Radicle Threads Magazine: Issue 1- Roots; Exploring Ancestry Through Art

RADICLE THREADS MAGAZINE

FALL 2021

Editors Caroline Dick Elisabeth Desamour Shobha Nadarajah

Technical Editors Lakshmi Ananth Sareena Granger

Photography Arlette Cuello

Models

Outreach Coordinator

Jasmine Arebalo Jose Yustiz Kirtrice Badger Mia Turner Norenna Evans Qiana Sanders Sindy Guzman

Caroline Dick Shobha Nadarajah

Graphic Designer Fengyu Hao

Email Marketing Caroline Dick

Marketing & Digital Content Coordinator Elisabeth Desamour

Radicle Threads Magazine, Issue 1. Copyright 2021, Radicle Threads, LLC. The contents of the publications are the sole property of Radicle Threads, LLC and intended for personal use only.

Design & Layout Elisabeth Desamour

Social Media Assistant Lisandra Bun

Wholesale & Distribution Caroline Dick Elisabeth Desamour

Contact Us radiclethreads@gmail.com

Find Us radiclethreads.com @radiclethreads @radiclethreads radiclethreads

Although all precautions has been taken , Radicle Threads, LLC and its contributors assumes no responsibility for errors or omissions. Neither is any liability assumed for damages resulting from the use of information contained in the magazine.

LETTER FROM THE EDITORS

s members of the Fiber Community, we’ve always felt that a space for makers, designers, dyers and fiber lovers like us was always non-existent. Towards the end of 2018, when the fiber community erupted with talks of how the space wasn't safe and inviting for BBIMP, as individuals we started working towards creating an uplifting and collaborative environment amplifying those who resemble us.

We can’t muster adequate words to describe how ecstatic we are to be sharing our Inaugural Issue, Roots: Exploring Ancestry through Arts, with you. This magazine has been a year in the making. Along the way it has strengthened the friendship that the 3 of us have forged and has opened our horizon to new possibilities. The reason we chose Roots as the title for our first issue is because we feel that the foundation for us to build on and grow comes from our past, present and future. Roots that have differences, play different roles, and yet connect us to each other.

Over the next hundred pages, we celebrate the multi-faceted, powerful, transformative works of 33 inspiring beings. We have designed this issue with each section representing different stages of the life cycle of a tree.

We also celebrate you, our readers and supporters without whom this magazine would not have been possible.

Seed-A small embryonic plant enclosed in a covering called the seed coat, usually with some stored food. This is where we plant the seeds to new avenues of learning.

Radicle-The part of a plant embryo that develops into the primary roots. In this section we focus on people protecting the seeds of our heritage. A young woman growing fresh produce through the concrete of New York City, a woman in search of her heritage, another reminding us of our past and a poet unifying us.

Seedling-A young plant, especially one raised from seed and not from a cutting. In this section you will find books that we love authored by radicles changing their respective communities. We also feature individuals who share their passion.

Leaves-The primary site for photosynthesis, leaves manufacture food for plants. Here we meet two sisters, micro-farmers, feeding low income neighborhoods, a budding social activist and an entrepreneur, whose focus is on community based projects. You will get to hear more on their farming ventures over the next few issues.

Blossom-The state of bearing flowers. Recipes linking us back to the cultural heritage and personal lineage of five women.

Pod-As the pod is a case that holds a plant's seeds, this section encases patterns echoing the not so distant past and roots of the designers featured. As you work through the patterns you are planting the seed from the pods which will grow into new seedlings.

We will patiently be watching #RadicleThreadsMagazine as you share your favorite articles, crafts, recipes, and patterns featured in our inaugural issue.

Radicle Threads is a BBIMP grassroots company that aims to create a sustainable, ethical, and equitable online and print publication with a focus on crafting.

Our mission is to uplift, amplify, and empower BBIMP voices and to share our knowledge, skills, and experiences with the goal of increasing accessibility for all.

CONTENTS SEED

RADICLE

12 Create Your Own Abstract Wall Art 16 Kayou's Body Butter 17 Improv Throw Pillow 18 Tonal Dyeing 101 20 Semilunar Block Tote Bag

22 Ancestral Research 29 Forgotten History 32 The Sister Circle 34 A Garden Grows in NYC

LEAVES

BLOSSOM

40 Fennigan's Farms Journal

44 Haïtian Vegan Onion Pie 46 Chicken Tamales 50 Albóndigas 52 Thengai Sadam 53 Griot

POD CROCHET 60 Karabela Wrap 63 Florence-Cordelia Turtleneck 67 Diaspora Headwrap 69 Mottainai Potholders 71 Ollin Bloomers

KNIT

SEEDLING 38 Products We Love 38 Shops We Love 38 Community Events 39 Get To Know

79 Green Thumb Brown Thumb Cardigan 83 Serrana Shawl 92 Braiding Sweetgrass Socks 94 Karuveppilai Cowl 98 Meduh Mitts 101 Ancestors Cardigan

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FALL 2021 READING CHALLENGE

ON OUR READING LIST

Four Hundred Souls: A Community History of African America, 1619-2019 Edited by Ibram X. Kendi and Keisha N. Blain

Asian American Dreams: The Emergence of an American People

by Helen Zia

Rabbit-Proof Fence: The True Story of One of the Greatest Escapes of All Time

by Doris Pilkington

World of Wonders: In Praise of Fireflies, Whale Sharks, and Other Astonishments

by Aimee Nezhukumatathil

1. Read a BBIMP book 2. An author whose first name begins with the letter A 3. A non binary author 4. A science fiction/fantasy novel 5. A genre that you have never read before 6. A book that was published the year you were born 7. A movie/tv series that you like and see if it was based off a book, read that 8. A book by a YA author 9. An autobiography of a singer 10.A non-fiction book on current issues 11. A translated book

Five Little Indians: A Novel

by Michelle Good

Radicle Threads Magazine

radiclethreads.com/shop

SEED

CREATE YOUR OWN ABSTRACT WALL ART Designed by Celia Jayi I am a three-dimensional embroidery bead artist specialising in beaded Art who began experimenting with beaded embroidery after graduating Brighton University studying Knitted Textiles. Aside from my detailed portrait work and abstract designs, my work also focuses on teaching others the craft of beading through my Bead Kits and Online Workshops.

For tutorial support, contact ceciliaajayi@hotmail.co.uk Website: www.celiajayi.com

@celiajayi

This pattern uses a variety of bead types and allows you to test the waters with beading as well as explore the art of embellishment and freehand embroidery. The beauty of working in an abstract way is that there are no rules as to how it should look but instead it is a full expression of your own creativity.

Radicle Threads Magazine

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MATERIALS 4 inch embroidery hoop Transparent beading thread - size 0.2mm Long beading needles - size 10 1 fat quarter of calico fabric - color: natural Pencil Natural brown twine string Transparent Glass Beads - color : light red transparent black lined, size 11/0 Flat Metallic Sequins - color: red, size 6mm

STEP 1: Using a light source, like a light box or a bright window, lightly trace the pattern onto your fabric with a pencil. Place the fabric into an embroidery hoop and tighten the screws at the top of the hoop until fabric is firm and secure.

STEP 2: Thread up a beading needle using 14 inches of transparent thread.

Starting in the center of the pattern, work your way round all the different shapes. Place 1 metallic red sequin and 1 light red transparent black lined bead on to your needle. Pull both of them through till they lay flat on the fabric.

Place needle back into the center of the sequin and firmly pull the thread through the fabric. This will secure the sequin and bead, keep repeating this step till the entire triangle shape is filled.

STEP 3: Fill in the shapes in the pattern by sewing on the cream, matte metallic rose, brown, light red transparent black lined and beige tube beads.

STEP 4: Sew on 5 purple bugle beads over the horizontal lines of the 3 sections.

Silver lined Glass Bugle Beads - color: dark purple, size 6mm Glass Tube Beads - color: shiny beige, size 2.5 x 0.2mm Triangle Toho Beads - color: matte metallic rose, size 11/0 Opaque seed Beads - color: cream, size 11/0 Silver lined Glass seed beads - color: brown, Size 11/0

STEP 2

STEP 2

Radicle Threads Magazine

STEP 5: Let's create some height to our abstract pattern using the red sequins and beige tube beads. Layer 1 sequin, 1 tube, 1 sequin and 1 tube bead. Pull your needle through and let it lay flat on the fabric. Skip the first tube bead, place your needle into the first sequin and then through the rest of the beads and sequins until you reach the fabric. You can adjust the sequins and beads so it stands tall and firm. Keep repeating this step till you have filled in the entire area with beads and sequins, make sure to sew them close together so your base fabric isn’t showing.

STEP 6: Place 1 metallic red sequin and 1 matte metallic rose bead on beading needle. Pull both of them through till they lay flat on the fabric. Place needle back into the center of only the sequin and firmly pull the thread through the fabric. Keep on repeating this till you have 8 sequins and beads on the left side of fabric and 7 sequins and beads on the right.

STEP 7: Place 12 transparent brown beads and then 1 purple bugle bead on to your needle. Pull the beads through so it lays flat on your fabric. Skipping the first bead, place back your needle into the second bead and then through all the remaining beads until you reach the fabric. Now your beads will be secure and firm and standing tall. Repeat this step until the entire area marked with dots is filled.

STEP 7

STEP 5 FINISHING Turn your embroidery facing down and trim around the excess corners of the fabric leaving at least 1/2 inch of fabric behind. Thread your needle, making sure there is enough to go all the way around. Sew around the edge of the remaining fabric with a running stitch by pulling the needle through a few times through the fabric to create a gathering. Keep repeating this process until you reach the end of the fabric.

Repeat a second time to make the running stitch more secure.

Firmly pull the threaded needle to tighten the gather and tie a double knot at the back to finish it off. Add your natural brown twine string inbetween the screws of the embroidery hoop.

STEP 7

FINISHING Page 15

Kayou’s Body Butter

by Kisley Grandchamps

Size: 500 ml (16.9 oz) jar Prep time: 20 mins Total time: 30 mins

@kissouslifechronicles

Hello, my name is Kisley, I am a wife and mother of 3 currently in my last year of nursing school. When I’m not working or studying, you can find me exploring Belgium and neighboring countries with my husband of 12 years and children. My favorite things are Youtube, sleep, and exploring my country’s landmarks.

They say the best things are created out of necessity and the recipe for Kayou’s Body Cream is a true example of that. My firstborn son, nicknamed Kayou, used to have seborrheic dermatitis which lasted until he was almost 4 years old. In our quest to use cleaner products, I started searching for natural ways to help heal both his seborrheic dermatitis and eczema. After conducting lots of research, I came up with this recipe which my family has been using for almost 5 years now. I hope you find as much success with this cream as my family has.

Ingredients 30 ml Castor Oil 15ml Vitamin E 15ml Jojoba Oil 300 gr Shea Butter

150 gr Melted Cocoa butter 150 gr Melted Coconut Oil 10 gr Melted Beeswax 30ml Sweet Almond Oil 5 Drops Tea Tree Essential Oil 5 Drops Ylang Ylang Essential Oil

Instructions : 1. Mix the cocoa butter, coconut oil, and beeswax in a mixing bowl.

2. Add the shea butter.

3. Using a handheld mixer, mix until soft peaks are developed. There should be a definite peak shape, but loose and melts back into the mix after a few seconds.

4. Progressively add castor oil, Vitamin E, jojoba, and sweet almond oils. Mix well using a handheld mixer.

5. Add the essential oils.

Store in a dry and cool area.

Radicle Threads Magazine

I’m Porfiria, a modern quilter and Native New Yorker residing in Brooklyn. My love of quilting comes from my childhood watching my mom. @mrsporfiria

Improv Throw Pillow

By Porfiria Gomez For tutorial support, contact porfiriagomez@gmail.com

Notes: Use a 1/4” (0.63 cm) seam allowance throughout unless otherwise indicated. For beginners, I recommend sewing diagonal lines for the quilting portion, you can also do hand quilting to create this pillow.

Supplies All materials used are 100% cotton Fabric A : 22”x10” ( 55.88 x 25.4 cm) or fat quarter orange Fabric B and C: 22”x 6 3/4” (55.88 x 17.15 cm) cream and light blue Fabric D: ¼ yd or a fat quarter Backing and Back of pillow Cut to 15.5”x15.5” Rotary Cutter Scissors Iron Cutting Mat Straight Pins Sewing Machine 100% Cotton Thread Sewing Needles Acrylic Quilting Ruler 16” x 16” (41cm x 41 cm) 100% Cotton Batting Cotton Stuffing

Cutting Step 1: Using your acrylic ruler, rotary cutter, and cutting mat, cut the following pieces and set remaining scraps aside.

Fabric Color A: Cut four 22”x 2 ½” (55.88 x 6.35 cm) strips.

Fabric Color B: Cut three 22”x 2 ½” (55.88 x 6.35 cm) strips.

Fabric Color C: Cut three 22”x 2 ½” (55.88 x 6.35 cm) strips.

Step 2: Cut the strips into the following sizes and set remaining scraps aside.

Fabric Color A: Keep 2 strips of 22” x 2 ½” (55.88 x 6.35 cm). Cut one 20 ¾” x 2 ½” (52.70 x 6.35 cm), one 5” x 2 ½” (12.70 x 6.35 cm) and one 2 ½” x 2 ½” (6.35 x 6.35 cm) strips.

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Fabric Color B: Cut one 20 ¾” x 2 ½” (52.70 x 6.35 cm), two 20 ¾” x 1 ¼” (52.70 x 3.18 cm), two 5” x 1 ¼” (12.70 x 3.18 cm), and four 2 ½” x 2 ½” (6.35 x 6.35 cm) Fabric Color C: Cut one 22” x 1 ¼” (55.88 x 3.18 cm), two 20 ¾” x 1 ¼” (52.70 x 3.18 cm), one 2 ½” x 2 ½” (6.35 x 6.35 cm), and two 2 ½” x 1 ¼” (6.35 X 3.18 cm).

Sew Step 3: Sew all pieces together to match diagram removing the pins as you go. Or cut and create your own improv design.

Press the seam allowance open. Seam allowances ¼” Step 4: Lay quilt pillow top with the wrong side (WS) facing up and place the batting on top. Secure with pins and sew.

Quilting Step 5: Using a basic running stitch and diagonal lines(or design of your choosing), quilt the two layers together.

Sew Step 6: Lay quilt pillow top and backing right side (RS) facing each other, and stitch together leaving one side open.

Turn pillow right side out through the opening. Stuff your pillow using cotton stuffing. Sew open side shut.

TONAL DYEING 101

by Shobha Nadarajah Materials Stainless steel stock pot 10-12 Q size would be good for 2 full skeins Citric Acid Measuring spoons- 1/32 Tsp and 1/16 Tsp Measuring Cups- 2 cup measuring cup Yarn for Dyeing: 2 skeins 75%Superwash Merino/25% Nylon Wash Fast Acid Dyes. I am using yellow and blue A hand held whisk 4 cups jug of hot water A bucket or pan to lay yarn in, soak and rinse after dyeing 2 re-usable ties or yarn scraps (Use this to hold your skeins, easier to look for these to move your yarn around, especially in hot water) Gloves that can withstand hot water A mask and protective eye wear if you are sensitive to fine powders

Radicle Threads Magazine

Steps Fill the stock pot halfway up, and leave your skeins to soak for about 20 to 30 minutes.

Once yarns are soaked through, take them out, wring them, and lay them aside in your bucket.

Put the stock pot with the water used to soak the yarns on a low to medium flame, cover and let it get hot.

Once the water is very hot, carefully remove the cover, use a ladle and scoop up 2 cups of water and keep them in a jug aside.

Get dyes, and measuring cups.

Add (level) 1/32 tsp x 4 of the yellow dye, and 1/16 tsp x 4 of the blue dye into the measuring cup. Using the hot water from the jug, gradually add about 2 tbsp and gently mix the dye powder with the whisk until it completely dissolves. Once the powders are dissolved, add 2 tbsp of citric acid, and a little more hot water and whisk it until fully dissolved.

Once there are no lumps or residue of dye or citric acid, add more hot water till it reaches the 2 cup mark.

Add the mixed dye back into the pot and make sure the flame is at a simmer. Carefully lower your 2 skeins into the pot. Use gloves and tongs to help with this step. Be careful of the steam and scalding water.

Use tongs to grab onto the tie and help “pull” yarns in and out of the pot and move it around to fully saturate yarns.

Cover pot and let simmer for ½ hour to 45 minutes and until dye water is clear.

Once the dye has been exhausted, turn the flame off and let it cool overnight.

Lift yarns out, soak your yarn in plain lukewarm water, or lukewarm water with a little wool wash added for 15 to 20 minutes. Then rinse in plain water till the water is clear. If the dye has set well, you will see little to no dye rinse out. (If it still has dye running, place it back in a pot with 1 to 2 tbsp of Citric Acid or Vinegar and let it heat up gradually to reset the dye.)

Hang yarns to dry in a shaded area and once dry, it is ready for crafting.

Note: If you want a more vibrant color, increase your dye measurements, for a softer color, decrease the measurements. Play with colors, mix and match. Have fun and experiment.

Plant fiber uses a different set of dyes, but you can use a similar method of dyeing if you used dyes specifically for plant fibers. All materials used for dyeing shouldn't be use for cooking or around food. Acid dyes are not food safe. Take notes of steps and methods as you dye to reproduce a similar color in the future. No 2 skeins will ever be alike.

The natural world with its myriad of colors fascinates me. Once I learned to crochet and knit, I naturally jumped into dyeing to feed my creativity and to honor my parents' teachings. Now that I’ve started, it’s taken me on a spiral of gathering knowledge and passing it down.

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I am Sheryl, a lover of all things sewing and fashion. When I am not practicing medicine, you can find me designing, creating, and sewing clothing and bags for my brand Kingston and Clarendon.

I love teaching and sharing my projects. I hope that what I share inpires you to discover and grow your creative side.

Semilunar Block Tote Bag

By Sheryl Young

Finished size: 14.5 inch tall x 13.5 inch long x 3 inch wide.

Supplies Iron Fabric A: 1 yd Cutting Mat Fabric B: ⅜ yd Straight Pins Lining: ½ yd Interfacing: ¾ yd Sewing Machine Polyester Thread Rotary Cutter Sewing Needles Scissors

@kingstonandclarendon For tutorial support, contact kingstonandclarendon@gmail.com

Notes: Depending on the fabric you use, you may need to interface the main panels and the straps to provide more structure. Optional bag bottom support eg. bag stiffener, plastic canvas, or stiff interfacing. ½ inch seams are included unless otherwise specified Suggested fabrics: Heavyweight cotton, denim, twill, lightweight leather, faux leather.

Cutting 1. Print PAGE 1 of the pattern to ensure printing size accuracy.

DO NOT SCALE or “FIT”. Print the ACTUAL SIZE. Assemble the pages to create the pattern pieces. Scan the QR code to print the pattern.

Fabric A: Cut 2 top panels of the main body. Cut 2 facing. Lining: Cut 2 Cut two 4"x30" rectangles for straps.

Interfacing: Cut 2 for facing Fabric B: Cut 2 bottom panels of the main body Sewing Using pins, attach the straps temporarily to one of the top panels to determine what length will be appropriate and adjust length as needed. Mark center of strap ends.

Radicle Threads Magazine

1. With right sides together, stitch seam along raw edge leaving a 1 inch hole in the middle to turn the strap right sides out.

2. Roll the seam to the center of strap.

Stitch across the ends.

3. Clip the corners. Turn straps inside out. Close hole by slip stitching.

Press strap flat. Top stitch the long sides.

4. Attach straps to right side of upper portion of main body top panel designated markings. Stitch across bottom part of strap to connect the top stitching on the sides. Stitch again over the topstitching.

Main body 1. Right sides together, Attach top panel and bottom panel of main body matching the markings. Pin as needed to match markings and fit the curves. Stitch.

2. Press or roll the seams open and top stitch seams.

3. Right sides together, assemble main body matching raw edges and intersections. Stitch pieces together at the sides. Stitch bottom seam from the edges for a total of two inches. Reinforce the bottom by stitching 1/8 an inch from the first seam line. Press or roll the seams open.

4. Separate bag at the bottom corners.

The bag will now go from being flat to being 3 dimensional. Match the side seam to the bottom seam. Stitch ½ inch from the raw edge. Reinforce by stitching again 1/8 inch from seamline.

Lining & facing 1. Apply the interfacing to the facing piece. With right sides together, attach the facing to the lining, matching centers. Stitch and press the seam allowance toward the lining.

2. Topstitch the seam allowance into place 3. Stitch the side seams of the lining and facing. Stitch the bottom seam starting at the end and stopping 2 inches from each end. This leaves a hole in the center of the seam to flip it to the right side out. Match the side seam to the bottom seam to create the corner.

Assembling the main body of the tote and lining.

1. Insert the main part of the bag into the lining/facing combination right sides together and handles turned down and out of the way of the seam allowance.

2. Match the centers and the side seams, stitch. Roll or press the seam open.

3. Using the opening at the bottom of the lining, slip the bag through and turn the lining to the inside of the bag 4. Slip Stitch the lining closed.

Topstitch around the entire top of the bag.

Hover over with your phone's camera to view the printable pattern. Use the case sensitive password JOURNEY

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RADICLE

ANCESTRAL RESEARCH AN ONGOING JOURNEY

by Nancy Ricci

My name is Nancy Ricci and I learned how to knit when I came to the USA in 2005. While waiting for my Green Card and Work Permit, I picked up knitting and started to design from the get-go. I think about yarn 24/7 and love to create with this soft and colorful medium. Through yarn, I've made many wonderful connections in our industry.

