HEARD ON BEAD STREET

Greetings! We’ve created a new column that focuses on what Bead Society members are doing in the far and wide, creative world of beading. Be inspired to share! We want to hear from you about your beading activities. Refer to Submission Deadlines information within this publication.

Changing Bead By Bead: Seeing Life As A Strand of Beads A Present Moment Practiceby Eleanor Wileyreviewed by Debbie Sharp

I had the opportunity to read Eleanor Wiley’s latest book, fresh off the press. An excerpt from the back cover reads “This book is not a how-to-bead book nor a book on how to lead your life, it is an invitation to be in the present moment with a pile of beads and a string and see what magic happens.”

Keeping in mind this this invitation as well as taking the time to think about her questions peppered throughout her book, at times it seemed as if she were talking to me personally. I slowed down and took my time instead of plowing through as I usually do when interested in the subject matter. It was fun to consider: If you were a strand of beads, what would you look like? Are the beads the same size or color? How about this one - - do all my bead strands look pretty much the same? In other words, am I stuck in a rut? Ms. Wiley’s book certainly gave me beads of wisdom to think about.

Then it was time to put together a strand of beads with a new mindset to try. We beaders know that one of the best thing about stringing beads is that we can change our minds and do something completely different. Per-haps that thought process can apply to most situations in life too.

Read this book for inspiration and growth. Be open to seeing life as an amazing gift no matter what is going on. And remember to be present in the moment.

Best Bead Shop moves to Danville

Best Bead Shop (dba as Femme Chic) specializes in all kinds of precious and semi-precious beads from India and China. They moved from the Gift Centre in San Francisco to Danville in September 2009. In addition to offering silver, brass, antique copper, antique brass and metal findings, they have the widest variety of natural gemstone beads. As wholesalers for the past 10 years, they are able to offer wholesale prices to customers. They are a different kind of bead shop offering bead classes and bead parties as per customer requirement.

According to Chitwan and Sanjay, “Service is our prime aim and we would like our customers to be completely satisfied. We also offer along with beads, shawls in 92 colors, scarves and handbags.”

Best Bead Shop294 A Railroad AvenueDanville, CA 94526Tel: (925) 314-0337

Just Bead It! is all in the family

Back in the 1970’s Dave started making funky wire jewelry for his wife, Marie. His creations were later discovered by their then teenage daughter who caught the beading bug and got the family to join in.

Located a few blocks behind the Park ’N Shop shopping center in Concord, Just Bead It! opened seven years ago. It is owned and staffed by Marie and their two daughters, Joyce and April. Custom-ers will often see Dave in the shop helping out too.

Just Bead It!2051 Harrison Street, Suite CConcord, CA 94520Tel: (925) 682-6493

JANUARY/APRIL 2010

Ever doodle as a child? Ever keep a private journal full of sketches and dreams, pressed flowers, and little treasures taped to the pages? Cynthia Thornton has kept her journals since she was 16 years old and draws and doodles, adding to them in an on-going evolution of thoughts and dreams every day. These journals of her ideas and inspiration overflow her desk and fill her studio shelves - providing ideas and inspiration for past, present, and future creations.

As a child she used everything she could find to engage as creatures of her fantasies and to expand into stories for her dolls. When she received a box of polymer clay, she created an army of faeries ~ little knowing that those very faeries would so influence her future. As a child she and helped out with the family landscaping business, putting her around nature all the time. This encouraged her private time even more towards devel-oping into the unique world of her imagination.

In 1997, after a scholarship to Columbus College of Art and Design, she worked as a freelance artist, a haunted house mask maker, and a sculptor of garden art. Cynthia is inspired by all living things small and natural as well as the clean lines of oriental design and Japanese ojime. The ojime proved much too expensive so she started to create her own pieces. She took a giant step and found-ed Green Girl Studios with a few beads and pendants, all cast in resin. Her first showing was with 5 designs and now she has over 300-hundred+, made up into beads and charms and toggles. In 2002, she moved to Cali-fornia where she met Greg Ogden who is also an artist, writer, and cartoonist. They relocated back to the south to Asheville, North Carolina where they were married in a garden, dressed up as faeries - wings and all. Their daughter, Azalea was born in 2004 and now, at the age of five, helps out the family with her own designs. Cynthia’s brother, Andrew assists Cynthia and Greg at trade shows and is also a jewelry maker, artist, and writer. He gave us this presentation into the wondrous world of Cynthia Thornton and Green Girl Studios.

