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Vol.12 2017 International Journal of Intangible Heritage 77
Lefkara Lace: Educational Approaches to ICH in Cyprus
Maria Ktori
78
Lefkara Lace
Maria Ktori
MA, Cardiff University, Cyprus
Lefkara Lace: Educational
Approaches to ICH in Cyprus
ABSTRACT
In September 2009, Cyprus applied to include Lefkara
embroidery in the
Representative List
under the name
Lefkara lace
or
Lefkaritika.
Lefkara embroidery merges
different elements and has evolved over time without losing its
original character, technique and creativity. The learning
process starts at a very young age and takes a long time before
an embroiderer can become fully competent in the craft. The
local stakeholders are currently, or have been in the past,
actively involved in educational programmes related to Lefkara
embroidery, as a means of safeguarding. These programmes
have common characteristics and a clear focus on transmitting
to younger generations the knowledge of Lefkara embroidery.
The paper explores the different programmes and discusses
their success and potential, as by educating the public about
Lefkara embroidery, the stakeholders have made a significant
step towards creating an environment of appreciation to
tradition and national ICH.
Keywords
Lefkara embroidery, Lefkaritika, Cyprus, educational
programmes
Introduction
Heritage is often thought to be the
residue of static
traditions
.1 Yet socio-political transformations make people
readdress and reassess their past culture, allowing for a more
dynamic analysis of culture and heritage. As the idea of heritage
is complex, it intertwines with issues of race, authenticity and
identity, with the latter being expressed in both tangible and
intangible cultural heritage. Moreover, heritage
clarifies the
past by infusing it with present purposes
2 as Intangible Cultural
Heritage (ICH) is living heritage connected with all the
members of a community. It is transmitted from one
generation to another, which gives a unique perspective on
community traditions, beliefs and local history.
Vol.12 2017 International Journal of Intangible Heritage 79
UNESCO aims to establish a legal framework for the
protection of cultural heritage. From the 1970s onwards, it
had a defining impact in setting the framework for the nature
and value of natural and cultural heritage. At the same time,
the UNESCO conventions have covered two important
concepts, that of ‘shared heritage’ and its ‘universal value’.3
The 1989
Recommendation on the Safeguarding of Traditional
Culture and Folklore
, the
Universal Declaration on Cultural
Diversity
and the 2002
Istanbul Declaration
were UNESCO’s
final efforts leading to the 2003
Convention for the
Safeguarding of the Intangible Cultural Heritage.
The intention
to safeguard the ICH on an international level is demonstrated
with the establishment of the
Representative List of the
Intangible Cultural Heritage of Humanity,
and the
List of
Intangible Cultural Heritage in Need of Urgent Safeguarding.
The
Representative List
also contains all those elements that
had been previously declared as
Masterpieces of the Oral and
Intangible Cultural Heritage of Humanity
between 2001-2005.
In September 2009, Cyprus’ nomination to include
Lefkara embroidery in the
Representative
List
under the
name
Lefkara lace or Lefkaritika
was approved by the 4th
Session of the Intergovernmental Commision at Abu
Dhabi.4 Additionally, the Cyprus Research Centre created
a
Register of Elements of ICH,
based on the Centre’s
existing Oral Tradition Archive,5 while the Cyprus National
Commission for UNESCO aims to establish a
National
Inventory of Intangible Cultural Heritage of Cyprus
.6
The local stakeholders have been actively involved in
educational programmes on Lefkara embroidery. In view of
recent developments in ICH educational programmes, it is
reasonable to reassess them. They are presented and
discussed along with the activities carried out by the local
stakeholders. By educating the public about Lefkara
embroidery, the stakeholders have taken a significant step
towards creating an environment in which tradition and
national ICH is appreciated. Lefkara embroidery has been at
the core of several educational programmes going as far back
as the 1970s, so its inscription in the
Representative List
was
entirely appropriate.
Weaving and embroidery have a long tradition in Cyprus,
which can be traced back to the Frankish Period (1192-1489).
The establishment of workshops producing silk, woollen and
gold embroidered fabrics is well-attested in historical sources.
The demands of western markets for Cypriot fabrics gave the
necessary impetus for development. The import of fabrics
from the East and trade relations with the Greek islands that
produced lace and embroidered fabrics had a multifaceted
impact on local production. Taglienti’s reference to
punto
ciprioto
is one of many indicators of the developments that
took place and of the high quality of the finished material. Late
19th and early 20th century foreign travellers have left detailed
descriptions of how delicately and artistically embroidered
Cypriot fabrics were, although the medieval fabric production
is long forgotten and lost. Astreou-Christophorou and
Hadjigavriel consider that the production of high quality local
fabrics is the main reason behind the development of such
high quality embroidery.7
Lefkaritika,
or Lefkara embroidery as it is now known,
holds a prestigious position amongst types of Cypriot
embroidery. It is the most characteristic and best-known of
them all, and is mainly produced at Lefkara village.
