Jul 27

The Saturday Journal: The Voice of the African-American Quilt (Part One)

In order for us to learn about our past, we must learn to listen

to our elders and to those with a story to tell.

I was in college--21 years ago as an older adult pursuing a degree in Journalism and Communications. And during those three years at Salem College, I was introduced to a new way of research--a new way of storytelling--oral histories--a love of research and reading I continue to embrace. One of my professors once said, 'being a lifelong learner never stops, if you'll grab hold.' I believe this to be true.

It was fall semester, 2004--Visual Communication class and one of our assignments included researching a subject in which visual communication was used along with oral history and documented research. The paper was to be presented to our class in addition to a visual for communicating our subject matter. I chose the African-American Quilt for my research and my mother made the quilt for my visual presentation. I will share this story as a two-part series of The Saturday Journal. I hope you will enjoy reading a portion of history maybe unfamiliar and questioned--often referred to by researchers and scholars as a "folk tale".

The Voice of the African-American Quilt

Quilts for many years have served as chronicles for family history, the past of a particular people, places, and events. The African-American quilt has long been looked upon as tattered, faded and old, lacking the respect of the artistic stitches that were woven into the fabric. In spite of this, the combination of storytelling, the knowledge of textiles and African symbolic art provided the skills needed for African-American seamstresses and in turn the quilts gave these women a voice.

The Seamstress

Slave seamstresses were highly skilled and much in demand on the plantations. They were versatile and artistic. These women were talented in sewing, knitting, crocheting, quilting, expert mending, embroidery, tatting, spinning, and weaving. A good slave quilter could "sew her way" to freedom. Their skills could earn extra income which enabled them to purchase their independence. Elizabeth Hobbs Keckley (1818-1907) earned enough monies to buy her son's freedom as well as her own. Sold at the age of fourteen, Lizzie Hobbs Keckley moved later to Washington, DC and her sewing skills became a connection to Mary Todd Lincoln. Keckley's quilt, the "Liberty" Medallion Quilt was made from scraps of silk from Mrs. Lincoln's dresses. (Fry, Cash).

Quilting Time

The "quilting party" or "frolics" not only served as a means of labor for the slaves but it also provided the slave community with social interactions with family and friends. Quilting parties were often accompanied by a meal, singing, dancing, storytelling, and games. The slaves were allowed to "socialize without supervision". In addition to quilting, they would sew, knit, crochet, embroider, weave, and spin. (Fry, Cash) The "frolic" was also a time for the children to join the family work. The children filled the quilts with cotton padding, threaded the needles, and held the candles for light. (Fry)

The plantation mistress often taught slaves to sew. Various accounts reveal the mistress would cut out the pieces of fabric or quilt patterns and the piercing and stitching would be of slave labor. From time to time mistresses would make an entire quilt for the slaves to use in their quarters. (Fry).

Quilt Patterns and the Underground Railroad

The African-American quilt has been called the "fabric griot", the communicator. It was a common household good which provided warmth and comfort and according to oral folklore, a map for the journey to freedom.

According to researchers, there were ten significant quilt patterns used as maps of freedom by slaves. The imagery and poetic metaphors were visual messages and codes to guide and prepare fugitives for their escape to the North. These quilts were hung from clotheslines, fences, and displayed in open window sills to communicate special messages for slaves planning their escape. (James, Jr. & Farmer, Tobin & Dobard). The patterns and designs had their own interpretation, in addition to the number of knots and the placement of the knots, which symbolized dates. (Tobin & Dobard, Patton).

The Monkey Wrench

The first quilt pattern used was the "Monkey Wrench" pattern. The money wrench were tools used by blacksmiths. The design signaled to the slave preparing for escape to gather their tools and provisions. The "Monkey Wrench" pattern was also known as the "Ship's Wheel", "Square", "Compass", or the "Carpenter's Square." (Tobin & Dobard, James, Jr. & Farmer, Gery).

The Carpenter's Wheel or Wagon Wheel

The second quilt displayed on the fence or clothesline or out in the open was believed to be the "Carpenter's Wheel or the "Wagon Wheel". Considering the wagon was a common way of travel, this symbol or image meant, "gather up the necessities of the journey" and load the wagon to begin the journey. The symbol of the wagon could have meant using their personal wagon or a wagon coming to get them. It was also symbolic of the chariot, "to carry them home" (James, Jr. & Farmer, Tobin & Dobard, Gery).

Bear's Paw

Most folklore scholars deem the next message in the code was the "Bear's Paw" quilt. One of the most known routes of the Underground Railroad for slaves was the trails through the Appalachian mountains. In the spring and summer the bears would use the same trails migrating North. The quilt told the slaves to follow the mountain trails and track the bears' paws. Following the bears could lead the escapees to food and water as well (James, Jr. & Farmer, Tobin & Dobin, Gery).