@gettingpurlywithit

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When asked where I am from I always have a long-winded answer: I was born in Suriname, South America, and raised in the Netherlands. My Ancestors are from Java, Indonesia and I now live in the United States of America. Such an answer begs for more questions which I usually am apprehensive to answer. Very as a matter of fact I will state that my great grandparents traveled from Java to Suriname to work on the sugar cane plantations. My parents traveled from Suriname to the Netherlands to study and work. I grew up in the 70s in an immigrant neighborhood called Bijlmermeer in Amsterdam, the capital city of the Netherlands.

Java, Suriname, and the Netherlands are closely interwoven because of their colonial past; the Dutch once colonized both Java ( back then part of the Dutch East Indies) and Suriname (back then part of the Dutch West Indies). The colonial setting of my family’s history is something I never gave much thought to. I was living my life in the Netherlands as a daughter to JavaneseSurinamese immigrants, quietly assimilating, trying to fit into Dutch society, studying hard in school, and making sure I would get a well-paying job. Simple as that.

Truth is that I have always felt very out of place, not feeling I belong anywhere. Am I Dutch? Am I Javanese? Am I Surinamese?

Questions with regard to my Identity and Cultural Identity always confuse me with the result that I never want to talk about it.

I didn't have a strong sense of self at all and always felt I was wandering in the in-between realm of existence. If anything I would feel more connected to the Netherlands than Suriname. Java, however, has always been a faraway foreign island with which I have no bond whatsoever.

AN UNEXPECTED ENCOUNTER IN A YARN SHOP I came to the USA in 2005 and learned how to knit while I was waiting for my work permit and green card. I lived for several years in Portland, Oregon and while I was at a yarn shop called Close Knit I struck up a conversation with a man who was wearing an Indonesian batik button down shirt. I asked him about his shirt. He replied that he travels to Indonesia regularly since his wife is from Bali. When I told him that I am Dutch and that my ancestors are from Java, he immediately started to talk about the colonial history of the Dutch East Indies, now known as Indonesia. He mentioned the spice trade and the pillaging role of the Dutch in the region. His knowledge of the colonization of the Duth East Indies was immense.

Ancestral Research: An Ongoing Journey

Through him and his wife, I met other people from Java and whenever we would get together we would talk about the colonial past of the region. It was for the first time in my life that I felt comfortable talking about my Javanese ancestry. And it was for the first time in my life that I started to look into my family’s history beyond Surinam and the Netherlands.

ANCESTRAL RESEARCH, WHERE TO BEGIN? Suddenly, I realized that I know very little about my family’s history and I found myself looking up everything I could find about the Javanese contract laborers in Suriname. Google was my best friend and I was rather surprised that I couldn’t find a lot of articles that would satisfy my curiosity. I then turned to my parents and asked them a lot of questions about my great-grandparents. How did they end up in Suriname? Did they sign a contract to work on the sugar cane plantations? Were they fully aware of what was written in the contract? After all, they couldn’t read or write. What did their lives look like before they embarked on the ship with destination Suriname?

I became obsessed and searched and searched on the internet about the Javanese contract laborers of Suriname. I ended up finding an article about the first Javanese people who arrived in Suriname in 1890 and I found a research book called: “In place of Slavery. A social history of British Indian and Javanese Laborers in Suriname” by Rosemarijn Hoefte.

Luckily, I was able to order this book online and once I received it, I started to read but I didn't get far. In this book, the researcher is writing about indentured laborers who ended up in an indenture system.

Hold on…indentured laborers? Is it possible that my ancestors were indentured servants?

It was a shock to my system and the thought became too overwhelming for me.

I buried the book deep in my closet and halted all research. This was back in 2009.

It would take 11 years before I picked up my research again.

HEARING THE CALL OF MY ANCESTORS During the summer of 2020 when we all grappled with COVID-19 and after the murders of Ahmaud Arberry, Breonna Taylor, and George Floyd, the USA found itself in an enormous social upheaval which ignited social protest globally. The events from the summer of 2020 shook me to my core. During this tumultuous time of reckoning, I asked myself deep existential questions such as who am I, where am I from and how do I stand in this world? I started to think about my great grandparents again and somehow I had the immense urge to listen to traditional Javanese gamelan music.

Ancestral Research: An Ongoing Journey

Memories of my maternal and paternal great-grandmothers holding me as a child surfaced. In my mind’s eye, I could see my great-grandmothers wearing their traditional Javanese attire, sarong, and kebaya. I remembered their smiling faces, their brown hands caressing me, feeding me, and talking to me in my ancestral language: Javanese. Especially late at night, the memories would surface. It was as if my ancestors were calling me, trying to tell me to remember them and to find out about their history.

Modern-day Suriname is an ethnically diverse society. People are of African, Dutch, Jewish, Javanese, Indian, Chinese, and Lebanese descent, just to name a few.

The four most numerous Indigenous peoples are Kalina (Caribs), Lokono (Arawaks), Trio (Tirio, Tareno), and Wayana. For my research, I am solely looking into my ancestors who are from Java.

FINDING MYSELF IN AN EMOTIONAL ANCESTRAL ROLLERCOASTER

Between 1890 and 1939 nearly 30.000 Javanese contract laborers migrated to Suriname. My great-grandparents were part of this migration. It sounds very straightforward and as a matter of fact but there are a lot of layers and nuances to my ancestors’ history. Since I found out that one or two of my ancestors possibly could have been indentured servants, I wanted to do a deep dive into the past and I had many very specific questions. Where exactly from Java are my ancestors from?

When were they born, what were their full names? What did they look like at the time they left Java? What was their age when they left Java? Why did they decide to leave Java to become contract laborers in Suriname? Exactly in what year did they leave Java.

Surinam used to be a Dutch plantation colony. In 1863 the Dutch government abolished slavery in its Caribbean colonies.

I decided to pick up my ancestral research New ways of attracting laborers had to be again, opened the book that had left me designed and so indentured immigrants reeling back in 2009, and once again and later free immigrants from India and started my journey back into the past.

Java were recruited.

Ancestral Research: An Ongoing Journey

More and more questions would arise: How were they recruited? Did they fully understand what was written in the contract? They weren’t able to read or write and who translated the contract for them? What was actually written in the contract? Did the contract tell them exactly how much they were going to earn? Did the contract say where exactly they were going to work? Did the contract say what kind of work they were going to do? How were they treated after they arrived in Surinam?

What were the living conditions like on the sugar cane plantations? Would they receive good housing, health care and education?

I wish I could ask my great grandparents but I can’t. I have to rely on articles and history/research books written about the Javanese-Surinamese contract laborers and I have to rely on the stories of living family members who are willing to talk to me about this part of our family’s history.

After conversations with close family members I found out that the contracts were signed with their fingerprint. That they didn't know where Suriname geographically was located, and that they thought they would make decent money and return to Java. I wonder how they felt when they arrived in Suriname and they found out that they had to do hard labor on the sugar cane plantation for very little wages. Also, they never returned to Java ever again. As I am processing this information, I am asking myself, how did they experience that time in their lives and how did it affect their mental state and psyche?

A LONG AND WINDING PATH INTO THE PAST My ancestral research is still ongoing and I am trying to find more resources to quench my thirst for knowledge about the Javanese-Surinamese contract laborers and the general history of Suriname, once a Dutch plantation colony. I am particularly interested in articles, history books, and research books but I am equally, if not more, interested in memories and stories from living family members. They hold a wealth of information and I hope to have the opportunity to ask them questions and write everything down. I must add that this is not an easy task. Stories from the past hold both happy and painful memories. The happy stories are easily talked about, but the painful stories are not. Happiness and trauma are woven into family history. That what is not talked about can hold deep trauma which is passed onto the next generation. This is also known as generational trauma. It is my belief that if you want to hear the whole story, one must humbly keep on asking questions and treat family history with utmost respect.

In my experience, ancestral research can be emotionally taxing and quite heavy at times. To process information all by yourself can be a burden too heavy to carry. For this reason, I have reached out to former school friends with whom I grew up within the immigrant neighborhood of Amsterdam.

Ancestral Research: An Ongoing Journey

Luckily I was able to reconnect with two Dutch-Surinamese friends who also were on an ancestral research journey and their support has been crucial to me. They have sent me to more resources, more stories to read, more history to be uncovered but even more importantly, they became my support group.

Although what is written in articles and books is very valuable and important information, always ask yourself who is the writer? Where did they find their information? What are their resources?

What is the perspective/angle of their writings? Always approach everything with critical thinking. Discernment is key.

As much as possible, talk to family members who are willing to share information with you. If they are not willing to share information, accept that.

You don't know what traumatic experiences they are harboring in their being. Maybe they will be able to talk and share, maybe they won’t. Respect their decision.

Oral information from your family members is extremely valuable. Write everything down and try to be as objective as you can be.

WHAT I AM LEARNING DURING MY ANCESTRAL RESEARCH

UNCOVERING THE STORY OF MY ANCESTORS

Going down the path of ancestral research and finding out things about my In my ancestral research, I want to go ancestors I did not know before has been deep. Every detail I wanted to uncover, emotionally taxing for me. I have to come more and more information I wanted to to terms with certain things that are being absorb. It is not an easy road to go down. uncovered. I have to give it a place in my Let me repeat this. It is not an easy road to being, accept it, acknowledge, honor, and go down. You may uncover painful truths integrate it. That is easier said than done. that were never told to you and it can be very hard to process all of this information all at once.

Ancestral Research: An Ongoing Journey

My research also gave me a deeper understanding of my family’s history and family dynamics. Over the years, I noticed that I was carrying heavy baggage but didn't know or understand what I was carrying. I now realize that this heavy baggage is also known as generational trauma. I needed to find out what this generational trauma exactly entails so that I can unpack and heal. My research is still ongoing. I have more to discover and I give myself permission to take it in little steps.

Each step needs to be processed before I go into the next chapter. It is not an easy road, it is actually a hard road. But a road that needs to be traveled in order to learn about the history of my ancestors so that I can form my own strong and whole identity.

Equally important, I want to remember and honor my ancestors. Because of them, I am here, I exist in this life, I am walking this earth. I carry within me their strength, happiness but also trauma and untold stories. I want to let them know that their great-granddaughter is uncovering their story as best as she can.

Dear reader…maybe, just maybe, my personal quest will inspire you to embark on yours.

As I am writing this article I realize that my research is a deep quest of self-acceptance and understanding my identity. Inquiring from within who I am and where I am from.

Ultimately, with the information at hand, I will be able to formulate my own story and I will be able to define in my own words who I am.

No longer do I want to feel uncomfortable when the topic of cultural identities and ancestral heritage arises. I have a strong desire to define my cultural identities and ancestral heritage in my own words.

Ancestral Research: An Ongoing Journey

Forgotten History

I

by Fatimah Hinds

n the past few years, a new decorating trend has emerged.

You can see it all over Pinterest, in home decorating magazines, and maybe even on your own wall or table

But, what if your trendy centerpiece isn’t just a way to add height and texture to your table? Suppose the wall hanging that you choose to compliment your farmhouse aesthetic is ‘more than just a pretty face’? What is tasteful and appropriate is subjective and is indeed in the eye of the beholder, right?

Cotton stalks have found their way to store shelves, dining room tables, and social media controversy. Woody stemmed bouquets topped with soft, white puffs are displayed in vases, woven into wreaths, and dramatically depicted in wall illustrations. Why are some of us less than enthused and in some cases triggered by something so seemingly innocuous?

I was strolling through a craft store, something I do infrequently, and found myself in front of an aisle of faux cotton stalks, cotton bouquets, cotton prints, etc. It felt uncomfortable, vaguely gross, disconcerted; but I couldn’t put my finger on why. I moved on but continued to think about it.

Time passed and I was browsing on Etsy and found myself once again faced with cotton as a trendy idea to decorate my home with and again those feelings of unease. I wondered ‘Why would people want to decorate with this particular plant? I mean, so many Black Americans have a painful history with it, just about every tale told about chattel slavery and the exploitation of Africans brought to the American south include imagery of cotton, photos of cotton, tales of picking cotton. It is all but synonymous with suffering and exploitation. Why would people want to trigger these visuals?’ And there it was that disconnect between experiences and perceptions of the recent past. For me, cotton is a source of grief, a macabre reminder of white supremacist cruelty and greed. Of the many ways that just a few generations ago, this innocent looking plant was the cause of much ancestral suffering and abuse, no more harmless than the shackles themselves. For nonBlack people, and some Black people, cotton is perhaps just a plant or worse symbol of something remedied and long forgotten.

For a while, I assumed that I was the only one experiencing these negative feelings about the latest craze in interior decoration.

Page 29

It turns out that many Black Americans share similar feelings, a few Black women even wrote and spoke about their feelings on the topic; but in the way that is customary for the U.S., White Americans shouted them down with accusations of oversensitivity and dismissals about how cotton is a part of everyday life. A student posted on Instagram about a dinner held at the home of the president of the university,

“As we arrived to the president’s home and proceeded to go in we seen cotton as the centerpieces,” she wrote.

“We were very offended, and also the meals that were provided resembled many ‘black meals’ they had mac n cheese, collard greens, cornbread, etc.

The night before Latinos also had dinner at his house and they had tacos.

They also DIDN’T have the centerpiece that we HAD tonight.”

She said that when Lowry was asked why there was cotton on the table, he told them he did not know. “He kind of thought it was ‘fallish,’ THEN he said

"IT ISN'T INHERENTLY BAD IF WE'RE ALL WEARING IT’ then walked off,” the student wrote on Instagram.” Lindsey Bever Washington Post 9/19/2017

The post, now removed, sparked a debate on the university’s Facebook page. Some people understood the emotional impact on the Black students in attendance but others called it ‘nonsense’ and failed to extend empathy.

A common problem with this discussion is a lack of empathy like the example mentioned above. Time isn’t the cure all for a collective trauma like the one created by the trans Atlantic slave trade.

Education, reparations, and empathy are some of the many cures. Education will reveal that in actuality, not that much time has passed. My mother, who is in her sixties participated in picking cotton in the summers of her childhood to contribute to sharecropping harvests. Education will reveal that once slavery was outlawed, formerly enslaved people were prohibited from growing cotton for their own profit.

And education will reveal that one of the ways that generational violence is perpetrated is by gaslighting those who were and are continually oppressed by the system of anti-black racism. Pretending a problem doesn’t exist will not render it solved. Ignoring Black people who express discomfort or even anguish around your decorating choices will not magically render their feelings soothed.

Maybe you’re into the botanical-themed decor, perhaps you’ve been collecting antique drawings of crops for years, maybe you just love the color white. Are there other plants that could fit your theme that come with less baggage?

Forgotten History

Say, photos of magnolias for their huge white flower and waxy, green leaf. How about dried white roses for a long woody stem and an off white, round top (real cotton has spiny parts that cut the hand too)? Maybe a geometric print in white and brown. Or just a different decorative crop/plant as the options are just about infinite. Listen, I can’t tell you what to display in your house. But, I can ask you to pause. I can and I will ask you to consider your decorations within the context of history. Are there marginalized people who’ve expressed offense or discomfort? Is the object in question part of your culture/history? Where do you fit in that history? And finally, is having me or your beloved Black friend walk into your home and feel unwelcome, worth it?

Hi, I’m Fatimah! I’m an Atlanta-based knit artist who creates custom knitwear and knitting patterns for all genders.

I believe that we are all ‘one of a kind’.

Forgotten History

Come ladies Let’s gather at the sea Drop your clothing in the sand Next to your shoes Let your breasts hang And your pubic crowns kiss the sun As we run together into the ocean

le irc

The

e r t C s i S

Allow the waves to bounce off of you Then crash into me The waves bounce off of me And then crash into her Come ladies Let’s unify at the sea I will salt water my burdens away And you yours Possessing the power of the tide Let’s drum in a circle As we send it all away All that weighs us down

Come ladies Come sisters Let’s heal each other

by Zandra Solomon

Peace and love, family! My name is Zandra and I am a manifestation artist and coach. I use poetry, paintings, and crafts to show people their power. Using my creativity is my lifelong goal to encourage growth in the community. @zandra.solomon Page 32

moth pin

A GARDEN GROWS IN

NEW Y RK CITY

By Gina Fleurantin

As a child growing up in Haiti, I loved being outdoors.

My earliest and most fond memories are centered around nature and food. I would spend my days watching ants and climbing trees under the hot Caribbean sun. I was particularly fond of eating small pink flowers growing in the family yard. I also loved when my aunts and grandparents who lived in the countryside would visit us in the Capital, Port-auPrince, on holidays. They would bring burlap sacks filled with yams, potatoes, taro roots, coffee, chocolate, smoked meat, eggs from guinea fowls, and live chickens. Anything that their small family gardens and the bushes provided. It was the most beautiful thing; I would dig through looking to see what they brought back with such excitement. Early in life, food and nature brought me such incomparable joy. These childhood memories followed me to the concrete jungles of the United States and continued to haunt me but along the way, they got lost in the noise of adulthood. Nature was a distant memory until 10 years ago.

Page 34

My gardening journey started quite selfishly. I grew tired of wasting money buying herbs that would die within a couple of days. I decided to grow herbs such as thyme and parsley that are commonly used in Haitian cuisine on the steps leading to my ground-level rental in small containers. The act of planting a seed and seeing it become a plant appealed to me immediately. However, living in NYC meant that private outdoor space was a privilege that only a few were able to reach. I took a break from gardening when I moved to another apartment with no outdoor space but a fire escape. Back then, I did not see the possibilities. I still did not understand that every little space where the sun shines could count as a garden. Nature finds a way. Plants can thrive if you give them a try.

In 2015, I luckily moved to an apartment with a 30 square-foot balcony that allowed me to restart thinking about growing food.

Besides books, I found countless resources online available for the burgeoning plant lover. This infinite amount of information and witnessing other gardeners with large amounts of space can be very intimidating at first, but I learned that “a garden” is what we make of it. A plot in a community garden, a pot of thyme by your window, a front yard, all can qualify as your own version of a garden. I found my sweet spot by growing everything in containers, which is the perfect choice for urban small spaces and people with no land to grow food. You do not need a yard to grow something, anything can grow in a container if you are determined. Growing fresh sprouts for example requires just a little spot in your kitchen and can add a punch to sandwiches and salads.

Six years since renewing my relationship with gardening, I have learned that the process of growing is truly an infinite journey sprinkled with highs and lows

We like to think that nature is something we can control but often, we face frustration along the way when plants die no matter how much you care for them. There are things in the garden that will be out of your control. Knowing what ultimately works and does not work in your garden takes lots of practice. You will win some days and will also fail. Looking at other’s social media of lush, pest-free gardens can bring more frustration. But remember that if something is not eating your garden, it is not part of the ecosystem. You are feeding yourself and the critters.

These days, I garden because it keeps me grounded in the moment, feeds my household, and allows me to contribute to the public battle with food waste. The United States is leading worldwide when it comes to food waste according to the Food and Agriculture Organization (FAO). A family of 4 wastes about $1600 worth of food annually.

A Garden Grows In NYC

Although there are several reasons accounting for this issue, including the low cost of food, aesthetics plays a big role. Fruits and veggies that appear bruised, wilted are often discarded for not “looking” good enough. Growing your own food allows you to take exactly what you need for consumption and can contribute to cutting waste. Salads and herbs no longer rot in my fridge. In the long run, decreasing our food waste supports more efficient land use and better water resource management with positive impacts on climate change.

My motivation behind my social media account, Queens Micro Farm, is to motivate more people of color to be involved in the process of growing and protecting the environment by being a little less wasteful. I do not aim to teach but rather to share my journey and to be part of the community of people of color supporting and demonstrating that growing something green can also be part of our community’s narrative.

Balcony garden – Using a railing plant holder can expand your growing space.

Make sure to securely tie them to avoid accidents.

Aphids are a common sight in the garden.

They can suck the life out of your crops if you do not catch them early. A common remedy is to spray the leaves with a solution of water and neem oil or a dash of dish soap. Removing them by hand or a spray of water works too for small infestations.

Tips & Lessons Learned While Growing a Garden in NYC Balcony garden – Using a multiple-level plant shelf helps maximize the use of the space. Additionally, plants that are shade tolerant such as mint are kept at ground level while sun-loving plants such as tomatoes are kept elevated on the table.

A Garden Grows In NYC

Grow what you eat or what makes you happy. When you are working with a small space, it is important to learn to prioritize and grow only plants that are useful for you. What is the point of growing radishes if you do not like them?

Do not try to grow everything. This is a recent lesson and one that I am learning to embrace, you cannot grow it all. You may like summer squash with a passion, but your shady indoor window will not be suitable. Crop rotation also is a good strategy for planting several crops over your growing season. Plant cool-weather crops such as lettuces in Spring, then replace them with heat-loving crops such as tomatoes or peppers in Summer.

My name is Gina Fleurantin and I'm a self-taught cook & gardener growing herbs & veggies in NYC. My Instagram @queensmicrofarm started out of a desire to share with the world that with a little bit of love and research, anyone can grow their own food in a small space. I want to inspire people to become curious about and to take control of the food they eat. @queensmicrofarm

A Garden Grows In NYC

SEEDLING

books we love

We Are Each Other’s Harvest: Celebrating African American Farmers, Land, and Legacy by Natalie Baszile Essays, poems, photographs, quotes, conversations, and first-person stories to examine black people’s connection to the American land from Emancipation to today.

