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Dance - It Really Is for Everyone!

10/24/2012

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Dancing with friends at DITME.
I have always loved dance, in any form.  Unfortunately, I did not choose to pursue it with any level of seriousness until I was an adult (I always believed myself too awkward and clumsy to do so).  After I moved to Baltimore in the early 90s, I found a place to learn Irish Ceili dance (social dance similar to square dancing or English country dance) and from there I took up Irish step dancing.  I was in love!  The affair, however, ended rather tragically when my doctor informed me that all of the leaping and stomping had deteriorated the cartilage in my feet, knees and hips.  I had to stop in 2004 or I would have stood a really good chance of needing a knee replacement very early in life.

Fortunately, I had already been introduced to Middle Eastern dance and had dabbled in various local classes.  I also took any class offered on the subject at Pennsic or other SCA events.  After my doctor "banned" me from Irish dance, I started multiple classes a week in this very different art .  After years of work, I started performing at mundane dance events (mundane, for those who do not know, is the term used by members of the SCA to describe anything not SCA) and eventually began teaching at SCA events.

I love the dance, and love to share what I know about it.  I am, however, no dance historian.  My focus in research is more centered on textiles and garments than the dance itself, though I have read what materials I have been able to find on the subject.  In a nutshell, we know that dance was period for those in the Middle East, but we have little to go by that gives a real understanding on exactly what that dance entailed.

Master Asim al-Talib, a friend of mine, has some great information on his blog here:  http://asim.livejournal.com/64660.html?delayedid=

I believe he actually has documents stored online as well and I will post that link also when I can track it down again.

Despite of the lack of actual information, there is still an intense interest from so many people in the SCA, and so the dance persists.  There is nothing wrong with this at all.  I love how the dance works within the Society, in most cases.  Here it really exists as a social dance.  Yes, performance opportunities exist, but they are not overly common (at least in my area) and dance at events has become something that is open to all - regardless of skill level, what garb one is wearing, age, weight, gender or anything else.  Many people put a great deal of time and effort into making dance haflas and Middle Eastern events that are very inclusive.

Fortunately, most teachers I have come across in the SCA also do a good job of letting people know that it is for everyone.  If you want to dance around the fire at war, or dance at a hafla, you should.  There is no reason at all not too dance if you feel the urge.  It is, at its heart, a social experience and should be inclusive of everyone who wants to play.  In this respect, I think that haflas at SCA events are much closer to the spirit of what a halfa should be (as opposed to the haflas you often find in the mundane dance communities, which are most commonly staged shows).

This summer I altered the format of my SCA-based dance classes to try to really let people know that dancing at an event is not meant to be a show, and that any one can do it if they so choose.  Yes, it is often hard for a new dancer to get out on the floor, but I think if they are told early on that it is OK, even of they only know three moves and can't remember two of them.  With the right education, and delivery of the message that it is a social experience and not a show, they might just be a bit more likely to take that step.  Additionally, I let them know, that if they get up the courage to get out there, it is likely to inspire others to dance as well!

This is the good part of bellydance in the SCA.  There is also, unfortunately, a down side and many other things I feel that new dancers in the SCA should be told. 

Those who dabble in dance at Pennsic or other events are very likely to go out in the mundane world looking for more.  This is a good thing (even a necessary thing if one really wants to improve as a dancer).  Many people want to go beyond dancing socially, or at least want to know how to better interpret music and be able to better improv as they dance around the fire. To take these next steps, to progress and grow in the dance, you quire simply have to learn more than the SCA environment alone can offer.  Given the popularity of this dance form right now, most people are able to leave Pennsic, go home, and find a class.

Sometimes, though, a dancer leaves Pennsic, goes home and searches for a dance class and can't find one.  What do they do?  They start their own.  Yes, it happens.  Sometimes there even is a local class, but they feel it is not to their tastes, or its not enough like what they learned at War, and so they still choose to start their own class. 

New dancers don't often understand that it takes years and years (and years) of very hard work to get to a level where one should even consider teaching.  One needs real classes and contact with real teachers and one needs loads of very real feedback.  One also needs what one of my teachers calls "realistic self-assessment".  One needs to know when it is time to move forward and when it is time to just keep working on improving at the stage one is currently in.  One really needs to know that there is more out there than what you can learn in a two week long SCA event.

Yes, dancers outside of the SCA are certainly guilty of this as well, but shows up often enough within the SCA dance culture that I feel the need to mention it.

