Focus craftership magazine

Magazine with a Focus on craftership

FOCUS CRAFTERSHIP

Focus Craftership is an initiative of Bokrijk | Craftership & Heritage, developed in close collaboration with CEMPER, the Centre for Agricultural History (CAG), ETWIE, FARO, Histories, PARCUM, and Workshop Intangible Heritage, with support from the Flemish government.

foreword by the chair

Craftership thrives within the minds, hands, and hearts of artisans. Safeguarding this intangible heritage is of increasing importance. What if these time-honoured trades disappear one day? What if upcoming generations no longer have access to this wealth of expertise and skills? To avoid such a scenario, Bokrijk | Craftership & Heritage launched the project Focus Craftership

In collaboration with Workshop Intangible Heritage, Focus Craftership created a foundational methodology for the audiovisual documentation, sharing, and activation of diverse crafts. We then put this theoretical model to the test in real-world applications. Working alongside heritage communities and partners in the heritage sector, we established ten test cases covering maritime heritage, crop selection, processional giant heritage, monastery crafts, hurdy-gurdy construction, wattle and daub, wicker willow, Japanese woodcutting, cooperage, and taxidermy. Each craft underwent a distinct trajectory, resulting in a trailer and a documentary as well as in outreach activities.

Craftership is still highly relevant today. Engaging in manual work stimulates the brain to forge alternative connections. Improved synchronisation of the neural networks sparks creativity, leading to fresh ideas and enlightening insights. At the same time, it offers an opportunity to briefly pause and, equipped with a critical perspective, take a step back from our rapidly evolving society.

In today’s world, smartphones and tablets come with advanced video capabilities, providing craftspeople with an excellent means to visually and audibly capture their craftership in high quality. That is precisely the aim of this project. Focus Craftership has gathered all tips and tricks into an online toolbox: an organised and user-friendly source of inspiration to help craftspeople, heritage professionals, and other stakeholders proficiently document knowledge and skills.

Within these pages, we welcome you to take a glimpse behind the scenes of this project. Our videographer embarked on a journey of more than two years. Follow in his footsteps and immerse yourself in the narratives of our partners and numerous heritage communities. They share with immense enthusiasm the story of how the project came to life and continues to thrive. Enjoy reading!

Igor Philtjens Chair of NGO “Het Domein Bokrijk” and Deputy Commissioner of the Province of Limburg

REIMAGINING CRAFTERSHIP

When the Flemish Minister of Culture awarded a project grant (2020-2023) to Bokrijk | Craftership & Heritage, the national platform for historical and contemporary craftership in Flanders chose a project that aligned with the needs of the cultural heritage sector and makers alike. Focus Craftership was born and delved even deeper by shifting its focus to ten compelling crafts. The ultimate goal was to inspire new generations to engage in craftership, both now and in the future.

Whether they’re done by amateurs or professionals, Craftership & Heritage does not distinguish between historical or contemporary crafts. In both cases, the aim is to visualise heritage as the common theme. This pursuit involves cataloguing, researching, sharing, and presenting the knowledge and skills of artisans to a wide audience. To achieve this, Craftership & Heritage draws on the expertise of the Open Air Museum Bokrijk and the knowledge and network of VAKlab, an incubator for creative entrepreneurship at Bokrijk.

Preservation

‘Focus Craftership complements our regular operations,’ explains Hilde Schoefs, head of Open Air Museum Bokrijk and head of Craftership & Heritage. ‘Alongside other pillars in our crafts campus, we focus on awareness, communication, research, preservation, knowledge sharing, tools and methodologies, collaboration, and networking. All of this is done with special attention to the contemporary relevance of wood and historical building techniques. However, this audiovisual project is moving beyond that by innovatively and collaboratively documenting ten highly diverse crafts and sharing them with partners, professionals, heritage organisations, and other interested parties outside the heritage sector. This is supplemented both online and offline by a promotional programme consisting of workshops, networking events, masterclasses, and themed sessions. Our extensive preservation mission is driven by a single, clear goal: to share knowledge of these crafts as widely as possible so they can serve as the inspiration and the building blocks for future applications across various disciplines.’

International methodology

The crafts were selected in close consultation with five partners who, alongside Craftership & Heritage, play a leading role in one of UNESCO’s intangible heritage domains: CAG, CEMPER, ETWIE, Histories, and PARCUM. ‘Together with Workshop Intangible Heritage (WIH), we developed the methodology and the toolbox and aligned our operations with the intangible heritage activities in Flanders,’ Schoefs adds. ‘FARO provided us with general support. Developing the methodology was crucial to the project’s success. We tested our approach internationally and made adjustments along the way. This led to the creation of an innovative toolbox in both Dutch and English, as well as a comprehensive step-by-step guide that gives heritage organisations and communities within and outside Flanders the opportunity to document their intangible heritage to ensure maximum preservation, dissemination and activation. In this way, Flemish craftership can be continuously reinvented and actively applied across borders and disciplines. This will hopefully inspire a new generation of makers to take up the craft and connect the present, past and future in a continuous loop.’ www.bokrijk.be/vakmanschapswerking www.focusvakmanschap.be

VAKlab: contemporary Craftership

VAKlab is Bokrijk’s expertise and service centre, focused on craftership and entrepreneurship. With an extensive calendar of more than seventy activities per year, VAKlab encourages passionate makers to meet, share ideas, gain new insights, and collaborate with likeminded people. Together with our partners, we strengthen and develop contemporary craftership as an added value to the economy and other sectors.

VAKlab

www.bokrijk.be/ vakmanschapswerking

At Open Air Museum Bokrijk, the present, the past and the future of daily life converge. The museum supports and showcases the contemporary relevance of all forms of craftership, amongst other things. What does the craftership of the past tell us today? How do contemporary artisans draw inspiration from traditional crafts and techniques? And, in addition, how is craftership transformed by new technologies?