She names Anne Choi and Bob Burkett as greatly en-couraging inspirations….she could not have chosen better. She also looks around at her daily life as well as to antiquity for ideas and inspiration. At a museum, she saw an $8,000 antique coin with an owl imprinted on its

GREEN GIRL STUDIOS AND CYNTHIA THORNTONpresented by Andrew Thornton; written by Marilyn Peters

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face, and quickly sketched it into her journal. When she saw the movie, ‘Clash of the Titans’, they both trans-formed the ink and paper in her journals into inspiration for both her owl series as well as the Medusa pieces. There is an old Ozark saying: “If you have any news, tell it to the bees”…that ‘bee in her bon-net’ became pieces with and about bees, honeycomb and all. Their huge tabby cat “Frick” was the inspiration for the sleeping cat styles. At a “Fairy-Con” meeting, she came up with a sketch of a mermaid. The resulting entries sketched in her journal moved through isolat-ing various parts into their eventually resulting new designs.

The sterling silver and shibuichi pieces are both made by using the lost wax method. The pieces made in sterling silver which is 92.5% silver with copper and tin and the shibuichi, a mixture of copper and silver that doesn’t tarnish and gains a wonderful warm luster with use and aging. Shibuichi was originally used to decorate Japanese sword hilts - such a gentle transformation to the better. The pieces made in fine pewter, made of tin, copper, and silver, are created using a centrifugal high temperature silicone method. Each piece is cast with careful attention to detail so that they can perfectly remake the same design every time. Cynthia and her pieces are featured and sold all over the world and the ever-growing circle of friends encloses her talent with admiration and affection.

Green Girl Studios Shibu Tree Pendant with the word “knowledge” on the back, cast in the Japanese alloy, shibuichi

“Enchanted Adornments” - mixed media, metal clay, wire, resin and more - is her first book ~ a storyteller’s creation that started from the age of 16. It contains 20 projects and over a hundred more techniques and ideas. The following quote was taken from her book Inspira-tion. “The road between an idea and the finished piece is a winding one that starts and stops, changes direc-tions and may not resemble the original thought in the end.”

This entry was taken from her blog site about a new piece she had just finished, the birth of her soon-to-be-born son and her upcoming new book, Enchanted Adornments: “This piece is the crown jewel of the col-lection! It took me ages and loads of PMC to get this to look exactly the way I wanted it too. Sometimes, being particular can be a nuisance, especially since I like to make detailed renderings before I even open the clay. This is not to say that I’m against spontaneous work or that I’m not capable of experimentation....I just like to think it out in my sketchbook for awhile, before I com-mit to anything. This piece proves that what works on paper doesn’t always work in three dimensions, a good reminder to me to just jump in and do!

I learned a lot about myself as an artist, writer and col-laborator while working on this book. It was definitely a team effort and sometimes frustrating, but I think the outcome surpasses all my expectations. I have to say, I’m pleased as pie with this book! Which is saying a lot, coming from my biggest critic - me. Anyway, I showed the book to my friends and was happy with the positive feedback, especially delighted to hear they thought it was a good deal for the money ( a very high compliment to me). Now all I have to worry about is promoting it! I will probably be in labor when it hits the shelves Novem-ber 1! Hopefully earlier, as I am getting huge!”

Their son Max was born on October 31st, Halloween. Now how perfect is that !

To contact Cynthia, email greengirlstudios@gmail.com and check out her site at www.greengirlstudios.com. She also has a wonderful interview on YouTube.

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How do you know IF an “ancient” bead you are looking at is REALLY OLD? How can you figure out how long ago it was made, how it was made, and even where it pos-sibly came from? Is this information important to the purchase? Don’t even consider buying until you have done a lot of research. Many “experts” have their own theories on the age and origination of beads from antiq-uity. Bassem Elias is one expert that you might consider consulting if these points are important to you.

On May 19th, Bassem Elias took us through a slide show of images of ancient beads – explaining their his-tory and origins, and shared his vast knowledge of this category. His main area of expertise is in ancient beads from the Middle East. He took us from the oldest times up through Egyptian, Hellenistic, Roman, Islamic, Byzan-tine, and Phoenician periods and even to showing some of the newer forgeries coming out of Java. The periods noted can refer to the location of their origin as well as to the time period in history. There is not a factual time line, because the making of glass beads moved from country to country and techniques were shared. Many beads were made in one area, but sold by traders from another area and so adopted the “name” of those traders -- this is just part of the confusion in trying to document each bead.

His slides showed beads from his personal collection as well as those featured on his website. He explained, bead by bead, what we were seeing. He went through how the experts feel that these beads were made, what they were made of, how and why they were decorated, and what they were possibly used for. It was amazing to see beads that we will probably never see on the open market from possibly dating as far back as 10,000 BCE. Bassem explained how the ability to make glass beads moved from country to country, probably following the trade routes and how certain techniques of decoration and coloration also moved from area to area and were passed down through these periods of time.

He is not only a well known expert in this field, and a collector of ancient beads, but also creates unique pieces of jewelry mixing ancient beads with bronze and glass. Bassem displayed some beads from his personal collection (not for sale) which had been shown in the slides, and had additional beads and jewelry pieces for purchase. He stressed the necessity of confidence in the seller’s expertise as well as a good personal knowledge of beads of this era, before you purchase beads that are noted as “ancient”. Due to the ease of accessing good photos of really old beads, it is possible for forgers to make beads that look really OLD ~ even to the trained eye. The type of glass used, the colors and designs used in their deco-ration, the manner by which it was made – all factor in to the knowledge of what is really old and where it came from.

