I received a comment summarizing my situation well. It is an unfortunate misunderstanding based on cultural differences. Since I often receive similar criticism (usually not nicely summarized like this, but with more anger), here is clarification.
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The Comment is: ““If I were to practice Sashiko techniques as a non-Japanese, my efforts are inauthentic by default. At best inspired imitation. I cannot therefore “seek authenticity” in my own work, and certainly not with importation of materials.””
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I don’t think so, and I never said so. As any non-Japanese can enjoy Sashiko, anyone can be “authentic” if they try to. I don’t even see the need of distinguishing what is authentic or not. If one wants to be authentic, then they just try to learn more. This may not make sense in dualism culture because the value is “Authentic” or “Imitation”. Many get angry with me because of what they think I say. In reality, all I am asking is to “acknowledge” and “care to learn” more so that we can avoid the Cultural Filtration.
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I know it is difficult to feel natural about it. Therefore, I ask them to take my Sashiko Class. I believe many graduates understand what I mean above by practicing Sashiko as we do. When one thinks Sashiko is (just) a technique, it is probably difficult to understand fully. “Sashiko Thread” isn’t only a vehicle to be authentic. It’s not that complicated. I simply need the thread for our Sashiko, and I would like to protect the small manufacturers. I believe, none of my Sashiko friends woud say “whatever thread is fine” because they know the threads change their experience. Needle, thimble, fabric… everything we use is key to enjoy Sashiko: I want to protect them from those who do not know anything about Sashiko but trying to make money out of “just words, not practice”.
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Please don’t label your stitching so easily. Authentic, Traditional, Inspired, Imitated…Sashiko can exist without labeling. Therefore, I say no “right or wrong”. Your Sashiko can be authentic when you learn. My Sashiko can be fake when I stop caring. Sashiko exists outside of dualism, and therefore I speak up.
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また英語が長くなりました。伝えても伝えても伝わらない。繰り返すしかないんだろうと思います。
2021-10-11 20:49:49
I like what you say about labeling. Once we label, we stop listening, seeking or trying to understand. Thank you for continuing to care.
Well said
とてもよく説明したと思います。
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I’m glad I made the comment, as it led to crystallising your position further, at least for me… That your concern is about consciousness, both of Sashiko-histories and Sashiko-process (I have made two distinctions, but I know you will just call it ‘sashiko’); that to the extent that one learns and is conscious of their own application of Sashiko, that could be said to measure it’s “Sashiko-ness”. I hope I did not come off as angry, because I am not angry, such dualism is standard within the anglosphere, and what we are familiar with in terms of “cultural preservation”.
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I see this pattern of thinking widespreadly. Western way of thinking really organizing everything as black and white with a clear bounds. While most of Eastern way of thinking (I experiencing it too in Indonesia), everything aren’t works like that. When someone stops to learning a culture, it is the same point they lose their authenticity.
Race is one thing, cultural practices and traditions are another. My creativity and inspiration is drawn from traditional and contemporary Japanese sashiko techniques and work of a number of artists and styles. However my sashiko story is precisely that. Any attempt to replicate someone elses can only be a representation and never an ‘original’, ‘authentic’ ‘Japanese sashiko’ (because I am not). I work with a sashiko style that may be considered inherent within the Japanese tradition (what ever constitutes that), but my work is quite simply my work. That is not intended to be in any way, shape, or form, an attempt at cultural appropriation! Love your work Sashiko Story, it inspires mine❣️