FOCUS ON CRAFTERSHIP

Photographer Femke den Hollander

Femke den Hollander (1979) studied Social and Cultural Work before pursuing a degree in photography from the Academy of Fine Arts in Bruges. Documentary photography and film have fascinated her since childhood. As a photographer, she immerses herself in the lives of strangers, observing and documenting what they do and make. She listens to their stories and tries to capture their narratives on camera. She took the same approach to Focus Craftership. ‘Every assignment is different and fascinating. It’s journalism combined with documentary exploration, human connection, and preservation. This is my way of helping to safeguard and share crafts and practices that may one day fade away.’

HERITAGE IN FOCUS

AN ETWIE FILM ABOUT MASTERFUL MAST BUILDERS

BLDRS

Restoring and reconstructing fishing vessels from a bygone era: maritime heritage association De Scute in Blankenberge are masters of the craft. Between 1992 and 1999, forty volunteers built a perfect replica of the B1 Sint Pieter. However, in 2022, the ship was in dire need of a new mast – the perfect opportunity for the Centre for Industrial Heritage in Flanders (ETWIE) to capture this extraordinary art on film.

Building a mast for a historic sailing ship is no run-of-the-mill pursuit. But for the ardent enthusiasts of non-profit organisation De Scute, no challenge is too great. Driven by their love of fishing heritage and shipbuilding techniques, they opted for a laminated mast; a construction made out of custom wooden beams meticulously bonded to form an exceedingly strong whole. ‘This relatively new technique is a beautiful testament to how intangible heritage and craftership can evolve along with society,’ explain the members of De Scute. ‘These were uncharted waters for us as well.’ In addition to the construction itself, factors such as the type of wood, the sawing method, the drying process and the finish all contributed to the final result. Craftership is imbued in every fibre of the mast, from the inner workings to the base. A craft so specific and valuable it deserved its own film.

‘At the Museum of Industry in Ghent, we gather, stimulate and support individuals and professionals who are devoted to the pursuit of technical, scientific or industrial heritage,’ explains researcher Lieselot Cornelis. ‘We wanted to test a method for documenting intangible heritage with a film about the mast story. What works and what doesn’t? Who should lead such a project? And what are the challenges? Our findings helped us guide other heritage communities towards defining and professionalising their own documentation activities. More generally, the film should offer a comprehensive overview of the construction process of the mast and immerse both

laypeople and heritage enthusiasts in the passionate work carried out by the volunteers of De Scute.’

A deep dive into the material

ETWIE had tied its fate to that of the West Flemish shipbuilders. ‘The success of our video experiment hinged entirely on the completion of the mast project,’ explains Cornelis. ‘It was quite nerve-wracking, to be honest. The technical challenge demanded absolute precision; a mistake of just half a millimetre will become a massive one-centimetre blunder on a thirteen-metre mast. Fortunately, the association could call on the expertise of master shipbuilder Jan Vandamme. But the real test came after the mast was installed and the ship had its first sea trial. We were worried that the mast might not hold, but fortunately it did. If it hadn’t, all of our hard work would have been for nothing, including the time spent filming and all the groundwork that came before it.’

Glue and click

In order to document each phase accurately, ETWIE learned to change course when needed. ‘Certain activities depended on the weather and on specific techniques and deliveries. This meant hustling to fit it into the schedule or shifting gears at the last minute. For example, when it came to assembling the outer mast, it no longer stuck to the wood after the glue had dried. This caused quite a bit of stress and meant that another gluing surface had to be created for the inner mast. The components therefore had to be cut at an angle with extreme precision. It was stressful, but when the team spontaneously broke into a fisherman’s song, the mood was instantly lifted. It was a pleasant collaboration, especially because we’d put all of the agreements on paper in advance. That’s the best advice I can give: build a relationship with the heritage community based on trust. A good relationship can help you achieve so much more.’

championing caretakers

Inspired by the impressive wooden two-master, Lieselot and her team essentially created two films in one, focusing on the techniques used to construct the laminated mast on the one hand, and the passion and craftership of the volunteers on the other. ‘With this successful experiment, we charted a course with the help of other heritage champions to set up similar initiatives that safeguard the art of the trade. It may seem simple, but it’s not. A tremendous amount of work and dedication goes into creating a beautiful, strong and functional result like this.’ Perhaps even more remarkable is the sense of community it inspired. ‘The mast was assembled in one day by twenty volunteers, at a time when the pandemic restrictions had just been lifted,’ explains a member of De Scute. ‘It was like everyone had chosen this exact moment to emerge from their respective shelters. It was quite a heartfelt reunion! Installing the mast on the barge was the crowning achievement of an incredible project that we completed together.’

ZOOMING IN ON BRIDGE BUILDERS

VIDEOGRAPHER ALEXANDER KERKHOF

Alexander Kerkhof is the main videographer in the Focus craftership project, with more than fifteen years of professional and multidisciplinary experience in the audiovisual field. In his projects, he explores and combines four major passions: film, music, art and heritage. These interests make Kerkhof the ideal candidate for capturing Craftership in its purest form.

‘As a videographer, I had the privilege of watching and contributing to most of the processes up close,’ says Kerkhof. ‘Everything came down to the same question: why? It was interesting to see how the partner organisations made their decisions during the preparation phase.’

Trust

‘There is a big difference between working with communities and filming in a commercial context,’ Kerkhof explains. ‘It’s important to take the time to create a relationship built on mutual trust. Only after establishing that connection can you access knowledge. The first edit – the video about the construction of ETWIE’s wooden mast –felt like a major milestone. And each subsequent montage carried the same kind of weight. In fact, the entire project felt like a huge achievement!’

Intensive process

‘Most of the crafts were new to me, which made the experience all the more fascinating. For the Belgian chicory video, for example, we followed the entire cycle, from seed to plant. A lot depends on the rhythms of nature. The most intensive process was documenting the construction of a hurdy-gurdy for CEMPER. It took us a full year, with weekly appointments every Wednesday. It was an extensive process with a lot of detail. As a layperson, it’s impossible to tell what’s important and what isn’t. Without the help of the heritage community, my job would have been much more complex. My colleagues at CEMPER, for example, handled the production and filming schedule so I could focus entirely on the technical side.’