You can see more of these beads and delve deeper into information about them as they are featured on his website www.ancientbeadsandartifacts.com.

If you own some “ancient” beads and would like them authenticated, please contact Bassem to see if he can shed some light on their history and origin.

ANCIENT BEADSWritten by Marilyn Peters

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the laboratory in making plastics, but that which took a very long time to occur in nature. Amber remains resin-ous, has a higher melting point, is harder, but remains brittle, and retains a resinous aroma. Although found in the earth, amber is not crystalline, and is not strictly a mineral.

An interesting feature of amber formation is that, when the original resins were in the liquid state, they often trapped small life forms, from plants and insects to lizards and other small vertebrates. These “inclu-sions” make amber curiously beautiful and add value. Their existence in the amber also provides science with considerable information about the world of millions of years ago.

Though most amber is from the lands around the Baltic Sea, it is also found in Rumania, Sicily, Bur-ma, Thailand, Borneo, Lebanon, Syria, Canada, various US states, Mexico, and the Dominican Repub-lic. Amber is not found in South America and Africa.

It is important to know that “am-ber” is a popular name, with no scientific standing. Anyone, any-where, can call a material “amber,” and no one can actually, legally object to that. In addition to natu-ral amber, industries have devel-oped processes to treat and alter amber (since 1881 in Germany). Cloudy amber can be heat-treated to make it more translucent or transparent, and also cause “sun spangles” (tiny fractures) to oc-cur. Heat treatments also darken

the color - all the way to “toasting” amber to make it black. In some instances, heating amber may cause it to turn red or reddish, but this is accomplished with dyes. Although red or reddish amber does exist in nature—and many pieces of amber tend to turn more red with age—natural red amber is rare among European sourc-es. This coloration exists in a higher ratio among the ambers from Burma, Sicily, The Dominican Republic, and Mexico.

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On July 19, 2009, Jamey Allen gave a fact-filled informa-tive four-hour seminar on Amber. Considered a world authority on amber for over thirty years, he has written a series of articles and has lectured widely on this sub-ject. In his presentation, Jamey described what amber is and is not, locations in the world where it can be found, showed numerous specimens from private and public collections along with a table of fake and faux amber, and discussed which tests can determine whether “am-ber” may be real or faux.

The word amber comes from the Arabic word “anbar” which is translated as “perfume” or “incense.” When amber is rubbed in the hands, or burnt, it exudes a pleasantly resinous aroma, confirming its origin as com-ing from the resin or sap of ancient trees. Jamey also noted that if you rub a piece of amber, it develops a negative static electrical charge, and will thus attract small bits of stuff to itself. In the past, this was considered a test for amber, though some modern plastics respond similarly, and now it’s just a curiosity.

WHAT IS AMBER? Amber is the fossilized sap of ancient trees that lived and thrived millions of years ago—many of which lived in Northern Europe, from the British Isles to Russia. Though there are different varieties of amber, from various species of trees, and from a wide time range, it is generally given that amber may be from twenty-five million to around 100 million years old. From the early times, amber has been associated with the Baltic Sea in Northern Europe that has pro-vided amber of the best quality, the greatest quantity, for the longest period of time. Baltic amber is used as a standard for comparison to all other varieties and sources of amber.

Remembering that a “fossil” can be any sort of mate-rial that are the remains of ancient life-forms, amber is a special sort of fossil. The resins that originally exuded from their trees have become hardened through natural polymerization - a process that is duplicated in

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THE AMBER SEMINARWritten by Marilyn Peters

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offered “amber,” you can try something right then and there. Hold the piece in one hand, and begin rubbing it against the heel of your other hand. After a full min-ute, smell the piece and your hand. Amber will exude a pleasant piney aroma. Plastics will smell like carbolic acid. “Amber” that doesn’t make a smell from being rubbed is also suspicious.

The Brine Test - Pour eight ounces of water and stir in three tablespoons of salt in a glass jar. This creates brine in which amber will easily float to the top, while plastics will sink like rocks. However, copal and un-fossilized resins will also float, as will some soft plastics. Some of these soft plastics will float in plain water, which amber and copal will not. Be sure to rinse-off the pieces tested with plain water, and pat them dry with a soft cloth.The Hot-Needle Test - You will need an odorless candle and a long steel thick sewing needle to hold the heat. Jamey suggests pushing the eye-end of the needle into a cork, to provide a heatproof handle. Place the tip of the needle into the flame of the candle and hold it there until it is red-hot. Immediately use this tip to burn the specimen. If the specimen is a bead, run the needle into the hole, and stroke the amber lightly. Otherwise, apply the hot needle to the back or some discreet place. The needle will burn the amber enough to slightly melt it and produce a bit of aromatic smoke. Smell the smoke. The needle will not remain hot for very long, so you may have to repeat this process if you’re not fast and efficient. Non-fossil natural resins melt very quickly, may sizzle, and may “spin a thread.” They will smell similar to amber, but not the same. Soft plastics have the highest resistance to fire. It does not burn or melt easily, and it smells like burning hair; celluloid smells like camphor; and acrylic smells like fruit.