Lefkaritika
developed from an older type of embroidery called
asproploumia
.8 The simple geometric patterns used for
asproploumia
were preserved and evolved further as part of
Lefkaritika
, as attested by samples of embroidery from the
transitional period.9 Astreou-Christophorou’s research on
such transitional pieces has shown that they have significant
similarities with Venetian embroidery, both in design and
nomenclature.10
The cultural value of
Lefkaritika
is confirmed by its
longevity, and it is a product synonymous with the history of
Lefkara. This particular type of embroidery merges different
elements and has evolved without losing its original character,
technique and creativity.11 Moreover, it was one of the most
important products Cyprus exported to Europe, Egypt and
other areas.12 In the early 20th century the Lefkara
embroidery merchants, known as
kentitarides
, would travel
abroad to sell their goods, the
Lefkaritika
that were locally
produced by embroiderers, the
bloumarisses
.13 The
nomenclature of
bloumarisses
reflects the embellishment of
the final product, as the Greek verb
bloumizo
means to
‘elaborately embellish an object’.
The embroiderers use linen as their base material and
cotton thread for the designs. The difficulty of this type of
embroidery lies in the technique itself, as it involves cutting
some of the threads and ‘drawing’ them to form specific
designs. These consist of four basic elements: hemstitch
(
ghazi
), cut work (
kofto
), satin-stitch fillings (
gemisma
), and
needlepoint edgings (
telioma
), which are grouped together in
different ways to form geometric patterns or floral designs
and result in intricate motifs.14 (Plate 1) Various types of
hemstitch are used to define the edges of the cloth or to finish
80
Lefkara Lace
a piece, which the embroiderers call
bloumi
(embellishment).
Other basic elements also come in various types and
complement the most complicated of the geometrical
patterns, the ‘river’ (
potamos
).15 (Plate 2)
In 2009, the Intergovernmental Committee concluded that
Lefkara embroidery fulfilled the criteria for inscription on the
Representative
List, but it was clear that this age-old
tradition was under threat.16 Embroiderers begin to learn
their craft at a very young age as it is laborious and it takes a
very long time before an embroiderer is fully competent to
execute the most difficult motifs.17 Furthermore, not all
embroiderers can achieve this level of skill unless they wish to
express themselves artistically.18
The stakeholders and the educational
programmes
The UNESCO 2003
Convention
mentions on multiple
occasions ‘who’ is involved in ICH, referring to them as
communities, groups, and individuals
, without providing
any further definition. It is clear that those are the
interested parties, i.e. the stakeholders. This issue was
addressed in the 2006 Expert Meeting organised by the
Intangible Heritage Section of UNESCO and the Asia /
Pacific Cultural Centre for UNESCO (ACCU).19 For this
paper, the stakeholders involved in the safeguarding and
promotion of Lefkara embroidery were identified and
interviewed.20 These were:
- the Ministry of Education and Culture (MoEC)
- the Cyprus National Commission for UNESCO
- the Ministry of Agriculture, Rural Development and
Environment (MoARDE)
- the Cyprus Handicraft Service
- Lefkara municipality
- private workshops and artists
- the Association for the Production and Promotion of
Lefkara Embroidery.
These stakeholders are currently, or have been in the past,
actively involved in educational programmes related to
Lefkara embroidery. It became clear that they had
fundamental differences, leading to varied perspectives on
promoting Lefkara embroidery as reflected through their
respective programmes.
The first four stakeholders are governmental bodies,
fulfilling different roles related to the safeguarding and
promotion of ICH. Therefore, they have different goals and
approaches but the organisation of educational
programmes is one they share. Starting from the first two,
one should note that the Cyprus National Commission for
UNESCO functions under the Ministry of Education and
Culture. It implements all UNESCO programmes and
resolves all issues relating to them, has a very specific
mandate and serves both as an advisory body to the
government and a liaison between the various
governmental departments, semi-governmental bodies,
Plate 1
A curtain with a daisy design on the left.
Source: http://www.mcit.gov.cy/mcit/chs/chs.nsf/All/9B678B56B0
83CA77C225747A002D184A/$file/lefkbig6.jpg?OpenElement
[Accessed 17 March 2017]
Plate 2
A tablecloth with the river design (
potamos
) dividing it into sections, filled
with floral and geometric designs.
Source: http://www.mcit.gov.cy/mcit/chs/chs.nsf/All/79970053EAFBDCD0C2
25747A0028C1C9/$file/lefkbig2.jpg?OpenElement [Accessed 17 March 2017]
Vol.12 2017 International Journal of Intangible Heritage 81
NGOs and other groups. Its unique character gives it a
distinct focus on promoting and safeguarding ICH,
especially through educational programmes and cultural
activities.21
The MoEC focuses on education at all levels: primary,
secondary and tertiary, through schools, colleges and
universities, and vocational education through adult learning
centres. Its primary aim is to provide general education and
gradual specialisation to students in order to prepare them for
their academic or professional careers. The school curricula
include discrete modules (e.g. Greek and History) and
interdisciplinary courses (e.g. Health Education),
complemented by extra-curricular activities aiming to provide
students with a well-rounded education. Consequently, there
is significantly less focus on adult education, although adult
education centres have been operating since 1952. The
Ministry’s approach to ICH is fundamentally different from that
of the Cyprus National Commission for UNESCO because it
has a different role to fulfil. However, ICH has been promoted
to an extent through school curricula since the 1960s.