The Tunisian Crochet Handbook: A Beginner’s Guide

by Toni Lipsey

The Tunisian Crochet Handbook introduces this fascinating and rewarding technique with a wide array of stitches and design possibilities.

events

COMMUNITY

BIPOC MAL 2021 (Aug 9- Oct 31, 2021) hosted by Elisabeth @desamourdesigns and Caroline @cdickdesings.

RADICLE THREADS MAGAZINE NOVEMBER MAL 2021 (Nov 1-30, 2021) Smriti Wrap by Nidhi Kansal @knidhiknits.

RADICLE THREADS MAGAZINE OCTOBER MAL 2021 (Oct 1-31, 2021) Pyramid Hike beanie by Tressa Weidenaar @tsinbikee.

Support

BBIMP shops

Natural Hair Cair from Vonae @vonaehair Fair Trade Handmade Basket @boostanicrafts Artisan Tea & Tisanes @tranquiliteahouse Inuk Wood & Metal Ulu @urbaninukart Beauty, Cosmetic & Personal Care @vivianrosebodybath Handmade Metal Jewelry @cindyliebeljewelry Contemporary Beaded Jewelry @beaddeadleh Abstract Art @ruthmarieart Page 38

Hollie @londonvegpatch

Since December 2020, I have been turning a garden in London into an urban smallholding. As well as a sizable vegetable patch, I’ve also started raising chickens for eggs. My grandparents were subsistence farmers in Hong Kong and once they moved here, they maintained a small vegetable plot in their garden, growing asian greens, squashes and beans. My garden is an attempt to connect with childhood, my connection to my heritage and my ancestors. It’s my way of honouring their history and traditions on my small patch of England and to feel a connection to my crops.

Munir @expressionsbymunir

get to I learned weaving in 1978 in a little shop in Hermosa Beach, CA. I was the only Black person in the class. I came from South Central LA wanting to learn this new art to make money. My teacher didn’t think I could make money at it, but halfway through my first piece, one of the students in the class offered me $75 for the piece I was creating! Proving my teacher wrong. After seeing my piece she admitted she underestimated my creativity and ability. Never give up on your dreams, and never let people tell you, you can’t succeed.

Wangari @umbacreations

Lukas @craftylukas I learned crochet and knitting when I was a child but only recently delved into it more seriously; first as a maker and then during the pandemic, a designer. I take inspiration from traditional Philippine motifs found in weaving, tattooing and other forms of indigenous art. It is primarily a way in which I connect and explore my own heritage (myself being a mix of Applai, Ibaloi and Pangasinense ethnic groups), being careful not to misrepresent, and reinterpret it through knitwear design.

My favorite “genre” of knitting is stranded colorwork.

I am building a socially conscious children’s brand called Rafiki Values Tribe whose aim is to partner with parents and guardians to pass on character building traits to the children in their lives by creating dolls and toys which positively influence children to be the best version of themselves. My son, my upbringing, and the love of using my hands are the inspiration behind what I do. I help parents & guardians give a thoughtful diverse gift that brings with it values that they cherish and would love to pass along.

Page 39

LEAVES

’

Fennigan s Farms Journal Fennigan’s Farms was founded in the basement of our brother’s townhouse in October of 2019. It was an idea and a phone call that has turned into an incredible journey of following a calling and creating spaces for and with those we love and will come to know.

I grew up in “Detroit’s Home of Good Neighbors”, the Grandmont Subdivision, on Archdale Street. From the day my sister and I came into this world, we had community. Either by way of proximity to relatives or simply based on the fact that we were so deeply connected to the people around us. We were raised to believe in the possibilities of the world around us and were taught that community and meaningful connection is everything. We were shown that the love we share with our community is enough to motivate us to create and sustain ways to keep it beautiful. We each express this now in different ways, but for my sister and I, we wrote our community love letter in the form of Fennigan’s Farms.

During my master’s program at Georgetown University, I studied Biohazardous Threat Agents and Emerging Infectious Diseases. More specifically, I studied how these things work with regards to Biological, Chemical, Radiological, Nuclear, and Agricultural Defense. Delving deeper, I found that my passion was Agricultural Defense, how we address agriculture pre and post-natural and man-made disasters, as well as how we establish, stimulate, and sustain local economies centered on fresh food and safe drinking water.

After graduation, I decided to pivot into community-based agriculture, and the establishment of centers for food growth, distribution, and community sustainability. I read Farming While Black and other works, spoke with community farmers in my hometown, read and understood the history of land dispossession and redlining in my city, and even talked to my grandmother about our lineage of farmers whose land had been stolen. I went even deeper into understanding land dispossession in America as a whole, land trauma and brown skin, and the job system that keeps us hungry and tired. I learned about the connections that draw everything back to food, freedom and the hierarchical system that must be maintained in order for this system to work.

Page 40

I wanted to figure out a way to build no-cost gardens for my city, and began to share with people the knowledge that I have regarding the food economy, how we heal our relationship with land as Brown-Skinned Folks, and how we could move into a space of thriving beyond just the beauty of our neighborhoods.

At the same time, my sister had been building a long career in business management and was also ready to focus on more community-based projects. After completing my program and spending time developing more hands-on farming skills, I came home and we got to work.

What started out as gardens and low-energy greenhouses, bloomed into what we have today.

We build gardens, greenhouses, and open concept farmer’s markets. In this way, we not only work to grow food but also redistribute power so communities can sell their products too. We offer farm and agricultural support to primarily Black, Brown, and new community growers at home in Detroit, and across the nation. We host virtual growing and food preparation classes and are currently a very large backyard garden operation. This supplies our produce for free community distribution and herbs and spices for tea that gets sold on our online marketplace. We focus on the importance of self-sufficiency, borrowing from the tenants of Mrs. Fannie Lou Hammer and the Freedom Farm Cooperative. We deeply believe in the power Black people can possess if given the space to love and tend land, support the community, and thrive.

Our first growing season was the summer of 2020. I spent the first half developing our greenhouse technology, while Clarissa established the garden property we have now.

That same year we expanded into teaching courses and offering free consultations for community use, in addition, we set up two minigrant funds. The first supplies immediate food support to students attending Detroit Public Schools Community District who are experiencing food insecurity, and the second allows us to provide no-cost gardens across The City. We also spent that year connecting with more and more Black Female growers, farmers, outdoor skill workers, and food activists in Detroit to not only build community, but to actually assess the wants and needs of the community and build the relationships necessary to create sustainable changes together.

This season we added to our garden space to expand our produce distribution and were able to start in the spring with more farm and garden space set-ups. We established 24 gardens across the city of Detroit in just the first 2 months of our season. We were able to stock 30 pantries during that same time frame, and we were able to promote both these mini sponsorships with the launching of our t-shirt campaign.

We are now in the next phase of Fennigan’s Farms, where we are establishing our own official farm property. On this land we will expand all growing and production by up to 90%, begin sunflower soil remediation services on the property and by contract, have space available to rent on a sliding scale for community growing, establish our very first tea house and community craft loft, and ultimately develop and establish our vertical container farm and market space to introduce wider distribution methods to our growing small scale farmers network.

Fennigan's Farms Journal

of st side e W e th ed on s i a r e 2) to b etroit t." i D lessed , o b r r s t e e a d D on "I w evie W t S y b y r (Stor e d n o eW -Stevi

To be taken seriously as Black and Female growers has been a challenge. We come from people whose bodies were forcefully used to work on stolen land, who were promised 40 acres and a mule, with that promise never being made good on. To watch the support for Black farmers and growers diminish and waiver is deeply frustrating and disappointing.

It is not just the pushback we receive from those who disagree with the healing we believe there is to be done with land. It is also the frustration we feel when the highest office in this governing system agrees to make wrongs right, and then decides to halt funding for people that look like us. It has been an uphill battle that has been handed down through our bloodline, and every step taken by us and those who previously carried this weight has led us here.

Our biggest challenge thus far has been imposter syndrome. Large-scale agriculture is not only disproportionately white, cisgendered, heterosexual, and male, but it is very different from the small scale farming, climate-centered approach we take to ecosystem activism and growing food. To be different doesn't equate with being wrong, and while we welcome it, this is the difference that sets us apart from those outside of our community. It is what makes us look wrong in the eyes of those that don’t want to see us thrive. The appearance of wrongness, on a Black woman, no matter how right or sincere she may be, is dangerous.

Heading into fall of 2021, we are growing food, supporting growers, and getting everything set to grow food next spring in a space big enough to host the plans we have. Our land fund is live and accepting sponsorships, and we are confident that we will have what we need soon.

A few weeks ago we took a walk from our old home on Archdale street to where it met with Grandriver. It was short, but it commemorated the steps we’ve taken thus far. After a quick jump across the busy street, we walked near our Granny’s old apartment. She has now transitioned from this life, so we spoke her name and re-told the collective memory of her journey to Detroit from Georgia as we studied the spaces where we watched the seasons change as we grew up. We spoke of the many adventures we had on our block, how none of them compare to this one, but how each one in tandem with the deep and personal connection to the community has shaped who we are and has prepared us for the journey we are on today.

We are Amanda L. Brezzell (CEO) & Clarissa Austin (Business Manager), the Co-founders of Fennigan’s Farms, a sustainable agricultural design team dedicated to restoring food autonomy in our Hometown of Detroit, and wherever change is welcomed and needed. @fenningansfarms

Fennigan's Farms Journal

BLOSSOM

I am a self-taught vegan baker and food photographer who enjoys veganizing culturally traditional and new comfort foods. Baking, cooking, and photography allow me to tell a different story of vegan, plant-based food by formulating recipes and images that capture their vibrancy, delectability, familiarity,and aesthetics. I am building a portfolio of images and recipes and invite others to join me.

The Haïtian Tarte à l'oignon is a staple in Haïtian households, particularly during the holidays and any occasion formal or special enough to justify the most intricate meals.

While recipes may vary from household to household, the basis of it, sauce mornay, onions, pie crust, and aged tête de Maure cheese are standard. I discovered the joy of Tarte a l'oignon in my grandmother's skirts, who passed her techniques and recipe to my mother, who passed them on to me. As I set out to "veganize" all of my childhood favorites, creating a vegan take on this classic as satisfying as the original, didn't come without many trials and errors. I am finally proud to share this one!

Recipe and photography by Dana. N. François

@d_vgallery

For assistance and questions about the recipe, contact Dana at dana.francois@gmail.com

Page 44

HAÏTIAN VEGAN ONION PIE

Serves: 8 Course: Main Course Prep time: 20 minutes Cook time: 45 minutes Total time: 1 hr 5 minutes Cuisine: Haïtian, Carribean.

Ingredients 3 cups chopped onions (Bermuda or Spanish Yellow) ¾ cup chopped peppers red, green, or yellow (as desired) 1 tbsp chopped garlic 1 tsp all-purpose seasoning ¼ tsp ground pepper 2 tbsp mushroom powder (optional) 3 tbsp nutritional yeast 1 cup grated vegan parmesan cheese 1 ¼ cup vegan milk (cashew, almond or soy) 1 stick of vegan butter (8 tbsp) ¼ - ½ cup of all-purpose flour 2 vegan pie crusts for a 10"-12" baking pan

Instructions 1. In a pan, melt the butter and add the garlic and sauté until fragrant.

2. Add the peppers and cook for 2 mins.

3. Add the chopped onions, all-purpose seasoning, ground pepper, mushroom powder, nutritional yeast and cook until the onions are translucent.

4. Alternate between the plant-based milk and flour (ensuring you finish with flour), stir, and cook.

5. Add the plant-based cheese, mix and cook until the cheese is completely melted.

6. Remove from heat and let cool 7. Butter the baking pie pan and unroll the pie crust over it.

8. Pour the cooled filling over the crust and sprinkle additional plant-based cheese as desired.

9. Wash the top crust with plant-based milk or maple syrup for a golden color if closing the pie and bake at 375 °F for 45-50 minutes until it reaches the color desired.

10. Remove from the oven, cool, cut, serve and enjoy!

Radicle Threads Magazine

Chicken and Black Bean Tamales Serves: 6-8 (36-42 tamales) Prep Time: 8 hrs Cook Time: 3 hrs 30 mins Total time: 11 hrs 30 mins Cuisine: Northern Mexico Course: Main Course Ingredients Three 6 oz bags of dried corn husks, soaked in cold water overnight.

For the beans 1 cup (8 oz) dried black beans, preferably small beans.

Soaked overnight.

Water for soaking, plus 2 cups for cooking.

1 cup low-sodium beef broth.

2 tbsp cumin seeds (or 1 tbsp ground cumin), toasted.

4 garlic cloves 1 tbsp annatto seeds (or 1 tbsp achiote paste, or 2 tsps sauzon seasoning blend) 1 tsp kosher salt (or ½ tsp table salt) ½ cup (4 oz) finely diced white onion ½ lb beef or pork chorizo in sausage casing ½ lb (8 oz) Anaheim (or other mild green chiles) ½ lb (8 oz) tomatillos, peeled and rinsed 1 cup (8 oz) diced red and/or orange bell peppers For the chicken 1 whole chicken, roasted and shredded ½ lb (8oz) pork chorizo in sausage casing 1 lb (8oz) tomatillos, peeled, rinsed, and quartered 1 tsp each: toasted cumin seed, dried oregano, ancho chile powder 1 cup low-sodium chicken broth For the masa 4 cups masa harina flour (Regular cornmeal may NOT be substituted) 3 cups low-sodium chicken broth. ½ cup lard 1 tsp kosher salt 1 tsp baking powder 1 tsp chili powder 1 tbsp caldo y tomate seasoning blend

By Liz Noschese

@knitquiltsewstitch

I learned about the foods of my heritage from watching my Abuelita and aunties cooking over large pots and by hand, turning spits and fussing over the best chilies, the best seasonings, the right methods and gear. This particular recipe is based on Abuelita’s tamales. It’s unique in that it includes beans and meat, as my Abuelita had to get my uncles’ and cousins' foods into lunch boxes the size that their workplace required.

I hope you make some for your own family, and maybe you’ll be inspired to find other tamal recipes, from the rich and varied cultures of the Central and South Americas, to add to your family’s favorite meals.

Provecho!

Radicle Threads Magazine

Instructions: Beans 1. In a large pot over medium heat, add soaked beans (including any water that might still be in the bowl) and beef broth. Bring to a boil, then reduce heat to lowest setting. Cover and let beans simmer. Stir occasionally to keep beans from sticking to the bottom.

2. In medium, non-stick pan over medium-low heat, toast cumin seeds, tossing once or twice, for about ten minutes. Remove from heat and set aside.

3. In the same pan, over medium-high heat, add whole Anaheims and the tomatillos, turning every couple of minutes, until they’re charred. Remove from heat and set aside.

4. In mortar (or blender), add toasted cumin seeds, garlic cloves, annatto seeds, and kosher salt. Process until a dark red paste has formed, with no pieces of annatto seed remaining. Set aside. (Note: If using achiote paste or sauzon seasoning blend, you can skip this step and instead mince the garlic and add these ingredients to the chorizo in Step 6.)

5. In the same pan over medium-low heat, add chorizo, diced white onion, diced bell peppers, Anaheim peppers, tomatillos, and the annatto paste. Saute chorizo for about 15 minutes, breaking up the ingredients as they cook.

6. Add chorizo mixture to the simmering beans and cook on low heat for two hours, mashing everything together once beans are completely softened.

Remove from heat and let cool.

Chicken In large 6 qt pan, combine chicken and the remaining chicken ingredients.

Simmering over low heat and stirring occasionally, until chorizo is cooked through and liquid has evaporated.

Combine with cooked beans. Let cool to room temperature and refrigerate for at least one hour before assembling tamales.

Masa 1. Heat 1 cup of chicken broth and lard in the microwave for 1-2 minutes, or until lard is melted.

2. Using mixer, blend together all ingredients until your mixture holds together without crumbling when squeezed in your hand. If mixture feels dry and won’t hold together, add 1 tbsp of water at a time until it’s the right consistency.

3. Cover tightly and store at room temperature. Otherwise, place cling film directly on surface of masa dough and refrigerate until 1 hour before assembling tamales.

Page 48

Assemble and cook 1. No matter which set-up you choose for steaming the tamales, you want the tamales to rest on the steamer rack or basket, not in the water itself.

In your stewpot, add enough water to come just to the bottom of the steamer rack and heat pot over medium-low heat. Replenish water as needed.

2. Open a hydrated corn husk and lie it flat. Spread 1½ to 2 tablespoons of masa dough over the husk, covering an area 3”-4” square, depending on how thick you prefer the masa.

3. Spoon about 1 tbsp of filling into the center, spreading it into a straight line.

4. Fold left side over the filling, then fold right side over left, and fold the bottom (narrowest point) of the corn husk up. You will have an open end opposite of that last fold.

5. Place the tamales into the steamer standing straight up, or you may layer them. Steam tamales for 15-20 minutes, until masa is set and center is heated through. Remove and set aside to drain (there will be residual moisture). Serve immediately with salsa of your choice, or cool completely at room temperature and freeze for up to 6 months.

Note: Prep time is long due to bean and corn husk soaking for 8 hours or overnight.

Radicle Threads Magazine

ALBÓNDIGAS

By Mckenzie Mullen

@emtothethird

I’m Mckenzie Magdaleno-Dozal, a queer, fat, Chicanx, femme. I live in Portland, Oregon, where my company, Emtothethird Yarn Co. is based. My focus is on naturally dyed yarn, illustration work, a YouTube channel, and fostering a community of knitters all over the world.

Albóndigas which translates to “meatballs,” is shorthand for Sopa de Albóndigas. It consists of meatballs cooked and served in a tomato-y broth flush with vegetables and rice. A big bowl of this soup warms my body and soul, and I hope it does the same for you. As with many recipes, a bowl of albóndigas will vary tremendously between households, so use this recipe as a starting point for your own aventuras de sopa.

Serves: 4 - 6 Prep time: 15 minutes Cook time: 30 minutes Total time: 45 minutes Cuisine: Mexican Course: Main Course Ingredients For Meatballs ½ large onion, diced 2 cloves garlic, minced ½ lb ground turkey 1 egg 6 tbsp uncooked rice 1 tbsp fresh mint, sliced very thin For Soup 2 tbsp olive oil ½ of large onion, diced 2 cloves garlic, minced 3 stalks of celery, diced 2 large carrots, julienned 1 zucchini, julienned 2 small potatoes, diced 8 cups chicken broth 8 oz can tomato sauce Salt and pepper to taste 2 tsp Mexican oregano 1 bay leaf ¼ cup uncooked rice 1 bunch of cilantro

1. Add olive oil to a heavy-bottomed pot over medium-high heat. Add the onion for both the soup and meatballs to the pot and cook until transparent, about 3-5 minutes. Add all of the garlic and cook until fragrant.

Remove pot from heat and add half of the mixture to a medium-sized bowl.

2. Add the ground turkey, egg, rice, and mint to the bowl with the onions and garlic. Mix it together well. You can make the meatballs now and put them on a lined baking sheet, or form them as they’re being dropped into the broth. You want your meatballs to be about an inch across, remember they will expand as they cook.

3. In pot on medium-high, add celery, carrots, and zucchini . Cook vegetables until tender and slightly browned. Add broth, tomato sauce, potatoes, oregano, bay leaf, and rice. Salt and pepper to taste and bring to a boil.

4. Once boiling, reduce to a simmer. Add meatballs, cilantro, cover and let simmer for 30 minutes or until meatballs are fully cooked. Remove cilantro and bay leaf.

Serve hot.

Note: Turkey can be subsituted for ground beef, pork, or vegetarian meatballs.

Page 50

Thengai Sadam B Y

N A T A S H A

&

N I K I T A

I Y E R

We are 2 vegan and vegetarian sisters from Toronto, Canada, who are passionate about health and cooking. We draw inspiration from our Indian culture to create unique dishes.

@cookwithnikinat

Coconut Rice is one of the many staple South Indian dishes, most specifically from the state of Tamil Nadu, India. For our numerous road trips in our childhood, our mother would whip this rice dish to have during our pitstops. It is usually served without any side. However, any curry goes well with this, even simple plain yogurt!

Serves: 4 Prep time: 5 mins Cook time: 15 mins Total Time: 20 mins Cuisine: South Indian Course: Main Course Ingredients 2 cups white rice, cooked 2 tbsp coconut oil 1 tbsp ghee 2 tsp black mustard seeds 1 ½ tbsp chana daal 15-20 cashew nuts

2-4 broken dried red chili 5-6 curry leaves A pinch of asafetida (Hing) 1 tsp coriander leaves (for garnish) 1 ½ cups shredded coconut (frozen or fresh) Salt to taste

Instructions 1. In a medium-high heat skillet, heat up 2 tablespoons of coconut oil. Add black mustard seeds, temper until seeds start popping.

2. Turn stove to medium heat. Add in dried red chilis and asafetida. Fry for 2 minutes.

3. Add chana daal and fry until light golden brown. This should take around 3-4 minutes. If not fried well, it will be raw and will not enhance the flavour profile of the dish.

4. Add cashews and fry for another 1-2 minutes until they turn light golden brown.

5. Add in curry leaves and temper for another 30 seconds.

6. Add shredded coconut and cook for another 5 minutes or until lightly golden.

7. Add cooked rice. Mix well. Salt to taste.

8. Cook for an additional 5 minutes. Garnish with coriander, 1 tbsp of ghee, and serve.

Notes: Substitute white rice with brown rice for a healthier fiber rich option.

