Pre-Conference Workshops, June 7 – June 9, 2005
Post-conference workshops are below.

PRE-01 BUILDING A SURFACE: BATIK AND STITCHING, Dorothy Caldwell, Canada
Intermediate to Advanced Level
Stitching can be used to mark and pattern cloth. Traditions of everyday stitching such as mending, patching and reconstruction, as well as more formal traditions of Indian kantha embroidery and Japanese sashiko, will be discussed in this workshop utilizing slides and actual examples. Using these examples as a basis, participants will experiment with extending the surface of their own batiks through the addition of stitching, applique and reconstruction. Materials required are a collection of your batiked fabric and other commercial fabrics to contrast or blend with your own. Some experimental materials will also be provided. This three-day workshop is meant for people already working with batik and seeking to experiment further with surfaces.
DOROTHY CALDWELL is a Canadian textile artist with an international reputation whose work incorporates North American quilting traditions with resist and discharge dyeing techniques. She has traveled in both India and Japan, researching dyeing practices and the influence historical work plays in contemporary contexts. Receiving the prestigious Bronfman Award in 1997, she returned to India to research Women's Co-ops and the revival of "Kantha" stitching. This led to workshops on "The Stitch" and an exhibition, "Stitching Women's Lives: Sujuni and Khatwa from Bihar," which was mounted at the Textile Museum of Canada. Exhibition: "Dorothy Caldwell," Mobilia Gallery, Exhibition: "Three Canadian Batik Artists," Simmons College

PRE-02 RO-SHIBORI, Karla De Ketelaere, Spain
All Experience Levels
The technique of ro-shibori combines both shibori (bound-resist) and rozome (wax-resist) and creates results that can be quite extraordinary. This workshop will focus on learning techniques to produce multiple ro-shibori samples on cotton and silk to dye with fiber reactive dyes in immersion and direct application processes. Some of the shibori techniques included will be maki-age shibori, arashi shibori and itajime. Areas of the resist fabric will then be reserved with wax using various methods. Students will develop several sets of samples using the two resist processes and extend their knowledge about future possibilities.
KARLA DE KETELAERE of Barcelona, Spain has been investigating ro-shibori since 1992. She coined the phrase "shibat" (a combination of shibori and batik) for the masterful wall hangings she has exhibited around the world, including Japan, Spain, Germany and Belgium. With a Masters of Textile Design from University of Terrassa, Spain, De Ketelaere has been teaching workshops in silk painting, batik and shibori since 1990. She is a member of the Asociacion de Creadores Textiles of Madrid and exhibited at the World Shibori Conference in 1999 in Chile. Her work is included in Fiberarts Design Book 6.

PRE-03, NATURE-INSPIRED ROZOME, Keijin Ihaya, Japan
All Experience Levels (great for beginners)
This workshop will be an opportunity to see how nature studies influence a master's work and mode of expression in rozome. The class will combine drawings from nature with rozome techniques to develop personal creativity and expression. Your own personal design view will be emphasized while learning sekidashi, blocking out negative areas by brushing wax, and sengaki, line drawing with wax. Weather permitting, students will have the opportunity to work directly from nature. Drawing skills are helpful.
KEIJIN IHAYA is a professor of textile design at Kyoto City University of Arts, Kyoto, Japan. An award winning artist and leader in the rozome community, he has been the juror for the Kyoten, Shinkoei and Nitten exhibitions more than 11 times. He has been cited as a supportive teacher with a "philosophy of simplicity, a strong connection with nature as source and a clear vision." Ihaya has exhibited regularly throughout Japan as well as in Edinburgh, Scotland and Seoul, Korea. He is the Asian Advisor to the World Batik Conference. Exhibition: "Rozome Masters of Japan," MassArt

PRE-04 DISCHARGE AND VAT DYES IN BATIK, Rita Trefois, Belgium
All Experience Levels
Workshop participants will explore a number of discharge techniques on cotton as they relate to batik. Discharge techniques allow the creation of negative images such as dark patterns on lighter backgrounds instead of the usual light colored or white patterns of a waxed line on a darker background. Several technical samples will be made using different discharge mediums. These will include the simple "transparent" effects in batik, the unusual properties of vat dyes and sodium hydrosulfite as well as javel water or chlorine bleach. The discharge ability of fibre reactive dyes coupled with vat dye will be included. Discharge patterning can take some time to master but the special visual results are worth the effort.
RITA TREFOIS of Ghent, Belgium has more than 25 years experience in batik, with extensive study travel in Indonesia. Trefois is a well-known batik teacher throughout Europe and was the organizer of the 1999 International Batik Gathering, also assisting with the 2003 Batik in Motion Symposium, both in Ghent, Belgium. She has exhibited her work extensively in Europe since 1978, as well as in China, Japan and Indonesia. She has done numerous lectures on batik including the Thakta: Art Batik Berlin Symposium 2001, the Dunia Batik Conference in Yogakarta, Indonesia and Guizhou Batik Symposium, Guiyang China, both in 1997. Exhibition: "Flemish Perceptions: Batik by Rita Trefois," Wentworth Institute of Technology