The MoARDE was initially established as the Department
for Agriculture in 1896, during the British administration, and
remains responsible for the national agricultural policy and
the sustainable management of natural resources. It also
monitors the development of rural areas and has
implemented a series of measures over the years to combat
urbanisation. The Rural Development Programme that ran in
2007-2013 reflected this effort. A third priority was to diversify
the rural economy and improve the quality of life in rural
areas.22 This was based on the promotion and preservation of
rural heritage to encourage tourism, along with the
revitalisation of rural communities as an incentive for
population growth. The Vocational Scheme for Lefkara
embroidery reflects the ongoing efforts of the MoARDE to
combat urbanisation and develop new job opportunities for
young people.
The Cyprus Handicraft Service was established in 1976 as
a department of the Ministry of Energy, Commerce, Industry
and Tourism. At the time, its main aim was to provide
employment for refugees who had experience in various
crafts, and to systematically revive folk art based on modern
handicrafts, with funding from UNHCR. Today, the service has
broadened its horizons in terms of the crafts it promotes
through the Handicraft Centre and its present-day goals.23
The Service actively fights urbanisation, an effort which
running in tandem with a general endeavour to revive folk arts
and crafts as a way of promoting and safeguarding ICH. The
ICH is, of course, only one of the courses of action set by the
service, as is the case with the MoEC and MoARDE.
The Lefkara Municipality is one of the main stakeholders.
The municipality has implemented a series of measures since
the 1980s - the publication of Olga Polemitou’s doctoral
dissertation on Lefkara embroidery, collaboration with various
organisations and governmental bodies, the organisation of
the annual Lefkara Festival, co-organising and hosting
educational programmes, the establishment of the Lefkara
Handicraft Centre, and more recently, the establishment of
the Association for the Production and Promotion of Lefkara
Embroidery. All these efforts revolve around the creation of a
new nucleus of Lefkara embroiderers and this is evident in the
curricula of the educational programmes. The primary goal is
to teach the techniques of a dying craft and transmit it to
younger generations. Ultimately, it is hoped that the young
embroiderers will carry on the craft and revive it, which is a
very ambitious target.
Since the early 20th century, there have been several
Cypriot artists who have incorporated elements of folk art in
their work, re-interpreting them and bringing a fresh
perspective. Of these, Julia Astreou-Christophorou has
chosen weaving and embroidery as the means to create and
recreate contemporary pieces inspired by traditional crafts
and folk art designs. Her research on woven fabrics,
Plate 3
Julia Astreou-Christophorou with some of her work.
Photo: Author, 19 March 2016.
82
Lefkara Lace
embroidery, lace, and garments has allowed her to use
traditional weaving and embroidery as an artistic medium.
(Plate 3) She regularly hosts educational workshops which
reflect her particular perspective: traditional crafts as an
artistic medium that promotes ICH.24
The Association for the Production and Promotion of
Lefkara Embroidery was created in 2013, as part of the efforts
of the Lefkara Municipality to establish the Lefkara Handicraft
Centre.25 There are currently 70 embroiderers registered with
the Association, and they are involved in the various activities
organised by the municipality. Those involved in the Lefkara
Handicraft Centre can offer guidance and educate those
interested in learning Lefkara embroidery, participating in
exhibitions and cultural events, and promoting the cultural
heritage of Lefkara. (Plate 4) However, since the Association
has only recently been established, it does not yet have any
other educational activities.
The Lefkara embroidery educational
programmes: children’s education
1. The Ministry of Education and Culture and the
school curricula
Lefkara embroidery was taught in schools as part of the
high school curriculum for Home Economics until the 1980s.
Home Economics has always been a practical subject that
initially focused on teaching children basic cooking and
handicraft skills. Based on the new analytical programmes
Plate 4
The embroiderers at the Lefkara Handicraft Centre.
Source: http://www.lefkara.org.cy/portals/0/Images/Kentro%20Xirotexnias/
oie_21172834GVa66hZl.jpg [Accessed 17 March 2017]
Figure 1
The registered students in 2nd grade (junior high school) per year, who also attend
the compulsory Home Economics class and learn about Lefkara embroidery.
that have been introduced in junior high schools since 2011,
the appreciation of Cypriot folk art is now part of the
curriculum.26
In the past, students were taught how to create their own
piece of Lefkara embroidery. The practical part of the class
was accompanied by an introduction to the specific
embroidery techniques, the motifs and a very brief historical
background, all included in the student textbook.27 The
purpose was to introduce the students to Lefkara embroidery,
its elements and characteristics, to perform a typological and
chronological classification of pieces of embroidery, and to
help them understand the importance of folk art and
tradition.28 Although this was a programme about embroidery
techniques, it also offered a substantial amount of information
about Lefkara embroidery with its thorough description of the
stitches, patterns and structural elements, along with a series
of informative drawings.