Peanuts can be substituted for the cashew.

Page 52

GRIOT

By Vanessa S. Coquillo, MSW Serves:​6 Prep Time: 20 mins Cook Time: 2 hours 40 min Total time:​3 hours Cuisine:​Haitian, Southern.

Griot is a dish in Haitian cuisine that is very popular. This dish is full of flavor, bold and irresistible at first bite. It is usually paired with fried plantain or rice and always with our famous “pikliz” (Pik-Leez), a spicy condiment made with cabbage, carrots, habanero peppers, vinegar and salt. Griot is a part of being Haitian and being Haitian is Griot.

Ingredients 3 Pounds of Pork Shoulder ½ a cup of sour orange 3 limes 1 tbsp of salt 3 scotch bonnet pepper 10 cloves garlic

4 green onions 1 tbsp of white vinegar 1 white onion 1 tbsp of chicken bouillon or cube 6 sprigs of fresh thyme 6 sprigs of parsley 4 cups of oil for frying

Instructions: 1. Remove juice from limes and put aside. Do not throw away the limes.

2. In a bowl add meat and rub lime pieces on each meat piece to clean. Rinse with cold water and put aside.

3. To make the Haitian base seasoning (Epis), add all the ingredients except (1 pepper, the pork and oil) to a blender and puree until smooth.

4. Add meat to a heavy pot, pour the epis and let marinate for at least 30 minutes. Marinate for a longer period or overnight for more flavor.

5. Boil on medium to hot heat covered for about 30 45 minutes until meat is tender. Remove meat from pot and place on a sheet pan. This step is important, so the meat is not too tender and doesn't break apart further.

6. Fry in batches in hot oil (375 degrees) until deep golden brown for approx 5-6 minutes.

7. Place fried griot on paper towel to remove excess oil. Serve hot.

My name is Vanessa. I am a wife, mother of 2, a social worker by trade, a self proclaimed chef, and the owner of Oven 350. Cooking is my therapy and the kitchen, my safe haven. Nothing brings me more joy than bringing people together with delicious food and beautiful events. @oven350

Page 53

MEET Adria Forbey

&

Elisabeth Desamour

Karabela Wrap Hey, y'all!

I'm Adria.

Life long New Jersey girl, yarn painter, knitter, crocheter, mom, wife, and owner of Onyx Fiber Arts.

I'm a HaïtianAmerican crochet designer and the owner of Desamour Designs. I love sharing my culture and heritage in my work.

Adiaha Ruane

FlorenceCordelia Turtleneck

Lakisher Whitney Marie Hurst Anderson Diaspora Headwrap

Aiko Mizumori MottainaiCanfield

Laverne Bento

Potholders Yarn dyer, crochet artist, maker of journals, and creator of Saturday morning shananighans

Since starting aikrochet, I've also begun knitting and sewing activities my grandmother loved! They help me feel close to her, & are a way for me to explore my culture (especially the idea of mottainai).

Natalia McHayle

As an avid crocheter, I see the world through yarntinted spectacles.

Sassy Black Yarns specializes in bold, fresh colors of hand dyed yarns for knitters and crocheters alike.

I learned to crochet by watching my mom when I was 4 years old. Years later, I learned to knit and to this day, I am still learning new things. I get inspiration from my family, my culture, and nature.

I'm born and bred in Brooklyn, NY. As a painter of yarn, I'm inspired by the resilience, audacity, & talent of my ancestors both personally and more broadly.

Cara Barter

I prefer the name Talia. I have been crocheting for over five years. My most favorite thing to design are sweaters with lots of texture.

Ivonne Montaño Ollin Bloomers

I am a Tsimshian maker from Lax Kw’alaams living on Coast Salish Homelands. I love working with local wool and animal fibres. I strive to work with a good heart and a good mind, following my teachings to the best of my abilities.

I'm a Xicanx Army veteran crochet and knitwear designer based in Colorado. My designs are inspired by my Mexican heritage and love of nature. I use my love of crafting to cope with PTSD.

Radicle Threads Magazine

&

THE

Robin Guy

Fatimah Hinds

Mugdha Manasa

Serrana Shawl

I’m an Atlanta based knit artist who creates custom knitwear and knitting patterns for all genders. I believe that we are all ‘one of a kind’.

I pride myself on creating yarn that inspires people to go out of their comfort zone. I'm known for my marled yarn and extensive collection of Pride-inspired colorways.

I'm a queer Latine designer from Chicago where I live with my husband & dog. A lot of my work comes from a pride in my family & background.

I'm Jaya (pronounced “jeh-yaah”) and I'm a technical consultant living in India with my husband and rambunctious 6-year old twin girls.

Socks I'm a proud Nonbinary Muslim. I'm a Chicago based dyer & designer. Alwan means colors in Arabic, I've always had a fascination with colors which started my journey as a dyer.

Shobha Nadarajah

M H Jayalakshmi

Karuvepillai Cowl I worked in a corporate career for 8 years before opting to be a homemaker.

My yarn shop focuses on natural yarn sourced from different parts of India.

Daniel Núñez

Brooke Addams

Planting Cardigan I live in the Hudson Valley with my husband and daughter, and two cats.My inspiration for colorways is drawn from the books I read, teas, and little moments that pull me in.

Sadie Anderson Bellegarde Braiding

Sweetgrass

Sultan Alrasheed

Nakia Kammerzell

Caroline Dick

Meduh Mittens My inspiration comes from the world around me. I spend my days dreaming up color combinations and my nights bringing those daydreams to life.

I grew up in the traditional territory of the Lkwungen peoples. I am inspired by all aspects of fibre crafting.

I'm a Nêhiyawak (Cree) woman from the Peepeekisis Cree Nation in Saskatchewan. I have been designing since the mid-2000’s, and I'm the host of Yarnivore podcast on YouTube.

Dawn Henderson

Ancestors Cardigan Once I learned to crochet & knit, I naturally jumped into dyeing to feed my creativity.

I'm inspired by humans and life on our planet.

I'm an unschooling mom in sunny Colorado who loves sock and sweater knitting equally, and often, in tandem. While I never suffer from second sock syndrome, I always get stranded on sleeve island.

pg. 60

Roots

Crochet

pg. 63

PREVIOUS PAGE Karabela Wrap by Elisabeth Desamour THIS PAGE Florence-Cordelia Turtleneck by Natalia McHayle NEXT PAGE Top Left Diaspora Headwrap by Whitney Marie Anderson Top Right Mottainai Potholders by Aiko Mizumori Canfield Bottom Ollin by Ivonne Montaño

pg. 67

pg. 69

pg. 71 FREE knit version online

POD Karabela Wrap

FINISHED MEASUREMENTS

49 inches long by 19 inches wide

by Elisabeth Desamour @desamourdesigns YARN Dyer Adria Forbey @onyxfiberarts Onyx Fiber Arts. DK weight, 100% Superwash Merino, 115g/250 yards. MC- 3 skeins Skye; CC1- 1 skein Indi; CC2- 1 skein Miss Ruby

HOOKS

US H8 (5mm) Tunisian Crochet hook or size needed to obtain gauge with 22” cable US K10.5 (6.5mm) Tunisian Crochet hook or size needed to obtain gauge with 22” cable

NOTIONS

Yarn Needle, Stitch Markers , Scissors

GAUGE

18 sts and 13 rows = 4” in Tss, blocked.

Gauge is not critical for this project, but a change in gauge may affect finished size and yarn requirement

Karabela, the traditional dress of the women of Haiti, is known as the Quadrille or Karabela. It is the dress worn during the quadrille dance. It is almost always made of an off-theshoulder top or bodice with a full, matching skirt. Haitians favor using fabrics in the washed indigo shade as is culturally traditional. It is embellished with additional ruffles, lace, or ric rac in red and navy blue.

The Karabela Wrap is an intermediate Tunisian crochet pattern worked flat.

The different stitches are used to highlight the various stages of Ayiti’s history from the time African slaves were taken from their home continent to the Independence of the first Black Nation to win her independence through a successful revolt.

Notes: The body of the wrap is worked in Tunisian crochet from the shorter edge up in one piece. Stitches are then picked up along the longer edge to work the contrast colored border in crochet stitches.

Work off all loops as in basic return row for each row.

Tunisian Double Seed Stitch - Created by alternating Tks and Tps over two rows and Tps and Tks over the next two rows.

Tunisian Slanted Stitch (Tsls) - Worked as the Tss but the hook will be inserted under the front bar from the left to the right with the tip upwards. The front bar will slant to the right.

Basic Return Row - Step 1: Yo, draw through 1 loop (this ch forms the edge st).

Step 2: Yo, draw through 2 loops. Repeat step 2 until 1 loop remains on hook.

Page 60

DIRECTIONS Section 1: Enslavement This section consists of 54 rows of Tunisian Honeycomb St in remembrance of the 54,000 voyages slaves had to endure over more than 4000 nautical miles to the Caribbean Islands over the course of 300 years between the 16th & 19th centuries.

I chose this stitch to represent the chains that bound the hands and feet of the 6+ million Africans taken from their homeland to be enslaved on foreign soil.

42% of these people, my ancestors, were enslaved in the Caribbeans.

Using 6.5 mm hook, leave a long tail. Ch 72.

Row 1: Tss in each ch on the hook. (72 loops on hook) Row 2: *Tps, Tss.* Repeat from * to * until end of row.

Row 3: *Tss, Tps.* Repeat from * to * until end of row.

Rows 4-53: Repeat rows 2 and 3.

Row 54: Repeat row 2.

Section 2: Lost Soul This section is composed of 30 rows of Tunisian Purl St to mark the 30+ days journey across the Atlantic on board filthy, overcrowded, and disease-infested ships. The Tunisian Purl St reminds me of the waves of the seas which have engulfed so many who did not make the voyage.

Using 5 mm hook Rows 55-84: Tps in each st across. 72 sts

Section 3: Slavery This section is created using the highly textured Tunisian Double Seed St to represent the years the enslaved people on the island of Saint Domingue (name given to the island by French colonizers) worked the fields enriching their French colonizers thus giving them the opportunity of dubbing the island “La Perle des Antilles” meaning the Pearl of the Caribbean.

During those years, Saint Domingue exported 72 million pounds of raw sugar and 51 million pounds of refined sugar. 40% of all sugar consumed in all Europe; 1 million pounds of indigo, 2 million pounds of cotton and 60 % of all the coffee consumed in the entire world.

The Tunisian Double St resembles the top of the sugar cane plants as they grow neatly aligned in rows reaching further than the eye could see.

Using 5 mm hook Row 85: *Tks, Tps.* Repeat from * across.

Row 86: *Tks, Tps.* Repeat from * across.

Row 87: *Tps, Tks.* Repeat from * across.

Row 88: *Tps, Tks.* Repeat from * across.

Rows 89-132: Repeat rows 85 to 88.

Rows 133-134: Repeat rows 85 and 86.

to * to * to * to *

Section 4: Revolt Here the people of Ayiti began their revolution for freedom. This stage of our history lasted 13 years, beginning on the night of 22 -23 August 1791 with the ceremony of Bois Caïman, and ending in 1804.

Radicle Threads Magazine

This revolution was the beginning of the end of the transatlantic slave trade and sent shockwaves through the Caribbean and the world.

The UN commemorates Ayiti’s instrumental role in ending the slave trade by adopting the 23rd of August as the official International Day of Remembrance of the Slave Trade and Its Abolition.

I am using 13 rows of Tunisian Simple St in honor of the many lives lost from those fighting for freedom, not only for themselves but for all slaves across the globe. For even as the Haïtian Revolution happened, the world couldn’t believe that former slaves understood the depth of freedom more than they. Each straight bar of the stitch mirrors the countries and people watching in amazement at this new nation being born.

Using 6.5 mm hook Row 135: Tss across.

Rows 136-147: Repeat row 135.

Section 5: Suffocation After her independence, the newborn nation's future was halted when France forced it (with French warships anchored off the coast during the negotiations) to pay 150 million gold francs (21 billion USD) in reparations to French exslaveholders as a condition of French political recognition and to end the newly formed state's political and economic isolation.

For over 50 years, the United States refused to recognize the First Black Nation out of fear of all she stood for;

the expansion of the limits of freedom to lawfully include people of color. Something both the American Declaration of Independence (1776) & French Declaration of the Rights of Man and Citizen (1789), which set both countries as thought leaders in the understanding of basic Human Rights, failed to do.

Tunisian Slanted St was chosen to represent impeding the Haïtian economy from its infancy. 21 rows will be completed to remember the hidden and ignored drowning of the people in colonial capitalism, racism, and embargo while trying to help the surrounding enslaved people in gaining their own freedom. The Slanted Sts show how they may bend but the Haïtian people will never break.

Using 6.5 mm hook Row 148: Tss across.

Row 149: TSLS across.

Rows 150-169: Repeat Row 149.

Bind off.

Section 6: Hope The first flag of the new nation was created by revolutionary and Emperor of Ayiti, JeanJacques Dessalines.

On the 18th of May 1803, the date now celebrated as Haïtian Flag Day, Dessalines took a French flag, tore out the white center and then Catherine Flon sewed the red and blue together. The Blue represents the black citizens and the Red, those of mixed lineage.

This section represents my hope for my motherland, as despite all she’s been through, she still stands for strength, perseverance, and hope.

Radicle Threads Magazine

With RS facing and using 6.5 mm hook, attach CC1 to the 1st st of Row 1 and begin working Border along the long edge.

Note: You will be working along the long edge of the wrap.

Row 1: Sc across. Ch1, turn. 170 sts.

Row 2: Dc across. Ch1, turn.

Row 3: Repeat Row 1.

Using 6.5 mm hook, attach CC2.

Row 1: Sc across. Ch1, turn. 170 sts.

Row 2: Dc across. Ch1, turn.

Row 3: Repeat row 1.

Florence-Cordelia Turtleneck

FINISHED MEASUREMENTS

by Natalia McHayle @taliacrochetcreations Dyer Adiaha Ruane @ancestral_fiber_co

FINISHING

Weave in ends, wash and block to size.

For pattern support, contact Elisabeth desamouravecamour@gmail.com

Finished Chest: 30.25 (32, 37.25, 40.75, 44.5) (47, 52.5, 56.75, 59.5)” / 77 (81, 94.5, 103.5, 113) (119.5, 133.5, 144, 151)cm Finished Length: 20 (20, 20, 20.5, 20.5) (21, 21, 21.5, 21.5)” / 51 (51, 51, 52, 52) (53.5, 53.5, 55, 55)cm

YARN Ancestral Fiber Co. Fingering weight, 85% Superfine Merino 15% Nylon, 4ply, 100g/437yds. MC- 2 (2, 2, 2, 3) (3, 3, 3, 4) skeins in Cicely Tyson; CC- 1 (1, 1, 1, 1) (1, 1, 1, 1) skein in Lady Day

HOOKS

NOTIONS

US 7 (4.5mm) Crochet hook or size needed to obtain gauge US H8 (5.00mm) Crochet hook or size needed to obtain gauge

Yarn Needle, 4 Stitch Markers , Scissors

GAUGE

18 sts and 12 rows = 4”/10cm over Double Crochet using larger hook, blocked 22sts and 16 rows = 4”/10cm over Double Crochet/Yarn Over Slip Stitch using smaller hook, blocked

Page 63

From lush mountains to crystal bluegreen waters, white sand beaches and smoky jerk pits, this design pays homage to my ancestry and home, Jamaica.

Fold piece in half and seam first and last row together on WS. Turn the piece to work along the circular edge.

The turtleneck is an intermediate design, worked top down seamlessly. Ribbing for the turtleneck is worked sideways and seamed. Stitches are picked up at its base to work the body and sleeves with raglan increases. Once sewn, seamed side indicates the RS of the sweater. The sweater front features two columns of a simple, 2-row repeat mesh pattern.

Beginning chain stitches do not count as a stitch. Each raglan corner increases by 2 stitches, move stitch markers with each round to mark increase points. Turn at the end of each rnd.

Body With MC and 5.00mm hook, Rnd 1: Ch 2, Dc 86 (86, 100, 100, 100) (112, 124, 136, 136) sts evenly around collar, sl st at top of first Dc. 86 (86, 100, 100, 100) (112, 124, 136, 136) Dc. Turn.

Rnd 2: Ch 2, Dc in 17 (17, 20, 20, 20) (21, 24, 26, 26) sts, [Dc, Ch 1, Dc] in next st, mark Ch-1 sp, Dc in 7 (7, 9, 9, 9) (10, 12, 14, 14) sts, [Dc, Ch 1, Dc] in next st, pm in Ch-1 sp, Dc in 2 (2, 3, 3, 3) (6, 6, 6, 6) sts, Sc in next st, * [Ch 5, sk 3 sts, Sc in next st] 2 times*, Dc in 12 (12, 14, 14, 14) (16, 18, 22, 22) sts; Sc in next st, rep from * to * once, Dc in 2 (2, 3, 3, 3) (6, 6, 6, 6) sts, [Dc, Ch 1, Dc] in next st, pm in Ch-1 sp, Dc in 7 (7, 9, 9, 9) (10, 12, 14, 14) sts, [Dc, Ch 1, Dc] in next st, pm Ch-1 sp, Dc in last 17 (17, 20, 20, 20) (21, 24, 26, 26) sts, sl st at top of first Dc. 72 (72, 86, 86, 86) (98, 110, 122, 122) Dc / 6 Sc / 4 Ch-5 sps.Turn.

Rnd 3: Ch 2, [Dc across to marked sp, INC in marked sp] twice, Dc in 3 (3, 4, 4, 4) (7, 7, 7, 7) sts, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 12 (12, 14, 14, 14) (16, 18, 22, 22) sts; rep from * to * once, Dc in 3 (3, 4, 4, 4) (7, 7, 7, 7) sts, INC in marked sp, Dc across to marked sp, INC in marked sp, Dc to end, sl st at top of first Dc. 80 (80, 94, 94, 94) (106, 118, 130, 130) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps.Turn.

Rnd 4: Ch 2, [Dc across to marked sp, INC in marked sp] twice, Dc in 4 (4, 5, 5, 5) (8, 8, 8, 8) sts, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5sp, Ch 5, Sc in Ch-3 sp*, Dc in 12 (12, 14, 14, 14) (16, 18, 22, 22) Dc; rep from * to * once, Dc in 4 (4, 5, 5, 5) (8, 8, 8, 8) sts, INC in marked sp,

INC (Increase) - [Dc, Ch 1, Dc] in same stitch/space

DIRECTIONS

Ribbing With CC and 4.5mm hook, ch 41.

Row 1 (RS): Ch 2, Dc in 3rd Ch from hook, Dc in 40 sts, turn. (40 Dc) Row 2 (WS): Ch 1, Yo sl st in each Dc across, turn. (40 sl st) Row 3: Ch 2, Dc Blo in each Sl St across, turn.

Row 4: Ch 1, Yo Sl St in each Dc across, turn.

Repeat Rows 3 and 4 until Row 58 (58, 64, 64, 64) (72, 80, 88, 88) or until piece measures approximately 14.5 (14.5, 16, 16, 16) (18, 20, 22, 22)”/ 37 (37, 40.5, 40.5, 40.5) (46, 51, 56, 56)cm.

Radicle Threads Magazine

Dc across to marked sp, INC in marked sp, Dc to end, sl st at top of first Dc. 88 (88, 102, 102, 102) (114, 126, 138, 138) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Rnd 5: Ch 2, [Dc across to marked sp, INC in marked sp] twice, DC in each DC to next CH-5 sp, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 12 (12, 14, 14, 14) (16, 18, 22, 22) sts; rep from * to * once, Dc in each Dc to next marked sp, INC in marked sp, Dc across to marked sp, INC in marked sp, Dc to end, sl st at top of first Dc. 96 (96, 110, 110, 110) (122, 134, 146, 146) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps.Turn.

Rnd 6: Ch 2, [Dc across to marked sp, INC in marked sp] twice, Dc in each Dc to next Ch-3 sp, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch-3 sp*, Dc in 12 (12, 14, 14, 14) (16, 18, 22, 22) Dc; rep from * to * once, Dc in each Dc to next marked sp, INC in marked sp, Dc across to marked sp, INC in marked sp, Dc to end, sl st at top of first Dc. 104 (104, 118, 118, 118) (130, 142, 154, 154) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Repeat Rnds 5 and 6 in established pattern until Rnd 18 (20, 23, 27, 26) (27, 29, 30, 32) increasing in each marked Ch-1 sp. 200 (216, 254, 286, 278) (298, 326, 346, 362) Dc. Turn.

ARMHOLE SEPERATION XS & S Rnd 1: Ch 2, Dc in 34 (36) sts, *Slst2tog Ch-1 sp with next Ch-1 sp (skipping all sts in between)*, Dc in 19 (21) sts, **Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3**, Dc in 12 (12) Dc;

rep from ** to ** once, Dc in 19 (21) sts; rep from * to * once, Dc in last 34 (36) sts, sl st at top of first Dc. 118 (126) Dc / 4 Sc / 4 Ch3 sps / 2 Ch-5 sps. Turn.

Rnd 2: Ch 2, Dc in 53 (57) sts, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch3 sp*, Dc in 12 (12) Dc; rep from * to * once, Dc in last 53 (57) sts, sl st st at top of first Dc. 118 (126) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Rnd 3: Ch 2, Dc in 53 (57) sts, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 12 (12) Dc; rep from * to * once, Dc in last 53 (57) sts, sl st st at top of first Dc. 118 (126) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps. Turn.

