The Independent Stitch

Maryland Sheep & Wool Festival 2012

I'm so far behind on blogging that I'll never catch up, so here's an overview of this year's wonderful Maryland Sheep and Wool Festival. I taught a two-day workshop on rare wools, participated in as much of the book signing as I could get to, and facilitated two walkabout classes in the barns, which was a new event and a lot of crazy fun.

Here's everybody except the photographer (and me; I'm organizing things off to the left) concentrating on a new fiber. (Thanks, Nancy, for taking pictures while I was all-out focused on teaching!)

One of the biggest reasons that I love teaching is the great people I get to meet. And that's a roomful of them.

And here are the fibers at the start of the workshop:

We worked our way through them over two days. Our selection for this workshop included:

• Black Welsh Mountain
• Clun Forest
• Dorset Horn
• Gulf Coast Native
• Jacob (American)
• Leicester Longwool
• Navajo-Churro
• North Ronaldsay
• Oxford
• Romeldale/CVM
• Santa Cruz
• Shetland
• Wensleydale

. . . and, courtesy of BitsyKnits, a sampling of Sharlea, which is a rare wool although not from a rare breed (it's specially grown and prepared Saxon Merino).

Thanks once again to The Spinning Loft and Spirit Trail Fiberworks for making these workshops possible. There's no way I could acquire, wash, and prepare all the fibers myself. I do some of that work: The Spinning Loft does most of it, with essential contributions from Spirit Trail.

On several of the evenings, after we had finished teaching, Maggie Casey and I were lucky enough to walk around the lake near the hotel. (I was looking for a photo of Maggie, but we'll have to settle for a selection of her DVDs and her book.)

The barn walkabouts on Saturday and Sunday mornings were amazing. Registration was limited to a small group so we could move with relative compactness through the barns and talk about wools in connection with the sheep that grow them. We only had time to do barn 8: and it was a full three hours! There was a lot of variety in breeds and many topics to consider. The walkabout description said we'd cover between 10 and 12 breeds. Because they were there, we saw and talked about more than 25!

On Sunday, I juggled myself back and forth between the walkabout, the book signing, and the Parade of Breeds, which is my favorite event at the festival. Here's a Border Cheviot (in front) and a Border Leicester (behind):

My favorite Shetland ram was there again, once again charming everyone within viewing distance. This year he had been shorn before the festival—many more of the sheep were in their summer wear this year than usual. The dogwoods and azaleas had also passed their bloom-time (climate change affecting shearing, as well as blossoms?).

Sue Blacker and Douglas Bence of Blacker Designs and Blacker Yarn in the UK attended the festival and gave a presentation on the value-added work they do to increase shepherds' and farmers' income from the fiber their animals grow. One of the things they have done recently is work with some wonderful, visionary people to produce what is likely the first commercially spun Boreray yarn, and here's a ball of it!

Boreray is a rare breed of sheep from the same small set of islands, called St Kilda, that are home to the Soay. This Boreray yarn is one of two that the Blacker mill is producing. The other will be a blend of finer Boreray fleeces, hand selected, with Soay wool, as a St Kilda laceweight. I can't tell you how exciting this is. It's one of the fantastic ideas that grew out of the odd experience that was UK Knit Camp in 2010.

What with teaching, book signing, and a few wonderful meetings, I finally got to walk around the festival for a short while at the end of Sunday. I spent most of that time taking pictures of sheep. And this Karakul sheep from Redgate Farm looked exactly like I felt at that point:

So it was time to call the festival a huge success and wonderful time, and to go home.

At least for a few days.

It's all happening at the zoo. . . . part 1

A month ago, I drove to Wichita, Kansas, to present a session at the annual conference of the American Livestock Breeds Conservancy (ALBC). My session was for people who are keeping rare-breed sheep on how to market their wool to spinners and other fiber folks. This is a part of the conservation equation that I've been envisioning for many years and we finally had an opportunity to put it together. Wow, is it fun to share ideas with people who either have, or intend to soon acquire, rare-breed sheep. I've done that before, with one flock at a time, but we had a bunch of folks together all at once. It was truly delightful.

The daytime events for the conference were held at the Sedgwick County Zoo, which is extremely active in the conservation not only of wild species but also of domesticated breeds of animals.

All participants in the conference were granted access to the zoo itself throughout the event, so during times when all the available sessions were about meat production (not my forte), I walked out the back door of the conference center and looked around.