Today, Lefkara embroidery remains on the curriculum of
Home Economics but with limited information, and is
addressed to students registered in the 2nd grade of junior
high school (14-year olds). Home Economics is a compulsory
course for all students, therefore they all have access to the
information about Cypriot traditional culture in general, and
Lefkara embroidery in particular. Between 2010 and 2016, a
total of 46,973 students attended the course, with an average
of 7,829 students per year.29 (Figure 1) Lefkara embroidery is
taught during a single, 40 minute lesson, along with
Fythkiotiko
, another type of Cypriot embroidery. The
information given to the students is limited compared to the
previous approach, and they are only required to complete a
worksheet and have some basic knowledge of the subject,
Vol.12 2017 International Journal of Intangible Heritage 83
instead of creating a piece of Lefkara embroidery
themselves.30 One can argue that this reflects the aims set
by the MoEC and the underlying difficulties in teaching ICH
to children. The Vice-Director of Secondary Education
commented that students should understand and embrace
every aspect of their national folk art.31 Additionally, the
analytical programme for Home Economics simply focuses
on students recognising each type of embroidery and not
on issues of ICH,32 reflecting the current view of the
Ministry.
One could argue that the junior high school curriculum
could be used as a way of exposing students to issues
related to ICH through a wider and more comprehensive
analysis of Cypriot folk art and culture. The option of junior
versus senior high school is further related to the Cypriot
educational system, as school attendance is only
compulsory until the final grade of junior high school. As
ICH is a complex concept, children find it difficult to
understand it without tangible evidence.33 Such abstract
concepts are better suited for older, more mature students
who have developed the necessary critical thinking and
understanding. However, there are significant advantages
in teaching teenage students: the information is
transmitted in the context of formal education and reaches
almost 8,000 students a year.
2. The UNESCO Associated Schools (ASPnet)
The UNESCO ASPnet was established in 1953, aiming
to encourage contact between young people in member
states of the organisation. Another goal was to strengthen
co-operation between students and teachers to contribute
effectively to the implementation of UNESCO’s vision.34
Cyprus has participated in the network since 1969-1970,
and 20 public and private schools are currently included in
the network. Each year, there is a different theme and a
series of related activities. For the school year 2011-2012
the main theme was raising awareness about Intangible
Cultural Heritage. In 2014-2015, it was the ‘elements of
ICH of Cyprus’, and in particular those currently registered
in the
Representative List
.35
The network members co-operate with people and
bodies involved in safeguarding the ICH, aiming amongst
other things, to transmit knowledge by using new
technologies in recording, utilising oral history and visiting
museums, workshops and cultural areas that are related
to the ICH elements under study. The annual change of
theme makes it difficult for both teachers and students to
focus firstly on ICH, and secondly, on Lefkara embroidery.
The thematic areas are chosen directly by UNESCO and are
applied by the 9,000 educational institutions that participate
in the scheme across 180 countries.36 Therefore, schools
can only implement the instructions given by UNESCO.
Despite these difficulties, the ASPnet context is ideal, as
students are exposed to various concepts and issues
related to tangible and intangible cultural heritage. The
participation of every school across the island would be
desirable, as the ASPnet context would be combined with
the existing curricula for mutual benefit.
The Lefkara embroidery educational
programmes: adult education
Educational institutions have nowadays included
several activities for children in relation to the promotion of
ICH. The pioneer educators who introduced oral history into
education were the same people who had earlier
participated in oral history programmes for communities.
Later on, it became evident that adult learning
programmes should also be developed, as adults had been
cut off from their roots and were unable to transmit their
knowledge to the rising generation. The 1972 UNESCO
Convention
says that adults learn to embrace and actively
participate in their culture when involved in traditional
activities.37
Adult education is about people managing their
personal free time, co-operation, the role of the community
and culture and ecology, in a landscape of more
‘anthropocentric’ and less ‘econometric’ choices.38
Educating adults plays a crucial role in the development of
society, as noted in the First International Conference on
Adult Education in 1949 and reaffirmed in 1976, with the
approval of the Nairobi
Recommendation on the
Development of Adult Education.
The 1976
Recommendation
expresses the promotion of adult
education as a core element of a country’s educational
system within a life-long learning scheme.39 Adult
education has evolved since then and is now seen as
central to economic, political and cultural transformation,
whether that is of an individual, a community or a society.