What can go wrong? When you’re rubbing amber to smell its aroma, it may take a full minute. If you’re the impatient type, you may have to look at a clock to determine how long a minute is. Not everyone has a keen sense of smell. Avoid wearing perfume or smoking tobacco while performing the aroma test. When run-ning the hot-point test, use a candle. Don’t try to light matches or use a lighter as you will need your hands free to hold the amber and the hot-point. Be careful! Some plastics, such as Celluloid, are inflammable! They can sometimes explode into fire, which is why this

continued on page 8

Industries that cut amber save the cuttings and dust, and use these leftovers to make “pressed amber,” or “ambroid.” By carefully heating amber dust, the mate-rial melts just enough to fuse together and form one large solid piece. This “reconstruction” process is unique to amber. Pressed amber is usually less expensive than natural amber, but is also less unique and beautiful (lacking the nice reflective optical properties of natural amber). However, it is often sold as “natural amber” for high prices by unscrupulous or ignorant sellers. Natu-ral amber is always so-labeled; while treated amber is labeled “genuine.”

In addition to fossil resins, such as members of the amber family, there are younger semi-fossil and recent resins that are called “copal”. From ancient times, copal and other resins have been used as incense. The famous frankincense from Africa, used in religious rituals in Europe and Asia, is the most desired such resin. Copal can be used as a substitute for amber, though it is an inferior material. It tends to become attacked by oxy-gen fairly quickly, and develops a cloudy exterior. It also tends to break up or fall apart. In some regions where amber is absent, copal is used in bead making. Both East and West Africa have had sources of copal. Over the past fifteen years, Colombian copal has been mined and exported in vast quantities, where it is routinely passed-off as “amber.” Most recently, this material has been heat-treated, whereby it turns pale green, and is sold as “peridot amber.”

WARNING: Amber is the most imitated substance on the planet, having been substituted by many inferior resins, as well as being imitated by plastics. One of the earliest instances where recent resins were passed off as “am-ber” happened in Roman times, some 2,000 years ago. Nevertheless, the most successful imitations of amber are cast plastics often wrongly called “Bakelite”, which was invented in 1926. Bakelite can be made translucent-to-opaque, and in nearly any color. “Faux amber” beads made of Bakelite have been dated to the 1930’s. Jamey estimates that as much as 75% of the so-called “ethnic amber” in the world is actually plastic — this was one of the primary topics of his article, published in 1976. After over thirty years, this is still routinely sold as “African amber,” or “African copal” (or “copal-amber”).

How can we tell the difference between true amber and various fakes and imitations? There are two reasonably simple tests that anyone can perform. Any time you are

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THE AMBER SEMINAR

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material ceased being produced in favor of “safety plastics”. The more transparent the material is, the more obvious the little burn mark will be so try to be discreet. Run these tests at your own risk. A number of times people have told Jamey, “I tried your test, and it didn’t work.” Jamey said that they probably didn’t rub for a whole minute; or they used a piece of wire instead of a needle; or they didn’t get the needle hot enough. These tests are effective if done correctly.

Amber is biodegradable. Store amber in a soft cotton cloth bag out of direct light as it is easily attacked by heat and radiation from the sun. Over time, oxidation tends to make it turn dark. White amber turns yellow, and yellow amber may turn tan, reddish, or brown, and becomes crazed with a network of tiny cracks. To some degree, this can be countered with the judicious use of oil to lubricate the amber; Jamey recommends canola oil. Put a few drops in your hand, rub your hands to-gether, and then rub the amber. Avoid spraying yourself with perfume and/or hairspray while wearing amber. Use natural fibers like silk to knot between the beads if you are going to use them in jewelry.

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continued from page 7

THE AMBER SEMINAR

On January 19, 2010, Nancy Hernandez gave a slide show and discussion of silver jewelry from Northern Africa along with a hands-on display – much of which was featured in her slide presentation and sale of more of the pieces. Nancy started her presentation off with the most popular and well known “Hand of Fatima”, showing slides of variations, both old and new. Fatima was one of six daughters of Mohammed. She helped him spread Islam throughout the country, so because of this, the “Hand of Fatima” is one of the most famous talismans found throughout these lands.

The next design was the “Fibula”, also called the “Jackel’s Paw”. This multi-piece ensemble connected with chain is used to hold the wearer’s garments together. People in those areas do not sew, but fold multiple yards of fabric around their bodies into different styles. This garment needs to be held together on the body, and the pins, loops and chains of the Jackal’s Paw accomplish this. This method of dress can be found all over the world, i.e., a similar type of pin configuration being used at the shoulder to hold Celtic fabric in place. Another piece titled the “Turtle” and

JEWELRY OF NORTH AFRICAWritten by Marilyn Peters

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several others were based upon the triangle with much embellishment.

