[This is page 2 of my ‘about’ pages— Page 1 “About Loop Braiding.” is easy to miss—it’s the uppermost menu tab, above the drop-down list.]
Worldwide, the most common types of loop braids are simple, 2-pass fingerloop braids, often of 5 loops. Interestingly, there are 3 different ways to make this type of braid: the A-fell and V-fell methods, and a third method called Slentre (a.k.a. Method 1, Method 2 and Method 3). Any of these three methods can be used to make the same 3-to-7-loop braids.*¹
For these very basic loop braids, I primarily use and teach the V-fell method—method 2.
All three of these parallel methods are probably very old. Historically, the V-fell method I teach is known from Asia and the Pacific, including China, SE Asia, Indonesia, Japan, part of Russia, and India. The A-fell method is known from Europe, the Middle East, and Africa. In South America and Finland, both these methods have been documented. The Slentre method was not very widespread—it’s only known from the Faroe Islands, and possibly Denmark.
In a way, the A and V-fell methods are simply upside-down versions of each other. In both methods, palms generally face each other, and a loop travels between the lowest finger of one hand and the highest finger of the other hand, through the intervening loops. Only the direction of this movement differs. With A-fell braiding, the index finger fetches the the lowest loop of the other hand (usually the ring or little finger’s loop). With V-fell braiding, a low finger is the active “fetcher”—the ring or little finger—and it fetches the other hand’s index finger loop. In both cases, the index fingers hold the loops at the outer edges of the braid, and the “lowest” fingers (ring or little) hold the central loops of the braid.
[V-fell method diagrammed]
Slentre loop braiding is done with the palms facing down, i.e. facing the floor for all the braiding moves. The index finger is the active braiding finger, and it reaches through the loops of the opposite hand — through (or past) the opposite hand’s index loop first, then the middle finger loop — to fetch the opposite hand’s furthest loop. When using the Slentre method, the index fingers hold the loops coming from the center of the braid, and the outermost fingers (ring or little) hold the loops at the edges of the braid–this is opposite to the A and V-fell methods. (Click here to see a photo-tutorial for the Slentre method.) Like the V-fell method, Slentre braids “grow” with a V-shaped fell.
The current loop braiding revival is largely based on the A-fell method.*² Oddly—considering its originally very limited distribution—the Slentre method has also been widely taught in textile and craft circles.*³
Until this blog (as far as I can tell), the V-fell method has not been taught at all in published sources, though historically it was practiced over a large part of the world, and is still a continuous tradition in some places.*4
To me, it has a significant advantage over the other two methods: it can be used with up to 9 loops, while both the other methods limit a braider to 7 loops, without carrying more than one loop per finger. (The Slentre method has further limitations, see footnote *5 for more about Slentre.)
The A and V-fell methods are highly complementary, as each method can undo the other’s braids. This may not sound helpful, but it is very handy for correcting mistakes!
Hand-held loop braiding
This is a form of loop braiding in which loops are held around the whole hand rather than on individual fingers. It is much less common than finger-held loop braiding—known or inferred from the past only in Japan, Peru, and Oman. It is assumed that hand-held loop braiding developed from earlier finger loop braiding, as a way to manage greater numbers of loops. (In the Peru link, scroll to the bottom of the page to see photos of hand-held loop braiding with a braid of over 60 loops.)
With fewer loops, finger-held loop braiding has definite advantages over hand-held loop braiding: the loops are easier to keep track of, braiding moves can be more automatic, and loops of slightly different lengths can still be tensioned evenly, since fingers can adjust independently to hold loops of slightly different lengths at the same tension. (Even if all the loops in a braid start out equal in length, it’s not unusual for them to become slightly different in length during the process of braiding. In certain braids this is inevitable).
Hand-held loop braiding becomes more efficient for braids of more loops (a subjective number!), and according to Noemi Speiser, for many twined braids.
Stand-and-Bobbin braiding (kumihimo and other similar traditions)
This type of braiding may seem unrelated to loop braiding, but in Japan it has been proven that loop braiding preceded and led to stand-and-bobbin braiding – kumihimo – cf Masako Kinoshita. (The Japanese term Kute-uchi is often used when referring to Japanese hand-held loop braiding, although Masako Kinoshita — who coined the term — uses it to refer to both hand-held and finger-held loop braiding).
Until fairly recently, it was believed that the complex and magnificent older royal, samurai, and temple braids that are now national treasures in Japan were made with stand-and-bobbin techniques, like modern kumihimo braiding. However, it is now known that they were in fact made with hand-held loop braiding–the larger ones with many braiders cooperating. It was only in recent centuries that the various kumihimo braiding stands were developed, and loop braiding (kute-uchi) gradually disappeared. This evolution of hand or finger-held loop braiding to using braiding stands and bobbins was very likely also the case in other countries where stand-and-bobbin braiding methods are used.