Maybe some of this happens because, the SCA has seems to have spawned it's own form of bellydance --  another friend of mind refers dancers who have only had SCA experience as "Pennsic Dancers".  You can tell who has never (or rarely) studied outside of SCA events as there is a definitely "style" that shows up in those who have been around for awhile.  It is not bad, in fact it is lovely and serves the purpose of dancing at events very well.  But it is also very limited, especially when it comes to real-world dancing, performing and teaching.

Simply put?  Being told at a hafla or around the fire that you are an amazing dancer is not a complete assessment of your skills.  And please, please consider finding quality teachers and taking classes on a regular basis (and practicing hard) before putting yourself out as a professional dancer or teacher. I've seen this enough that I mention it in the new handout I use for my SCA-based dance classes.  

The summary?  Everyone should dance if they so choose, but know that if you plan to dance in more than a social context, you really need to study and work hard to acquire, and hone, the skills necessary for those endeavours.

Beyond the above personal pet peeve, there is often much other confusion that occurs when the mundane and SCA dance cultures collide.  SCA Haflas are very different from those often hosted by mundane dance teachers.  Additionally, many mundane dance costumes (especially glittery bedlah) are very inappropriate for SCA events.  Because people usually do not go to a dance class to hear a long discussion, I point a few of these things out in the handout I distribute in my SCA dance classes.  The document is linked below if you would like to see it!

dancenotes.pdf
File Size: 165 kb
File Type: pdf
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3 Shaft Twill

10/22/2012

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Even though I don't yet own a floor loom, I have been itching to experiment with weaves beyond tabby.  I opted to get a second heddle for my rigid heddle loom and experiment with some three shaft twills.

Once again, I opted to use the Harrisville Shetland wool yarn for my project.  It's diameter makes it great for working on the RH loom and it wears well for the projects I have used it for.

You can see the start of a basic twill to the left.

I used a combination of instructions I found online to work out this threading and weaving process.  My sources included:

http://weavolution.com/group/rigid-heddlers/rh-wal-3s-twill-sampler-12118

http://askthebellwether.blogspot.com/2009/02/what-can-you-weave-with-2-heddles-on.html

http://weavolution.com/group/rigid-heddlers/do-we-have-wal-11984

http://sueknitsandspins.blogspot.com/2009/02/twill-on-rigid-heddle-loom.html

I only ran a couple of inches of basic twill before switching my lift pattern to work a herringbone twill.  I used the blue warp and enough bright yellow, golden yellow and wine as weft to make three separate hand-sewn pouches.  The first went in the Royal gift basket at war, the second is shown below and is my boyfriend's change purse and the third is still waiting to be assembled ;-)

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Interesting Icelandic

10/19/2012

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I mentioned before that I have to sort of multi-task with my projects.  A half hour on one, then move to the next and then the next.  It's not bad, it just makes me feel rushed at times.Right now my cycle is spin my brown/white Icelandic mix on the spinning wheel, then do some hand embellishing on my 12th Night dress, then finish off the evening spinning my silver Icelandic with the drop spindle.

I should be done with the silver at the end of this week and that will leave me free to start spinning the fine white Icelandic on the spindle (it will eventually be plied and then dyed with madder and weld and then be tablet woven for trim).

More interesting is the spinning project I am working on the wheel.

At the Shenandoah Valley Fibre Fest I purchased pure white Icelandic top and another batch of Icelandic that appeared at first to be a mix of white and a grey. 

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In reality, it is white roving with a dark brown streak down the centre.  In the photo the left (which really has bad lighting) you can sort of see that there is more white on the outside but it is much darker inside (I peeled it open so that you could see it is not really a blend of colors, but rather one contained inside the other).

I love how it is spinning with some areas being predominantly dark with a white spiral and other areas being light with the darker twist.

I don't like the actual feel of this wool as well as the other batches of Icelandic I have sampled (and I assume that its because its carded rather than combed wool), but it still spins nicl I love the way it looks when spun and would definitely consider getting more at some point.

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12th Night Dress Progress

10/18/2012

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This project is not progressing quick enough!

Part of the problem is just a general lack of time, but another part is medical.  I started having some issues with my hands in January.  Numbness, lack of blood flow, too much blood and bursting veins, pain... After visiting several specialists we learned it was actually an issue with the muscles in my neck reacting to certain tasks and/or stress.  The result of this is that I can not sit for any length of time doing one thing (which happens to coincide nicely with my typical ADHD mental state). 

What does this mean for my projects?  Well, I can only work on any given item for a short span of time - typically less than half an hour - before I need to stretch and work on something else.

The apron dress, thus far, is pictured above.  The color is off, its a pale green color called Willow by the shop from which it came.  I wish I had time to hand sewing this garment, but with real-world-work being exceptionally busy, there was just not time for it.  Seams are done with the sewing machine but the surface stitching (which is finally finished) is done by hand with the crewel wool I love so much from Renaissance Dyeing.