She showed slides of her pieces, describing the design elements, each of the parts, how it was put together and where it was from. The items were from throughout the northern African nations of Mauritania, Morocco, Algeria, Tunisia, Libya, Egypt, and Ethiopia. She explained the differences in styles and preferred designs.

Nancy went into how the various pieces are made and how many of them are embellished with enamel work as well as very high and elaborately designed three-dimensional silverwork. She showed many examples of the enamel work from various artists and locations. The silver used in the modern jewelry pieces is done in .999. However, other pieces use “coin silver”, which is around .800 or in various grades of silver or just “white metal”. Today, the urban areas are starting to also like gold worked over the silver.

It surprised everyone when Nancy told us that Muslims enjoy wearing silver jewelry, but look down on the making and selling of metal. This task of silversmith normally has gone to non-Muslims. In Morocco, Algeria and Tunisia, the silversmiths are Jews, while in Egypt, they are Coptic Christians. Many of the jewelry pieces shown contain beads of amber, as it is deemed precious; but most surprising to all of us is that they actually prefer copal to Baltic amber. They also use faux amber, considering it just as valuable because of the way it looks and fits into the design of the piece. They also use beads of coral, because the red color gives protection and is considered good luck.

The people wear their jewelry to show wealth, social status and tribal affiliation. A woman values her jewelry, as it remains with her to project her status and wealth if she is ever divorced or widowed. Because the designs vary by region, tribe and ethnic preferences, the origin, country and often the maker of each piece can easily be discerned if you know this information. She told us that it is very difficult to find really old pieces because when a woman marries; the family takes the old pieces, melts the metal down, and creates something new that she will like. A great number of the slides were of work from Morocco. She explained how the three-dimensional embellishment is riveted into holes pierced into the

main body. They are pounded into place from the back, and then another piece is attached to cover the rough work so that the inside is smooth against the skin. She showed a number of pieces made in Yemen; but because they were sold in Ethiopia, people claim, in error, that they are from that country. As a comparison, she also showed pieces made in Mexico. Nancy added; “Berbers are not Arabs, and the Tuaregs, although Muslim, are Berbers and work silver…..” Nancy’s study and vast knowledge of the silverwork in each of these countries has enabled her to determine their origin by the designs used on each piece.

Nancy became interested in Islamic jewelry when she began to study Middle Eastern dance in 1972. She is an avid collector of Islamic and tribal jewelry with a special interest in jewelry of North Africa, Central Asia and the Arabian Peninsula, and gives lecture presentations on the ethnic jewelry and textiles. She has made costumes and jewelry for dancers since 1975. An extensive listing of references for further study was available for those who were interested in expanding their further knowledge of jewelry of North Africa.

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KEEPING ON KEEPING ON IN ZIMBABWEWritten by Marilyn Peters

On February 16, 2010, Wendy Blakeley gave us an update on her continuing efforts in Zimbabwe, Africa. She illustrated her efforts with a slide presentation of the people with whom she works and awesome photos of the park animals created by her artisans. She also brought additional pieces for show and for sale.

For members who had not heard her previous presentations, she explained the origin of her involvement in Zimbabwe. Wendy first visited there in 1991, and the countryside and the people changed her life forever. Now, she hopes to change their lives through the use of beads and the wire that is reclaimed from the illegal snares of poachers. She lives next to the largest national park in Africa. The most difficult part of working with the local people is that most of them have never been inside the park, nor even SEEN the native African animals. She brought in books and pictures to demonstrate these magnificent creatures in their daily activities, and throughout the many stages in their lives. The resulting art pieces are from her efforts and their artistry.

She went into detail about her work with groups of women on the concept of expanding the venues of their basket weaving. Wendy brought them books to show the basket weavers the African basket patterns featured in museums throughout the world. Some of these patterns had been created and used by these local women for hundreds of years, but that knowledge has often been lost. Now, through her efforts, they are relearning their own crafts. She is encouraging the

native patterns and techniques, as well as now teaching them how to add beads to their work. She hopes this addition will expand the salability of their pieces. Once a month, she meets with them to help enhance their designs and purchase their completed baskets. Quality control is a major concern, because the workmanship of many of their articles is not acceptable. Now, the older ladies of the villages are teaching the younger ones how to create the baskets. Their heritage is being relearned through Wendy’s efforts. The grasses they use grow throughout the year, but special treatment is needed to keep them dry, so they can be used throughout the year. It is the task of the men of the village to cut the grass, but the women condition the grass, and weave the baskets. In this way, the villagers work together and all benefit from the labors.