Repeat Rnds 2 and 3 until length of sweater measures approximately 19.5 (19.5)”/49.5 (49.5) cm from base of turtleneck.

M&L Rnd 1: Ch 2, Dc in 42 (46) sts, *Slst2tog Ch-1 sp with next Ch-1 sp (skipping all sts in between)*, Dc in 25 (29) sts, **Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch3 sp**, Dc in 14 (14) Dc; rep from ** to ** once, Dc in 25 (29) sts, rep from * to * once, Dc in last 42 (46) sts, sl st at top of first Dc. 148 (164) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Rnd 2: Ch 2, Dc in 67 (75) sts, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 14 (14) Dc; rep from * to * once, Dc in last 67 (75) sts, sl st at top of first Dc. 148 (164) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps. Turn.

Rnd 3: Ch 2, Dc in 67 (75) sts, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch3 sp*, Dc in 14 (14) Dc; rep from * to * once, Dc in last 67 (75) sts, sl st at top of first Dc. 148 (164) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Repeat Rnds 2 and 3 until length of sweater measures approximately 19.5 (20)”/49.5 (51) from base of turtleneck.

Radicle Threads Magazine

XL, 4X & 5X Rnd 1: Ch 2, Dc in 45 (55, 57) sts, *Ch 10 (18, 20), sk 59 (72, 76) sts*, Dc in 28 (35, 37) sts, **Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3**, Dc in 14 (22, 22) Dc; rep from ** to ** once, Dc in 28 (35, 37) sts; rep from * to * once, Dc in last 45 (55, 57) sts, sl st at top of first Dc. 180 (238, 250) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps. Turn.

Rnd 2: Ch 2, Dc in 83 (108, 114) sts, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch-3 sp*, Dc in 14 (22, 22) Dc; rep from * to * once, Dc in last 83 (108, 114) sts, sl st st at top of first Dc. 180( 238, 250) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Rnd 3: Ch 2, Dc in 83 (108, 114) sts, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 14 (22, 22) Dc; rep from * to * once, Dc in last 83 (108, 114) sts, sl st st at top of first Dc. 180 (238, 250) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps. Turn.

Repeat Rnds 2 and 3 until length of sweater measures approximately 20 (21, 21)”/ 51 (53.5, 53.5)cm from base of turtleneck.

2X & 3X Rnd 1: Ch 2, Dc in 47 (52) sts, *Ch 12 (14), sk 62 (68) sts* Dc in 32 (34) sts, **Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch-3 sp**, Dc in 16 (18) Dc; rep from ** to ** once, Dc in 32 (34) sts, rep from * to * once, Dc in last 47 (52) sts, sl st at top of first Dc. 198 (218) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Rnd 2: Ch 2, Dc in 91 (100) sts, *Ch 3, Sc in Ch-5 sp, Ch 5, Sc in next Ch-5 sp, Ch 3*, Dc in 16 (18) Dc; rep from * to * once, Dc in last 91 (100) sts, sl st at top of first Dc. 198 (218) Dc / 4 Sc / 4 Ch-3 sps / 2 Ch-5 sps. Turn.

Rnd 3: Ch 2, Dc in 91 (100) sts, *Sc in Ch-3 sp, Ch 5, Sc in next Ch-5 sp, Ch 5, Sc in Ch3 sp*, Dc in 16 (18) Dc; rep from * to * once, Dc in last 91 (100) sts, sl st at top of first Dc. 198 (218) Dc / 6 Sc / 4 Ch-5 sps. Turn.

Repeat Rnds 2 and 3 until length of sweater measures approximately 20.5 (20.5)”/52 (52)cm from base of turtleneck.

All Sizes Join CC with sl st on last row.

Rnd 1: Ch 1, Sc in each Dc to mesh pattern, Ch 9, Sc in next 12 ( 12, 14, 14, 14) (16, 18, 22, 22) Dc, Ch 9, Sc in remaining Dc, sl st at top of first Sc. Turn.

Rnd 2: Ch 1, Sc in each st around, sl st at top of first Sc. Turn.

Rnds 3-5: Repeat Rnd 2 three more times.

Fasten off and break yarn.

Sleeves With CC, rejoin yarn at underarm and turn to work on RS. Rnd 1: Ch 1, Sc around, Sl St at top of first Sc. 39 (43, 51, 59, 67) (72, 80, 88, 94) Sc. Turn.

Rnds 2-3: Repeat Rnd 1 two more times.

Fasten off and break yarn.

FINISHING Weave in ends, wash and block to size.

For pattern support, contact Natalia hello@taliacrochetcreations.com

Radicle Threads Magazine

Diaspora Headwrap

by Whitney Marie Anderson @whitneymarieanderson Dyer Lakisher Hurst @sassyblackyarns1

FINISHED MEASUREMENTS

4.5x64”

YARN

Sassy Black Yarns Fingering weight, 70% Superwash Merino 30% Nylon, 100g/400meters/437yards. 1 skein in Himalayan Sunset

HOOKS

US 7 (4.5mm) Crochet hook or size needed to obtain gauge

NOTIONS

Yarn Needle, scissors

GAUGE

22 sts and 10 rows = 4” over Double Crochet, not blocked For pattern support, contact Whitney at andersonwhitneym@gmail.com

Headwraps are a staple of Black culture and fashion. Diaspora Headwrap checks the boxes for both style and functionality.

The filet crochet diamonds pay homage to the diamond shapes seen in a myriad of African fabric prints such as Kente fabric and mud cloth.

The Diaspora Headwrap is a beginnerfriendly crochet pattern that is worked flat from end-to-end. This pattern utilizes filet double crochet stitches to create diamond-shaped motifs worked over a 10-row repeat. It is designed to be worn in multiple ways such as double wrapped and tucked or tied in the back. Ch 2 counts as a double crochet stitch throughout. This pattern creates a reversible fabric, so there is no right or wrong side.

DIRECTIONS Increase Section Ch 3 sts.

Row 1: Dc in third Ch from hook, turn. 2 sts.

Row 2: Ch 2 (counts as Dc throughout), 2 Dc in next st, turn. 3 sts.

Row 3: Ch 2, 2 Dc in each st across, turn.

5 sts.

Row 4: Ch 2, 2 Dc in each st across, turn.

9 sts.

Row 5: Ch 2, 2 Dc in next st, Dc in each st to last 2 sts, 2 Dc in next st, Dc in turning ch, turn. 11 sts.

Rows 6-7: Repeat Row 5 two more times.

15 sts.

Row 8: Ch 2, 2 Dc in the next st, Dc in each of next 5 sts, Ch 1, sk next st, Dc in next 5 sts, 2 Dc in next st, Dc in turning ch, turn. 17 sts.

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Row 9: Ch 2, 2 Dc in next st, Dc in next 5 sts, Ch 1, sk next st, Dc in ch-1 sp, Ch1, sk next st, 5 Dc, 2 Dc in next st, Dc in turning ch, turn. 19 sts.

Row 10: Ch 2, 2 Dc in next st, Dc in next 5 sts, (Ch1, sk next st, Dc in ch-1 sp) twice, Ch1, sk next st, Dc in next 5 sts, 2 Dc in next st, Dc in turning ch, turn. 21 sts.

Row 11: Ch 2, 2 Dc in next st, Dc in next 6 sts, Dc in Ch-1 sp, (Ch1, sk next st, Dc in ch-1 sp) twice, Dc in next 6 sts, 2 Dc in next st, Dc in turning ch, turn. 23 sts.

Row 12: Ch 2, 2 Dc in next st, Dc in next 8 sts, DC in Ch-1 sp, Ch1, sk next st, DC in Ch-1 sp, Dc in next 8 sts, 2 Dc in next st, Dc in turning ch, turn. 25 sts.

Rows 13-17: Dc across. 25 sts.

Body Row 1: Ch 2, Dc in next 11 sts, Ch1, sk next st, Dc in each st to end, turn.

Row 2: Ch 2, Dc in next 10 sts, Ch1, sk next st, Dc in ch-1 sp, Ch1, sk next st, Dc to end, turn.

Row 3: Ch 2, Dc in next 9 sts, (Ch1, sk next st, Dc in ch-1 sp) twice, Ch1, sk next st, Dc to end, turn.

Row 4: Ch 2, Dc in next 9 sts, Dc in Ch-1 sp, (Ch1, sk next st, 1 Dc in ch-1 sp) twice, Dc to end, turn.

Row 5: Ch 2, Dc in next 10 sts, Dc in Ch-1 sp, Ch1, sk next st, Dc in Ch-1 sp, Dc to end, turn.

Rows 6-10: Dc across.

Repeat rows 1-10 thirteen more times.

Decrease Section Row 1: Ch 2, Dc2tog, Dc in next 9 sts, Ch1, sk next st, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn. 23 sts.

Row 2: Ch 2, Dc2tog, Dc in next 7 sts, Ch1, sk next st, Dc in ch-1 sp, Ch1, sk next st, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn.

21 sts.

Row 3: Ch 2, Dc2tog, Dc in next 5 sts, (Ch1, sk next st, Dc in ch-1 sp) twice, Ch1, sk the next st, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn work. 19 sts.

Row 4: Ch 2, Dc2tog, Dc in next 4 sts, Dc in Ch-1 sp, (Ch1, sk next st, 1 Dc in ch-1 sp) twice, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn. 17 sts.

Row 5: Ch 2, Dc2tog, Dc in next 4 sts, Dc in Ch-1 sp, Ch1, sk next st, Dc in ch-1 sp, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn. 15 sts.

Rows 6-8: Ch 2, Dc2tog, Dc to last 3 sts, Dc2tog, Dc in turning ch, turn. 9 sts.

Row 9: Ch 2, Dc2tog across, turn. 5 sts.

Row 10: Ch 2, Dc2tog twice, turn. 3 sts.

Row 11: Ch 2, Dc2tog. 2 sts.

Fasten off and break yarn.

FINISHING Weave in ends. Light blocking is optional.

Radicle Threads Magazine

Mottainai Potholders

by Aiko Mizumori Canfield @aikrochet Dyer Laverne Bento @bzypeach

FINISHED MEASUREMENTS

From tip of triangle to base: 9”

YARN

BzyPeach DK weight, 100% cotton; 100g/218 yds. MC- 1 skein Polar Berry. DK weight, 100% cotton; 50g/54 yds. CC1- 1 skein Black Diamond Apple, CC2- 1 skein Sweet Cherry

HOOKS

US F5 (3.75mm) Crochet hook or size needed to obtain gauge

NOTIONS

Yarn Needle, Scissors, Stitch Markers

GAUGE

20 sts and 12 rows = 4” in double crochet, blocked This reusable and 100% cotton onigiri potholder embodies mottainai, a Japanese attitude towards the Earth and environment - reducing waste and expressing gratitude for the steps the item (or food) takes to get to you.

Included in this pattern are two variations on onigiri (rice ball) that are staples in the Japanese diet and include onigiri with nori (seaweed) or with umeboshi (pickled plum).

The construction of the rice ball (potholder) is the same for both variations. After completing the rice ball portion, choose the accent! Once it’s crocheted, it can be sewn onto the rice ball.

For pattern support, contact Aiko at aikrochet@gmail.com

DIRECTIONS Rice Ball Potholder (Make 2) With MC Rnd 1: Working into a magic circle, Ch 2, 8 Dc, sl st in Ch-2 to join. 9 sts.

Place a stitch marker each in the 3rd, 6th and 9th sts.

Rnd 2: Ch 2 (counts as Dc throughout), Dc in next st, *5 Dc in st with the marker, move marker to the 3rd of the 5 Dcs, Dc in each st to the next marker**, repeat from * to ** once, 5 Dc in st with the marker, move marker to the 3rd of the 5 Dcs, sl st in Ch-2 to join. 21 sts.

Rnds 3-12: Repeat Rnd 2 ten more times.

141 sts.

Fasten off and break yarn.

Repeat Rnds 1 to 12 for the second layer of the potholder but do not fasten off.

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Joining the two layers Place both layers of the potholder with the wrong sides facing each other, line up the corners of both triangles and place one stitch marker into the corresponding stitch marker space for both layers.

Edging Rnd 1: Ch 1 (does not count as Sc), *Sc in each st through both layers to marker, 3 Sc in st with marker**; repeat from * to ** two more times, Sc in each st to beginning of the rnd, sl st in Ch-1 to join.

147 sts.

Fasten off, break yarn and weave in ends.

Nori (Seaweed) With CC1 Row 1: Fdc 18. 18sts Row 2: Ch 2 (counts as Dc throughout), Dc across. 18 sts.

Rows 3-29: Repeat Row 2 twenty seven more times.

Fasten off leaving a long tail for sewing (about 32 inches).

Sewing Fold the nori rectangle in half, and line up the top corners of the nori on either side of the rice ball potholder – about 7 rows out from the center of the Rice Ball, covering the center (see pictures).

Sew through all layers around the edges of the nori.

Fasten off and weave in ends.

Umeboshi (Pickled Plum) (Make 2) With CC2 Rnd 1: Working into a magic circle, Ch 2, 8 Dc, sl st at top of Ch-2. 9 sts. 9 sts.

Row 2: Ch 2 (counts as Dc throughout), Dc in the same st, 2 Dc in each st around, sl st in Ch-2 to join. 18 sts.

Row 3: Ch 2, 2 Dc in next st,*Dc in next st, 2 Dc in next st,** repeat from * to ** around, sl st in ch-2 to join. 27 sts.

Row 4: Ch 2, Dc in next st, 2 Dc in next st, *Dc in next 2 sts, 2 Dc in next st,** repeat from * to ** around, sl st in Ch-2 to join. 36 sts.

Fasten off.

Make the second plum following the same pattern. Fasten off leaving a long tail for sewing (about 20 inches) Sewing Place the two ume circles on either side of the rice ball potholder so that it is sandwiched between them, lining up their centers.

Sew around the circles through all layers.

Fasten off and weave in ends.

Radicle Threads Magazine

Ollin Bloomers

by Ivonne Montaño @montanocrochet Dyer Cara Barter @spiritsongstudio

FINISHED MEASUREMENTS

Waist Circumference 16 (18.25, 18.25, 20.5, 22.75)”/40.5 (46.5, 46.5, 52, 58) cm to fit 0-3 (6, 12, 18, 24) months Full length - 8.5 (10.5, 12.5, 14.5, 16.5)”/21.5 (26.5, 31.5, 37, 42) cm

YARN

Spirit Song Studio. Worsted weight, 70% Untreated Alpaca, 30% Merino Western, 112g/198m/216yds. MC- 1 (1,2,2,2) skeins Madeek, CC- 1 skein Our Home On Native Land

HOOKS

US H8 (5 mm) Crochet hook or size needed to obtain gauge

NOTIONS

Yarn Needle, Scissors, Stitch Markers For pattern support, contact Ivonne at montanocrochet@outlook.com

Ollin baby bloomers were inspired by the geometric designs found in Mexico’s preHispanic time. Like the word itself meaning ‘Movement’, these geometric designs have lived through many eras, including our own, reminding us of our roots and what our ancestors were capable of achieving.

The Ollin bloomers is a beginner-friendly baby shorts, worked top down in the round. Ribbing for the waistband is worked flat then joined to work the body in the round. The legs are worked individually in the round.

GAUGE

14 sts and 16 rounds = 4” in mosaic pattern, blocked SPECIAL STITCHES Mosaic Crochet Technique When working mosaic pattern, each round is worked with only one color at a time. All sc are worked in the back loop of a st (Sc Blo) and all dc are worked in the front loop of a st in the row below the one you would normally crochet into (Dc Flo). Colors are changed by joining yarn with a slip stitch in the 1st st of the round. Unused yarn may be carried up by twisting behind the working yarn at the beginning of the round. Each round begins with a Ch 1 that does not count as the first stitch so the first stitch is worked in the same place as the first Ch 1.

Page 71

Mosaic Stitch (in the round over multiples of 8) Rnd 1: With CC, Ch1 (does not count as st throughout), Sc in each st across, sl st at top of Ch-1 to join.

Rnd 2: With MC, Ch1, *Dc Flo in next 2 sts, Sc Blo in next 5 sts, Dc Flo in next st; repeat from * to end, sl st at top of Ch1.

Rnd 3: With CC, Ch1, *Sc Blo in next 2 sts, Dc Flo in next st, Sc Blo in next 3 sts, Dc Flo in next st, Sc Blo in next st; repeat from * to end, sl st at top of Ch-1 to join.

Rnd 4: With MC, Ch1, *Sc Blo in next 3 sts, Dc Flo in next st, Sc Blo in next st, Dc Flo in next st, Sc Blo in next 2 sts; repeat from * to end, sl st at top of Ch-1 to join.

Rnd 5: With CC, Ch1, *Sc Blo in next 4 sts, Dc Flo in next st, Sc Blo in next 3 sts; repeat from * to end, sl st at top of Ch-1 to join.

Rnd 6: With MC, Ch1, *Sc Blo in next 3 sts, Dc Flo in next st, Sc Blo in next st, Dc Flo in next st, Sc Blo in next 2 sts; repeat from * to end, sl st at top of Ch-1 to join.

Rnd 7: With CC, Ch1, *Sc Blo in next 2 sts, Dc Flo in next st, Sc Blo in next 3 sts, Dc Flo in next st, Sc Blo in next st; repeat from * to end, sl st at top of Ch-1 to join.

Rnd 8: With MC, Ch1, *Dc Flo in next 2 sts, Sc Blo in next 5 sts, Dc Blo in next st; repeat from * to end, sl st at top of Ch-2 to join.

Repeat Rnds 1 to 8 for pattern.

DIRECTIONS Waistband With MC, Ch 9.

Row 1: Sc in 2nd Ch from hook and each st across, Ch1, turn. 8 Sc Row 2: Sc Blo in each st across, Ch1, turn.

Repeat last row 54 (62, 62, 70, 78) more times. The piece measure about 14 (15, 15, 16, 17)”/ 35.5 (38, 38, 40.5, 43) cm.

Fold piece in half and seam first and last row together on WS. Do not fasten off.

Turn the piece to work along the circular edge.

Body Rnd 1: With MC, Ch1, Sc 56 (64, 64, 72, 80) sts evenly around the waistband, sl st at top of 1st Ch1 to join.

Next rnd: Work Mosaic pattern in the round from chart or written instructions, working the 8-st rep 7 (8, 8, 9, 10) times around.

Repeat last rnd until piece measures about 4.5 (6.5, 8.5, 10.5, 12.5)”/11.5 (16.5, 21.5, 26.5, 31.5) cm from lower edge of waistband.

Leg ribbing First leg Rnd 1: With MC, Ch1 (does not count as st throughout), Hdc in 12 (14, 14, 15, 17) sts, sk next 32 (36, 36, 42, 46) sts, Hdc in last 12 (14, 14, 15, 17) sts, sl st at top of 1st Ch to join. 24 (28, 28, 30, 34) sts Rnd 2: Ch1, *FPhdc in next st, BPhdc in next st; rep from * to end, sl st in ch1 to join.

Repeat Rnd 2 once more. Break yarn and fasten off.

Radicle Threads Magazine

Second Leg Sk 4 (4, 4, 6, 6) unworked sts adjacent to first leg for crotch, join MC with sl st in next st.

Rnd 1: Ch1, Hdc in 24 (28, 28, 30, 34) sts, join with sl st in 1st Ch, leaving the next 4 (4, 4, 6, 6) sts unworked for crotch.

Rnd 2: Ch1, *FPhdc in next st, BPhdc in next st; repeat from * to end, sl st in Ch1 to join.

Repeat Rnd 2 once more. Break yarn and fasten off.

FINISHING Seam crotch sts closed. Block to finish measurements. Weave in all ends.

Drawstring (Optional) With CC, Ch 80 (or any number to obtain desired length). Fasten off. Weave in and out of ribbing to add the ability to tighten or loosen the baby bloomers around child’s waist.

Hover over with your phone's camera to download the printable chart.