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Silk samite with confronted ducks standing on split palmette enclosed in double pearl roundel. Central Asia, 9th Century. Source: http://www.asianart.com/exhibitions/aany2006/carlo3.html
The next step is to cut the silk into strips and applique it to the top edge of the garment.  The particular silk I will be using falls into the UWYH (Use What You Have) category.

In period the the vikings would take imported silks (samite specifically), cut it into strips and apply them to their garments as trim.  I do not have any access to samite, so opted to search out other silks that might have patterns that look at lease somewhat similar to those found on period samite (which often came from Byzantium,Central Asia or Asia).  Many of the extant pieces, such as the one above, featured rondel motifs that repeat. 

If you want to see applied silks on an extant Viking textile, an image of the Lund find is here:  http://www.netvike.com/VIKINGS/VIKINGHISTORY/VIKINGCLOTHING/CLOTHING1011AD/CLOTHPICS/LUNDSILK1.png

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While I could not find many (inexpensive) silks that featured rondels, I did find a few that have large repeating patterns that will work nicely when sliced into strips.  Both of the above were purchased on Etsy as fat quarters.
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Unfortunately, as I was choosing my silks, the "Oooo Shiny" mentality struck and I ended up with several items that I just chose because of I liked them and they were silk and pretty and whatever, rather than because they were the best choice for my projects.  This is where UWYH comes into play.  I've already bought and paid for them so I will just use the items as best I can and just be more careful in my choosing next time.

To the left is the silk I will be hacking up for this dress.  Paisley?   Not a good choice at all, but when I cut the fabric into strips I will do it in such a way that the actual pattern can not be determined.

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What I would LOVE to find in the future are silks that have a distinct geometric pattern to them.  There were many textiles like this found on the Oseberg ship and I have yet to find anything I can afford that are at all like these.

To the left are the watercolor paintings of two such silks (art by Sophie Kraft from Osebergfunnet, Volume 4).
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First Handspun Project Finished!

10/15/2012

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The painted Merino handspun scarf with a commercial yarn (baby alpaca!) warp is finished! 


I actually like it well enough that I am considering doing another :-)

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I Haven't Yet Reached the End of the Internet!

10/10/2012

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There are times when I think I have already seen all of the good research materials available online. Then, when looking for something less obvious than "Viking Aprondress", I sometimes manged to hit on a few real treasures.  In the last 24 hours I've come across two previously-unknown-to-me resources.

The first is that the museum in Trondheim has all of their magazines online.  They are in Norwegian, but the photos are fantastic!  I am also fortunate enough to have friends from Norway who are more than happy to translate for me.

http://www.ntnu.no/vitenskapsmuseet/les-spor-her

The other is an article from the 1950's on Early Scottish Textiles.  There are several Viking era mentions in it, but the best part is that it includes pertinent details about the actual fabric (including weaving diagrams).  I wish that all documents had this information in such and easy to peruse form!

http://archaeologydataservice.ac.uk/catalogue/adsdata/arch-352-1/dissemination/pdf/vol_086/86_001_029.pdf

Of course, the internet is not the best resource for research on these topics, but it can definitely help fill in some blanks while you wait for yet another book to arrive via ILL!
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Icelandic Wool

10/8/2012

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Ingleside Farm's Icelandic Ram - Ukraine.  Photo by Ingleside Farm
Just after Pennsic I purchased a bit of commercially processed Icelandic top from the Woolery and then contacted Nancy at Ingleside Farm about purchasing an entire fleece.  Because I wanted Moorit (brown), she sent me the fleece of a ram named Ukraine (pictured above).  Nancy's photography is very nice and I highly recommend looking at some of the great images she posts on the Ingleside Farm Facebook page!

Why did I want Icelandic?  The answer is simple - it's Period!  Icelandic sheep were taken to Iceland by the Vikings and have remain fairly unchanged since that time (and are considered a primitive, unimproved breed of sheep).  They also come in a broad range of colors and, honestly, they just look cool!  Eventually, I hope that life works out and I can start my own flock of Icelandic sheep.
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Because we have been so busy, I just got around to dealing with the giant box of fleece that has been sitting in the living room at the cabin.

The first step is to wash the wool.  I found a bit of conflicting information online about the temperature of the water, one site listed 120 degrees and another listed 160.  There was a broad range that fell in the middle as well. 

I ended up working at about 130-135 because that is what the tap plus a little water heated on the stove gave me.  It seemed to work well enough for my purposes. 