She encourages the local people to become self-sustaining. They are now able to pay for their education, as well as to teach and help newcomers to overcome the financial strife endured by them caused by Zimbabwe politics. Fortunately, the government has recently converted to the US Dollar, which has helped to stabilize the economy. Wendy’s efforts have benefited greatly from this change.

Wendy lives on the west side of Zimbabwe next to the park, near woodlands, grasslands and close to a watering hole. Most visitors from America who come to the Painted Dog Center leave donations, which help the Center, as well as the native people who work on their art pieces both there and in the surrounding villages. Wendy shared photos of the Painted Dogs (not really dogs), who are the most social and efficient animals in Africa. As mentioned earlier, the wire that the artists work with is collected from the illegal wire snares that poachers continue to use. Only one of seven painted dogs recently released into the wild remains alive. The government runs anti-poaching units to try to stop these poachers. Unfortunately, the terrible economy in Zimbabwe often leads to few provisions, resulting in poaching by the people to keep their families alive.

Wendy is always searching for new beaders and designers. Her cleaning lady started to play with some of the beads that had been left out on a table. When Wendy saw what she had created, she immediately promoted her to “head designer”. There is little design influence from the outside world, due to unreliable

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Basket weavers in Mabale communal lands

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computer connection and a scarcity of books or pictures. What these people create comes from their hearts.

The largest stumbling block Wendy has faced is getting beads and art supplies into her center. The Customs Duty fluctuates between 100% - 300%, and varies daily - even hourly. Two safari trains help to “smuggle” in boxes of beads for her but they only come three times a year. She would probably not be able to continue expanding her work without their efforts. Many tourists coming to Zimbabwe also help when they learn beforehand about her work and about the political roadblocks. The zoos around the world are their largest customers. However, Wendy must keep a tight watch on the quality and workmanship of each piece. Many workers are not able to keep pace with making the patterns and her necessary demand for perfection. When an artist creates a piece that sells, 1/3 goes to the artist, 1/3 goes towards supplies, and 1/3 goes towards the overhead of the Center. Wendy is given room and board only through the Center. With Zimbabwe’s 90% unemployment rate, the artisans are fortunate to find their place at Africa Matters. (www.africamatters.org)

One of Wendy’s primary goals now is to generate knowledge about her center and appreciation by the US Embassy of the beauty and quality of the pieces her native artisans have created. She is currently trying to get Busch Gardens involved in funding the efforts of the center. Every day is a crisis. Often, there is no power, no fuel for cooking or for the cars or truck, and there is often little or no food. Two years ago, they had almost nothing; but times seem to be improving.

Wendy has lived out of her backpack for the last two years, traveling from village to village meeting with women who cannot leave their families and daily chores to travel to her Center. She wears so many “hats” that she is also trying to find local people to assume some of her day-to-day responsibilities. The Painted Dog research program is much stronger now, and that seems to bring international recognition.

People ask Wendy if she feels safe working in Zimbabwe, due to what they have heard in the news. She laughed and told them that the chances of her getting run over by an elephant are very small, compared to the chances of her walking safely down the streets in the SF Bay Area!

1544 Park St. Alameda, CA 510-337-1203 www.beadinspirations.com

Open 7 days + evenings

NorCal Bead Society Members get 10% off in-store purchases (except class fees, class kits, books, consignment items, webstore)

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Inspiring Classes!

Bead TypeFlexible Beading Wire

Silk Cord (Japanese sizing and German sizing)

Woven Cotton, satin, and (p)leather cord

Seed Fine

Thin (10)

OO, O

1mm for size 8°s

1.5mm for size 6°s

Pearls Fine

Thin (10, 12)

O, A, B, C, D, E NA

Czech fire-polished Medium

Medium (13, 15)

F, FF, FFF 1mm, 1.5mm

Crystals Medium, Heavy

Thick (15, 16, 17)

F, FF, FFF 1mm, 1.5mm

Metal Medium, Heavy

Thick (16, 17)

F, FF, FFF (or use alternate material) 1mm, 2mm, 3mm

India Glass Heavy

Thick (17)

FFF (or use alternate material) 3mm

Lampworked Glass Heavy

Thick (17)

FFF (or use alternate material) 3mmUsed with permission from Jean Campbell, a contributing editor to Beading Daily, and Interweave.

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BEADING CHART

Here’s a list of suggested bead stringing materials to keep in stock. Visit www.beadingdaily.com for more information and ideas for handmade jewelry.

KAZURI BEADS - PAST AND PRESENTWritten by Marilyn Peters

“KAZURI” means “small and beautiful” in Swahili. On March 16, 2010, we had a third presentation about Africa. This time, Jan Merrill and Gary Bond presented a program about Kazuri beads from Kenya.

Kazuri Beads are ceramic beads that are hand made of clay and hand decorated in beautiful colors and glazes. The beads and the resulting jewelry are made by women in Nairobi and Kenya.