Use the case sensitive password JOURNEY GET THE KNIT VERSION FREE AT RADICLETHREADS.COM/OLLIN

Radicle Threads Magazine

pg. 79

Green Thumb Brown Thumb Cardigan

by Fatimah Hinds

Roots Knit

pg. 83 Serrana Shawl by Daniel Núñez

pg. 92

Braiding Sweetgrass Socks by Sadie Ruin

pg. 94

Karuvepillai Cowl by M.H Jayalakshmi

pg. 98 Meduh Mittens by Caroline Dick FREE Toque pattern on webstsite

Ancestors Cardigan by Dawn Henderson

pg. 101

Green Thumb Brown Thumb Cardigan

FINISHED MEASUREMENTS

To fit chest 30, 34, 38 ( 42, 46, 50, 54) 58, 62, 66 inches / 70, 85, 95 ( 105, 115, 125, 135) 145,

by Fatimah Hinds @disturbingthefleece 155, 165 centimeters Length, from back Dyer Robin Guy @birchhollowfibers collar to hem 21, 22.5, 23 ( 23.5, 24, 24.5, 25 ) 26.5, 27, 27.5” / 52.5, 56.5, 57.5 ( 59, 60, 61.5, 62.5) 66.5, 67.5, 69 cm Width at Chest, laid flat, with shawl collars overlapping 15.5, 17, 19 ( 21.5, 23, 25.5, 27.5) 29, 31.5, 33.5” / 39, 42.5, 47.5 (54, 57.5, 64, 69 ) 72.5, 79, 84 cm Length, from underarm to bottom hem 14, 15, 15 ( 15, 15, 15, 15) 16, 16, 16” / 35, 37.5, 37.5 ( 37.5, 37.5, 37.5, 37.5 ) 40, 40, 40 cm Armhole depth 7, 7.5, 8 ( 8.5, 9, 9.5, 10 ) 10.5, 11, 11.5” / 17.5, 19, 20 ( 21.5, 22.5, 24, 25) 26.5, 27.5, 29 cm Sleeve circumference at cuff 9, 9, 10 ( 10, 11, 12, 12 ) 13, 13, 13” / 22, 23, 24 ( 25, 27, 29, 30 ) 32, 32, 32 cm Sleeve length, from underarm to cuff edge 17, 17.5, 17.5 ( 18, 18, 18.5, 18.5 ) 19, 19, 19” / 42, 43.5, 43.5 ( 45, YARN Birch Hollow Fibers. DK weight, 50% 45, 46.5, 46.5 ) 48, 48, 48cm Cuff length 4” / Superwash Merino 50% Cotton, 10cm 100g/211m/231yds. 4, 5, 5 ( 6, 6, 7, 8) 8, 9, 10 skeins in Cotton and Reed

NOTIONS

Yarn Needle, Stitch Markers , Stitch US 4 (3.5 mm) DPNs 4-inch/10 cm to knit Holders, Scissors optional waist tie GAUGE US 5 (3.75 mm) or size needed to obtain 18 sts and 27 rows = 4”/10 cm over Bud gauge, 32-inch/80 cm circular needle Pattern on US 5 (3.75mm) needles, blocked US 5 (3.75 mm) or size needed to obtain 20 sts and 28 rows = 4”/10 cm over 1x1 gauge, DPNs, 6-inch/15 cm Ribbing on US 6 (4 mm) needles, blocked US 6 (4 mm) or size needed to obtain 19 ½ sts and 23 rows = 4”/10 cm over gauge, circular needle, 32-inch/80 cm Stockinette on US 5 (3.75 mm) needles, US 6 (4 mm) or size needed to obtain blocked gauge, DPNs, 6-inch/15 cm

NEEDLES

For pattern support, contact Fatimah at disturbingthefleece@gmail.com

Page 79

This Cardigan is an homage to people of the African continent who were enslaved, their labor stolen to grow food, fiber, and cash crops in America. Many of their descendants continue to interact with the land. This cardigan is designed to be worn while gardening for pleasure, with large pockets for tools and sleeves made for rolling up. Cotton blend yarn is perfect for the fickle weather of fall gardening.

Green Thumb Brown Thumb Cardigan is an intermediate cardigan in 10 sizes, worked flat from the bottom up. Sleeves are slightly tapered, a generous shawl collar wraps the body and patch pockets add utility. Directions are included for an optional waist tie as closure.

Special Stitches: Ribbing Pattern (worked flat over an odd number of sts) Row 1: (K1, p1) to last st, k1.

Row 2: (P1, k1) to last st, p1.

Ribbing Pattern (in the round over an even number of sts) Rnd 1: (K1, p1).

Make bud (MB) (worked into 3 sts) (P3tog, k3tog, p3tog) into next 3 sts, slip original sts off LH needle. 3 new sts on RH needle. No change in stitch count.

DIRECTIONS Hem Using US 6 (4 mm) circular needles and long tail method, CO 113, 131, 151 ( 171, 185, 205, 225) 245, 261, 281 sts.

Rep Ribbing Pattern until the piece measures 3, 3, 3 ( 4, 4, 4, 5 ) 5, 5, 5 ” / 7.5, 7.5, 7.5 ( 10, 10, 10, 12.5 ) 12.5, 12.5, 12.5 cm from CO edge, ending with a WS row.

Body Continue with US 5 (3.75 mm) needle Setup Row: k3, 3, 6 ( 2, 3, 4, 5 ) 11, 11, 9, *k16, 7, 8 ( 10, 8, 9, 10 ) 6, 8, 9, ssk, rep from * 6, 14, 14 ( 14, 18, 18, 18 ) 28, 24, 24 times, k to end. 107, 117, 137 ( 157, 167, 187, 207 ) 217, 237, 257 sts rem.

Work 7 rows of St st.

Bud Pattern (worked flat over 10 + 7 sts and 16 rows) Row 1: Sl1k, k1, *MB, k7 rep from * to last 5 sts, MB, k2.

Row 2: Sl1p, p across.

Row 3: Sl1k, k across.

Rep Rows 2 and 3 three times total, then work Row 2 one more.

Row 9: Sl1k, k6, *MB, k7 rep from * to the end of row. Rep Rows 2 and 3 three times total, then work Row 2 once more.

Continue working the Bud Pattern until piece measures 14, 15, 15 ( 15, 15, 15, 15 ) 16, 16, 16 ” / 35, 37.5, 37.5 ( 37.5, 37.5, 37.5, 37.5 ) 40, 40, 40 cm or desired length from CO edge.

Sleeve Separation The Fronts and upper Back will now be separated and worked concurrently using three balls of yarn so that the Bud Pattern remains continuous. If a MB falls when there are 4 or fewer sts k those sts.

Radicle Threads Magazine

Work in Bud Pattern over 18, 20, 25 ( 30, 32, 37, 42 ) 43, 48, 53 sts, join yarn; work in Bud Pattern for 71, 77, 87 ( 97, 103, 113, 123 ) 131, 141, 151 sts, join yarn; work in Bud Pattern for 18, 20, 25 ( 30, 32, 37, 42 ) 43, 48, 53 sts.

Cont working the 16 rows of Bud Pattern over the three pieces (two fronts and back) at the same time until pieces measure 7, 7.5, 8 ( 8.5, 9, 9.5, 10 ) 10.5 , 11, 11.5” / 17.5, 19, 20 ( 21, 22.5, 24, 25 ) 26, 27.5, 29 cm from sleeve separation, ending on a WS row.

Right front shoulder Move Left Front sts to waste yarn, break yarn. Move Back sts to waste yarn, do not break.

Row 1 (RS): K across.

Row 2 (WS): BO 6, 6, 8 ( 10, 10, 12, 14 ) 14, 16, 17 sts, p rem sts.

Row 3: K across.

Row 4: BO 6, 7, 8 ( 10, 11, 12, 14 ) 14, 16, 18 sts, p rem sts.

Row 5: K across.

Row 6: BO rem sts.

Back neck and shoulders Move Back sts onto US 6 (4mm) needle.

Row 1 (RS): BO 6, 6, 8 ( 10, 10, 12, 14) 14, 16, 17 sts, k rem sts.

Row 2 (WS): BO 6, 6, 8 ( 10, 10, 12, 14) 14, 16, 17 sts, p rem sts.

Row 3: BO 6, 7, 8 ( 10, 11, 12, 14 ) 14, 16, 18 sts, k rem sts.

Row 4: BO 6, 7, 8 ( 10, 11, 12, 14) 14, 16, 18 sts, p6, 7, 8 ( 10, 11, 12, 14 ) 14, 16, 18 sts, BO 35, 37, 39 ( 37, 39, 41, 39 ) 47, 45, 45sts for back neck, p6, 7, 8 ( 10, 11, 12, 14 ) 14, 16, 18.

Row 5: BO rem sts at Right Back shoulder. Attach new yarn and BO rem sts at Left Back shoulder.

Left Front shoulder Move Left Front sts onto US 6 (4mm) needle.

Row 1 (WS): P across.

Row 2 (RS): BO 6, 6, 8 ( 10, 10, 12, 14 ) 14, 16, 17 sts, k rem sts.

Row 3: P across.

Row 4: BO 6, 7, 8 ( 10, 11, 12, 14 ) 14, 16, 18 sts, k rem sts.

Row 5: P across.

Row 6: BO rem sts.

Sleeves Seam shoulders, place removable m at top of shoulder seam to help with spacing of sleeve sts. With RS facing, using US 5 (3.75mm) needles, and starting at underarm sleeve separation, pick up and k 29, 30, 32 ( 35, 40, 45, 50 ) 54, 54, 55 sts to removable m. Pick up and knit 29 (30, 32, 35, 40, 45, 50, 54, 54, 550 sts to underarm and pm for BoR. 58, 60, 64 ( 70, 80, 90, 100 ) 108, 108, 110 sts.

Remove m at top of sleeve. Work in St st for 4, 7, 5 ( 1, 3, 4, 4 ) 21, 21, 18 rnds.

Decrease rnd: K1, k2tog, k to last 3 sts, k2togtbl, k1. 2 sts dec.

Work Dec Rnd every 10th, 10th, 9th ( 8th, 6th , 5th, 4th ) 3rd, 3rd, 3rd rnd a total of 7, 7, 8 ( 10, 13, 16, 20 ) 22, 22, 23 times. 44, 46, 48 ( 50, 54, 58, 60 ) 64, 64, 64 sts rem.

Cuff With US 6 (4mm) DPNs work 1x1 Rib. Place removable m and work for 4” / 15cm. BO loosely in pattern.

Repeat for second sleeve.

Right collar front With US 6 (4mm) beginning at lower corner of Right Front with RS facing, pick up 113, 115, 117 ( 117, 119, 121, 121 ) 123, 123, 125 sts along right front edge from hem to neckline BO. Radicle Threads Magazine

Setup Row 1: Sl1k, (p1, k1) to last 2 sts, pm, p1, k1.

Setup Row 2: Sl1p, (k1, p1) to end.

Row 1 (RS): Sl1k, (p1, k1) to last 4 sts, k2tog, sm, p1, k1.

Row 2 (WS): Sl1p, k1, p1, (p1, k1) to last st, p1.

Row 3 (RS): Sl1k, p1, (k1, p1) to last 4 sts, k2tog, sm, p1, k1.

Row 4 (WS): Sl1p, (k1, p1) to end.

Repeat Rows 1-4 until collar measures 7.5, 8, 8 ( 8, 9, 9, 9 ) 10, 10, 10” / 19, 20, 20 ( 20, 22.5, 22.5, 22.5 ) 25, 25, 25 cm from pick up edge ending on a WS row. Break yarn and move sts to waste yarn.

Left Collar Front With US 6 (4mm) beginning at lower corner of Left Front with RS facing, pick up 113, 115, 117 ( 117, 119, 121, 121 ) 123, 123, 125 sts along left front edge from hem to neckline BO. Setup Row 1: Sl1k, p1, pm, (k1, p1) to last st, k1.

Setup Row 2: Sl1p, (k1, p1), to end.

Row 1 (RS): Sl1k, p1, sm, k2togtbl, (k1, p1) to last st, k1.

Row 2 (WS): Sl1p, k1, (p1, k1) to last 4 sts, p2, k1, p1.

Row 3 (RS): Sl1k, p1, sm, k2togtbl, (p1, k1) end.

Row 4 (WS): Sl1p, k1, (p1, k1) to end.

Repeat Rows 1-4 until Left Collar measures 7.5, 8, 8 ( 8, 9, 9, 9 ) 10, 10, 10” / 19, 20, 20 ( 20, 22.5, 22.5, 22.5 ) 25, 25, 25 cm from pick up edge ending on a WS row.

Neckline I Cord edging With US4 (3.5mm) DPNs, with WS facing arrange live collar and neck sts on your long cable as follows: you will be working across live sts of the Left collar

Front just worked from hem to shoulder, pick up 3 st along top edge of Left Front, 3 sts along the Back Left neck, pick up one st in each of the Back Neck sts, 3 sts along Back Right shoulder, 3 sts along top edge of Right Front, and down live st of the Right Front previously on hold from shoulder to hem.

I cord BO: Starting at Left Front hem CO 3 sts using backwards loop CO, k2, k2togtbl. sl 3 sts back onto right needle.

1 st dec.

Continue I-cord BO until 3 sts rem. K1, k2togtbl, sl2 sts back onto right needle, k2tog, break yarn and pull through rem st.

Optional Pockets With RS front of cardigan facing, with US 5 DPNs join yarn and pick up 27, 27, 27 ( 27, 27, 36, 36 ) 36, 36, 36 sts on the first Bud pattern row above the hem ribbing row from collar to side seam.

Work 6 rows of St st. Work Bud Pattern until pocket is 5”/12cm tall ending on a RS row.

I cord BO: CO 3 sts using backward loop CO, k2, k2tbl, sl 3 sts back to right needle. 1 sts dec.

Continue I-cord BO until 3 sts rem. K1, k2togtbl, sl2 sts back onto right needle, k2tog, break yarn and pull through rem st. Rep for other side. Sew left and right sides of pocket to cardigan.

Optional Waist Tie Using smallest needle, CO 11 sts. (k1, p1) to last st, k1. repeat Rows 1-2 below until tie measures 12”/30cm longer than chest measurement or the desired length. BO loosely in pattern.

Row 1: Sl1 wyif, (k1, p1).

Row 2: Sl1 wyib, (p1, k1).

Radicle Threads Magazine

FINISHING Weave in ends, wash and block to size.

Serrana Shawl

by Daniel Núñez @mostlybadfly Dyer Brooke Addams @iamfullyspun

FINISHED MEASUREMENTS

48 inches x 48 inches / 120 cm x 120 on each side

YARN

I Am Fully Spun. DK weight, 100% Superwash Merino, 100g/211m/235yds.

MC- 3 skeins in August 6th, CC1- 1 skein in Killer Eggplant, CC2- 1 skein in Sweet Potato Pie.

NEEDLES

US 7 (4.5mm) circular needle, 40inch/100 cm or size needed to obtain gauge

NOTIONS

Yarn Needle, Stitch Markers , Scissors

GAUGE

18 sts and 24 rows = 4” over Stockinette Stitch, blocked For pattern support, contact Daniel at reachdanielnunez@gmail.com Page 83

Serrana is a Spanish word to describe a woman who creates and lives in the Sierra mountains of Mexico. Mothers, aunts and grandmothers create crocheted borders, aprons and fabric patterns which inspired the tricolor mosaic knit designs of this shawl.

The Serrana Shawl is constructed from three equal triangles that grow together making three quarters of a square. It is knit flat from the center and the triangular sections are worked in large bands of textured stitches and mosaic knitting. Increases worked evenly on every right side row.

DIRECTIONS Garter tab cast on Using MC CO 3 sts.

Row 1-10: K 10 rows.

Next Row: K3, pick up and k5 sts along the side edge, pick up and k3 sts from the CO edge. 11 sts.

Stockinette section one Setup Row 1 (WS): K, kfb, p1, pfb, pfb, p1, pfb, pfb, p , kfb, k. 17 sts.

Setup Row 2 (RS): K3, pm, [yo, k1, yo, pm, k4, pm] twice; yo, k1, yo, pm, k3. 23 sts.

Setup Row 3 (WS): K3, sm, p to the last m, sm, k3.

Row 1 (RS): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm]twice; yo, k3, yo, sm, k3. 29 sts.

Row 2 (WS): K3, sm, [p to m, sm, p1, sl2, p1, sm] twice; p to m, sm, k3.

Row 3: K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k5, yo, sm, k3. 35sts.

Row 4: K3, P to the last m, sm, k3.

Rep rows 1-4 four more times. 83 sts.

Mosaic texture section one Row 21: Join CC1, k3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, k3. 89 sts.

Row 22 (CC1): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm twice, k3.

Row 23 (MC): K3, sm, [yo, (k1, sl1) to one st before m, k1, yo, sm, k4, sm] twice; yo, k1, (sl1, k1) to m, yo, sm, k3. 95 sts.

Row 24 (MC): K3, sm, [p2, (sl1, p1) to 1 st before m, p1, sm, p4, sm] twice; p2, (sl1, p1) to 1 st before m, p1, sm, k3 Row 25 (CC1): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 101 sts.

Row 26 (CC1): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 27 (MC): K3, sm, [yo, (k3, sl1) to 3 sts before m, k3, yo, sm, k4, sm] twice; yo, (k3, sl1) to 3 sts before m, k3, yo, sm, k3.

107 sts.

Row 28 (MC): K3, sm, [p4, (sl1, p3) to 1 st before m, p1, sm, p4, sm] twice; p4, (sl1, p3) to 1 st before m, p1, sm, k3.

Row 29 (CC1): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 113 sts.

Row 30 (CC1): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 31 (MC): K3, sm, [yo, k1, (sl1, k1) to m, yo, sm, k4, sm] twice; yo, k1, (sl1, k1) to m, yo, sm, k3. 119 sts.

Row 32 (MC): K3, sm, [p2, (sl1, p1) to 1 st before m, p1, sm, p4, sm] twice; p2, (sl1, p1) to 1 st before m, p1, sm, k3.

Row 33 (CC1): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 125 sts.

Row 34 (CC1): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3. Break CC1.

Radicle Threads Magazine

Hover over with your phone's camera to download the printable charts.

Use the case sensitive password JOURNEY

Radicle Threads Magazine

Hover over with your phone's camera to download the printable charts.

Use the case sensitive password JOURNEY

Radicle Threads Magazine

Stockinette section two Row 35 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3. 131 sts.

Row 36 (MC): K3, p to last m, sm, k3.

Row 37 (MC): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 137 sts.

Row 38 (MC): K3, sm, [p to m, sm, p1, sl2, p1, sm] twice; p to m, sm, k3.

Row 39 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3. 143 sts.

Row 40 (MC): K3, p to last m, sm, k3.

Mosaic texture section two Rows 41-54: Join CC1 and rep Rows 21-34 once more. Break CC1. 185 sts.

Stockinette section three Row 55 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3. 191 sts.

Row 56 (MC): K3, sm, p to last m, sm, k3.

Row 57 (MC): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 197 sts.

Row 58 (MC): K3, sm [p to m, sm, p1, sl2, p1, sm] twice; p to m, sm, k3.

Rows 59-70 (MC): Rep Rows 55-58 three more times. 233 sts.

Rows 71-72 (MC): Rep Rows 55-56 once more. 239 sts.

Plaid mosaic section one If knitting from the Plaid Mosaic chart: K garter border in colour indicated, *work Plaid Mosaic, repeating sts between red lines, to next m, sm, work 4 spine sts, sm, rep from * twice, work Plaid Mosaic, rep sts between red lines to next m, sm, K garter border.

Maintain your 3 st garter border and sl stitch spines, and work the chart three times between markers.

Row 73 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, K3. 245 sts.

Row 74 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 75 (MC): K3, sm, [yo, k1 *(sl1, k1) twice, (sl1, k2) twice; rep from * to 6 sts from m, (sl1, k1) three times, yo, sm, k4, sm] twice; yo, k1, *(sl1, k1) twice, (sl1, k2) twice rep from * to 6 sts before m, (sl1, k1) 3 times, yo, sm, k3. 251 sts.

Row 76 (MC): K3, sm, [p2, (sl1, p1) twice, sl1, *(p2, sl1) twice, (p1, sl1) twice, rep from * to 2 sts from m, p2, sm, p4, sm] twice; p2, (sl1, p1) twice, sl1, *(p2, sl1) twice , (p1, sl1) twice, rep from * to 2 sts before m, p2, sm, k3.

Row 77 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 257 sts.

Row 78 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 79 (MC): K3, sm, [yo, k3 *(sl1, k1) twice, (sl1, k2) twice; rep from * to 8 sts before m, (sl1, k1) three times, k2, yo, sm, k4, sm] twice; yo, k3 *(sl1, k1) twice, (sl1, k2) twice, rep from * to 8 sts from m, (sl1, k1) three times, k2, yo, sm, k3. 263 sts.

Row 80 (MC): K3, sm, [p3 (p1, sl1) three times, *(p2, sl1) twice, (p1, sl1) twice, rep from * to 4 sts from m, p4, sm, p4, sm] twice; p3, (p1,sl1) three times, *(p2, sl1) twice, (p1, sl1) twice rep from * to 4 sts from m, p4, sm, k3.

Radicle Threads Magazine

Row 81 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 269 sts.

Row 82 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 83 (MC): K3, sm, [yo, k2, sl1, k2, *(sl1, k1) twice, (s1, k2) twice; rep from * to m, yo, sm, k4, sm] twice; yo, k2, sl1, k2, *(sl1, k1) twice, (s1, k2) twice; rep from * to m, yo, sm, k3. 275 sts.

Row 84 (MC): K3, sm, [p3, sl1, p2, (sl1, p1) twice, sl1, *(p2, sl1) twice, (p1, sl1) twice rep from * to 5 st from m, p2, sl1, p3, sm, p4, sm] twice; p3, sl1, p2, (sl1, p1) twice, sl1, *(p2, sl1) twice, (p1, sl1) twice, rep from * to 5 st from m, p2, sl1, p3, sm, k3.

Row 85 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 281 sts.

Row 86 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 87 (MC): K3, sm, [yo, k1, (sl1, k2) twice, *(sl1, k1) twice, (sl1, k2) twice; rep from * to 2 sts from m, sl1, k1, yo, sm, k4, sm] twice; yo, k1, (sl1, k2) twice, *(sl1, k1) twice, (sl1, k2) twice; rep from * to 2 sts from m, sl1, k1, yo, sm, k3. 287 sts.

Row 88 (MC): K3, sm, [(p2, sl1) three times, (p1, sl1) twice, *(p2, sl1) twice, (p1, sl1) twice; rep from * to 8 sts from m, (p2, sl1) twice, p2, sm, p4, sm] twice; (p2, sl1) three times, (p1, sl1) twice, *(p2, sl1) twice, (p1, sl1) twice; rep from * to 8 sts from m, (p2, sl1) twice, p2, sm, k3.