Lessons learned

‘Each step taught me something valuable. For example, I learned that chicory growers invest in their crops year-round, not just in winter. That processional giants take a tremendous amount of time to build, and require community support. That an ingeniously constructed hollow mast made of laminated wooden beams is much stronger than one made of solid wood. That there are blueprints for creating complex hurdy-gurdies. That monasteries depend on what they produce and have to be enterprising and proactive, all while maintaining a full daily schedule. That Japanese woodblock printing can teach us how to refine Western woodblock printing. That wicker techniques techniques create functional and sustainable products. Let’s see... am I forgetting anything?’ he says, smiling.

Near-misses

‘Of course, things don’t always go as planned, just like it didn’t during the video about monastery crafts in Postel Abbey. While filming the chanting monks in the abbey church, my belt broke and my trousers nearly dropped. They didn’t, but it was a close call! And during another prayer service with the Trappist nuns in Brecht, I didn’t know that the lights would be turned off and that the rest of the service would be held in darkness. It was a unique experience, but not exactly great on camera!’

Inspiring a new generation

‘All crafts evolve and change, so it’s important to document everything carefully. This allows us to pass on specific knowledge about a craft and continue to inspire new generations. I hope these videos encourage heritage organisations to consider making their own audiovisual content and that resources continue to be allocated for this purpose. I also secretly hope that the video camera becomes a standard tool in the arsenal of craftsmen and heritage communities alike,’ adds Kerkhof.

Alexander Kerkhof filming the processional giants in Ternat. The winning entry for Wiki Loves Living Heritage in Belgium.

DEEPLY UNDERRATED CAG

CULTIVATES RESPECT FOR CROP SELECTION

If the world keeps on turning, the farmer will keep on ploughing. But not without meticulously selecting the right plants first. Since the dawn of modern agriculture, people have worked hard to improve the potential of crops in order to preserve and improve varieties. Today, crop selection lies almost entirely in the hands of large corporations, resulting in a significant decline in diversity. Laura Danckaert, project officer at the Centre for Agrarian History (CAG), made two documentaries on this endangered skill.

Endives de Bruxelles, Brussels chicory and Brüsseler chicorée: this Belgian chicory variety is known by many names and is enjoyed worldwide, but it hasn’t been grown in the country’s capital for years. The last chicory farmer in Brussels passed away in 2018. The name refers not so much to the place where this white gold is cultivated, but to the cultivation method itself: as the Flemish name suggests, grondwitloof (ground chicory) is grown outdoors, covered with soil. Independent seed cultivation is a requirement for bearing the Protected Geographical Indication label (PGI) “Brussels Grondwitloof”. Given the growing pressure on this craft, the chicory heritage community was extremely pleased with CAG’s film plans. In addition to telling the story of chicory, a general documentary was made about the art of seed production and crop selection.

‘As the knowledge centre for agrarian heritage in Flanders and Brussels, our mission is to study, preserve, protect and share our rich heritage of agriculture, food and rural traditions,’ says Laura Danckaert. ‘Our goal is to contribute to a caring and sustainable society. By capturing the craft of cultivation with and for the heritage community, we are raising heritage awareness among growers and introducing their expertise and techniques to interested parties, such as gardeners. We also want to show the wider public that growing food is not as easy as it looks. We’ve incorporated all of our collected material into a pop-up exhibition, and a series of secondary school classes on the topic is being set up as well.’

Cream of the crop

According to Danckaert, crop selection is an underrated skill – and unfairly so. ‘It may not capture the imagination as much as other crafts, but the underlying knowledge and expertise is incredible and lays the foundation for our

current food system. It truly is an artform. Farmers use specific characteristics to select plants that will produce the best seeds. They do this through a continuous process of sowing, observing, measuring and weighing to check for uniformity, resilience and harvest length.

They also keep the customer’s preferences in mind. Over the centuries, the

deliberate selection and crossbreeding of specific characteristics produced different plant species and varieties. These characteristics became increasingly embedded until each region developed its own varieties, perfectly adapted to local conditions. Their history tells the story of generations of seed growers.’

growing awareness

This very story has now been captured on film. ‘We were asked by the heritage community to join the Focus Craftership project,’ Danckaert states. ‘Their craft is being increasingly absorbed into the modern techniques used by major industry players, often at the expense of genetic diversity. Fortunately, there are organisations like Vitale Rassen that keep the craft of seed cultivation alive, sharing their knowledge in workshops. By making their seeds available on the market, they allow gardeners everywhere to rediscover local varieties. Our documentaries are sowing the seeds of awareness for traditional crafts – something we are committed to pursue in all conditions. And this is to be taken quite literally. Crop selection depends heavily on the weather and the seasons. This made it difficult to create a filming schedule and forced us to set tentative dates and times, which could only be confirmed two days in advance. But as they say: you reap what you sow. So all our efforts paid off in the end.’

www.cagnet.be

CEMPER’S YEAR IN THE WORKSHOP OF A HURDY-GURDY BUILDER

One evening, Marc Reymen was strolling through the streets of 1980’s Amsterdam when he heard the distant echoes of what he thought was bagpipe music. He followed the sound, which led him to something rather unexpected and different: a hurdy-gurdy. This moment sparked an enduring fascination with this exceptional string instrument and inspired the Rumst native to start building his own instruments, according to ever-evolving traditions. CEMPER, the Centre for Music and Performing Arts Heritage, embarked on a year-long journey to capture his craft on film. The result was music to the ears of intangible heritage fans: more than thirty hours of footage serving as a priceless repository of knowledge for future generations.

The art of the hurdy-gurdy

Very few blueprints exist for hurdygurdy building. ‘After searching for six years, I finally found one at the Centre for Musical Instrument Building in Puurs,’ Reymen recalls. ‘Once I had finished my studies, I visited countless museums throughout Europe and expanded my collection to about twenty blueprints. I digitised them all in order to share my collection and my expertise with fellow craftspeople around the world, as far away as New Zealand.’

