Wednesday 21 June 2023

Domestic trauma: textile responses to confinement, coercion and control

 

This is the title of a paper I wrote for a special issue of the journal Textile Cloth and Culture focusing on textiles and trauma. Textiles often bear witness to trauma. This may be as forensic evidence or as documents of record made by the traumatised or their loved ones, to ensure that traumatic events are not forgotten. In this paper I concentrate on domestic trauma in particular confinement, coercion and control in the home, all of which increased during the lockdowns resulting from the Covid-19 pandemic. Textiles can be an alternative form of discourse for those without access to mainstream media. One example I quote is Elizabeth Parker’s nineteenth-century cross-stitch sampler, now in the V&A Museum, recording her abuse by her employer. Other examples are the arpilleras made by women in Peru affected by domestic violence. I also reference contemporary work such as 35 I cant’s by Alison Lowry and Jayne Cherry and of course my own practice-based research using net curtains such as Whispering and Marking time. The paper does end on a encouraging note as it also discusses textile based initiatives that help victims of domestic abuse. If you are interested in reading more there are some free copies available from the publisher   https://www.tandfonline.com/eprint/PDVXXRAZQHRGTKKTIEGS/full?target=10.1080/14759756.2021.2019370

2 comments:

Valerie said...

I've just read the entire paper. One big question I'm left with is, how did Anne Bronte know about such abuse in such detail? Could she have come across it in Haworth, or might it have been closer to home? A fascinating paper.

Valerie said...

I've just answered my own question. I don't have a copy of Tenant of Wildfell Hall but I do have Agnes Grey. The opening few chapters tell it all. Based on Anne's own experiences as a governess, this is where she became aware of male dominance, coercion and control.