Row 89 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 293 sts.

Row 90 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 91 (MC): K3, sm, [yo, k1, sl1, k1, *(sl1, k2) twice, (sl1, k1) twice; rep from * to m, yo, sm, k4, sm] twice; yo, k1, sl1, k1, *(sl1, k2) twice, (sl1, k1) twice; rep from * to m, yo, sm, k3. 299 sts.

Row 92 (MC): K3, sm, [p1, (p1, sl1) twice, * (p2, sl1) twice, (p1, sl1) twice; rep from * to 10 sts from m, (p2, sl1) twice, (p1, sl1) twice, p2 sm, p4, sm] twice; p1, *(p1, sl1) twice, (p2, sl1) twice, rep from * to 4 sts from m, p1, sl1, p2, sm, k3.

Row 93 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 305 sts.

Row 94 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 95 (MC): K3, sm, [yo, k1, *(sl1, k1) twice, (sl1, k2) twice; rep from * to 6 sts from m, (sl1, k1) three times, yo, sm, k4, sm] twice; yo, k1, *(sl1, k1) twice, (sl1, k2) twice; rep from * to 6 sts from m, (sl1, k1) 3 times, yo, sm, k3. 311 sts.

Row 96 (MC): K3, sm, [p1, (p1, sl1) three times, (p2, sl1) twice, (p1, sl1) twice; rep from * to 2 sts from m, p2, sm, p4, sm] twice; p1, (p1, sl1) three times, (p2, sl1) twice, (p1, sl1) twice, rep from * to 2 sts from m, p2, sm, k3.

Plaid mosaic section two Rows 97-114: Replace CC2 for CC1 and rep rows 77-94. 365 sts.

Stockinette section four Row 115 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3. 371 sts.

Row 116 (MC): K3, sm, p to last m, sm, k3.

Row 117 (MC): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 377 sts.

Radicle Threads Magazine

Row 118 (MC): K3, sm, [p to m, sm, p1, sl2, p1, sm] twice; p to m, sm, k3.

Rows 119-126: Repeat Rows 115-118 twice more. 401 sts.

Rows 127-128: Repeat rows 115-116. 407 sts.

Blocks Mosaic section Join MC and CC2 as req’d) If knitting from the Blocks Mosaic chart: K garter border in colour indicated, *work Blocks Mosaic, repeating sts between red lines, to next m, sm, work 4 spine sts, sm, rep from * twice, work Blocks Mosaic, rep sts between red lines to next m, sm, K garter border.

Row 129 (CC1): K3, sm, [yo, k2, sl2, *k3, sl2, rep from * to 2 sts from m, k2, yo, sm, k1, sl2, k1, sm] twice; yo, k2, sl2, *k3, sl2, rep from * to 2 sts from m, k2, yo, sm, k3. 413 sts.

Row 130 (CC1): K3, sm, [k3, *sl2, k3; rep from * to m, sm, k1, sl2, k1, sm] twice; k3, *sl2, k3; rep from * to m, sm, k3.

Row 131 (MC): K3, sm, [yo, k1, *k1, sl1, k2, sl1, rep from * to 2 sts from m, k2, yo, sm, k4, sm] twice; yo, k1, *k1, sl1, k2, sl1; rep from * to 2 sts from m, k2, yo, sm, k3. 419 sts.

Row 132 (MC): K3, sm, [p3, sl1, *p2, sl1, p1, sl1, rep from * to 6 sts from m, p2, sl1, p3, sm, p4, sm] twice; p3, sl1, *p2, sl1, p1, sl1, rep from * to 6 sts from m, p2, sl, p3, sm, k3.

Row 133 (CC1): K3, sm, [yo, k2, sl1, k1, sl2,*k1, sl1, k1, sl2, rep from * to 4 sts from m, k1, sl1, k2, yo, sm, k1, sl2, k1, sm] twice; yo, k2, sl1, k1, sl2, *k1, sl1, k1, sl2, rep from * to 4 sts from m, k1, sl1, k2, yo, sm, k3. 425 sts.

Row 134 (CC1): K3, sm, [k3, sl1, k1, *sl2, k1, sl1, k1, rep from * to 2 sts from m, k2, sm, k1, sl2, k1, sm] twice; k3, sl1, k1, *sl2, k1, sl1, k1 rep from * to 2 sts from m, k2, sm, k3.

Row 135 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice, yo, k to m, yo, sm, k3.

431 sts.

Row 136 (MC): K3, sm, p to last m, sm, k3.

Row 137 (CC2): K3, sm, [yo, k1, sl2, *k3, sl2, rep from * to 1 st from m, k1, yo, sm, k1, sl2, k1, sm] twice; yo, k1, sl2, *k3, sl2, rep from * to 1 st from m, k1, yo, sm, k3.

437 sts.

Row 138 (CC2): K3, sm, [k2, *sl2, k3, rep from * to 4 sts from m, sl2, k2, sm, k1, sl2, k1, sm] twice; k2, *sl2, k3, rep from * to 4 sts from m, sl2, k2, sm, k3.

Row 139 (MC): K3, sm, [yo, k1, sl1, k2, *sl3, k2 rep from * to 2 sts from m, sl1, k1, yo, sm, k4, sm] twice; yo, k1, sl1, k2, *sl3, k2, rep from * to 2 sts from m, sl1, k1, yo, sm, k3. 443 sts.

Row 140 (MC): K3, sm, [p2, sl1, *p2, sl3, rep from * to 5 sts from m, p2, sl1, p2, sm, p4, sm] twice; p2, sl1, *p2, sl3, rep from * to 5 sts from m, p2, sl1, p2, sm, k3.

Row 141 (CC2): K3, sm, [yo, *k3, sl2; rep from * to 3 sts from m, k3, yo, sm, k1, sl2, k1] twice; yo, *k3, sl2; rep from * to 3 sts from m, k3, yo, sm, k3. 449 sts.

Row 142 (CC2): K3, sm, [k4, *sl2, k3; rep from * to 1 st from m, k1, sm, k1, sl2, k1, sm] twice; k4 *sl2, k3; rep from * to 1 st from m, k1, sm, k3.

Row 143 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3.

455 sts.

Radicle Threads Magazine

Row 144 (MC): K3, sm, p to last m, sm, k3.

Row 145 (CC1): K3, sm, [yo, k1, sl1, *k1, sl1, k1, sl2: rep from * to 5 st from m, (k1, sl1) twice, k1, yo, sm, k1, sl2, k1, sm] twice; yo, k1, sl1, *k1, sl1, k1, sl2, rep from * to 5 sts from m, (k1, sl1) twice, k1, yo, sm, k3. 461 sts.

Row 146 (CC1): K3, sm, [k2, (sl1, k1) twice, *sl2, k1, sl1, k1; rep from * to 3 sts from m, sl1, k2, sm, k1, sl2, k1, sm] twice; k2, (sl1, k1) twice, *sl2, k1, sl1, k1; rep from * to 3 sts from m, sl1, k2, sm, k3.

Row 147 (MC): K3, sm, [yo, k3, *sl1, k1, sl1, k2; rep from * to 1 sts from m, k1, yo, sm, k4, sm] twice; yo, k3, *sl1, k1, sl1, k2; rep from * to 1 sts from m, k1, yo, sm, k3. 467 sts.

Row 148 (MC): K3, sm, [p2, *p2, sl1, p1, sl1; rep from * to 4 sts from m, p4, sm, p4, sm] twice; p2, *p2, sl1, p1, sl1; rep from * to 4 sts from m, p4, sm, k3.

Row 149 (CC1): K3, sm, [yo, k2, sl2, *k3, sl2, rep from * to 2 sts from m, k2, yo, sm, k1, sl2, k1, sm] twice; yo, k2, sl2, *k3, sl2, rep from * to 2 sts from m, k2, yo, sm, k3. 473 sts.

Row 150 (CC1): K3, sm, [p3, *sl2, p3; rep from * to m, sm, k1, sl2, k1, sm] twice; p3, *sl2, p3; rep from * m, sm, k3. Break CC1.

Row 151 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm ] twice; yo, k to m, yo, sm, k3. 479 sts.

Row 152 (MC): K3, sm, p to last m, sm, k3.

Row 153 (CC2): K3, sm, [yo, k1, *k3, sl2; rep to 4 sts from m, k4, yo, sm, k1, sl2, k1, sm] twice; yo, k1, *k3, sl2; rep to 4 sts from m, k4, yo, sm, k3. 485 sts.

Row 154 (CC2): K3, sm, [k5, *sl2, k3; rep from * to 2 sts from m, k2, sm, k1, sl2, k1, sm] twice; k5, *sl2, k3; rep from * to 2 sts from m, k2, sm, k3.

Row 155 (MC): K3, sm, [yo, k2, *sl3, k2; rep from * to m, yo, sm, k4, sm] twice; yo, k2, *sl3, k2; rep from * to m, yo, sm, k3. 491 sts.

Row 156 (MC): K3, sm, [p1, *p2, sl3; rep from * to 3 st from m, p3, sm, p4, sm] twice; p1, *p2, sl3; rep from * to 3 st from m, p3, sm, k3.

Row 157 (CC2): K3, sm, [yo, k1, *sl2, k3; rep from * to 3 sts from m, sl2, k1, yo, sm, k1, sl2, k1, sm] twice; yo, k1, *sl2, k3; rep from * to 3 sts from m, sl2, k1, yo, sm, k3. 497 sts.

Row 158 (CC2): K3, sm, [k2, *sl2, k3; rep from * to 4 sts from m, sl2, k2, sm, k1, sl2, k1, sm] twice; k2, *sl2, k3; rep from * to 4 sts from m, sl2, k2, sm, k3. Break CC2.

Stockinette section five Row 159 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3.

503 sts.

Row 160 (MC): K3, sm, p to last m, sm, k3.

Row 161 (MC): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 509 sts.

Row 162 (MC): K3, sm, [p to m, sm, p1, sl2, p1, sm] twice; p to m, sm k3.

Row 163 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3.

515 sts.

Row 164 (MC): K3, sm, p to last m, sm, k3.

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Garter section Row 165 (CC1): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 521 sts.

Row 166 (CC1): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 167 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3.

527 sts.

Row 168 (MC): K3, sm, [k to m, sm, k1, p2, k1, sm] twice; k to m, sm, k3.

Row 169 (CC2): K3, sm, [yo, k to m, yo, sm, k1, sl2, k1, sm] twice; yo, k to m, yo, sm, k3. 533 sts.

Row 170 (CC2): K3, sm, [k to m, sm, k1, sl2, k1, sm] twice; k to m, sm, k3.

Row 171 (MC): K3, sm, [yo, k to m, yo, sm, k4, sm] twice; yo, k to m, yo, sm, k3. 539 sts.

Row 172 (MC): K3, sm, [k to m, sm, k1, p2, k1, sm] twice; k to m, sm, k3.

BO loosely using a simple bind off. If you tend to bind off tightly, go up a needle size.

FINISHING Weave in ends, wash and block to diagram.

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Braiding Sweetgrass Socks

by Sadie Anderson Bellegarde @sadieruin Dyer Sultan Alrasheed @alwansultanfiber

FINISHED MEASUREMENTS

Sizes S ( M, L ) to fit foot circumference 7 ( 8, 9 ) inches / 18 ( 20, 23 ) centimeters

YARN

Alwan Sultan Fiber. Fingering weight, 80% Superwash BFL/20% Silk 115g/425 yds/388m, 1 skein Sweetgrass to Braid.

NOTIONS

Yarn Needle, Stitch Markers , Scissors, Cable Needles

NEEDLES

US 1 (2.25mm) 32”/80 cm or longer circular needle (or size needed to obtain gauge). The pattern is written for Magic Loop Method.

GAUGE

32 sts = 4”/10cm over Stockinette Stitch, blocked .

Sweetgrass is a traditional medicine for many Indigenous Peoples, and can be used in different ways. It is often braided and dried for use in smudging and prayers. This design was inspired by the braiding of sweetgrass, banded at the top but not fully complete, a work in progress.

The Knitting Sweetgrass Socks are intermediate socks with introductory cables, worked top down with a gusset heel.

Special Stitches: 2x2 Right Cross (2/2RC) Slip two stitches to cable needle hold to back of work, knit two stitches from left needle, knit two held stitches from cable needle

2x2 Left Cross (2/2LC) Slip two stitches to cable needle and hold to front of work, knit two stitches from left needle, knit two held stitches from cable needle Right Cross (RC) Slip 1 stitch to cable needle hold to back of work, knit one stitch from left needle, knit held stitch from cable needle DIRECTIONS Twisted Rib Cuff CO 56 ( 64, 72 ) place BoRm and join for working in the round being careful not to twist.

Rnd 1: *K1tbl, p1* rep around all sts.

Repeat this round until you have 1.5” / 4cm of ribbing.

Leg Braid Rnd 1: *P1, k2, 2/2RC, p1, rep from * to BoR. Page 92

Rnd 2: *P1, k6, p1, rep from * to BoR. Rnd 3: *P1, k6, p1, rep from * to BoR. Rnd 4: *P1, 2/2LC, k2, p1, rep from * to BoR. Rnd 5: *P1, k6, p1, rep from * to BoR. Rnd 6: *P1, k6, p1, rep from * to BoR. Repeat Rnds 1- 6 for approximately 5”/ 12 cm, ending with Rnd 6.

Heel Set up for Heel Flap: Work the first 28 ( 32, 36 ) sts in Leg Braid pattern (Rnd 1) then work heel flap: Heel Flap (worked over 28 ( 32, 36 ) sts): Row 1: *Sl1, k1, rep from* to end.

Row 2: Sl1, p27 (31, 35).

Repeat Row 1 and 2 15 (17, 19) more times.

Turn Heel (worked across 28, ( 32, 36 ) sts): Row 1: K16 ( 18, 20 ), ssk, k1, turn.

Row 2: Sl1, p7, p2tog, p1, turn.

Row 3: Sl1, k to 1 st before the gap, ssk, k1, turn.

Row 4: Sl1, p to 1 st before the gap, p2tog, p1, turn.

Work Rows 1-4 once, then rep Rows 3 and 4 until all heel sts have been worked.

18 ( 20, 22 ) heel sts rem.

Gusset Working across heel turn stitches, pick up 16 ( 18, 20 ) sts along left edge of heel flap (the sl sts), continue Leg Braid pattern (Rnd 2) across the top of the foot (for magic loop keep the top of the foot sts tog and all the heel sts tog), pm, pick up and k16 ( 18, 20 ) sts along right edge of heel flap, then k across the heel flap sts and previously picked up sts along the left edge once more. Place m for BoR. 78 ( 88, 98 ) sts.

Gusset Decreases Rnd 1: Work Leg Braid pattern across the top of the foot, sm, k1, ssk, k to 3 sts before the BoRm, k2tog, k1. (2 sts dec) Rnd 2: Work in Leg Braid pattern across the top of the foot, sm, k to BoR. Repeat these two rnds until you have 28 ( 32, 36 ) on both top and bottom of the foot.

Work even so that you end on a Rnd 6 of the Braid pattern, then continue to Foot.

Foot Rnd 1: P2 (0, 2) *p1, RC, [k1, p1] twice, rep from * to 2 (0, 2) sts before m, p2 (0, 2) sm, k to BoRm. Rnd 2: P2 (0, 2) *p1, k1, rep from * to 2 (0 , 2) sts before m, p2 (0, 2), sm, k to BoRm. Work Rnd 2 for 1” / 2.5 cm.

Rnd 3: P2 (0 , 2) *p3, [k1, p1] twice, k1 rep from * to 2 (0, 2) sts before m, p2 (0, 2), sm, k to BoRm. Work Rnd 3 for 1” /2.5 cm.

Rnd 4: P2 (0 , 2) *p3, k1, p1, k1, p2 rep from * to 2 (0 , 2) sts before m, p2 (0 , 2), sm, k to BoRm. Work Rnd 4 for 1” / 2.5 cm.

Rnd 5: P2 (0, 2) *p5, k1, p2 rep from * to 2 (0 , 2) sts before m, p2 (0 , 2), sm, k to BoRm. Continue Rnd 5 until foot measures 2” / 5cm less than desired length from heel to toe.

Toe While decreasing for toe, continue k column sts est on Rnd 5.

Rnd 1: P1, ssp, p to 3 sts before m, p2tog, p1 sm, k1, ssk, k to 3 sts before BoRm, k2tog, k1.

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Rnd 2: P all p sts, k all k sts.

Rep these two rnds until there are 12 sts on each needle.

FINISHING Break yarn, leaving a 6” tail and graft the remaining 24 sts tog. Weave in ends.

For pattern support, contact Sadie at sadieruin@icloud.com

Karuvepillai Cowl

by M H Jayalakshmi @apoorvadesigns Dyer Mugdha Manasa @sunrayscreations

FINISHED MEASUREMENTS

23 inches/ 58 cm circumference x 21 inches / 53 cm height

YARN

Sunrays Creations. DK weight, 100% wool, 100g/274 m/300 yds, 1 skein in Camouflaged.

NOTIONS

Yarn Needle, Stitch Markers , Scissors

NEEDLES

US 5 (3.75mm) circular needle, 24inch/60 cm or size needed to obtain gauge

GAUGE

22 sts and 32 rows = 4”/10cm over Stockinette Stitch worked flat, blocked 22 sts and 32 rnds = 4”/10 cm over Stockinette Stitch worked in the round, blocked 29 sts and 32 rows = 4”/10 cm in lace pattern worked flat, blocked.

28 sts and 32 rnds = 4”/10 cm in lace pattern worked in the round, blocked.

The Karuveppilai Cowl is knit with a central lace panel symbolic of the karuveppilai (curry leaf in Tamil), an aromatic herb used primarily in South Indian cuisine. The lightweight bandana shaped cowl is a great first lace project.

This single color cowl begins with a few stitches and gently widens along both ends. A symmetrical lace panel is worked up around the neck, the cowl is joined in the round for two more lace repeats, and an elegant eyelet border frames the face.

Page 94

Special Stitches: Knit three together (k3tog) Knit 3 sts together, double right leaning decrease.

Slip, knit two together, pass slipped stitch over (SK2P) Slip 1 knitwise, knit 2 together, pass slip stitch over knit 2 together; double left leaning decrease.

Lace (worked flat over 22 sts) Row 1 (RS): K6, k3tog, yo, k1, yo, p2, yo, k1, yo, SK2P, k6.

Row 2 (WS) and all even rows until Row 12: P10, k2, p10.

Row 3: K4, k3tog, (k1, yo) twice, k1, p2, (k1, yo) twice, k1, SK2P, k4.

Row 5: K2, k3tog, k2, yo, k1, yo, k2, p2, k2, yo, k1, yo, k2, SK2P, k2.

Row 7: K3tog, k3, yo, k1, yo, k3, p2, k3, yo, k1, yo, k3, SK2P. Row 9: K10, p2, k10.

Row 11: Rep Row 9.

Lace (in the round over 22 sts) Rnd 1: K6, k3tog, yo, k1, yo, p2, yo, k1, yo, SK2P, k6.

Rnd 2 and all even rnds: K10, p2, k10.

Rnd 3: K4, k3tog, (k1, yo) twice, k1, p2, (k1, yo) twice, k1, SK2P, k4.

Rnd 5: K2, k3tog, k2, yo, k1, yo, k2, p2, k2, yo, k1, yo, k2, SK2P, k2.

Rnd 7: K3tog, k3, yo, k1, yo, k3, p2, k3, yo, k1, yo, k3, SK2P. Rnds 9 -12: K10, p2, k10.

Icelandic Bind-off: Knit 1, *slip stitch from right needle to left needle purlwise.

Insert right needle purlwise into first stitch on left needle, then knitwise into second st and catch front loop of second stitch. Draw this loop through the first st

and knit it. One stitch decreased. Repeat from * until you have bound off all stitches.

DIRECTIONS Loosely CO 4 sts.

Note: The M1R and M1L increases happen inside of the markers.

Row 1 (RS): Kfb, pm, k2, pm, kfb. (2 sts inc, 6 sts) Row 2 (WS): K all.

Row 3: K2, sm, M1R, k to m, M1L, sm, k2.

(2 sts inc, 8 sts) Row 4: K all.

Row 5: K2, sm, M1R, k to m, M1L, sm, k2.

(2 sts inc) Row 6: K2, p to last 2 sts, k2.

Rep Rows 5 and 6 nine times total. 26 sts.

Section 1 (worked flat) In this section, inc 2 sts every RS (odd) row and work the lace chart in between the markers.

Note: The M1R and M1L inc happen outside of the markers.

Setup Row 1 (RS): K2, M1R, sm, k6, k3tog, yo, k1, yo, p2, yo, k1, yo, SK2P, k6, sm, M1L, k2.

Go to Row 2 below.

Row 1 (RS): K2, M1R, k to m, sm, k6, k3tog, yo, k1, yo, p2, yo, k1, yo, SK2P, k6, sm, k to last 2 sts M1L, k2.

Row 2 (WS): K to m, sm, p10, k2, p10, sm, k to end.

Row 3: K2, M1R, k to m, sm, k4, k3tog, (k1, yo) twice, k1, p2, (k1, yo) twice, k1, SK2P, k4, sm, k to last 2 sts, M1L, k2.

Row 4: K2, p to m, sm, p10, k2, p10, sm, p to last 2 sts, k2.

