These works of art celebrate the sisterhood and artistic talent of Afghan women amid growing silence. (Image credit: Banin Yaquib)
In one of the rings, clasped hands hold a bouquet of pink, purple and yellow flowers. In another, a woman’s hand is outlined in red stitching, with pearl beads on her nails and rings on her fingers.
These are two of the works featured in Suzani Stories, a new exhibition at Bunjil Place that explores the long tradition of hand embroidery and its centrality to Afghan culture and community. Organised by Melbourne fashion and textiles non-profit The Social Studio, the exhibition features embroidered artworks by 14 Afghan Australian women, created in collaboration with poets, photographers and illustrators, that tell their personal stories.
At a time when Afghan women are forbidden even from praying or reciting the Quran with other women, these works of art are expressions of the sisterhood and artistic qualities of Afghan women in the face of growing silence.
Suzani textiles are produced in Afghanistan, Uzbekistan, Tajikistan and other Central Asian countries. (Image credit: The Social Studio)
Hands feature prominently in many of the artworks. “We can do so many things with our hands,” explains artist Fareshta. “As an Afghan woman, from a very young age, we use our hands for embroidery, cooking and cleaning. I embroidered my rings because I love wearing them, and this green ring is very special to me, it was a gift from my best friend and I never take it off.”
Other works directly address the current political climate. “I chose to embroider the lips because Afghan women have been forced to remain silent,” Sakina said. “What we feel inside, we don’t dare to express for fear of being judged.”
The exhibition, led by Bonnie Mooney of Social Studio, took six months to prepare, but it reflects a longer cultural heritage that has been passed down from generation to generation and across borders.
suzani, derived from the Persian word for needle (suzan), is a hand-embroidered textile produced throughout Central Asia. Traditionally, girls would make suzani as part of their dowry in preparation for their wedding.
Suzani is traditionally part of a Central Asian bride’s dowry and is presented to the groom on his wedding day. (Image credit: Libby Chow)
In addition to new works created in collaboration with The Social Studio, Suzani Stories will feature embroidery from the artists’ personal archives, from Afghanistan to Australia, including pieces they created as children learning the craft from their mothers and grandmothers.
One of the catalysts for the exhibition was a group visit to the National Gallery of Victoria’s textile collection last year. Social Studio CEO Dewi Cooke recalls one woman noticing the familiar craftsmanship in the objects on display.
“She said there are a lot of women in Afghanistan who people will never know their names because of where they are, but who can do these jobs,” Cook said.
“We thought, ‘Oh, this is really interesting. Maybe we can do something where at least a small number of women are known for the work that they do, which is something that they are born with’.”
Appreciating Afghani artistry
But learning embroidery can also be an unpleasant experience for some Afghan women. “Many of them learn embroidery because that’s all they can learn,” Cook said.
Suzani embroidery usually uses cotton or silk as the base fabric and uses silk or cotton thread for embroidery. (Photo courtesy: Banin Yaquib)
One woman was puzzled by her interest in embroidery — why would anyone want to thread a needle when they could hold a pen? Others were reluctant to let their daughters spend time on an activity that was associated with oppression.
“My mom wasn’t allowed to go to school, she always cried to go to school, she kept her school uniform for ages,” said Shegofa Naseri, a bicultural translator for the project, who also embroidered a piece of art herself. “That’s why she told me to focus on studying and not embroidery because they don’t get a good experience from it.”
The project was eye-opening for Nasseri, 23, who arrived in Australia as a Hazara refugee in 2018 and is currently studying politics and philosophy at Deakin University. By talking to them about their lives while sewing, she learned how the experiences of other Afghan women differed from her own.
The Suzani Story exhibition is being held at Bunjil Place, a creative hub in Melbourne’s south-east. (Image credit: The Social Studio)
“Because my dad was always very open-minded .. he always supported me and supported me to grow and be myself,” she said. “I never thought that my culture would be like that.”
Nasseri hopes the exhibition will help redefine the role of embroidery in an artist’s life.
“They say in Afghanistan, no one really appreciates their work. It’s just something they have to do as women,” she said. “We tell them in Australia that embroidery is not something they are forced to do and that not everyone knows how to do it.
“So now most ladies understand that they shouldn’t be ashamed of this skill. It’s something they should really be proud of.”
What really makes many of the women proud is that they are paid a professional wage for their fortnightly embroidery workshops. The Society Studios pays participating artists based on the Textile, Clothing and Footwear Awards and for most of the women this is their first paid work experience.
Tahera Rashedi of the Migrant Workers Center held a Dari-language session on workers’ rights and walked attendees through the basics of registering for a tax ID and opening a retirement account.
Very few examples of Suzani’s work survive from the late 18th century, but descriptions of this art date back to the early 15th century. (Photo: Banin Yaquib)
In other ways, however, Suzani Stories has been intentionally focused on art and community, rather than replicating the structure and demands of a typical workplace where employees clock in and out for shifts.
Previous projects by Social Studio have illuminated the tension between craft and market forces.
“The fact is, embroidery takes time. Considering the prices people are usually willing to pay for clothing, it would be difficult for us to recoup the production costs,” Cook explained.
“That got us thinking, ‘Is this the best medium to expose people to this very rich cultural practice?’ So this year we tried something different, which obviously still costs money because we pay everyone, but it’s not dependent on the market to measure its value.”
The Suzani Story exhibition will be held at Bunjil Place in Narre Warren, Victoria until November 10.