Since the 1990’s, Kazuri Ltd. has been a member of the Fair Trade Federation. The Fair Trade Federation idea was developed in Berkeley, California, in 1990–1995. The originators of Kazuri Beads in Kenya wanted to back businesses that meant something to the people who were employed. This means that the workers are paid fairly, provided free health care for the workers as well as their entire family, day care for their children and educates the workers on AIDS and malaria. One

worker can support up to 20 members of her extended family and all are welcomed.

The industry of making Kazuri beads started in a smallgarden shed in 1975 with the foresight and deter-mination of Lady Susan Wood, along with her husband, Michael, who was a “Flying Doctor.” Her strong link to the area may come from the fact that she was born in a mud hut to missionary parents. In 1947, Kenya was a British Colony, but when they left, she was forced out of her home. She and her husband had purchased a portion of the Karen Blixen Plantation - remember “Out of Africa”? She believed in Kenya and wanted to find a way to help the disadvantaged women of the Kikuyu Tribe to gain skills to better themselves. At that time, women were not able to hold a job, a social stigma that her good efforts finally overcame. With two local women, she set up a kiln and tables in that small shed. She revived the traditional bead-making process, took

the resulting beaded necklaces to New York, and the business began.

For three years, she made her own beads and initially used the non-lead glazes and clay from England but that clay proved far too heavy to be made into beads. Through trial and error, they worked out formulas for the glazes, designs, and baking. They eventually found that the natural clay dug from Mount Kenya is very light and holds the colors and glazes. There were no written records of what they were doing to achieve the designs, colorations, or end results. They worked together to get it all organized and in 1978, they had made the operation big enough to print their first catalog.

She didn’t realize the extent of the poverty of the people who lived nearby and who worked in the company. When faced with theft, a visit with the police to the village showed her, first hand, that these people lived with nothing. From then on, she overlooked this issue but tries to keep it down to a minimum. She now also employees a couple of men to do the heavy work in the shop. The workstations are clean and well organized. The women organize themselves as to what designs they want to create. It is common to have children around, with spirited conversations and singing to help the day pass. The main problem is the kilns, as bad weather and power outages will ruin an entire batch; a loss that they cannot afford. The kilns are made of brick with wires across to hold the beads. They feel that the “Kiln Gods” determine the colors that finally emerge after oven firing.

Originally, the women made whatever bead they wanted to make with no conformity. They are taught to use a ruler now, so that the sizes and shapes of the beads are evenly matched. This also teaches them how to do measurements – a skill that they can use daily in their outside life.

Each of the bead designs and shapes has a name. One that is most commonly made is called Pita Pat as that is the sound made when they work the clay back and forth in the palms of their hands. Porini which means “in the wilds” has spirals, Jambo which means “hello or goodbye” (like ‘Aloha’ in Hawaii) has a large “S” and looks similar to the yin-yang design of the Orient, Ting-Ting is decorated with 5 dots, and Bamboo is made with an elongated tube shape. Some beads are decorated with 14-kt gold paint. They have developed color

combinations from over 1,000 glazes. As the women gain confidence, they often develop their own designs.

In 2005, they made a departure from making the beads into finished jewelry and tried to sell single beads. It was a total success, as beaders do not normally buy finished necklaces and bracelets, but wants to purchase loose beads to create something in their own design.

Since 2001, Mark and Regina Newman have been the owners of Kazuri and swear to maintain the philosophy and working conditions started by Lady Susan Wood. In the 30+ years since it began, there are now over 340 women working at Kazuri. The women are paid 3-1/2 times what other workers make in Kenya, are provided with school uniforms for their children, and support for their extended families.

Jan and Gary carry over 300 bead designs on a regular basis at Global Marketplace. They have been trying to go to Kenya to see the Kazuri operation for years, but so far, the political instability of Kenya has kept them away. Now that the market for necklaces and beads has been softening because of the slower worldwide economy, Jan and Gary spend most of their time selling beads – but hope to plan a trip to Kazuri some time in the future.

Asante sana (thank you)

www.KazuriBeadsWest.comPO Box 960, Rocklin, CA 95677. Toll Free 1-866-984-BEAD. Email sales@globalmarketplace.com

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My interest in antique Venetian glass beads, made primarily for the African trade, is very recent. It dates from the BSNC bus trip to John and Ruth Picard’s Trade Bead Museum that I organized last June. After seeing their spectacular collection of beads, I was hooked! My interest in beads is a combination of collecting and designing. I enjoy designing unique pieces of jewelry with mostly vintage, antique, and even ancient beads. My first “bead love” up until the trip to Picard’s last year was stone beads. However seeing the Picard collection changed my interest to Venetian trade beads, which I have been happily accumulating ever since.