The former research officer with a degree in electronic engineering loves sharing his craft with others. ‘Part of me feared that one day, when I’m gone, my years of research and training will have been for nothing. So I teach people how to build hurdy-gurdies and wrote a book about it with one of my students. A while ago, I approached Bokrijk to discuss the possibility of hosting masterclasses. CEMPER and I had been searching for a way to document the art of hurdy-gurdy making for a while. Focus Craftership gave us the time and the resources to do just that, so when CEMPER asked me to collaborate on the toolbox, I jumped at the opportunity. We filmed in my workshop every Wednesday for an entire year, capturing each step in the process of making a hurdy-gurdy. The videos are mainly intended for hurdygurdy makers and musicians who want to work on and maintain their own instruments. Some knowledge of woodworking is required.’

Hurdy-gurdy script

Marc has been a familiar face at CEMPER for some time now. ‘We support and give advice to those involved in music and performing arts heritage,’ explain intangible heritage officers Debora Plouy and Anaïs Verhulst, who were both involved in the project. ‘We helped Marc apply for a master apprentice grant in order to pass on his craft. He was determined to safeguard his passion and life’s work in any way he could, including on film. This made him the perfect fit for Focus Craftership. Marc wanted to capture the entire process from beginning to end, so we helped him create a production schedule – an indispensable tool for a long and labour-intensive project like this one. As a craftsman, Marc is fully focussed on the construction process, for which he needs both his hands. Therefore, he wasn’t able to film everything himself. Editing all these hours of footage posed quite a challenge. Thanks to the close cooperation between the filmmaker, the heritage bearer and ourselves as a heritage organisation, we gained a wealth of knowledge. I think our strong bond and mutual trust was the secret to that success.’

keeping time

Now that the instrument is completed, so are over 30 hours of film. ‘It was a huge undertaking that required careful planning to capture every detail of the process,’ Marc explains. ‘But it was also incredibly fulfilling and fun, even between takes. As the crew members trickled in each morning, they would ask if my glue was warm yet – the sign that we were ready to start the day. So I guess we all settled into a comfortable routine with each other, despite the small studio space,’ he says, smiling.

‘Maintaining a weekly schedule was important,’ adds Debora. ‘It kept us involved in the story and helped us to expand our knowledge, even though we’d studied the material thoroughly in advance. This is important for the quality of the final result. Marc filmed everything without a script. By sticking to the production script and listening closely to what Marc explained, we could gauge whether the explanations were clear enough and whether Marc had completed all the steps. Those steps seem obvious to craftspeople, which makes them easy to overlook for laypeople. In the editing phase, it’s important to make sure everything comes together nicely. Is it all clear? Do all the parts fit together? Does the structure make sense? By scheduling enough feedback moments, you can solve any problem. My advice? Try not to dwell on the occasional off-note; instead, focus on the final one.’

www.cemper.be

WORKSHOP INTANGIBLE HERITAGE

How did you get involved in Focus Craftership?

Shana: ‘Our organisation supports everyone who works with living heritage in Flanders. Safeguarding and sharing this living heritage through documentation is one of our core activities. It makes us the ideal partner in this trajectory.’

Jorijn: ‘Especially given the past twenty years of work focusing on intangible cultural heritage, with a strong commitment to developing methodologies and to international engagement. As the organisation for living heritage in Flanders, we inventory and document the diverse cultural traditions in this region, in line with the UNESCO objectives. Documentation is usually done on paper, but an audiovisual approach is much more effective at capturing and sharing living heritage, both for the heritage community and the general public.’

www.filminglivingheritage.org

Workshop Intangible Heritage was a partner in Focus Craftership from the outset. Jorijn Neyrinck and Shana Van Hauwermeiren committed to developing the methodology and the toolbox for documenting intangible heritage on film, together with colleague Tamara Nikolić Đerić (Croatia). Jorijn and Shana reflect on the process and talk about their anticipations for the future.

Had you been considering this approach for a while?

Jorijn: ‘Yes, the need for an audiovisual approach had been clear to us for some time. In 2014 we hosted In Klank en Beeld (‘Through Sound and Image’), a conference attended by Flemish and international experts that focused on documenting intangible heritage in a participatory way. In 2020 we organised a masterclass and workshop involving Tamara Nikolić Đerić, an international colleague who also has been working on these themes over the past years. At the same time, our colleagues at CAG and ETWIE had launched their own pilot projects. All of these experiences generated valuable insights while simultaneously raising new questions and challenges.’

What kind of challenges are there with filming living heritage? Isn’t it possible for everyone to make a film these days?

Shana: ‘Although true, there were still a lot of questions about using film as a means of safeguarding living heritage. Why use this medium? What is the goal of your film? How do you get started and who do you involve? Who does the filming: the heritage community itself? A heritage expert? Or an external film maker?’

Jorijn: ‘The current toolbox is primarily addressing heritage professionals who aim to set up documentation projects on intangible heritage. Of course we want heritage communities themselves to get involved in the documentation process as much as possible. But we’re taking it one step at a time. Not all communities are familiar with the reference frameworks for safeguarding living heritage, let alone the technical, cinematic side of the documentation process. We need to provide guidance and capacity building with a view to assisting the heritage communities in these filming and documentation activities. We also had to think carefully about the toolbox language: we wanted it to be comprehensible and accessible while also staying true to the collective goal we share with UNESCO of safeguarding living heritage.’

Was this toolbox the first of its kind?

Jorijn: ‘There’s a lot going on in the world regarding audiovisual documentation of living heritage, specifically in Asia, which results in a lot of films and other audiovisual material. But on a methodological level, this is still very much pioneering work.’

Shana: ‘In 2021, Workshop Intangible Heritage developed a basic methodology for Focus Craftership, which we refined over the years based on the results of ten pilot projects. We plan to roll out the final toolbox to a wide audience in the international community committed to safeguarding living heritage. This is one of the main reasons why the website is also available in English.’

How do you see the future?

Jorijn: ‘We hope that our toolbox reaches as many heritage workers as possible and that they share their experiences with us so the shared knowhow can continue to grow and evolve through this platform.’