DEMO-01 KIMONO: DESIGN, DYEING, AESTHETIC, Katsuji Yamade, Japan
All Experience Levels One day only, Thursday, June 9
This is a special demonstration/presentation to learn about the Japanese kimono from the original design to completion--in one day! Mr. Yamade, a rozome kimono master from Kyoto, will explain kimono design, layout and the transfer of design to silk, including a detailed dyeing demonstration of sekidashi, barrier resist and jizome background dyeing. Later in the day, the various styles and the sewing of the kimono will be demonstrated. With the assistance of his artist wife, Sekiko, Mr. Yamade will demonstrate how the kimono is traditionally worn. Through this demo/presentation, participants will easily see the beauty in kimono as well as the technical skill that is needed to produce a traditional design.
KATSUJI YAMADE was trained as an oil painter but has worked solely in rozome since 1977. This versatile artist works both in a modern painting style of rozome as well as traditional kimono style, producing more than 20-30 kimono annually. He has exhibited in most of the major exhibitions in Japan, including the Nitten and Soko-kai Exhibitions, with solo shows as recently as 2004 in Kyoto. Yamade has taught textile design and dyeing for over 30 years and recently retired as Principal of the Kyoto Municipal High School of Art and Craft to devote time exclusively to his art. Exhibition: "Rozome Masters of Japan," MassArt

Post-Conference Workshops, June 13 – June 15

POST-02 TWISTED PATH/STRAIGHT TO THE TARGET: EXPERIMENTAL BATIK, Tony Dyer, Australia
All Experience Levels
Creation may evolve by a "twisted path or straight to the target", gradually progressing through experimentation or moving deliberately in a planned direction. With these thoughts in mind, Tony will lead participants through exercises using masking, textured and patterned rubbings and controlled application of waxes (hot, cold and block), as well as extensive dye application processes (fiber-reactive and azoic dyes). Four or five selected silks of different weights, weave, and structure, as well as plain and partially dyed fabrics will provide the base for structured and open-ended experiments. Wax-etching will be adapted for heavier structures.
TONY DYER, a native of Victoria Australia, has been an exhibiting textile craftsperson since 1970. He was a senior lecturer in textiles at the University of Melbourne (1995-98), and at Victoria College of Art (1972-98). His abstract layered batik work has been featured in over 17 major exhibitions and more than 100 group shows worldwide. Dyer's work is in numerous collections, including the National Gallery of Victoria, Guizhou Provincial Museum, China, Powerhouse Museum in Sydney, Queen Victoria and Art Gallery in Launceston, Tasmania, and in private collections throughout Australia, USA, and Europe. Dyer is the Australian Advisor for the World Batik Conference. Exhibition: "Layered Meaning," MassArt

POST-03 CAP (TJAP) BATIK, Nia Fliam and Agus Ismoyo, Indonesia
All Experience Levels
Cap batik (the use of specially designed copper stamps) was originally used to expedite the process of producing waxed images on cloth as well as to assure the symmetrical production of the geometric motifs. However, cap batik can go hand in hand with drawn batik, giving multiple layerings of design and color as well as being an artistic tool on its own. Students will be encouraged to bring their own caps, or order caps of their own design from the instructors prior to the workshop. An authentic Indonesian cap table will be created to assist professional work. The emphasis in this workshop will be on personal artistic expression.
NIA FLIAM, originally from Denver, Colorado, USA and AGUS ISMOYO of Yogyakarta, Indonesia, have been working collaboratively at their Yogyakarta Brahma Tirta Sari Batik Studio since its founding in 1985. Their batiks, elaborate multi-layered cap (tjap) cloths presented as a fine art medium, have been exhibited in solo and group shows throughout Indonesia and Australia as well as in Europe, North America and Asia. Their work is found in major museums in Canberra, Darwin, Sydney and Wollegon, Australia. Ford Foundation grant recipients, they were featured in the 1996 film "Hot Wax," which documented their collaboration with the Utopia Australian Aborigine Batik community. Exhibition: "Out of Indonesia: Brahma, Tirta Sari Studio Batik Collaborations, Cambridge Multi-Cultural Center

