The mastic gum of Chios, Greece

Living in one of the 24 mastic gum (mastiha) producing villages of Southern Chios, I have been exposed to the cultivation of mastiha since I first came here. Almost everyone in my village is involved in the production of this magical resin, valuable for many uses: for medicines, cosmetics, art paints and varnishes, sweets, etc.

toultouline.com
Mastic trees

It was always cultivated on the island but started becoming known in the 10th century by travellers visiting Chios. The trade became more organized in the 14th century.

toultouline.com

The mastic tree/bush (skinos, Pistacia Lentiscus var. Chia) grows all over Chios, also all over the Mediterranean area, but only produces mastic gum in the southern part of Chios. It is one of the strongest plants, it can live without water, in bad soil, and lasts for many years. The mastiha production is worthwhile from about the 5th year of the life of the plant and reaches its best at around the 15th year. It can live up to 100 years. A mature tree produces about 200 grams per year.

toultouline.com
White soil under mastic trees

The cultivation of mastiha starts around May-June and ends in September-October, depending on the weather. First, they prepare and clean the area under each tree, then spread a white soil on that area so that the drops (the tears) of resin falling are kept clean. Next, with a special sharp and pointed tool, they “wound” the tree by making incisions on the trunk and the branches (see the beautiful film at the end of this post).

toultouline.com
Photo at the Chios Mastic Museum

After the mastiha has fallen on the ground, and become hard, it is collected very early in the morning, while it is still cool and the resin remains hard. Then they “bring it in”, to the village, where they continue with the “cleaning” of it. This involves sifting it through different sizes of sieves to clean it from the soil and leaves.

toultouline.com
Sieves at the Chios Mastic Museum
toultouline.com
Old photo at the Chios Mastic Museum, 1930-1950
toultouline.com
Photo at the Chios Mastic Museum

Next comes the washing. Some people who live near the sea still go there to wash their mastiha.

toultouline.com
Washing mastic gum in the sea, Southern Chios (2016)
toultouline.com
Sifted and washed mastiha

The final cleaning is done by the women. They usually gather around a round tray (sini), now a round table but still called sini. They clean the resin drops, one by one, by removing any impurities using a needle, work that demands strong eyes and a lot of patience. This takes a few months, depending on the quantity of the harvest. When they finish they take it to the Chios Gum Mastic Growers Association for the final processing.

toultouline.com
Cleaning mastiha, at the Chios Mastic Museum
toultouline.com
Cleaning mastiha (2017)
toultouline.com
Cleaning mastiha

A few days ago I visited the new Chios Mastic Museum, a very modern building housing a very old trade. It is located in the middle of the mastic producing villages and is surrounded by mastic trees where one can follow their cultivation, an open-air museum exhibition.

toultouline.com
Chios Mastic Museum
toultouline.com
Chios Mastic Museum

“The aim of the Chios Mastic Museum is to highlight the production history of the cultivation and processing of mastic, also incorporating it to the cultural landscape of Chios. Through the inclusion of traditional mastic cultivation in the Representative List of Intangible Cultural Heritage of Humanity by UNESCO in 2014, the emphasis is on the timelessness and the sustainability of the product of Chios”   {Copied from the Museum’s brochure}

toultouline.com
Old distiller for the production of mastic oil, Chios Mastic Museum
toultouline.com
Old “machinery” for the final processing of mastic gum. Chios Mastic Museum

I am definitely going back. Although mastiha production is part of my fellow villagers lives, there is a lot to see in that museum, details from the past and from the other villages, in a very organized and pleasant way. It made me see that not much has changed since the 19th-20th centuries. Also, there is a nice cafe with views over many mastic trees and the sea far away. Coffee was served with a cookie filled with mastiha cream. There is also a lot of modern art on the walls of some parts of the museum which connects the past with the present.

“The tree we hurt” 1986 ,  English subtitles

This film shows how the mediaeval fortress type villages of Southern Chios, where the mastiha producers lived for centuries (and still do), were around 1985. Not much has changed, they are only better preserved (see my blog post “Start where you are”). In this film you can also see the landscape of Chios, mastic trees, cultivaton, and follow a sweet story with beautiful music.

 

 

Tapestry weaving in Provence, France

Since I am still talking about the past, I decided to move outside of Greece, this time, and go ‘back’ to Provence, France.  In the summer of 1980 I went to Venasque, a small village in Provence, France, to study tapestry weaving with a professional ‘licier’ (tapestry weaver). Daniel Drouin had studied at the ‘Manufactures Nationales des Gobelins’ in Paris and then worked there for quite a few years.

Daniel Drouin,1980  toultouline,com
Daniel Drouin winding bobbins, 1980 (Photo from the internet, unknown source)

In the 1970s he set up his own studio and home in Venasque, where he designed and wove his own tapestries. In the summer he run residential courses, assisted by his wife Denise.

Tapestry weaving, 1980, France, toultouline.com
Weaving my tapestry from the back, the traditional Gobelin way
Tapestry weaving, 1980
More has been woven. Photographed from the front, woven from the back

We were six students from France, Finland, USA, and Greece. We wove, on the upright very sturdy Gobelin looms, the designs we chose from the ones that Daniel had prepared for us. I did not think that the one I chose was the most beautiful. As I had already been weaving for a few years and had tried my hand in tapestry, I could see that it included many techniques that I wanted to learn. We wove every day for six hours, the week-ends were free for excursions in the area.

Daniel Drouin
Tapestries by Daniel Drouin in an exhibition setting (photo from the internet, unknown source)

There was an exhibition space of the recent tapestries, for visitors who passed by. But the house was full of Daniel’s work of previous years. Even our six bedrooms had at least one tapestry on the wall, some had more. All were quite large, as most tapestries were at that time.

Daniel Drouin tapestry, toultouline.com
Tapestry in one of the bedrooms.
Daniel Drouin tapestry, toultouline.com
Tapestry in a bedroom. This must have been one of his older tapestries. It was different from the others, also very large.

After just a few years, Daniel Drouin stopped teaching and concentrated on his own work. I consider myself lucky that I had the chance to study with him. Not only for the weaving techniques, or the beautiful environment, but for giving me the chance, by following him, to see how an artist works and develops his ideas over the years.

Daniel Drouin, tapestry weaver
Daniel Drouin weaving. (photo from the internet, unknown source)
Daniel Drouin tapestry
Tapestry by Daniel Drouin (photo from the internet, unknown source)

A short and quite recent video of Daniel Drouin. He weaves from the back but he can see the front side of the tapestry in the mirror, through the warp threads:

 

 

Spinning in Arachova, Greece

While we were busy dyeing yarn in Arachova, in 1987 (see previous blog post about natural dyeing), Frosso Haritou’s mother was sitting with us. She needed the company.

toultouline.com

toultouline.com

Like all women of her generation, she was never idle, her hands were always busy. Most days she was spinning, using her drop spindle, the traditional Greek way. The yarn she made was used by her daughter Frosso for her weaving.

toultouline.com

toultouline.comThis older woman had a smiling face that I still remember.

 

toultouline.com