Shana: ‘This toolbox serves as a starting point. Each user can add their own touch, based on their specific needs and their particular context. I’d consider this project a success if the methodology can reach and help as many practitioners as possible in their documentation and safeguarding efforts.’

Focus Craftership during an afternoon session hosted by Workshop Intangible Heritage

WORK, PRAY, FILM

PARCUM PUTS THE SPOTLIGHT ON MONASTIC CRAFTS

Ora et labora: pray and work. It was clear from the start what Saint Benedict expected of his monks. The father of Western monasticism advocated a life of simplicity and hard work, an ethos that led to the development of numerous trades and crafts within the monastery walls. PARCUM, the centre of expertise for religious art and culture, captured eight monastic crafts on film. Painstaking work? Advisor Julie Aerts reveals all.

The Trappists and other monastic communities have long been known for brewing beer and making cheese, but their other crafts – such as making sacramental bread, wax figures, soaps and ceramics – are known only to some. These activities are steeped in centuries-old tradition and executed with a discerning eye for quality. Benedict’s “call to labour” has been loosely interpreted over the years, resulting in a highly diverse range of artisanal crafts. These activities are largely hidden from the public view due to the secluded nature of the contemplative monastic communities.

In the 21st century, the veil is slowly being lifted as monks and nuns are starting to open their doors and allow the world a glimpse into their prayers and work. They even invited PARCUM to film inside their hallowed halls.

‘You’d be shocked at the level of mastery Flemish monasteries still have,’ says religious heritage advisor Julie Aerts. ‘We really had to narrow our selection down. Capturing such diversity is incredible, but it was also a difficult decision process. This project isn’t exhaustive by any means; it’s a blueprint that only scratches the surface of craftership held within Belgium’s monastery walls.’

Just in time

From the enchanting Park Abbey in Leuven, PARCUM helps intangible heritage communities preserve living heritage across different religions and worldviews. ‘Monastic craftership as

intangible heritage is deeply embedded in the immovable heritage of a monastery or abbey,’ says Aerts. ‘With the number of practitioners on the decline, it’s important to document ancient monastic crafts now. Or better yet, capture them on film. In the spring of 2022, we visited twelve Flemish monasteries and abbeys in the hope of capturing a wide spectrum of crafts and professions, as well as gender and cultural diversity issues based on the needs of the heritage communities. We eventually settled on eight locations, each of which gave us a warm welcome. Monastics are deeply attuned to their mortality and their legacy. The further we went in the process, the more they began to see their actions through a heritage lens.’

Surprising differences

Despite their shared religious beliefs, each community interprets their “labour” in different ways. ‘It’s these different approaches that make the video so interesting,’ says Aerts. ‘In some monasteries, all residents play a role in the production process, while other communities work with laypeople. The methods used also differ. Some moments seem straight out of a history book, while others reveal how age-old traditions can be blended with modern techniques. Although, I’m sure the Poor Clare nuns of Ostend

will be talking about that drone shot for a while. The look of wonder on their faces was delightful!’

Watching, listening, reading

The video was met with enthusiastic applause during a study day in Park Abbey. ‘I encourage everyone to watch the video at www.parcum.be!’ says Aerts with enthusiasm. ‘If you’re interested in a deeper exploration of ora et labora, don’t miss the podcast episode with Professor Thomas Quartier. Our publication in the PARCUM Pockets series on monastic craftership in Flanders may sound like a conclusionary ‘amen’, but this story is far from over.’

Click here to listen to the podcast with Professor Thomas Quartier!

skillful sculpting

The history of the Poor Clares in Ostend dates back to 1862. Only fourteen sisters remain, some a little older than others, but all dedicated to uplifting their community. ‘Part of our income comes from making sacramental bread and pottery,’ Sister Trees reveals. ‘Always in silence. We view our work as a time for contemplation and meditation. Getting everything done is no easy task, but those who work hard with peace in their hearts bring ora and labora into perfect balance.’

‘You better not have clay on your hands when the prayer bell rings,’ says Sister Caroline with a laugh. ‘We keep to strict work and prayer schedules, as Saint Benedict prescribed. But the two blend seamlessly. Putting your heart and soul into your work helps you pray better. And whatever you’re making also matters. If I’m sculpting baptismal jugs, I think of the little children who will be baptised with them. This brings the ora into our labora.’

www.parcum.be

THE ART OF WICKER WILLOW

Stokkem was once the wicker willow capital of the world, producing up to 15,000 baskets every week in the second half of the nineteenth century. The city was also home to a wicker willow school until the early 1960s. Today, only a handful of these artisans remain in Flanders, many of whom seek to weave the traditions of this sustainable craft into the innovations of the future. The taskforce established by Bokrijk | Craftership & Heritage reaffirmed this ambition in a film dedicated to wicker willow.

From bread baskets to laundry baskets, wicker willow has stood the test of time. Yet the era of pure manual production is long gone, especially in Flanders. The intricate process of harvesting willow cuttings, sorting them by length and thickness, soaking them and testing their flexibility is time-consuming and labour-intensive. ‘But it’s also deeply entrenched in nature and therefore highly relevant,’ according to the taskforce. ‘This craft holds beautiful answers to the world’s most pressing questions about ecology, transport, sustainability as well as circularity. It’s about more than just basket weaving. It combines traditional skills with innovative techniques to further expand the application potential, from designer furniture to lighting fixtures and from garden fences to works of art.’

Creative community

Willow thrives near water, which explains why Stokkem was once the wicker willow capital of Europe. The little town along the Meuse was once home to hundreds of basket weavers, each with their own specialisation. ‘Today, only a few willow weavers remain in all of Flanders,’ the taskforce explains. ‘Unlike the Netherlands, we don’t have a strong community of willow weavers here. But we hope this documentary will help to inspire a new

community of national and international craftspeople and partners who all share a passion for wicker willow. Our focus lies heavily on education and teaching the technique, and linking the art to ecological, societal and personal values in the present, with an eye on the past and to the future. Many people are seeking meaning and purpose these days, especially young people. Ultimately, our goal is to inspire this new generation to take up this versatile craft.’