Above is the fleece soaking in mesh bags meant for washing delicates.  I filled (but did not tightly pack) the bags and gently submerged them in heated water to which I added 2 tablespoons of Dawn.  After 15 minutes, I transferred the bags to a rinse that was the same temperature as the soapy water.  I did not wring the bags, but I did gently squeeze the excess water from them. 

One thing that all instructions had in common was the admonition to not agitate the wool in any manner.  One site even went as far as saying to not look at it funny, because it will felt if you do so.  I took extreme care and it all seems to be working so far. I think I have a good working method at this point.  (No, I am not ready to try the washing machine yet, as I am worried that i would accidentally let it start to agitate and I would have a large mass of ruined wool.)

The dissolved lanolin left the wash bath looking a very dismal brown, but after 2 or 3 rinses (15 minutes each), the water was clear and I deemed the wool clean enough to be set out to dry.  (I will note here, that the Icelandic was not very greasy at all, especially not compared to the bag of Shetland I am going to prepare next.  I am aware that I might have to adjust my water temperature, amount of detergent or amount of washes when I process that fleece.)

I used my Pennsic laundry rack for drying the locks.  Initially, my thought was to build a series of frames with screen tacked to them that I could lay the locks on to dry.  However, I have not had time to build the screens, so looked for another alternative.  My first try is pictured below on the left.  I used scrap fabric draped over the frame and secured underneath with D-clips.  The top layer was cotton broadcloth, which did not allow the water to drain away.  Below that was a cotton gauze, which definitely let the water escape, but stretched alot and caused some of the fleece to slump onto itself.

My second try involved cutting up a mosquito net canopy and stretching that over the frame and securing it with pins.  In addition to the mesh, I used a salad spinner to remove some of the excess water from the fleece before laying it out to dry.  This worked amazingly well.

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To the left are pieces of the fleece after washing.  The wool feels nice and I was really amazed at the variety of colors I found in one fleece.  There is a range of browns in addition to some silvery-white and even black.

Initially, I was thinking of spinning this fairly thick to eventually weave a mat or rug, but the colors are so nice, and has a nice lustre, so now I am not sure.

Icelandic sheep actually have two coats.  There is a long, lustrous layer of wool that is called the tog.  It is wavy and very very strong.  In this case, it is the darkest hair on the sheep - ranging from very dark brown to near black.  And when I said it is long, I mean it.  I found some locks that had tog over 7 inches!

The undercoat, or the thel, is very fine and amazingly soft.  It, unlike the tog, is very short, maybe around 3 inches on this particular fleece.  It looks all fluffy and fuzzy compared to the longer shiny wool.  The color of this ranges from medium brown to silvery white.

Historically, the tog and thel could either be spun together or it could be separated and spun as two different yarns.  I did experiment with dividing the types of wool (fairly easy to do by grasping the cut end and just pulling on the longest locks).  You can see on the right the two types of fibre together (above) and separated (below).

I do not plan to pull apart all of the fleece in this lot, but it might be something with which I eventually experiment further.  I can imagine a warm, soft garment out of the thel that can be worn right next to my skin.  Or perhaps a garment with a warp spun out of the stronger, longer tog and the weft from the fluffy thel.  So many possibilities!
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Once I had a batch of clean, dry fleece, I was able to start combing it.  I chose combing over carding for two reasons.  The first is because it is more period for a Viking persona (carding is a process that came along later in history).  The other reason is that I read that carding is simply not the best way to handle this type of wool (given the length of the tog and that if you are not careful all of the nice thel could be pulled off as waste).

I had several sets of instructions, all slightly different, printed off regarding how to comb wool.  I tried all of these methods and think that for the most part I like those from the Woolery the best. ( http://www.woolery.com/store/pc/How-to-Use-Viking-Wool-Combs-d15.htm )

To the left you can see one of the combs loaded with locks that have been teased open by hand (I just flicked at them a bit with a hair pick).

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After the locks are completely combed open and all of the usable wool is on one comb, I pulled the sliver through the diz I had recently purchased from the Spanish Peacock at the Shenandoah fiber festival.  You can really see the difference in the uncombed locks above and the lofty fluff on the comb with the diz.

The sliver is a length of organized fibres that are ready to be spun.  Of course, I have not yet decided what I will do with this wool, but I had to see what they looked like spun so I grabbed a spindle and twisted a small length of yarn. I am pleasantly surprised with nice sheen it has when spun (the photo does not do it justice at all).

So now I just need to wash the remaining batch, comb it all and then figure out what the heck I am going to make...