Most importantly, although the interpretation of adult
education still varies widely, one cannot disregard the fact
that the evolution from education to learning is an
important conceptual change.40
84
Lefkara Lace
1. Educational centres run by the Ministry of Education
and Culture
The MoEC Educational Centres were first established in
1952, and they run annual programmes in urban and rural
areas. These are currently the largest programmes for
general adult education (age 15+) via the life-long learning
scheme. Their general purpose is the all-round development
of the personality of each individual and the social, economic
and cultural progress of both citizens and society. They also
aim to provide life-long learning opportunities to Cypriot
citizens to mitigate educational inequalities and fully integrate
them in the social nexus.41
Lefkara embroidery was offered as a subject until 2015,
and the students took a total of 24 weekly, 90-minute
classes. The aim was for the students to produce their own
pieces of embroidery, and usually the first introductory class
gave the participants some background information about
the craft.42 These courses taught embroidery and only
offered a fraction of the wealth of available information about
Lefkara embroidery. They were taught in all major cities and
the very low cost (55 euros) facilitated the participation of
people from all socio-economic backgrounds.
In 2015, the two embroidery courses offered by the
Educational Centres at Nicosia and Paphos were merged
into one under the name ‘Cypriot embroidery’.43 The
Educational Centres at Larnaca and Famagusta no longer
offer the courses, while the Centres at Limassol offer a
course on Lefkara and Karavas embroidery.44 The changes
are mostly related to the low numbers of participants, while
a course wholly dedicated to Lefkara embroidery is not
currently viable. Given the island-wide range of the scheme,
a revised course including a component about the various
difficulties and threats faced by ICH would be more effective.
The language in which the courses are taught should also
be considered, as courses offered in English would give
foreigners the opportunity to participate and embrace both
the craft and Cypriot ICH.
2. The Ministry of Agriculture, Rural Development
and Environment vocational scheme
The MoARDE collaborated with Lefkara Municipality and
offered a Vocational Scheme dedicated to Lefkara
embroidery that ran in 2010-2012. Both beginners and
advanced learners could participate, while those under 40
were entitled to a daily allowance of €18.45 This was another
course teaching the craft, and in this particular case the
target group was young women, as Lefkara embroidery was
traditionally done by women. The aim was clear: the creation
of a new nucleus of Lefkara embroiderers to preserve the
craft. To that end, in 2010, there were also groups for
primary school and junior-high school students in an effort
to preserve the dying craft.46 Although the vocational
scheme came to an end for financial reasons, it was noted
that it did promote Lefkara embroidery.47 The scheme also
demonstrated that the term ‘embroiderer’ has a very
different meaning than it had in the early 20th century.
3. The Cyprus Handicraft Service, Lefkara embroidery
programme
The Service has a social, cultural and economic role in
modern-day Cyprus. The promotion of traditional crafts has
an economic impact, offering an incentive to continue the
production of local products, and supports small handicraft
businesses.48 The promotion of ICH is done in numerous
ways, ranging from hosting annual educational programmes
in rural areas, to exhibitions and participation in cultural
events. The Centre offers the following educational
programmes and training courses:
a) Retraining: this type of course is requested by people or
groups who have partial knowledge but wish to expand
it (craftsmen, teachers from primary and secondary
schools, organised groups).
b) Training for people without any knowledge of a
particular craft: the courses are offered annually, they
are government-funded, and take the participant’s skill
levels into consideration.
Plate 5
The Lefkara embroidery workshop at the Cyprus Handicraft Service building.
Photo: Maria Ktori, 27 March 2015.
Vol.12 2017 International Journal of Intangible Heritage 85
Plates 6 and 7
Some of the finished products on display at the Cyprus Handicraft Centre.
Photo: Author, 27 March 2015.
c) Specialised training for professional craftspeople; the
service hires them and trains them to make products
for the Handicraft Centre Souvenir Shop.
The Centre offers Lefkara embroidery classes through
the embroidery workshops (Plate 5), which are solely focused
on training the participants to become a new nucleus of
embroiderers. The workshop’s embroiderers are highly
skilled and act as tutors for the classes. When not teaching,
they continue their daily embroidery activities (making new
pieces or experimenting with new concepts). (Plates 6 and 7)
These particular classes are strictly for learning the craft and
focus on embroidery techniques rather than the underlying
ICH background. Moreover, they are available only in Greek,
which poses significant limitations regarding their potential
outreach. Thus far, the participants have only been women.
The fact that they are run on an annual basis, charge low fees
and give the participants a good grounding in Lefkara
embroidery techniques, makes the classes effective and
popular. They are currently the most successful examples of
craft-based courses on Lefkara embroidery, while the Cyprus
Handicraft Service Director said that the approach to the
curriculum will not change as it serves its purpose well.49
4. The Cyprus National Commission for UNESCO
In 2013, the Cyprus National Commission for UNESCO
organised a pilot programme on Lefkara embroidery in
collaboration with Lefkara Municipality. The 7-day course took
place at Lefkara in September 2013, with 6 participants from
diverse background (archaeologists, artists and others). The
participants were tutored by 3 embroiderers, who were also
their hosts.50 (Plate 8) The participants had a unique
opportunity to learn the craft of Lefkara embroidery in
Lefkara itself, understand the transmission of the craft across
generations, its development according to modern needs and
the personal approach of each craftswoman.51
The 2013 pilot programme was successful and was
repeated in 2014. This time the target group was different as it
was aimed at primary school and high school art teachers, as
well as artists.52 The main goal of the 12 participants and 6
embroiderers was to formulate proposals to incorporate
Lefkara embroidery in art classes through worksheets and
instruction manuals. Another goal was the creation of an
e-book with ideas and applications that could be used by the
teaching community.53 In addition, the programme aimed to
Plate 8
The 2015 Lefkara embroidery short course of the Cyprus National Commission
for UNESCO.