From A to Z

Jeanny Bouwen instilled the love of the craft in her son, Jefke Geysels (20). ‘‘Wicker-weaving expert Jefke started a master-apprenticeship at the age of fifteen with Dutch wickerwork designer Esmé Hofman and now works with Jeanny to pass on this knowledge during workshops, courses and demonstrations,’ says project coordinator Lieve De Saedeleer. ‘All three are featured in the documentary. It was incredible to watch them work up close. Visiting Esmé felt like a fieldtrip and Jefke and Jeanny had such a calm presence that even Zara the Labrador seemed oblivious to the camera crew. Teacher François Desplanches joined them, together with willow weavers from Flanders and the Netherlands. They are fluent in the language of willows and do everything

themselves, from growing and harvesting to sorting and weaving. This allowed us to capture the entire process from A to Z.’

Seasonal

The seamless filming process was preceded by an intense period of preparation. ‘Our aim was to capture the entire process, from harvest to production,’ continues De Saedeleer. ‘In addition to the master wicker weavers, we met with representatives from the Dilsen-Stokkem city council. They provided us with valuable insights from the recent opening of Visitor Centre De Wissen, which presents the history of this local craft. We managed to finish just in time for the willow harvest. When the seasons dictate your production schedule, things can get a little dicey! But it also resulted in a beautiful and comprehensive narrative. It’s incredible to watch these artisans transform something natural into a stunning and functional handmade object. This sense of wonder is intricately woven into our compelling documentary and is sure to captivate viewers.’

The wicker willow taskforce consists of the following participants:

Municipality of DilsenStokkem, Mandenmakerij de Ratelaar (Jeanny Bouwen and Jefke Geysels), Mandenmakerij Cattelant (Lydia Bamps), De Ullewanne (Ann Vrancken) and basket weaver Esmé Hofman.

During this process, we were able to take photos in the workshop of basket weaver Lieve Lieckens.

MOKUHANGA MAGIC!

BLENDING ART AND CRAFT

Vladimir Ivaneanu teaches evening printmaking classes at the Academy of Fine Arts DKO in Ghent. Driven by a love of Japanese woodblock printing (mokuhanga), Vladimir travelled to Japan in 2007 to master the art of the craft. Once back in Belgium, he met a student who matched his motivation and enthusiasm: sculptor and illustrator Soetkin Everaert. In January 2023, the duo participated in a governmentsponsored apprenticeship programme aimed at preserving and passing on craftership. This journey led them to Bokrijk | Craftership & Heritage and ultimately to Focus Craftership. Their film is a poetic introduction to their exceptional art.

Artistry vs. craftership

As a graphic artist, Vladimir is intrigued by the dialogue between craftership and art. ‘In the graphic arts, technical proficiency is crucial to creating artistic pieces, but it doesn’t always translate into success in the art world. You can take all the right steps, execute your craft perfectly and still not create a compelling piece. We view our work as an artistic expression that is enhanced by a degree of technical finesse. We want to immerse viewers in our visual world and show them how technically complex and labour-intensive this kind of woodworking is.’

Vladimir and Soetkin chose not to emphasise education or the artistic process in their documentary, focusing instead on the atmosphere and artistry of their craft. ‘The documentary is intended for a wide audience and is useful to anyone interested in Japanese woodworking,’ explains Vladimir.

Interesting contacts

During the pandemic, the duo learned of the special master-apprenticeship grants awarded by the Flemish government to promote and preserve craftership. While their initial application was turned down, it did open doors to new and exciting connections. ‘This is when we first heard of Bokrijk and the Focus Craftership project. We didn’t really know what we were getting ourselves into,’ admits Soetkin. ‘And it turned out to be a much bigger project than we had anticipated. The combination of filming, creating our mini exhibition, and working on our other projects made it incredibly demanding. But it was also a lot of fun. And we managed to secure that master-apprenticeship grant in the end!’

from japan to europe

Vladimir will mentor Soetkin for two years, sharing his knowledge of woodcutting and printing techniques with her along the way. Another trip to Japan is scheduled for 2024. ‘We’ll be working with Japanese masters to explore how best to advance our art in Europe in an accessible, innovative and eco-friendly way.’

Watch the film here

Persuasiveness

Initially, it seemed their documentary would never happen. Vladimir had to work hard to convince Soetkin, who isn’t fond of being in the spotlight.

‘When Vladamir suggested working together on a print for the film, I had my doubts. But he managed to convince me,’ she says, smiling. ‘Ironically, I was a nervous wreck on the first day of shooting, while Soetkin was much more relaxed,’ adds Vladimir. ‘That sums up our dynamic pretty well: Soetkin had to pull out all the stops to convince me to apply for the grant!’

With filming completed, the duo can reflect on a fruitful project. ‘What made it so fun was the flexibility we were given by Bokrijk | Craftership & Heritage and the videographer Alexander Kerkhof,’ Soetkin explains with enthusiasm. ‘He made us feel so comfortable the entire time. We also had a lot of luck during this process, which makes for an even better film.’

Vladimir agrees: ‘When I watched the final cut, I was impressed by how nicely everything had come together. Getting to see the entire process like that is incredible!’

www.mokuhangamagic.be

FARO’S FOCUS ON CRAFTERSHIP

In this project, FARO played a pivotal role in capturing craftership on film. ‘While we didn’t actually operate the cameras, we did provide support and advice throughout the entire process,’ says Elien Doesselaere. ‘Our biggest challenge was to find a way to visually represent the different crafts. Drawing from visual anthropology, we ultimately decided to depict each craft differently, depending on its intended purpose, such as research or promotion. It took time to master this approach and method, especially seeing as theory and practice didn’t always line up. We had to be flexible and deviate from the set methodologies to accommodate the needs and wishes of the heritage communities. This flexibility and pragmatic approach were necessary to create a good final product. Theory is important, but it shouldn’t be followed blindly. After all, it is a means to an end; in this case, safeguarding craftership.’