Domesticated animals

There are three "farm" areas where the livestock conservancy activities are centered: the American farm, the Asian farm, and the African farm. They're called the "Children's Farms," but don't let that mislead you. There's serious business going on here. The format just makes the animals really accessible, so kids (human) can get acquainted with them. (The animals throughout the zoo have access to privacy, and in the case of the farm animals spend their "off hours" in a different set of spaces that are less structured. Not all animals are out where the public can see them.)

In that picture, those are Jacob (spotted) and Navajo-Churro sheep, in the American farm area. What an amazing opportunity for the rare sheep to get to know people, and vice versa!

Signage talks about the ALBC and the breeds' history and status.

There are something like 38 rare livestock breeds in these three farm areas. In addition to the Navajo-Churros (shown pretty clearly in the photo above), there are the American Jacobs, with a better photo here. . . .

. . . and Karakuls, in the Asian farm. . . .

. . . and American Tunis, located in the African farm area. I suspect the location decision occurred because, although the breed is 100% American, its roots began in north Africa. . . .

I also spotted this little goat in the African farm. I don't know what kind it is, other than exceptionally cute. I'll bet it's also mischievous. Goats are, in general, and then there's that extremely innocent look on this one's face. . . .

There are other fiber animals in the farms, including camels (although these are dromedaries, not the Bactrian camels that produce most camel down and hair):

. . . and yaks, over in Asia.

I don't have a fancy camera. Throughout this zoo, I found I had an amazing ability to get close enough for decent snapshots. The reconciliation of visitors' access and residents' privacy needs was masterfully accomplished through the design of the spaces.

Here are a few other ALBC-listed residents of the farm areas.

A Poitou donkey, outside, and what I'm thinking is an American Mammoth Jackstock, mostly inside. . . .

On the other side of the fence are American Cream horses, which are large draft horses. Yes, the equine population involves a lot of very large animals (also miniature donkeys, although I didn't get their picture taken).

There are also a number of types of cattle, including the Ancient White Park, which is horned (the American White Park, genetically quite different, is polled, or hornless).

I think this is a Japanese silkie chicken:

I don't think it's rare, but it is fun to see.

These photos just hint at who's hanging out in the farm areas. The zebus were astonishing.

I did wander off to see some of the "regular" zoo areas as well. I'll start another post for that section.

Karakul lamb: wool too pretty to spin?

Working along on The Project, I've spent some time (again) recently with Karakul, the breed from which I learned so much many years ago. Some time in the 1970s, I ordered three Karakul fleeces at once: one white, one gray, and one black. If I recall correctly, they were my first whole fleeces. In washing and spinning them, I discovered how much the wool within a breed may vary not only in color but in length and texture and amount of grease and ease of processing.

Those fleeces became a rug that I wove and bartered for some training. I still remember the rug vividly, as well as the pleasant lessons those fleeces taught me.

In addition, some of the most memorably wonderful pieces I had the honor of presenting in Spin-Off during the years when I edited the magazine were Ellen Champion's Karakul rugs (Winter 1989 issue).

So I always approach Karakul with an anticipation of delight . . . and the expectation that I will learn something. Probably a lot. And that it will surprise me.

That's happened this week, as I've explored four different-colored lamb fleeces from Durakai Sheep and Fibre Arts, grown by sheep bred and raised by Marie and Ron Schmidt. I find myself facing an odd question, however: whether this wool is really too pretty just as wool to be spun. That question is almost inconceivable for me. I adore the transformation from fiber to yarn.

Yet when I see this:

I can't help but think of how the texture and the colors will be blended and muted by spinning. They're quite perfect just as they are.

Here's a sample from another lamb, along with the tiny skein I spun—which is, indeed, lovely. But is it lovelier than the fiber?

Both samples display the enchanting lamb-tips on the fibers, although they're a bit more obvious in the second photo: subsequent shearings won't have those characteristic, sweet, delicate curls.

While I have dutifully spun my samples for The Project, and I do like the results as yarns, I have made the skeins no larger than necessary because I'm so tempted to see what I can do to highlight the locks in their original forms, perhaps by spinning some adult Karakul into an even yarn and then weaving something where I'd lay narrow sections of the lamb locks into some of the sheds in a way that would display both the colors and the textures while holding them securely in place and protecting them from degradation. It would require thought and a bit of technical experimentation to get the effect I envision. And what might it become? A small rug? Sturdy tote for knitting? Book bag? Pillow for the couch? Jacket?

One thing about The Project: I keep getting ideas for ways I'd like to take each snippet of work I'm doing into new, deeper directions. Right now, I have to keep moving: on to the next sample, then to the next breed.

But I'd certainly like to come back to these charmers and explore the possibilities of highlighting their just-off-the-lamb form, which is exquisite.