The group of members and friends that I had hoped would return to the Picard’s this year dwindled to just two by the time the actual date rolled around. Ann Thomas and I had a leisurely drive down to Carmel Valley, several hours at the Picard’s and a lovely lunch at Jeffrey’s. At the Museum (open by appointment only), we had no crowds to contend with while viewing the exhibits or the beads for sale. Besides Venetian –made glass beads, the museum has a good selection of metal beads, stone beads, beaded jewelry and other articles, metalwork, and woodcarvings. Ann was particularly interested in the silver ethnic designs and took many pictures. I was mostly riveted to the glass beads, since with almost a year of study under my belt, I was able to more fully appreciate the collection.

The Picards have also authored a series of books on Venetian and other closely related trade beads, which are essential reading for anyone interested in the “heyday” of Venetian glass trade bead production, the period from roughly the early 19th century to mid 20th century. The books as well as on-line exhibits of specific types of trade beads are available on their web site as well. The current exhibit is on Venetian chevron beads from 1800 to the mid 1900’s.

We enjoyed discussing many aspects of the collection and other bead-related items with John and Ruth. Finally, we made some selections of beads for our own collections and designs from the huge inventory in the store. I had previously contacted Ruth about some of the beads listed in their on-line store (www.picardbeads.com) so I was able to see them in person before buying.

The photo below is one of the necklaces I designed using a short strand of antique yellow “baby king” bi-cone Venetian beads I purchased that day. The baby kings are combined with other Venetian beads, silver disks, and a silver repousse focal bead from Nepal.

If you missed the trip, you can always contact the Picards (I suggest well in advance) to make an appointment to see their collection. It is a worthwhile adventure for both the historical aspects of African trade beads, and for creative inspiration for your own beaded designs. Maybe we’ll see you next year!

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PICARD TRADE BEAD MUSEUMWritten by Rosanna Falabella

DISCOUNTS FOR BSNC MEMBERS!The following stores offer discounts - show your current membership card

ALAMEDABead Inspirations1544 Park StreetTel: (510) 337-120310% discount except class fees, books,consignment jewelry & instructor material kits

ANTIOCHGee Jay’s Beads & Rocks416 W 2nd StreetTel: (925) 757-475210% discount

BENICIABeading Around the Bush126 East E StreetTel: (707) 747-909415% discount except classes, books & sale items

BERKELEYBaubles & Beads1676 Shattuck AvenueTel: (510) 644-232315% discount except classes, books & sale items

CONCORDJust Bead It!2051 Harrison Street, Suite CTel: (925) 682-6493

DANVILLEBeaded Bliss222 Railroad Avenue(925) 837-554410% except classes, books, tools & sale items

Best Bead Shop294 A Railroad AvenueTel: (925) 314-0337

Cottage Jewel100 Prospect AvenueTel: (925) 837-266410–15% of everything not marked net

PENN VALLEYWild Things BeadsP.O. Box 1990, Penn Valley, CA 94546Tel: (530) 743-133920% discount on Czech pressed beads & Fire Polish

SAN JOSESew Bedazzled1068 Lincoln AvenueTel: (408) 293-223210% discount except classes

SAN RAFAELBaubles & Beads1104 4th StreetTel: (415) 457-889115% discount except classes, books & sale items

SANTA CRUZKiss My Glass660A 7th AvenueTel: (831) 462-307715% discount

SELMACederquist Art Glass www.vickicederquist.comTel: (559) 896-578810% discount

VALLEJOBeads in Pomegranate Seeds538 C Florida StreetTel: (707) 557-333710% discount

INTERNET STORESCBA, Inc., www.chinabizaccess.comTel: (916) 873-6230 Fax: (916) 983-912815% discount; cannot combine with other discounts. Whichever is greater. Type member code BSNC in comment area.

FireweedBeads.com10% discount; no restrictions. Type BSNC on order form under special instructions.

If you own a store and would like to join the list of stores that gives discounts to BSNC members, send your information to sharpd@mail.com.

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Bead Society of Northern CaliforniaA nonprofit organization whose purpose is to promote the study of beads and share information about beads.

www.BeadSocietyofNorCal.org

Board of DirectorsPresident Trarie Kottkamp BeadSocietyofNorCal@yahoo.comProgram Chair Trarie Kottkamp BeadSocietyofNorCal@yahoo.comTreasurer Lisa Claxton lisaclaxton@earthlink.netProgram Secretary Marilyn Peters mpeters185@yahoo.comMembership Lauren Osher lauren1111@comcast.netNewsletter Editor Debbie Sharp sharpd@mail.comMember-at-Large Teri Dannenberg teridann@gmail.com

Monthly Program Meetings are held on the third Tuesday of each month (except December). Meetings are free to members. Guests are welcome for a $5 donation.

Annual Membership Dues, which include mailings and meetings, are $25 per year. The year begins on the month you join. Dues are accepted at monthly meetings or can be paid online using PayPal or with a Membership Application printed from our website.

Newsletter Advertising and Contributions are welcome and should be sent to the Newsletter Editor, Debbie Sharp at sharpd@mail.com. For more information, refer to Submission Deadlines & Advertising Rates.

P.O. Box 9401Berkeley, CA 94709

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