Enrichment

Despite the demanding process, Elien Doesselaere is pleased with how things turned out. ‘The interdisciplinary approach was perfect for this challenge. The extensive video footage from each of the ten pilot projects contains a wealth of knowledge. This well-stocked toolbox contains powerful tools that will help heritage workers and heritage communities capture their craft on film. We are proud of the knowledge, experience and insights we were able to bring to the table. With its memorable moments, lasting partnerships and newfound expertise, Focus Craftership was enriching on a personal level as well.’

As the Flemish Institution for Cultural Heritage, FARO supports heritage workers by offering tailored advice, support and training programmes. Keeping cultural heritage alive and relevant is their mission. The collaboration with Focus Craftership was meant to be. It was a seamless partnership that felt natural from the very start and opened the doors to a new universe: visual anthropology.

www.faro.be

WTTL&DB

WATTLE AND DAUB IN BOKRIJK

THE CONTEMPORARY RELEVANCE OF A HISTORICAL BUILDING METHOD

Using wattle and daub has been a popular building technique for centuries, only disappearing from our region in recent decades. But thanks to its numerous advantages in terms of sustainability, fire safety, acoustics, and moisture and temperature regulation, this architectural artform has made a remarkable comeback!

When wattle and daub construction began to give way to more “contemporary” building methods in the middle of the last century, Open Air Museum Bokrijk decided to take action. Jozef Weyns, head of the museum at the time, was the driving force behind this initiative, adding several examples of loam architecture to the recently opened museum. As an expert, he described, sketched and photographed several regional variations of this technique. And thus, a tradition of preservation was born. The generations of museum workers that followed him continued his work by expanding the photo collection, training craftsmen and craftswomen, and creating detailed courses and manuals. ‘We still find it important to preserve historical building techniques,’ explains current head of the museum Hilde Schoefs, ‘which is why we chose wattle and daub construction as one of the test cases in Focus Craftership.’

Old home, new videographer

‘We chose a construction site in Bokrijk as the setting for our film, simply because the professionals there are so good at what they do,’ explains project coordinator Lieve De Saedeleer. ‘From watering the wooden strips to making the daub. This also gave us the opportunity to work with commercial partners who saw the value of the project but had time constraints. Like other historical building techniques, wattle and daub is strongly connected to the seasons. Ground frost is disastrous for the process. Staying on our own premises allowed us to control the timing. Fortunately, we had excellent weather during the filming week. Our regular videographer wasn’t available, but Lieve Willekens was happy to step in. It turned out to be the perfect opportunity to test our toolbox and methodology.’

Lieve Willekens is a visual anthropologist who is familiar with assignments like these. ‘Together with Bokrijk experts Zabi, Aïcha and Guy, we mapped out the scenario in order to document the entire process. It was incredible to witness this first-hand and to see how a seemingly simple mixture of loam, twigs, water and straw can literally transform into a house. The documentary had the same transformative effect: it brought the past to life while showcasing the many advantages and application potential today.’

‘In Bokrijk, time doesn’t stand still,’ according to Lies Haesebrouck, head of Park Management and restoration coordinator at the museum. ‘The museum views this craft through a contemporary lens and closely monitors innovations in wattle and daub construction. A good example of this is an old barn from Meeuwen, which we converted into a bakery in 2017. During the restoration, we replaced the traditional wattlework with rafters and applied an insulating chalk-hemp layer underneath the daub. It was a beautiful combination of historical and contemporary construction techniques. With this added safeguard, we brought this clever building method into the twenty-first century.’

Once confined to museums and our grandparents’ mantelpieces, taxidermy animals are now regaining popularity. From exotic mounts to beloved family pets, taxidermy is experiencing quite the renaissance, with the craft changing and evolving over time. Whereas taxidermists in the seventeenth century recommended tossing mounts into a pan of boiling water to kill pests, the techniques used today are entirely different.

TAXIDERMY CRAFTERSHIP FROM HEAD TO TAIL

Escape game

Taxidermy literally translates to ‘the movement of skin’, but the art involves much more than that. Taxidermists have to be proficient in anatomy, biology and chemistry. Woodworking, stitching hide, tanning and sculpture techniques complete the essential skillset. In short: craftership from head to tail. Some learn the craft from seasoned experts, others pursue specialised training sessions. In the absence of a comprehensive programme, enthusiasts often gravitate toward training centres like Bos en Fauna in the Netherlands. ETWIE is presently working on a video about the versatility of taxidermy and will even develop an escape game as a playful way to discover the technical intricacies of the craft.

Want to learn more? Visit www.etwie.be!

Michiel Tilley of Tilley Creations Taxidermy in his studio.

Images: © Griet Vandepitte

HOW HISTORIES IS HELPING PROCESSIONAL GIANT BUILDERS EXTEND THEIR CRAFT

Giants. They enthralled us as children and still appeal to the imagination today. Flanders has thousands of processional giants in all shapes, sizes and colours, steeped in tradition, stories and history. The richness and diversity of production techniques make visualising the creative process a fascinating challenge. Histories therefore decided to go big by following five giantbuilding communities.

Watch the film here

From history’s heroes to local personalities, mythical figures, lesser gods, wooden dolls, and steel colossi: the Flemish community of processional giants is wildly diverse. But they all have one thing in common: they stir our imagination during processions, parades and festivities. With their imposing presence and unique significance, giants exude strength and foster a sense of belonging among local residents. It’s no wonder then that each community has its own way of bringing their giants to life.

‘This means there’s no manual for creating giants,’ says intangible heritage expert Frea Vancraeynest. ‘At Histories, we conducted extensive research that helped us create a database dedicated to processional giants. Our colleagues at Reuzen in Vlaanderen possess a wealth of knowledge and the heritage programme Rond de rokken van de reus [“Around the giant’s skirts”], which started in 2013, has generated important insights into the different construction methods. But the question of how processional giants are made remains relevant. Focus Craftership was a great opportunity to find new answers and showcase the wide variety of methods and communities of processional giant builders.’