Source: http://www.unesco.org.cy/ImageStream.aspx?ObjectType=Document&
ObjectID=4859&ImageName=Image.jpg&Width=0&Height=0 [Accessed 17
March 2017]
86
Lefkara Lace
help the participants acquire basic Lefkara embroidering
skills and to offer a socio-economic incentive to recognised
embroiderers for transmitting their skills and knowledge.54
The necessary theoretical background was offered in a lecture
by Mrs. Androula Hadjiyiasemi, who gave an overview of
Lefkara embroidery and showed works by Cypriot artists that
have been inspired by it.
The programme was repeated in 2015, with a different
target group: undergraduate or graduate students of Fine and
Applied Arts. The participants created works of art that
incorporated and reflected Lefkara embroidery, which they
elevated and transformed into new artistic and cultural
elements (Plates 9 and 10). The works were displayed in an
exhibition in October, as one of the European Days of Cultural
Heritage events.55
The Cyprus National Commission for UNESCO had set
specific goals for the programme:
a) To propose new and viable ways of transmitting oral
traditions and traditional crafts.
b) To educate the public and professional groups about
the importance of ICH through experiential learning.
c) To provide professional groups with the necessary
knowledge to embrace, be inspired by, and reproduce
traditional crafts in their own disciplines.
d) To encourage interaction between the embroiderers
and the participants, to understand and appreciate
Lefkara embroidery through experiential and oral
learning.
Plate 9
Asproploumistres
(Antigoni,Nedi, and Eurydice) ceramic sculptures by Anastasia
Lambaski-Onisiforou.
Source: Polyneiki, 2015: 28.
Plate 10
Mare Nostrum and Lefkaritiko
[oil on canvas and cotton thread] by Nitsa
Hadjigeorgiou.
Source: Polyneiki, 2015: 34.
e) To promote the involvement of the local community in
preserving the craft through activities that provide
socio-economic stimuli.
f) To nurture the development of on-going contact and
co-operation between the embroiderers and the
participants.
g) To facilitate the development of oral traditions and
crafts into novel artistic and cultural traditions that
enrich the cultural heritage of modern Cyprus.56
It is a unique programme that primarily promotes
Lefkara embroidery as an element of ICH, and further
reinvents the concept of the craft through dynamic
experiential teaching. Each year, the Cyprus National
Commission for UNESCO pushes the boundaries further
and tries to enhance the multi-faceted experience offered
through the course. The programme is targeted but is
open to both men and women as it does not seek to
create an all-female nucleus of embroiderers. It would
be worth exploring other options, such as hosting
courses in major urban centres which would include
weekly classes, specialised lectures on ICH and Lefkara
embroidery, and day trips to Lefkara. The lectures could
deal with a variety of issues, such as the history and
evolution of the craft, Lefkara embroidery within the ICH
context, Lefkara embroidery and the arts, as well as
lectures on Lefkara embroidery and education. As
funding is generally limited, such a course could be
offered for a small fee, but the proposed structure and
frequency of the classes would enable a larger number
Vol.12 2017 International Journal of Intangible Heritage 87
Plate 11
Examples of Julia Astreou-Christophorou’s work displayed at her workshop-cum-
showroom.
Photo: Author, 19 March 2016.
of people to participate. Moreover, by focusing on
education and cross-curricular links, Lefkara
embroidery would acquire a higher profile and the
knowledge could be more effectively transmitted to
students, young and adult alike.
5. The Lefkara Municipality and the Association for
the Production and Promotion of Lefkara
Embroidery
As mentioned above, the three programmes
organised by the Cyprus National Commission for
UNESCO were held at Lefkara in collaboration with the
Municipality. In his interview, the Mayor gave a clear view
of the current situation of the embroiderers and Lefkara
embroidery. The Municipality launched a survey in the
village in an effort to create a new nucleus of
embroiderers. This was followed up by the establishment
of the Association for the Production and Promotion of
Lefkara Embroidery, which has 70 registered members.
Unfortunately, there are no young women interested in
Lefkara embroidery, as the competition from the
Chinese market which produces cheaper products, is
overwhelming.57
To counter this, the Municipality carried out a series
of actions, aiming to promote and safeguard Lefkara
embroidery:
1. The digitisation of about 4,000 photos, articles,
interviews and other material related to Lefkara
embroidery.
2. The creation of a handicraft centre, which opened
on 27 April 2015 with students from the United
Kingdom, Greece, Spain, Austria and the Technical
School of Larnaca. The embroidery classes were
taught by local embroiderers.