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Row 5: K2, M1R, k to m, sm, k2, k3tog, k2, yo, k1, yo, k2, p2, k2, yo, k1, yo, k2, SK2P, k2, sm, k to last 2 sts, M1L, k2.

Row 6: K2, p to m, sm, p10, k2, p10, sm, p to last 2 sts, k2.

Row 7: K2, M1R, k to m, sm, k3tog, k3, yo, k1, yo, k3, p2, k3, yo, k1, yo, k3, SK2P, sm, k to last 2 sts, M1L, k2.

Row 8: K2, p to m, sm, p10, k2, p10, sm, p to last 2 sts, k2.

Row 9: K2, M1R, k to m, sm, k10, p2, k10, sm, k to last 2 sts, M1L, k2.

Row 10: K2, p to m, sm, p10, k2, p10, sm, p to last 2 sts, k2.

Row 11: Rep Row 9.

Row 12: Rep Row 10.

12 sts inc, 38 sts on needles.

Rep Rows 1-12 eight more times. 134 sts.

Section 2 (worked in the round) Do not remove markers. Join for working in the rnd being careful not to twist your sts. Sl the last 2 sts of the row just worked over the first st of the next RS row. Tug yarn so there’s no gap in the join. 132 sts.

Rnd 1: K2tog, k to m, sm, k6, k3tog, yo, k1, yo, p2, yo, k1, yo, SK2P, k6, sm, k to last 2 sts, ssk. (2 sts dec).

Rnd 2: K to m, sm, K10, p2, k10, sm, k to end.

Rnd 3: K to m, sm, k4, k3tog, (k1, yo) twice, k1, p2, (k1, yo) twice, k1, SK2P, k4, sm, k to end.

For pattern support, contact Jayalakshmi at contact@apoorvadesigns.com

Rnd 4: K to m, sm, k10, p2, k10, sm, k to end.

Rnd 5: K to m, sm, k2, k3tog, k2, yo, k1, yo, k2, p2, k2, yo, k1, yo, k2, SK2P, k2, sm, k to end.

Rnd 6: K to m, sm, k10, p2, k10, sm, k to end.

Rnd 7: K to m, sm, k3tog, k3, yo, k1, yo, k3, p2, k3, yo, k1, yo, k3, SK2P, sm, k to end.

Rnd 8-12: K to m, sm, k10, p2, k10, sm, k to end.

Work Rnds 1-12 two times total, removing markers on the last rnd. 128 sts.

Eyelet Border Border Rnd 1: P all.

Border Rnd 2: *K2tog, yo, rep from *.

Border Rnd 3: K all.

Border Rnd 4: P all.

BO all sts using the Icelandic BO. Cut yarn leaving a 6” long tail.

FINISHING Wash and block. Laying the cowl flat and starting at the top, pin out the neck edge to shape and then stretch and pin out each side to a straight line. When one side of the cowl is dry, flip the cowl to dry the opposite side. Weave in ends once the cowl is dry.

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In the rounds

Flat Radicle Threads Magazine

Meduh Mittens

by Caroline Dick @cdickdesigns Dyer Nakia Kammerzell @wildstarfibers

FINISHED MEASUREMENTS

To fit hand circumference 7 ( 7.5, 8.25 ) 9, 9.75 inches / 18 ( 19, 21 ) 23, 25 cm

YARN

Wild Star Fibers. Heavy DK, 100% Superwash Merino, 100g/199m/218yds, MC- 1 skein in Juice, CC- 1 skein in Into The Forest I Go

NOTIONS

Yarn Needle, Stitch Markers , Scissors, Scrap Yarn

NEEDLES

US 6 (4mm) DPNs, 6 inch/15 cm or size needed to obtain gauge.

GAUGE

22 sts and 32 rows = 4”/10cm over Stockinette Stitch, blocked.

The Meduh Mitts are inspired by rediscovering connections with the Ancestors. There is a feeling of completion and wholeness in reforging the ties that couldn't be severed. Meduh is the Tahltan word for Thank You. The two color Meduh Mitts are knit with a simple stranded colorwork fade worked in the round, bottom up, and is suitable for colorwork beginners. The pattern is written for 5 adult sizes.

Special stitches: Knit left loop (KLL): Insert your left hand needle into the left leg of the stitch two rows below the stitch you just knit.

Lift this loop onto your left needle, insert your right hand needle into the back of this loop, and knit, one stitch increased. (left leaning increase).

Knit right loop (KRL): Insert your right hand needle into the stitch below the next stitch, catch the working yarn and pull through, one stitch increased. (right leaning increase).

DIRECTIONS Make 2. Left and right mitts are identical.

Cuff With CC1, CO 28 ( 32, 36 ) 40, 44 sts. Join for working in the round being careful not to twist sts, pm to indicate BoR. Rnd 1: *K2, p2, rep from * to end.

Rep for 18 ( 18, 20 ) 20, 22 rnds.

Rnd 2: K all.

Rep for 18 ( 18, 20 ) 20, 22 rnds.

Thumb Gusset Rnd 1: K1, KRL, pm, k to 1 st before end of rnd, pm, KLL, k1.

Rnd 2: K all.

Page 98

Rnd 3: K to m, KRL, sm, k to m, sm, KLL, k to BoRm. Rnd 4: K all.

Repeat Rnds 3 and 4 a total of 6 ( 6, 8 ) 8, 10 times. 42, ( 46, 54 ) 58, 66 sts.

Thumb separation K to 2nd m, remove m. Sl next 16 ( 16, 20) 20, 24 thumb sts to waste yarn. CO 1 st, pm, CO 1 st using backwards loop and rejoin for working in the rnd.

Join CC2 and work Meduh Mitts Chart across 28 ( 32, 36 ) 40, 44 hand sts for the next 12 rnds, cut CC1.

With CC2, K all for 14 ( 14, 16 ) 16, 18 rnds in st st or 1 ( 1.5, 2 ) 2.5, 3 in / 2.5 ( 4, 5 ) 6.5, 7.5 cm less than desired length.

Decreases Rnd 1: Ssk, k10 ( 12, 14) 16, 18 k2tog, pm, ssk, k10 ( 12, 14) 16, 18 , k2tog.

Rnd 2: K across all sts.

Rnd 3: Ssk, k to 2 sts before m, k2tog, sm, ssk, k to 2 sts before end, k2tog.

Rnd 4: K across all sts.

Rep last 2 rnds 4 ( 5, 6 ) 7, 8 more times.

4 sts rem. Pull yarn through rem sts.

For pattern support, contact Caroline at cdickdesigns@gmail.com

Thumb Place held sts on needles, and join CC1.

From CO edge, pick up 1 st, pm for BoR, pick up 1 st, k to m. 18 ( 18, 22 ) 22, 26 sts.

Setup Rnd: Ssk, k to last 2 sts, k2tog. 16 ( 16, 20 ) 20, 24 sts.

Rnd 1- 12: Join CC2 and work Meduh Mitts Chart around thumb sts for 12 rnds. Break CC1.

Rnd 13-14: With CC2 K across all sts.

Thumb decreases Setup Rnd: Remove BoRm, k2 ( 3, 3 ) 4, 4 pm for new BoR, k8 ( 8, 10 ) 10, 12 pm, k8 ( 8, 10 ) 10, 12.

Rnd 1: *K2tog, k to 2 st before m, ssk; rep from * to BoR. Rnd 2: K all.

Repeat Rnds 1 and 2 a total of 2 ( 2, 3 ) 3, 4 times.

Repeat Rnd 1 once more. (4 sts rem).

FINISHING Thread yarn through rem sts. Weave in ends, wash and block.

Hover over with your phone's camera to download the printable charts.

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Ancestors Cardigan

by Dawn Henderson @knit.yarn.stuff Dyer Shobha Nadarajah @serendipitouswool

FINISHED MEASUREMENTS

Chest circumference: 36 , 40 ( 44, 48, 52 ) 56, 60, 64 inches / 91, 102 ( 112 , 122, 132 ) 142, 152, 163 cm. Sleeve circumference: 12.5, 13.5 ( 14, 15.5, 16 ) 17.5, 18, 18.5) inches / 32, 34 ( 36, 39, 41 ) 44, 46, 47) cm. Length, from underarm to bottom hem 19 in / 48 cm. Sleeve length, from underarm to cuff: 19 in / 48 cm. Armhole depth: 6.25, 6.5 ( 6.75, 7.5, 8 ) 8.5, 8.75, 9.25 inches / 16, 17 ( 17, 19, 20 ) 22, 22, 23 cm.

YARN

Serendipitous Wool Co. Worsted weight, 100% Superwash Merino, 100g/199m/218y 7, 8 (8, 9, 10) in Ancestors.

NEEDLES

US 7 (4.5mm) circular needle, 32 inch/80 cm or size needed to obtain gauge DPNS or small circumference circular for sleeves or longer for magic loop (optional)

EASE

Sweater to be worn with 2-4 inches of positive ease.

NOTIONS

Yarn Needle, Stitch Markers , Scissors, Cable Needle (optional)

GAUGE 16 sts and 24 rows = 4” / 10 cm over double moss stitch, blocked 17 sts and 40 rows = 4” / 10 cm garter stitch, blocked 18 sts and 24 rows = 4” / 10 cm chart repeat, blocked

For pattern support, contact Dawn at dlyn1124@gmail.com This sweater was inspired by the repeating patterns found in traditional Mudcloth textiles from Mali and Serendipitous Wool Ancestors colorway.

The design’s allover texture keeps the knitter’s interest without being overwhelming, customizable sleeve and body lengths afford many styling options.

The Ancestors Sweater is an intermediate open-front cardigan, with relaxed, dropshoulder construction. The body is worked bottom-up and flat. Sleeves are picked up and knit last; instructions for two different sleeve profiles are included.

Page 101

Special Stitches: Make Bobble (MB) Knit into front and back of the next st, then into front again (2 sts inc). Turn work and purl across 3 sts. Turn work and knit across 3 sts, then with LH needle, lift first and 2nd sts over 3rd st (2 sts dec). Bobble complete.

One-by-one Right Cross Purl (RCP) Slip 1 stitch purlwise onto a cable needle and hold in back of work, knit 1 and then purl 1 from the cable needle.

One-by-one Left Cross Purl (LCP) Slip 1 stitch purlwise onto a cable needle and hold in front of work, purl 1 and then knit 1 from the cable needle.

Double Moss Stitch (worked flat over an even number of sts) Row 1: *P2, k2 rep from * across.

Row 2: Rep Row 1.

Row 3: *K2, p2 rep from * across.

Row 4: Rep Row 3.

Three Needle Bind-off (seaming live stitches on two parallel needles) Step 1: K the first st from the front needle and the first st from the back needle tog.

Step 2: K the next st from each needle tog. (2 sts on RH needle) Step 3: Insert the LH needle into the first of the 2 sts on the RH needles, drawing it up and over the 2nd st. One stitch decreased.

Rep Step 2 and 3 until one st rem. Draw rem yarn through this st.

Chart Written Instructions Chart 1 Row 1: P1, sl1wyib, p3, MB, p3, sl1wyib, p2, RCP, LCP, p2, sl1 wyib, p1.

Row 2: K4, p4, k12.

Row 3: P1, sl1wyib, p7, sl1wyib, p1, RCP, p2, LCP, p1, sl1wyib, p1.

Row 4: K3, p2, k2, p2, k11.

Chart 2 Row 1: P1, sl1wyib, p2, RCP, LCP, p2, sl1wyib, p3, MB, p3, sl1wyib, p1.

Row 2: K12, p4, k4.

Row 3: P1, sl1wyib, RCP, p2, LCP, p1, sl1wyib, p7, sl1wyib, p1 Row 4: K11, p2, k2, p2, k3.

DIRECTIONS Garter Stitch Hem With US 7 (4.5mm) needles, CO 144, 160 ( 176, 192, 208 ) 224, 240, 256 sts using the long-tail method.

Row 1 (RS): K across.

Row 2 (WS): K across.

Rep Rows 1-2 until desired hem depth is achieved, ending on a WS row.

Setup for Double Moss Stitch, Chart 1 and Chart 2: Row 1 (RS): K4, pm, k12, 16 ( 20, 24, 28) 32, 36, 40, pm, k20, pm, k20, pm, k 32, 40 (48, 56, 64 ) 72, 80, 88, pm, k20, pm, k20, pm, k 12, 16 ( 20, 24, 28 ) 32, 36, 40, pm, k4.

Row 2 (WS): K4, p across to last m (sm as you come to them), k4.

Body Row 1 (RS): K4, sm, [p2, k2] to m, sm, work Row 1 of Ancestors Chart 1, sm, work Row 1 of Ancestors Chart 2, sm [p2, k2] to m, sm, work Row 1 of Ancestors Chart 1, sm, work Row 1 of Ancestors Chart 2, sm [p2, k2] to m, sm, k4.

Row 2 (WS): K4, sm, work each st as it appears (knitting knits, purling purls/slipped sts/bobbles and slipping markers as you come to them) until 4 sts rem, sm, k4.

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Row 3: K4, sm, [k2, p2] to m, sm, Work Row 3 of Ancestors Chart 1, sm, work Row 3 of Ancestors Chart 2, sm, [k2, p2] to next m, sm, work Row 3 of Ancestors Chart 1, sm, work Row 3 of Ancestors Chart 2, [k, p2] to last m, sm, k4.

Row 4: Rep Row 2.

Rep Rows 1-4 until the piece measures 19 in / 48 cm or desired length from bottom hem to underarm. For a more tailored, jacket-style piece, the bottom hem should land at the high hip. For a more casual feel, rep until the bottom hem lands at mid hip or past the bottom.

From here, the Right Front, Back, and Left Front will each be worked separately to establish the armholes.

The fronts will then be seamed to the back at the shoulders. Each section that is not being actively worked can rest on the needle— no extra waste yarn or stitch holders are necessary.

Right Front Row 1 (RS): Work in pattern to 3rd m, remove m, turn. 36, 40 ( 44, 48, 52 ) 56, 60, 64 sts.

Row 2 (WS): Work in pattern across.

Row 3 (RS): Work in pattern across to right underarm.

Rep Rows 2 and 3 until Right Front measures 6.25, 6.5 ( 6.75, 7.5, 8 ) 8.5, 8.75, 9.25 in / 16, 16 ( 17, 19, 20 ) 21, 22, 23 cm, approx 38, 40 ( 42, 46, 48 ) 52, 54, 56 rows, from underarm to shoulder.

Armhole depth can be adjusted to fit personal preference, but it will directly affect the final sleeve circumference.

Break yarn, leaving a long tail for a 3needle BO later.

Back Row 1 (RS): Work 72, 80 ( 88, 96, 104 ) 112, 120, 128 sts in pattern, remove m, turn.

Row 2 (WS): Work in pattern across to right underarm.

Row 3 (RS): Work in pattern across to left underarm.

Rep Rows 2 and 3 until Back measures 6.25, 6.5 ( 6.75, 7.5, 8 ) 8.5, 8.75, 9.25 in / 16, 16 ( 17, 19, 20) 21, 22, 23 cm, approx 38, 40 ( 42, 46, 48 ) 52, 54, 56 rows, from underarm to shoulder. If you adjusted armhole depth at Right Front, do so again here to match.

Break yarn, leaving a long tail to complete a 3-needle BO later.

Left Front Row 1 (RS): Work across in pattern, turn.

36, 40 ( 44, 48, 52 ) 56, 60, 64 sts.

Row 2 (WS): Work in pattern across to left underarm.

Row 3 (RS): Work in pattern across to left front collar edge.

Rep Rows 2 and 3 until piece measures 6.25, 6.5 ( 6.75, 7.5, 8 ) 8.5, 8.75, 9.25 in / 16, 16 ( 17, 19, 20) 21, 22, 23 cm, approx 38, 40 ( 42, 46, 48 ) 52, 54, 56 rows, from underarm to shoulder. If you adjusted armhole depth at Right Front and Back do so again here.

Break yarn, leaving a long enough tail to complete a 3-needle BO later Join Shoulders With RS facing align Left Front shoulder sts and Back left shoulder sts on two parallel needles, Starting at the shoulder, working towards the neck, using the a third needle and the tails from the broken yarn (or if needed, an extra strand of yarn), to perform a 3 needle BO. Radicle Threads Magazine

Rep the same steps with the Right Front shoulder and Back right shoulder sts, now working from neck to shoulder.

Sleeves Both sleeves are worked identically in the rnd.

Turn work RS out. Beg at the bottom of one armhole, pick up and k1 st between the 2 p sts that separate the Front and Back panels. Cont to pick up and K around the armhole until there are 76, 80 ( 84, 92, 96 ) 104, 108, 112 sts on the needle, ending with the 2nd p st at the bottom of the armhole. Place BoRm. Work in St st (k every rnd) until the sleeve is 18.5 inches / 46cm or .5 in / 2 cm less than desired length.

Cuff Option 1 Garter cuff Work a garter edge as follows: Rnd 1: P all.

Rnd 2: K all.

Rep Rnds 1 and 2 three times. BO all sts.

OR Option 2 I-cord cuff Rnd 1-2: K all.

Rnd 3: K2tog around.

Rnd 4: Using cable CO, CO 3 sts to LH needle, *k2, k2togtbl, sl3 from RH needle to LH needle, rep from * until 3 sts rem, BO 3 sts.

FINISHING Weave in ends, wash and block to size.

Hover over with your phone's camera to download the printable charts.

Use the case sensitive password JOURNEY

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ABBREVIATIONS

All abbreviations are in US terms

Blo – back loop only BPhdc – back post half double crochet CC – contrast color Ch – chain Dc – double crochet Dc2tog – double crochet 2 stitches together Dec(s)(ed) – decrease(s)(d) Fdc – foundation double crochet Flo – front loop only FPhdc – front post half double crochet Fwd – forward pass Hdc – half double crochet Inc(s)(ed) – increase(s)(d) MC – main color Pm – place marker Rep(s) – repeat(s) Rnd(s) – round(s) Rp – return pass RS – Right side Sc – single crochet Sk – skip Sl st – slip stitch Slst2tog – slip stitches 2 together Sp(s) – space(s) St(s) – stitch(es) Tks – Tunisian knit stitch Tps – Tunisian purl stitch Tss – Tunisian simple stitch WS – Wrong side Yo – yarn over

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Knit

All abbreviations are in US terms

ABBREVIATIONS

Beg – beginning BO – bind off BoR - beginning of round BoRm- beginning of round marker CO – cast on CC – contrast color Dec(s)(d) – decrease(s)(d) Dpns – double-pointed needles Inc(s)(d) – increase(s)(d) LH - left hand K – knit K2tog – knit 2 stitches together; single right-leaning decrease Kfb - knit into the the front and back of a stitch M1 – make one stitch knitwise; single knit increase M1L - make one stitch left; pick up strand between the two needles from front to back with tip of left needles, knit into the back of this stitch M1R - make one stitch right; pick up strand between the two needles from back to front with the tip of left needle, knit into the front of this stitch MC – main color

P – purl P2tog – purl 2 stitches together; single decrease Pfb - purl into front and back of a stitch Pm – place marker Rem – remain(ing) Rep – repeat RH - right hand Rnd(s) – round(s) RS – Right side Sk2p – slip 1 knitwise, knit 2 together, pass slip stitch over knit 2 together; double leftleaning decrease Sl – slip Sm – slip marker Ssk – slip 2 stitches knitwise, knit these 2 stitches together through back loops; single left-leaning decrease St(s) – stitch(es) St st – stockinette stitch Tbl – through back loop WS – Wrong side W&t – wrap and turn Wyib – with yarn in back Wyif – with yarn in front Yo – yarn over Page 107

Test Knitter Spotlight

Meet Meet Swarna Swarna Rao Rao Makam Makam I am a homemaker and a budding entrepreneur. I have had the fortune of making my childhood passion (knitting and crochet) into something that is also a source of income. I take online and offline classes to help others learn how to knit thereby growing the community of the craft.

Follow her on Instagram @swarkrafts

What type of maker are you?

I am skilled with advanced levels in both knitting and crochet. From making patterns for clothes to knitting all kinds of shawls, designed bags, woolen socks, themed sweaters and spunky stoles to making Amigurumi toys and other fun items, I enjoy all of it.

How do you find inspiration?

My inspiration comes from the many talented people around the world and the internet has played a large role in helping discover the many possibilities of crochet and all it can accomplish. I follow a lot of creative crochet and knitting artists on the internet (pinterest, instagram and facebook) I find my inspiration from them.

Who taught you, encouraged you in your craft?

I learnt how to knit from my grandmother at the age of 10. Since then, I have followed books, watched videos, tutorials and learnt from artists who could teach me how to be better at what I do.

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Do you feel being a BBIMP has an impact on how your creativity is viewed or received?

Thankfully, I am fortunate to live in a country where being a BBIMP has not affected the way I am perceived or my work has been accepted. However, I do realise that some of the most talented individuals world over have had to face issues with being BBIMP and that is something disturbing and unfortunate.

What are you working on right now?

I am knitting a shawl for my grandson right now. As winter slowly creeps into my country, I hope this will keep him warm through the season.

How does your creative work/craft help you?

I am both a teacher and an entrepreneur. My income from crochet and knitting classes has helped me with my own self confidence and support my family financially. A skill that I learnt at age 10 continues to endure in a lovely way and that is something I will cherish and be proud of.

What is something you are passionate about and why?

I love to test new patterns. These patterns help me create new designs and provide direction on the many new things I can teach my students. I am also keen to do many projects across knitting and crochet so I experiment with several new designs, patterns, forms and products to both learn and create the unknown.

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