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Weaving

10/3/2012

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Above is my second piece of tablet weaving.
I have been obsessed with textiles since I was very young.  I knew I wanted to sew, but I also wanted to weave.  I remember discovering that fabric was actually string with threads running over and under each other.  I took a shoe box, removed the lid and taped a warp of sewing thread to the box.  I attempted to weave in the weft (also thread) but soon found the box collapsing under my novice efforts.

I have long lusted after a floor loom, but given the lack of finances and cat-free space, I have done some dabbling with tablet weaving as well as rigid heddle weaving after my mother so wonderfully bought me a Cricket loom for Christmas a couple of years ago.

I am not very good about starting with the basics and working my way up to something larger or more complex.  I did my first piece of tablet weaving in DMC floss (all six strands), but took a deeper plunge with my second piece (above) that is woven from very fine, naturally-dyed wool from Renaissance Dyeing.  My DMC experiment bothered me because I knew that extant pieces I had seen were not woven with something that thick or stiff and I wanted trim that both looked and felt more period.

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To the left is a tablet woven belt I created this summer.  This is made from thicker yarn, but was not intended to be worn with garb. 

The yarn is Harrisville Shetland wool and I have to say I LOVE working with this yarn.  When I get a floor loom I will eventually weave a light cloak or wrap of some sort from this yarn as its very much a pleasure to work with.

I also just purchased the Shetland wool to use as a warp for a future weaving project.  I am spinning silvery Icelandic wool (a commercially prepared blend of the tog and thel) to be used as weft for a rug or mat.  The Shetland in a very dark charcoal will be the warp.

As I mentioned, I also have a small rigid heddle loom (which I occasionally also use for my tablet weaving if the pattern does not built up too much twist in the warp).

To the right is my first rigid heddle project, a Shetland wool pouch I use for Pennsic.  It is the perfect size for toting around my wallet, phone and camera.

Now that I am spinning, I foresee several rigid heddle woven scarves in my future as I will need to use up the lumpy practice yarn I am making.  I warped the first of these projects this past weekend and have woven about 3 feet so far.

This is a 2-ply Merino wool painted weft that I spun myself with a commercially purchased alpaca yarn as warp.  In retrospect, I wish I had not packed the weft in so tightly, but I guess that is part of the learning process ;-)

I have already spun most of the second bundle of the painted Merino and, if I am lucky, I will finish the scarf this weekend.
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Shenandoah Valley Fiber Festival

10/1/2012

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This was an adorable festival and I definitely am already making plans to go again next year! 

It is not as big as the Maryland Sheep and Wool festival in May, but the 90+ merchants and nice displays of fur bearing critters made it well worth the trip.

http://www.shenandoahvalleyfiberfestival.com/

I was able to pick up a larger spindle (above left) which is perfect for the weight of wool I want to spin with the Icelandic top I bought from the Woolery this summer.  The 2.75 inch Ashford I got at Pennsic does not rotate long enough for me to draft while spinning, which leaves me using the Park-and-Draft method (a real pain).  The new, larger spindle is also an Ashford, purchased from Brush Creek Wool Works (one of my favorite vendors from this past Pennsic).

Next to the spindle is the diz I purchased from Spanish Peacock.  I really wanted to buy a fancy, hand-crafted spindle, but I was so overwhelmed with the amount of, well, everything there that I could not focus.

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A dear friend got to the juried fleece sale before I did and managed to scout out my purchase of a Shetland Fleece.  You cant really see much of it in the photo to the left because it is still in the bag, but I will certainly be posting more images when I go to wash it.

I think the most exciting purchase though, was two bags of Icelandic roving.  One in white and one in a silver/white blend that my boyfriend chose.  The white will be spun and dyed for tablet weaving and my boyfriend says that he wants a tunic from the white/silver... which means I think I need to call them and see if they have more!  The ladies from that booth - Blue Fields Farm - were very nice and I am hoping to get to the farm one day to check out the Icelandic sheep for myself.



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Icelandic roving from Blue Fields Farm
They had very nice displays of Angora and Cashmere goats, and there were some other animals as well.  I got to see Shetland sheep, bunnies, a camel and oh-my-god-too-cute alpacas.  I think I need one!

I did not just buy fibre arts supplies though! One of the vendors carried my very favorite socks and I was able to snag another pair.  You KNOW you want some ;-)
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Solmate Socks - warm, comfy and beautiful!
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    About Me

    I dance, race cars, play video games and am on a fantastic journey to recreate the past via costume, textiles, dance and food.

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    Blogroll of SCA & Costume Bloggers

    Below is a collection of some of my favorite places online to look for SCA and historic costuming information.

    More Amie Sparrow - 16th Century German Costuming


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    Mistress Sahra -Dress From Medieval Turku 

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    Loose Threads: Cathy's Costume Blog

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