3. The MoARDE vocational scheme.
4. The Cyprus National Commission for UNESCO
Lefkara embroidery programmes.
5. The organisation of the 35th Lefkara festival.
6. Efforts to reinstate the teaching of Lefkara
embroidery in schools.
In this case, the promotion of Lefkara embroidery will
be mainly done through the Lefkara Handicraft Centre.
The Centre will function as a ‘Lefkara embroidery
learning centre’ which is directly related to a series of
actions that need to be taken to ensure the success of
this initiative. More specifically, these actions should be:
a) The employment of professionals who will be both
embroiderers and embroidery teachers.
b) Hosting weekly Lefkara embroidery classes for
beginners and more experienced embroiderers.
c) The production of Lefkara embroidery when the
embroiderers do not have teaching duties.
d) Insistence that the production of Lefkara
embroidery must be based on national standards58
and must be branded as genuine.
Although these classes have not yet been implemented, the
Municipality and the Association are aiming for a
comprehensive approach to the subject, including discussion
of Lefkara embroidery as an ICH element.59
6. Private workshops and artists: the case of Mrs. Julia
Astreou-Christophorou
Julia Astreou-Christophorou is a textile designer, artist
and researcher based in Nicosia. She has worked for the
Cyprus Handicraft Service for 21 years and has done extensive
research on Cypriot textiles, and was the textiles advisor for
two films on traditional Cypriot weaving and Lefkara
embroidery (
Weaving Ladies of Cyprus
, 2008;
Lefkara Lace
,
2012). She created the Cyprus Textile Route website and
booklet in cooperation with the European Textile Network, and
has represented Cyprus in many textile art exhibitions.60
Mrs. Astreou-Christophorou established her workshop in
2003 [Plate 11], and has been promoting ICH since then by
participating in conferences, the International Triennial of
Tapestry, exhibitions, and giving public lectures in Cyprus and
abroad. She has also taught weaving and embroidery to
women who are interested in these crafts, organising
88
Lefkara Lace
intensive 3-day courses. During those, the participants had
the opportunity to attend lectures on traditional crafts and
issues related to ICH, before delving into the practical part.
Mrs. Astreou-Christophorou hosted the first specialised
workshops on Lefkara embroidery in October 2016, with the
collaboration of experienced Lefkara embroiderers. Those
workshops consisted of theoretical lectures on the craft by
Mrs. Astreou-Christophorou and practical sessions, all aiming
to give the participants comprehensive knowledge of Lefkara
embroidery. The first workshops have served as the basis for
future ones, as they provided the necessary feedback
regarding structure, content, and duration. One should note
that these are craft-oriented workshops where the student
has a unique opportunity to receive personal, almost private,
tuition on what is a very complex form of embroidery.61
Conclusions
The development of educational material related to ICH
has been piloted by UNESCO through the project
Promoting
ICH in Education for Sustainable Development
in Palau,
Pakistan, Uzbekistan and Vietnam. The project aimed to show
teachers how to incorporate local elements of ICH and
principles of Education for Sustainable Development (ESD)
into teaching and learning practices. In all cases, UNESCO
believes that the material should correspond to the specific
needs of each country, with appropriate local guidelines and
materials for teachers being essential. As a preliminary
thought, the material related to Lefkara embroidery is diverse
and could easily be integrated into history and art classes.
The difficulties of developing educational materials for
students and the complexity of describing the ICH-related
issues are less of a factor in the case of adult educational
programmes. The Cyprus National Commission for UNESCO
is a great example of how one can bring together various
disciplines and bridge the gaps. This particular programme
offers both the theoretical background and the empirical
knowledge of the socio-historical context in which Lefkara
embroidery has developed and continues to exist.
The Lefkara embroiderers are carriers of ICH, giving the
participants of the various programmes a unique perspective.
They are motivated to safeguard their knowledge and promote
their heritage, while the final hand-made products express
aesthetics and also embody information derived from the
experience of countless people from past generations. As
previously seen, all stakeholders strive towards the protection
and promotion of Lefkara embroidery through various
activities and programmes. The educational programmes
have a core practical segment, i.e. the participants learn how
to embroider, and all focus on transmitting the knowledge of
the craft. This is done at various levels depending on the
specific needs and goals of each programme. In realising the
importance of the promotion and safeguarding of Lefkara
embroidery, the stakeholders have expressed their
determination to support this effort in various ways. The
analysis of all the educational programmes demonstrated
that by educating the public about Lefkara embroidery,
stakeholders have taken a significant step towards creating an
environment in which folk art and tradition and the national
ICH are appreciated.
