By Emmanuel Sogunle
I didn’t really notice that my world was filled with craft until recently. Thanks to the Lunder Institute for American Art, I was able to work on a project called the Makers Map. The Makers Map is an interactive map that identifies and locates makers and craftspeople to provide an online network through which both visiting and local artists can find Maine-based material experts, builders and workshops that could present useful in the production and development of artistic projects.
Working on this project enhanced my views of the world. From the ordinary wooden desk in my dorm to the clay mug in my cabinet to the small glass-blown object I bought when I was abroad, craft is everywhere. But not only is it prevalent, the art of craft is also beautiful in how it fills the world. Thinking about this allowed me to reflect more on the role of craft in my life.
I was born in Nigeria, and looking back, I was surrounded by many talented craftspeople. My aunt was a seamstress, and she was especially gifted in making Aso Oke. Aso Oke, which translates to “cloth from the top,” is a handwoven fabric that represents status in Yoruba culture. It does so because of the intricacies woven into the cloth. Due to the complex floral motifs and geometric shapes embedded in the design, Aso Oke has been popularized in Nigeria and is flexible in its use. It is commonly used for traditional wedding attire but can also be made into hats, bags or shoes. Through generations, the techniques used in making Aso Oke have been passed down. Stemming from the desire of women to clothe their families, Aso Oke has been able to cultivate the perfect blend of creative craft and domestic needs.
I find it most fascinating that craft is not always taught through formal structures but through knowledge and experience passed down through generations. Craft is historic in nature, but that history can also be easy to ignore.
Recently I stumbled onto a post by the Black Craftspeople Digital Archive (@blackcraftspeopleda), and they shared a post about the enslaved craftspeople who built the White House and the U.S. Capitol. In creating these American monuments, enslaved and free Black craftsmen were key players in their constructions. Black carpenters, blacksmiths, shoemakers, tailors, painters and many more helped build the America we live in today but are rarely recognized.
These craftsmen most likely weren’t taught craft in a conventional setting but still learned to create a life for themselves, and not only for themselves. Through apprenticeships, they were also able to pass down their material knowledge to generations after them. When I think of craft, I think of not only what it meant to the maker but to all the craftspeople before and after them. Craft benefits so many people, myself included, and makes me so grateful of the talents that came before me in making objects, places and building that enhance our lives.
Emmanuel Sogunle is from Denver, Colorado. He is a senior majoring in economics and education at Colby College in Waterville. He is the president of the Colby African Society and acts as the parliamentarian of the Student Government Association. He has been working with the Lunder Institute for American Art for over a year and is assisting the Lunder Institute Director of Artist Programs Daisy Desrosiers in the creation, development and digital support of the Maine Makers’ Map, an interactive tool to facilitate networking between visiting artists and highly skilled craftspeople in Maine.
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