In an article in Strands, Rodrick Owen noted that Lao Mien braiders practice both loop braiding and stand-and-bobbin braiding (I gather from the article that the Lao Mien are a southern Chinese minority group?). Two Lao Mien braiders in California showed Rodrick Owen how they used stand-and-bobbin braiding to make longer lengths, but preferred loop braiding to make shorter lengths of the same braid, as it was a quicker method.*6
Stand-and-bobbin braiding is known from many parts of the world, including mainland Asia, Japan, Scandinavia, and the Middle East, and is suggested by archeological artifacts from ancient Greece and elsewhere (cf Elizabeth Wayland Barber in The Mummies of Urumchi *7 ).
The sources for most of my information about loop braiding are Noémi Speiser’s book Old English Pattern Books for Loop Braiding, Masako Kinoshita’s site on loop braiding worldwide: Loop Manipulation Braiding Research and Information Center News (LMBRIC), and personal observation and experience.
There’s more about the three parallel fingerloop braiding methods, along with how I happened to get interested in loop braiding, in the “Notes” section following my 9-loop square braid tutorial…
More on Slentre braiding can be found in footnote *5 below.
Page 1: About Loop Braiding
Page 2: A-fell, V-fell, Slentre, and hand-held loop braiding (this page)
Page 3: Too-Many-Loop Braids
Page 4: Unorthodox Braids
Page 5: Old English Pattern Books for Loop Braiding
Page 6: Alphabet braids of the 17th Century
Page 7: About Me
Page 8: Terminology
*¹ There are also many well-known fingerloop braids that are made by entirely different methods than these three common ones. For example, loop-exchange methods as for the spiral braids (‘lace bend round’) and several other braids; the so-called “spanish” braids; twined braids (often called “bends” or “chevrons” in the old loop braiding manuscripts); the “hollow lace of VII” family of braids; my double braids made by a solo braider, etc.
*² This revival of the A-fell loop braiding method didn’t spread out from surviving practitioners of a continuous tradition. Amazingly, it was re-learned from a very few 15th and 17th C English manuscripts that were widely scattered in museums and private collections, and not understood until relatively recently. Since the 1990’s they have been extensively researched, analyzed, and decoded by Noémi Speiser and Joy Boutrup. Lois Swales and Zoe Kuhn Williams have also researched and translated many of these manuscripts and their online site (fingerloop.org) has directions for the A-fell method, along with many historic braid patterns.
*³ The 5-loop Slentre braiding method was taught in guild and fiber convention workshops across the U.S. for about 10 years by Jackie Wollenberg, from the 70’s into the early ’80’s. (Jackie learned the technique while living abroad in Denmark.)
In 1978 Slentre was described by Susan Scott Bernal (published in Shuttle Spindle & Dyepot Spring 1978 Issue 34), and in the 90’s by Anne Dyer (Purse Strings Unraveled). Slentre may have originally been limited to the Faroe Islands. Jackie Wollenberg recently told me that although she learned it from someone in Denmark, that person had herself learned it from someone who had moved to Denmark from the Faroe Islands. (If the Faroe Islands are considered part of Scandinavia, that makes Scandinavia the only place in the world where all three of these parallel loop braiding methods have been found.)
*4 The V-fell method is described in Noémi Speiser’s books on braiding, and in Masako Kinoshita’s online journal L-MBRIC, in the introduction to its illustrated instruction series. (Kinoshita refers to this method as “Method 2″). By “not taught” I mean that until now, apparently there haven’t been any step-by-step instructions published in print or on-line for learning this method.
For references to current practice of traditional loop braiding, see Masako Kinoshita’s site:
Loop-Manipulation Braiding Research and Information Center News, (LMBRIC). L-MBRIC is a semi-yearly journal with a multitude of articles, none of which are referenced on the home page. You can find an index to all the previous articles in Issue 13 (scroll down issue 13 to find the index).
*5 Slentre Braiding:
Only one type of braid has been recorded historically with Slentre braiding (click here to see a photo-tutorial for it). That one known historic slentre braid is a 5-loop unorthodox braid—which despite its name, is the most common loop braid worldwide, according to Noémi Speiser. It was called the “broad lace of V bows” in the European 15th C manuscripts, and taught with A-fell braiding moves. It can be made by all 3 braiding methods. (For an A-fell method of making it, see the tutorial by “sfhandyman” here—he calls this braid a “flat” braid, but it is thicker and not as wide as the flat version of a square braid.)
