Spinning a song

In previous posts I have compared spinning with dancing – how the hands need to work together to find what the wool needs to become its best yarn. In this post I reflect over the similarities between spinning and singing. Today I feel like spinning a song.

Lead and backup

The other night I was watching an episode of a Netflix series. A talented singer was performing a song on stage. She also had a gutarrist with her. As she came to the chorus he acted as her backup singer. They had a focused eye contact and it looked like he watched her every movement to be able to follow her lead and back her up with every tone, duration and intensity to help bringing harmony to the song.

He had singing skills, experience and the knowledge of where she had been and where she was now. Together with both of their awareness of the present he was able to figure out where she was going and, through that, where he would go. It was a very intense moment where they totally trusted each other’s skills, knowledge and presence in the moment. It reminded me of the relationship between the wool and the spinner.

My hands learn about the wool through handling it and listens mindfully for cues to respond to during spinning.

On stage

When I spin, the wool is my lead singer, I’m the backup and the yarn is the song. I guess, in this analogy, the tools I use are the band. I have spinning skills and experience in general. Each fleece has its own characteristics that I need to keep in mind during the process. Through handling the fleece in all the steps I get a deeper understanding of this particular wool:

  • Through working with the fleece I get a sense of the length of the fibers. I adapt the twist and distance between my hands for a smooth spin and a twist to match the length of the fibers.
  • The quality of the lanolin left in the wool gives the wool a certain viscosity and decides how the fibers move in the spinning. Is it fast or slow? Light or tough? Or is there little to no lanolin left and the yarn slippery and unpredictable? My hands get an understanding of the role the lanolin plays in the way the fibers joins in in the twist.
  • Do the fibers work together as one or are they fighting each other? With stubborn fibers my hands need to make more of an effort whilst an agreeing preparation will allow my hands to work lighter.
  • Is the preparation fresh and airy or a bit old and stubborn? This will decide how much my hands need to work for the fibers to join the twist.
Working with the fleece gives me important information about how the wool is built up and how it behaves.
Working with the fleece gives me important information about how the wool is built up and how it behaves.

These are all cues I use when I spin. My hands remember how the wool behaves and they can adapt to my understanding of it. That is, if you will, the general knowledge of the wool. The wool is the lead singer here and I’m the backup singer. I need to get to know my lead singer but also be open to listening in the moment to be able to follow.

Mindful listening

Through mindful listening during spinning I get cues that tell me what is going on in this very moment. Is there a lump in the preparation that I need to take account for? Are there shorter or longer fibers in a section where I need to change the distance between my hands? I can close my eyes and try to get a sense of the consistency in the yarn. When I draft, my hands will listen for the point of twist engagement, where the yarn is open for adjustments in twist and thickness. My hands remember the quality of the yarn. If I listen mindfully I can follow the wool’s lead and contribute to making the yarn shine.

Focusing on how the fiber behaves gives med cues to respond to when I spin.
Focusing on how the fiber behaves gives med cues to respond to when I spin.

Spinning a song

The wool I’m working with now is a rya/mohair blend for a sock yarn. The mohair is quite dense and the fibers like to stick together. The rya is more airy, so in this combination there are parts that are airy and parts that are denser. I try to tease and card the blend to the best of my ability, but there are still critical spots here and there when I spin. Through the preparation of the wool my hands have gained a basic understanding of how the blend works. It’s not the walk in the park kind of wool, but I am getting to know how it sings. With this knowledge I have a better starting point when I spin. I listen for cues that have become clear to me during processing and I have a pre-understanding of what may turn up.

My hands listen carefully to the information they can get from the fibers in the yarn I'm spinning.
My hands listen carefully to the information they can get from the fibers in the yarn I’m spinning.

Just the other week I realized the difference between freshly carded rolags and rolags that were a week old. The older rolags were stubborn and fighted me while the fresh ones were a lot more cooperative. A freshly made rolag made spinning my song so much easier.

Singing a spin

In this sock yarn song the notes are difficult and the lead singer way ahead of my game. But I do my best to listen mindfully and learn as much as I can from my lead singer. I try hard to learn where my wool has been, where it is in this moment and where I can expect it to be further on and be ready for new cues. By working with what I know about the wool I’m spinning a song. With the knowledge I gain from listening mindfully to the wool while I spin I am also able to think one step ahead and sing my spin.

My hands learn about the wool through handling it and listens mindfully for cues to respond to during spinning.
With the information I have about the wool I work with, I’m spinning a song. The cues I get as I spin give me the opportunity to also sing my spin.

Happy spinning!

Knit (spin) Sweden book is out!

The book Knit (spin) Sweden, written by Sara Wolf with me as a co-author, is out! Some of you have bought it already. I hope you enjoy it! The book is available in online stores. The link is to Amazon U.S. Check it out to read about the book and also look inside it. I’m sure you can find it in other web shops in North America too. I haven’t read it yet, because I haven’t got the book. The European printer is in the U.K. and the books are sadly stuck there in a Brexit innuendo and covid shut down.

Sara has written a history of knitting in Sweden and Swedish knitting traditions. There are also knitting patterns in the book. She visits yarn shops and sheep farms, museums and spinning mills in different parts of Sweden. My contribution to the book is the (spin) part. I have spun yarn from many of the Swedish sheep breeds and sent them to Sara in the U.S. for her to knit swatches with. I have written about my experience with the wool as well as preparing and spinning it. Sara has in turn written about her experience knitting with my yarns.

You can find me in several social media:

  • This blog is my main channel. This is where I write posts about spinning, but also where I explain a bit more about videos I release. Sometimes I make videos that are on the blog only. Subscribe or make an rss feed to be sure not to miss any posts.
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  • I have a facebook page where I link to all my blog posts, you are welcome to follow me there.
  • I run an online spinning school, welcome to join a course! You can also check out my course page for courses in Sweden.
  • On Patreon you can get early access to new videos and other Patreon only benefits. The contributions from my patrons is an important way to cover the costs, time and energy I put into the videos and blog posts I create. Shooting and editing a 3 minute video takes about 5 hours. Writing a blog post around 3. You can read more about my Patreon page here.
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  • In all the social media I offer, you are more than welcome to contact me. Interacting with you helps me make better content. My private Facebook page, however, will remain private.
  • I support Centro de textiles tradicionales del Cusco, a group of talented textile artists in Cusco, Peru who dedicate their work to the empowerment of weavers through the revitalization and sustainable practice of Peruvian ancestral textiles in the Cusco region. Please consider supporting their work by donating to their causes.
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