POST-04 DESIGN FOR THE BATIK ARTIST, Susan Louise Moyer, USA
All Experience Levels
Design is the cornerstone of artistic expression, and is of vital importance to all mediums. This workshop will help the batik artist develop a design philosophy and provide a structure through which the artist can find a personal voice. Good design is a union of intuition, inspiration, imagination, understanding, skilled craftsmanship and hard work. Through this three-day class specific paper design exercises will allow the student to improve or clarify their problem-solving skills leading to success. All class work will be done with paper and paste, with demonstrations of how to apply this to the wax and dye process.
SUSAN LOUISE MOYER is a professional silk painter, author, and teacher who has been presenting workshops on silk painting techniques and design concepts for 15 years throughout the USA. Her fashion designs have been sold to major clothing manufacturers including Perry Ellis, Yves St. Laurent, and Saks Fifth Avenue. President of Moyer Design Inc., Moyer is also the author of Silk Painting (1991) and Silk Painting for Fashion and Fine Art (1995, 2004). Her work has been shown throughout the United States, in Canada and Germany. www.moyerdesign.com

POST-05 ADVANCED JAPANESE ROZOME, Shoukoh Kobayashi, Japan
All Experience Levels (especially Intermediate and above) This workshop will cover many basic techniques of Japanese batik or rozome, including wax line and sekidashi (barrier resist) as well as specialized techniques such as maki-ro (sprinkled wax) and han-bosen (shaded wax application). The class will work with traditional Japanese tools and finish two to three designs with light, dark, and bokashi (graduated shading) backgrounds.
SHOUKOH KOBAYASHI has been working with the rozome technique for over 30 years. His distinctive style and powerful abstract work have won him more than nine awards in exhibitions in Japan. He has exhibited in the Lausanne Biennial (1992), as well as in Germany, France, Poland, and Denmark. His work is in numerous collections, including Kyoto Prefecture, the Central Museum of Textiles, Lodz, Poland, and UNESCO, Paris, France. Exhibition: "Rozome Masters of Japan," MassArt

POST-06 BATIK ON PAPER, Mariana Frochtengarten, Brazil
All Experience Levels (great for beginners)
This workshop will begin with a discussion on color theory and color mixing with MX Procion dyes and liquid water colors. After a brief history of batik origins, meaning and traditions, and a demonstration of technique, students will work directly with wax. The class will use a variety of papers, including industrial, recycled, and Brazilian handmade papers such as banana and sugar cane products. Ethnic designs from Brazilian rupestral and native Indian designs will be introduced. The processing of batiked papers, future uses and presentations, and a discussion on the boundaries between art and craft will be included.
MARIANA FROCHTENGARTEN is a graduate of University of Sao Paulo in Brazil and has been working in batik for 12 years. In 1997, she began working with designer Nido Campolongo, and has since developed her own line of fabrics and batiked papers for home furnishingS and housewares. Many of her paper products are sold in specialty paper stores in Brazil and are exported to the USA through the Brazilian Craft Company. Mariana has taught workshops at university cultural centers and art schools in Brazil as well as in Canada at the Metchosin International School of Art (2003).

WORKSHOP REGISTRATION
Registration for preconference and postconference workshops is $250 and open to conference participants only however, space is limited and on a 'first come' basis. Please indicate three choices, in order of preference in both the pre and post- conference sessions. You will be assigned to the first available workshop. You will be placed on the waiting list of your first choice if space is not available when you register. If we are not able to place you in a workshop, we will refund your fee. The WBC may cancel any workshops that do not have sufficient registration by April 1, 2005. Workshop fees all include basic supplies; however, you will receive a list of additional materials your instructor would like you to bring by April 15, 2005.

REFUNDS/CANCELLATION/CHANGE POLICY
If you cannot attend, we encourage you to send a qualified substitute. A refund of registration fees, minus a $25 administration fee, will be available if we receive your written request by April 15, 2005. After that date, no refunds will be made. All changes to a confirmed reservation are subject to a $25 administration fee. WBC reserves the right to cancel the event and return all fees in the event of insufficient registration. WBC, MassArt and the organizers will not be responsible for any losses incurred by the registrants, including airline cancellation charges and hotel deposits.