Art Group Meigraaf
The Birth or History - The Name - Costumes -
Dances & Music - Laces in the Meigraaf - History of Laces
Abroad Performances - Some pictures - Contact
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The Birth or History
Raymonde and Stefaan Princen started the Meigraaf group in 1980 to preserve and enhance the skills associated with the local folk traditions.
Since then it has evolved steadily and now it is a multi-disciplinary folklore group providing pleasure through music, dancing and craft skills to a growing number of people.
The group meets weekly to practice dances, play musical instruments, learn and improve lace-making skills and other folklore activities.
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The Name
So where does the group's name come from?
Firstly, ´Meigraaf´ refers to the traditional planting of the Tree of May.
This festival is still practised and there is much dancing, fun,
music and rivalry. The rivalry is between the men who want to have the
privilege of being ´Meigraaf´ (or Count of May)and of choosing a beautiful Countess of May from amongst the young girls.
Secondly, the name relates to the history of Jette, the hometown of the Meigraaf. Jette was founded in 1095 and was ruled by a Count for many years.
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Costumes
The costumes we wear are inspired by the period of Count Frances II of Jette, who reigned from 1659 to 1700. We prefer to wear the clothes worn by the richer Brussels merchants and each member of the group has chosen a costume from portraits of the 17th Century by painters such as Rubens and Teniers.
The soft Flemish laces (in the 17th century) were particularly adapted to the fashions evolving at the time. The drape and pristine whiteness of the linen laces made striking contrast with the dark, almost somber colours which predominated in dress of that time. It also was striking against the burnished ceremonial armor, with which it was invariably worn. Even the open, turned down tops of boots became places to fill with lace, gathered into exuberant, frothy displays. It seemed no place on a garment, or any element of dress, was too insignificant for a display of lace. Even children were decked out in gorgeous displays of lace beginning in the Seventeenth century.
Members of the Art group Meigraaf also do the cloth weaving and lace making for the costumes.
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Laces in the Meigraaf
The Meigraaf gives on request demonstrations from bobbin (spun) laces ´Duchess laces´ or ruban laces ´Renaissance laces´.
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History of Laces
The origin
The origin of lace is difficult to locate in both time and place. Some authors assume that the manufacturing of lace started during the time of Ancient Rome, based on the discovery of small bone cylinders in the shape of bobbins. For firm evidence we have to look back to the fifteenth century when Charles the Fifth decreed that lace making was to be taught in the schools and convents of the Belgian provinces. During this period of renaissance and enlightenment, the making of lace was firmly based within the domain of fashion. To be precise, it was designed to replace embroidery in a manner that could with ease transform dresses to follow different styles of fashion. Unlike embroidery, lace could be unsewn from one material to be replaced on another.
Since these earlier times, many styles and techniques of lacemaking have been developed, almost all of them in the Belgian provinces, which thus deserve to be named the cradle of lace.
The lace industry had already begun to grow in Flanders and Holland where flax was a prime crop and the linen spun from it was a prized commercial product. Several towns in the region became major lacemaking centers. Although at first, their laces were all quite similar, little by little they evolved the styles and techniques which would bear their names - Binche, Brugges, Brussels and Mechlin. InFlanders where flax growing and processing was a major industry were among the first in that country to become deeply devoted to lacemaking.
The thread used in these exquisite laces was the extraordinary linen of the area, spun so fine as to be difficult to see.
Today, two main techniques are practiced in the Flemish provinces of Belgium and Meigraaf in Brussels.
The first, a needle lace, is still manufactured in the region of Aalst. This is a very expensive type of lace to make and is therefore no longer manufactured for commercial purposes. It is called Renaissance or Brussels lace because it is largely sold in Brussels.
The second type, the Bobbin Lace, is a speciality of Bruges. This is a very expensive type of lace to make and is therefore no longer manufactured for commercial purposes.
There are four different techniques of lacemaking, two of which are no longer practiced today and therefore come under the heading of antique laces. There are important differences between embroidery and lace: the latter is worked on the basis of a paper pattern, on a net -tulle-, or on a combination of both.
1. DUCHESS LACE.
This type of lace is manufactured on a "carreau" or cushion -taken from the Flemish word "kussen"-, on which the paper pattern is pinned. This pattern is the design to be realized in lace. The lacemaker works with bobbins.
The more complicated the design, the more bobbins have to be used. For a Binche Point de Fé up to 200 bobbins have to be utilized.
To make the corner of a handkerchief, the lacemaker will have to work for about three days, depending upon her level of skill.
2. THE ROSEPOINT LACE.
This type of lace is made with a needle. It is considered to be the most delicate and precious of all laces. The pattern is first design on paper, often reinforced with a piece of tissue, on which the design is realized. The design usually represents a rose or some other flower.
To start, the lacemaker elaborates the flower's outline with a thicker thread, so to add relief to the work. The next stage is to fill in the interior of the flower design with much finer thread and a variety of different stitches.
A fine handkerchief medallion takes three days to work. To produce larger pieces, all the medallions are sewn together with a thread so fine that it can only be detected by the eye of an expert.
A certificate date 1922 states that the veil made for Queen Elizabeth required 12,000 of work and is made up 12,000,000 stitches.
3. PRINCESS LACE.
This type of lace is manufactured today and is mainly used for wedding veils, christening dresses, mantillas, and such ceremonial occasions. At this time in the twentieth century the net is made by machine. The flowers, stalks, and leaves are applied on the net by hand with a needle. In former times the net was also handmade, either by needle or by bobbins. This handmade net was given the Dutch name " Drochel ".
4. THE RENAISSANCE LACE.
Renaissance Lace, also called Brussels Lace or Ribbon Lace. This is the lace that today is manufactured on a larger scale. It is a very strong lace used for house linen, such as, tablecloths, napkins, place mats, doilies, runners etc...
Again the pattern is drawn on paper. First the lacemaker will sew the ribbon onto the paper following the design. Then she will fill up the empty spaces with a needle using a variety of stitches. Using this technique the paper is not pierced, the result being that only the paper and the ribbon are attached to one another. Finally when all the empty spaces are filled in, the tacking thread is cut on the back of the paper , the item of lace is removed and the paper pattern can be used again. The result is a finished item of lace, a corner, border, or a centrepiece, which may be may be then applied on Flemish linen to finish tablecloths, place mats, handkerchiefs, and a variety of other pieces.
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Dances & Music
The dances of Flanders and Brabant include minuets, waltzes, mazurkas,
polkas, schottisches and some others. Initially the dances were only
done at Court, but after some time the wider population learned them as
well. Flanders and Brabant were influenced by several other countries
and every one has made our folk dancing richer with new moves and
figures.
The last Meigraaf creation is Muzemei, and it provides an opportunity for young musicians who are developing their skills to come together once a week to play music.
The original intention was to accompany the Meigraaf dancers in their 17th
century dance program. However, the experience of playing folk music and meeting other musicians has widened both their experience and their repertoire.
The demands on the Muzemei are steadily increasing, and they are in demand to play music for traditional folk dances and ceilidhs (music and dance evenings) with rhythms such as reels, jigs, schottisches and mazurkas. Their fine rhythm and pleasant sound is appreciated by a wide variety of audiences.
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Abroad Performances
The Art group Meigraaf have done performance in several european countries: France (Bretagne, Landes, Auvergne), Germany (Tubingen, Krefeld,...), Italy (Torino, Alba), Hungary and Austria.
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Secretary
Princen
A. Vandenschrieckstraat 84
1090 Jette-Brussel
Belgium
Tel/Fax: 00 32 (0)2 425 59 78
email: meigraaf@yahoo.com
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