The big five

Histories used the available information and existing partnerships as the foundation for its preliminary research. ‘It was incredibly intensive but crucial for the project’s success,’ explains Frea. ‘We drew up a plan to film five cases as our focal point. As a heritage organisation created by and for heritage volunteers, we made our selection in close consultation with Reuzen in Vlaanderen and other stakeholders. This was no easy choice, given the immense diversity on offer. There are so many captivating stories about processional giants. Our approach is not exhaustive, but the film does offer a kind of anthology of construction techniques and invites those interested to explore the craft further on our website and those of our partners.’

Gaining confidence

Participation was the cornerstone of the project, up to and during filming. ‘The success of a project like this hinges on the engagement with the heritage communities,’ Frea stresses. ‘There is no heritage preservation without volunteers. That’s why we approached this project with humility and listened attentively to their needs and wishes from the start. Admit-

tedly, with five different makers, this wasn’t always easy and made scheduling a bit of a challenge. That’s why we worked with two coordinators, who were each assigned specific tasks. The giant-building community was a bit unsure at first but grew into confident craftspeople who take pride in their art and feel a deep connection with the giant culture and its preservation. This was perhaps the most significant milestone for me.’

thrilling effect

The first time the film was shown was a moment Frea will never forget. ‘Everyone involved was invited as a VIP guest. Afterwards, they all agreed that the collaboration with Alexander had created a breath-taking film which showcases the creative process of the makers and contributions from experts. It even features the learning network that convened three times during filming – one that will continue to exist in the future. Everything we learned along the way will be included in the existing heritage preservation process and our extensive research report. This story is sure to resonate for a long time to come.’ www.histories.be

BREWING UP A FUTURE FOR COOPERS

The craft of making wooden casks, barrels, vats and tubs is on the verge of extinction, even in beer-loving Belgium. Fortunately, traditional breweries like Rodenbach continue to use oak barrels called foeders to ferment and age their ales.

Bokrijk | Craftership & Heritage went to Roeselare to treat heritage enthusiasts to an inspiring film about the cooperage profession.

Watch the film here

For clarity, cooperage extends beyond making barrels and casks to hold beer; for centuries, coopers used their skills to hold and transport water, oil, fish and wine as well. However, those interested in lifting the veil on this nearly extinct art will inevitably find themselves immersed in Belgium’s famous beer culture. Rodenbach is one of the breweries keeping the tradition alive by aging its beer for two years in 294 upright oak casks or foeders, built and maintained by a specialised team of experts. ‘The coopers are proud of our brewery,’ says master brewer Rudi Ghequire. ‘They check for leaks every day and make the necessary repairs. Some casks can hold up to 65,000 litres. The bacterial flora and wild yeasts in the wood give our beer its characteristic mildly acidic taste. This is impossible to achieve with modern stainless-steel vats, which is why we want to preserve this authentic craft. Did you know that some of our foeders date back to 1836?’

Learning by doing

At Rodenbach, passing on the trade is vital. ‘We do it ourselves, as there’s no specific training for this in Belgium,’ Rudi explains. ‘Cooperage is something you can only learn by doing. And that takes a lot of time. Learning how to fit the staves, hoops and rings on the barrel takes at least a year to master. And repairing a barrel is even harder than building a new one, as our newest cooper, Jordy, recently discovered. His predecessor, Pol, recently retired after forty years in the business. This learning process and transferring old knowledge to new learners was the perfect opportunity to safeguard the craft for the future. The Bokrijk film project came at just the right time.’

Making cooperage cool again

‘We managed to snag Pol for an interview just in time,’ says project coordinator Lieve De Saedeleer. ‘That was pretty unique, as was the interview setting itself: in the shadow of three hundred giant casks. The national history combined with the refreshing enthusiasm of the country’s youngest cooper was humbling and made us eager to preserve this aspect of cooperage for the future. Despite Jordy’s motivation and Rodenbach’s long-standing tradition, this profession is in desperate need of more recognition. The film targets a wide audience and specific groups alike, such as woodworking institutes. How wonderful would it be if this inspired a full-fledged programme? We hope the young age of our main character will inspire a new generation to take an interest in this craft.’

Bokrijk | Craftership & Heritage also consulted Marleen Bonami from the Kuipersmuseum Nevele. ‘She specialises in crafting smaller barrels and tubs and recently submitted an application for a master-apprentice programme,’ explains Lieve. ‘We also reached out to Brouwerij Boon. They’ve been using horizontal foeders for their lambic beers for generations, but the filming schedule didn’t fit into their plans. The decision to pass on the company had just been made, leading to significant internal changes. Commercial enterprises like Boon and Rodenbach constantly face significant challenges. Heritage and its documentation constitute just a small component within a much broader context for them. Thankfully, we received ample help and flexibility right from the start. The support from TERF/BIE Midwest Heritage Cell in crafting the activities section was exceptional. The determination to reinstate cooperage as a widely-practised craft was evident in everyone and everything. This was essential, as it’s wise not to face an uphill battle alone.’

COLOPHON

Issued by

non-profit organisation

Het Domein Bokrijk, Bokrijklaan 1, 3600 Genk www.bokrijk.be

VU Tamara Otten, Bokrijklaan 1, 3600 Genk

Coordination: Bokrijk

Text and editing: ZINNIG

Design: InterMedia NV

Print: Chapo

Thanks to all partners and their heritage communities who contributed to this project, to Femke den Hollander, Alexander Kerkhof, Lieve Willekens, Luc Daelemans, Martin Corlazzoli, VAKlab, and to Open Air Museum Bokrijk.

Non-profit organisation Het Domein BokrijkNo part of this publication may be duplicated or disclosed for printing, photocopying, microfilm, or any other means without prior permission from the publisher.

Depot number: D/2023/7.979/01

This magazine was created within the framework of Focus Craftership.

Focus Craftership is a multiyear project (2020-2023) of Bokrijk | Craftership & Heritage, developed in close collaboration with CEMPER, the Centre for Agrarian History (CAG), ETWIE, FARO, Histories, PARCUM, and the Workshop Intangible Heritage, with support from the Flemish government.

www.focusvakmanschap.be