from 50 to 100 EUR).
• time spent on weaving – these blankets are exclusive and usually made in a single copy, the work can take anywhere from two weeks to a month.
3. Low market demand.
This can be attributed to the current consumer culture in society, where buyers opt for cheaper, frequently replaceable, mass-produced goods, which, in turn, leads to lower demand and decreases sales in the handicrafts market.
By increasing the supply of band-patterned blankets and promoting them as a heritage value characteristic of the Sigulda region and Vidzeme, there is hope to change the recognition of these blankets and subsequently increase demand.
Applicant
Sigulda Municipality, reg. no. 90000048152, FAAS "Krimulda," FAAS "Sigulda"
Image Gallery
Audio Materials
Video Materials
Text Materials
Publications
Deksne, D. (2021, No. 6, p. 6,7) "Band-Patterned Blankets ("Jostiņsegas"), "Praktiskie Rokdarbi"
Stege, V. (1994, No. 2, appendix) Band-Patterned Blankets, "Sieviete"
Deksne, D. (2009, No. 23) Inherited Beauty, (Pārmantotais skaistums), "Praktiskais Latvietis"
Websites
“Meet Your Master!” invites you to learn weaving skills; a belt-patterned blanket exhibition is on display until April 17. - An interview with the organisers from the Sigulda Culture Centre of the exhibition "From the Dowry Chest: Band-Patterned Blankets" ("No pūra lādes. Jostiņsegas") at Sigulda New Castle (16.03.–18.04.2022.) – Laila Steinberga and Liga Sausina.