Vol.12 2017 International Journal of Intangible Heritage 89
ENDNOTES
1 Kenny, 2009, p. 151.
2 Lowenthal, 1998, p. xv.
3 Smith and Akagawa, 2009, p. 1.
4 http://www.unesco.org/culture/ich/RL/00255, http://www.unesco.org/culture/ich/doc/download.
php?versionID=29517
5 Pouradier Duteil-Λοϊζίδου, 2012, pp. 20-21.
6 http://www.unesco.org.cy/Programmes-Ethnikos_Katalogos_Aylis_Politistikis_Klironomias_tis_Kyproy,EN-
PROGRAMMES-04-02-03,EN
7 Astreou-Christophorou and Hadjigavriel,1996, pp. 11-15.
8 Hadjiyasemi, 1987a, pp. 9-10; Pieridi, 1991, pp. 3-50.
9 Astreou-Christophorou and Hadjigavriel, (op cit. 7), p. 30.
10 Ibid, pp. 30-31; Pieridi, (op cit. 8), pp. 257-259; Papademetriou, 2008, pp. 24-59.
11 Pouradier Duteil-Λοϊζίδου, (op cit. 5), p. 123.
12 Pieridi, (op cit. 8), pp. 55-56; Oakley, 1989, p. 515.
13 Hadjiyasemi, (op cit. 8), p. 13.
14 Pieridi, (op cit. 8); Polemitou, O., 1983a, p. 4.
15 Hadjiyasemi, (op cit. 8), pp. 19-34; Polemitou, 1983b, p. 6.
16 http://www.unesco.org/culture/ich/doc/download.php?versionID=29517
17 Polemitou, 1985a, pp. 4-5; Polemitou, 1985b, pp. 4-6; Polemitou, 1985c, pp. 4-5.
18
The Department of Antiquities currently has no projects or activities related to Lefkara embroidery
although this may change in the future. For that reason, it has not been included.
19 UNESCO, 2006, p. 9.
20 Ibid.
21 http://www.unesco.org.cy/About-National_Commission,EN-ABOUT-02,EN
22 Ministry of Agriculture, Rural Development and Environment, 2014, pp. 8-20.
23 Papaefstathiou, 2015, personal interview.
24 Astreou-Christophorou, 2016, personal interview.
25 Xenophontos, S., 2016, personal interview.
26 Loizou and Lambi, 2014, p. 3; Georgiou and Charalambous, 2008, p. 13.
27 Hadjigiasemi, 1987b.
28 Hadjigiasemi, (op cit. 27), pp. 5-6.
29 Ioannou, 2016, personal email.
30 Loizou and Lambi, (op cit. 26), pp. 22-26; Georgiou and Charalambous, (op cit. 26), pp. 111-119.
31 Loizou and Lambi, (op cit. 26), p. 3.
32 Georgiou and Charalambous, (op cit. 26), pp. 28, 111-119.
33 Bouchenaki, 2005, p. 3.
34 http://www.unesco.org.cy/About-National_Commission,EN-ABOUT-02,EN
35 http://www.unesco.org.cy/Programmes-UNESCO_Associated_Schools_ASPnet,EN-PROGRAMMES-01-02,EN
36 Cyprus National Commission for UNESCO, (op cit. 35).
37 Neuenschwander, 1976, p. 8.
Acknowledgements
The research presented here was carried out by the author as part of a postgraduate degree taken at the University of Cyprus. I
would like to thank Associate Professor Maria Parani (University of Cyprus), for her valuable comments that sparked further
research. Special thanks goes to the stakeholders who were interviewed and thus provided valuable information and insight on the
subject. I would also like to thank the anonymous reviewers, whose comments made me explore the issue of gender in
association with Lefkara embroidery and take a more holistic approach to my subject.
90
Lefkara Lace
38 Mouzakis, 2006, p. 13.
39 UNESCO, 2009.
40 UNESCO, ibid, p. 12.
41 http://www.moec.gov.cy/epimorfotika/index.html
42 http://econtent.schools.ac.cy/moec/epimorfotika/programma/2014_lefkosia.pdf, pp. 5, 37.
43 http://enimerosi.moec.gov.cy/archeia/1/ypp2742b, http://enimerosi.moec.gov.cy/archeia/1/ypp2742f, p. 17.
44 http://enimerosi.moec.gov.cy/archeia/1/ypp2742c, p. 31.
45 Lefkara Municipality, 2010a, p. 7; Lefkara Municipality, 2011, p. 8; Lefkara Municipality, 2012, p. 9.
46 Lefkara Municipality, 2010b, p. 8.
47 Xenophontos, (op cit. 25).
48 Papaefstathiou, (op cit. 23).
49 Ibid.
50 Paraskevas, Polyneiki and Papantoniou, 2015, personal interview.
51 Polyneiki, 2013, pp. 20-23; Christodoulidou, 2014, pp. 40-41.
52 Polyneiki, 2014, pp. 4-5.
53 Antoniou, 2014, pp. 6-9.
54 Paraskevas, Polyneiki and Papantoniou, (op cit. 50).
55 Polyneiki, 2015.
56 Polyneiki, (op cit. 55), pp. 11-13.
57 Xenophontos, (op cit. 25).
58 Cyprus Organisation for Standardisation, 2015.
59 Xenophontos, (op cit. 25).
60 http://www.juliastreou.com/Bio
61 Astreou-Christophorou, (op cit. 24).
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