Piecing together black history
Members of the African-American Quilters of Baltimore admit the group’s name may be a bit of a misnomer.
Founded in 1989 by three women who wanted to enjoy the camaraderie of other fabric artists, today the 44 members are not all African American, they’re not all from Baltimore, and they’re not even all quilters. (And actually, they’re not even all women; there is a lone man among the group.)
Some are needle-pointers, some seamstresses, some bead artists, some knitters, and more. What they all have in common though, said longtime member Rosalind Robinson, is that “we’re all artists.”
Not necessarily professional artists, though. Robinson is a retired family consumer science teacher, fellow member Sandra Smith, 61, is an IT trainer, and group president Valeri McNeal, 63, is a civil rights investigator.
Some members, like Robinson and Smith, accept commissions and sell their quilts, while others, like McNeal, are relative “newbies” to the art.
“I want to quilt,” said McNeal. “I just haven’t done it yet.” In fact, said McNeal, some of the members are downright “needle, thread, and fabric challenged!”
So why does someone join such a group if she (or he!) doesn’t quilt. “It’s inspirational,” said McNeal. “It’s an opportunity to appreciate others’ artistic talents. And it’s an opportunity to learn.”
Indeed, education is one of the missions of AAQB. Its members participate in projects in schools, libraries and museums in keeping with their “Each One Teach One” philosophy.
On Sunday, March 9, for example, members of the guild will participate in Women’s History Month and Beyond at Hampton National Historic Site in Towson when they present “The African American Quilt Aesthetic,” from 2 to 3:30 p.m. The members will discuss what the African American quilt aesthetic is, if indeed there even is one, and will demonstrate and display a variety of quilting styles — such as story quilts, appliqué, hand-stitching, paper piecing and more.
Historic roots
African American quilting today is about diversity, according to Robinson.
Traditional African American quilts made in the early days of this country and during slavery were utilitarian and fashioned from discarded remnants of fabric that were no longer useful.
As African American quilts evolved, especially after emancipation, a popular pattern was the Pine Cone or Pine Burr quilt — a three-dimensional quilt made of overlapping triangles that were laid out in a circular pattern starting at the center, giving the look of a pine cone.
According to the writings of quilt historian Cuesta Benberry, “From early to late 20th century, the Pine Cone quilt was popular among southern African American quilters,” and the style was considered a “masterpiece” work, on the par with the fine appliqué work done in Caucasian communities.
Perhaps most famous among African American quilts were those created by a group of women in Gee’s Bend, Ala. Their quilting tradition dated back to the 19th century, when the community was located on the site of a cotton plantation owned by Joseph Gee.
Thought to be influenced in part by patterned African textiles, female slaves used strips of cloth to make bedcovers. In the post-bellum years and into the 20th century, the women of Gee’s Bend made quilts to keep themselves and their children warm as they lived in primitive shacks. Along the way, the quilts became known for their distinctive improvisational and simple, geometric style.
Hooked on quilting
Today’s African American quilts reflect the diversity of the community and may tell a story, reflect a quilter’s travels, provide comfort on the loss of a loved one and more.
“There really are no rules,” said McNeal.
Robinson, a lifelong sewer who was always interested in clothing construction, found that out when she first became interested in quilting after attending one of the group’s biannual shows. “My jaw dropped,” she said. “These were not Grandma’s quilts.”
Robinson left the show thinking, “I have to do this,” and she first learned the basics from a fellow faculty member who taught an after-school quilting class for other teachers.
“But then she got a promotion and left the school, and I was on my own,” said Robinson with mock indignation.
When Robinson attended another AAQB show a year later, she mentioned to one of the members that she didn’t know how to finish the quilt she had started. “Someone sat down with me on the spot and taught me what to do,” said Robinson.
After that, she was hooked, and now “not much gets in the way” of her attending the monthly meetings, during which members do a “show and tell” of projects they’re working on, get help with any problems they’re having, and make plans for upcoming exhibits, lectures and the like.
For Sandra Smith, who has her own quilting website at www.sandrasmithquilts.com, membership in the guild gives her the opportunity to get together with people with similar interests and talk “ad nauseum” about that interest “without boring others.”
The group meets the first Saturday of each month, from 11 a.m. to 2 p.m. (except for July and August), at St. Bartholomew’s Church at 4711 Edmondson Ave. New members are always welcome. For more information, see www.aaqb.org or call (410) 566-6423.
“It will get your creative juices flowing!” McNeal promised.