By Jacqui Carey
Carey provides over 50 braid constructions after which exhibits you the way to exploit a special drafting process to layout your individual braids. Finishes and inventive results also are explored.
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Extra info for Creative Kumihimo
Guyotat’s theatre is a not a theatre of appearances in the sense of representations. It is a theatre of appearances in the sense of presentations. The scene references images and ideas circulating in culture—images of atrocity, slavery, prostitution—but it does not contain them within a tableau that the spectator may complacently comprehend. Rather it serves to create a space wherein they may commingle and combine with the members of the community itself. The theatrical space, for Guyotat, is a clearing, in Heidegger’s sense of this term, an opening for existence to be.
Guyotat’s discovery of the direct power of the theatre was linked to the political struggles of the 1970s. To present his work—his language—on stage was to present it to the public in as immediate and direct a manner as possible. It was to submit his work and himself to public reaction and interpretation as intimately and immediately as possible. On stage, the public sounding of the work reverberates within it, implicating the author in the creation of a meaning distinct from that which he created when writing alone in his room.
Guyotat naturally leapt to the defensive of his work. He pumped the press, giving interviews everywhere he could, including long and complex theoretical and biographical explications of his difficult book, in Tel Quel, La Nouvelle Critique, and Promesse, among other venues. Jerome Lindon, editor of Les Editions de Minuit, penned a petition in favour of the book to be published in Le Monde. The book had been prefaced by Michel Leiris, Roland Barthes, and Philippe Sollers, the petition was signed by le tout Paris.
Creative Kumihimo by Jacqui Carey