More types of braids are of course possible with the Slentre method, and can easily be extrapolated. The most obvious would be a square braid (called “round” in the old manuscripts) – in the photo-tutorial link above, the braider would put her finger through two loops – the index loop as well as the middle-finger loop – on her way to taking the ring finger’s loop.
I find Slentre square and unorthodox braiding movements just as easy to do as with the A and V-fell methods, but a lot harder to understand! The square braid of course forms on two layers, yet there are not two clearly visible and corresponding layers of upper and lower shanks on the fingers, as there are with A-fell and V-fell braiding.
That’s because the palms face downward, so all the threads are held in a single plane, with no apparent “upper” or “lower” threads.
When braiding with the Slentre method, you would have to turn the downward-facing hands away from each other so they are back-to-back(!) in order to see how the shanks of the loops on the fingers relate to the developing braid. In this “inside-out” position, the strands that are (now) uppermost on the fingers correspond to the upper layer of the developing braid. So the “upper” side of the fingers when using Slentre braiding is actually the side that A-fell and V-fell braiders would consider the “lower” side. The resulting braid grows in what almost seems an inside-out way to me.
It was only when I finally figured this out that I could begin to understand (I think!) why it was necessary to turn a loop in transferring it, in order for it arrive on the other hand without a twist in the loop.
Of course, you don’t have to understand the structure of a braid in order to make it. Braiders who prefer the Slentre method find it very user-friendly for making either the classic unorthodox 5-loop braid, or a square braid. I’ve been told that the Slentre unorthodox braid can be taught to a 5 or 6-year-old, whereas I haven’t been able to teach the 3-loop V-fell method to children under 7. (with the exception of
one now two very determined 6-year-olds!)
With Slentre it’s very simple to transfer loops with a turn, as in a square braid. Simply passing a loop straight across from one palms-down hand to the other causes the previous outer shank of the loop to end up on the inner side of its new finger. This gives the loop a half-turn in the growing braid, even though the braider has no sense of having turned a loop in any way.
Conversely, the braider has to do a rather awkward loop-turning maneuver in order to get the loop to go over to the other hand without a twist in the loop. The awkwardness of this move means that the flat and divided variations of square braids are a bit difficult to make, at least to me. But they are even harder to understand…You are making a two-layer braid, yet there is only one visible layer of strands on the fingers, and you have to turn a loop to make it change hands with no turn!
(It isn’t necessary to understand the structure of one braid in order to make it, but to learn more variations of that braid, it’s very helpful to have a sense of how/why the moves work. Rote memorization only goes so far…)
More complex loop braids would be very difficult to make with the Slentre method. There’s no record of two-worker braids (double braids) being made with Slentre. In order to connect their braids, two cooperating braiders would have to exchange their closest ring or little-finger loops (one through the other) rather than their index loops. A much less common type of two-braider loop exchange—the one Noemi Speiser calls a “giving-taking” exchange—might be doable with the Slentre technique, but I haven’t heard of anyone trying it.
I am not trying to discredit the Slentre method, just to report on what I have found out about it. It’s very interesting historically, and works fine for making a few types of simple loop braids, but in my opinion it’s a much more limited method than either of the palms-facing methods (A-fell and V-fell). It may (?) be the easiest of the three methods if you only want to make very simple loop braids, or if you want to teach a (more limiting) loop braiding technique to very young children. However, all 3 methods are very easy to learn—getting a new braider started braiding only takes a few minutes for any of them.
*6 in “Interlaced Braids, An Overview,” by Rodrick Owen, published in Strands [annual journal of the Braid Society], Issue 13, 2006. Article is on pp 11-26, his account of the Lao Mien braiders is on page 20.
*7 In The Mummies of Urumchi, Elizabeth Wayland Barber mentions some of the intricate braids that were part of the textiles found with these mummies, and relates them to stand-and-bobbin techniques. Her description of a braid sounds to me exactly like a description of a typical two layer twill loop braid (like the ones I call square, double, and Spanish braids, see my Terminology page). She never mentions the technique of loop braiding, so I assume she wasn’t aware of it at the time she wrote the book—or perhaps wasn’t aware that it could be used to make such complex braids. She mentions in passing that, while in ancient (Greek?) sites the braiding bobbins are found but not the braids, here in the Urumchi sites (areas now part of China, north of India), the braids are found without any bobbins. I think it is much more likely that the Urumchi braids were made with loop braiding rather than stands and bobbins. For one thing because loop braiding seems to have had a near-worldwide distribution, with indications that it preceded stand-and-bobbin braiding, and also because it is much easier for textiles to decay – narrow ones especially – than bobbins of almost any material.
© 2011–2015 Ingrid Crickmore
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