Among the extensive variety of rural activities that have been carried out over time, is the shearing of sheep. With great skill and mastery acquired through the practice of scissors, the sheep is stripped of the wool that has protected it from the winter cold. The sheep's wool is protected by a thin layer of fat, which if it accumulates on the edge of the scissors, prevents further cutting, so it is necessary to remove it. To do this, the shearers put the scissors in the water, or with special stones, they sharpen their cut to eliminate it. At the time of shearing, good wool is chosen for spinning. The mala and the black will be used to fill mattresses and other minor uses. The first process that was carried out with the wool was washing it in the trough to take advantage of the thin layer of fat it has. They used this water to wash black tights, socks and scrub a robe or skirt. And then they took it to the river and rinsed it. But this water is very fine, it makes the hands very thin. And that's why grandmothers used it to wash some colored clothing and that way they didn't use so much soap. The water of the stream flows, following the course that the passage of time has formed. In its waters, Felisa Claver, who still follows this tradition inherited from her mother and grandmother, washes this small treasure to remove all the dirt. Some boxwood branches crossed in the stream prevent the small current of water from dragging the wool along in its course. There is a big difference between drying wool in the sun or in the shade. If the wool is dried in the sun, its whiteness will be much greater than if it is placed in the shade. Felisa Claver spreads it over the boxwoods, and the sun's rays are in charge of preparing it for handling. Once dry, the next phase of this complex process consists of trimming the wool, that is , it must be separated and left well prepared for the cards. At the same time, it is used to remove any plant fiber or other dirt that may have adhered to the wool. And that could have an impact on the yarn. Carding wool is like combing it. Having placed a handful of wool on the cards, Felisa gently combs them until all tangles are removed, leaving it soft for her work. If the pins of the cards are in good use and card the wool well, it is certain that the thread will come out of good quality. Otherwise, the thread, as the spinners say, would come out "stoned", and the results would be disastrous. Once the wool is carded, and joining several pieces of it, the flakes are formed to the proper size to be placed on the spinning wheel. The spinning wheel and the spindle are the main tools for making the thread. The spinning wheel was made by the man of the house in the winter, when inclement weather kept people in the warmth of the home. A reed, or a hazelnut stick, was the raw material that, with appropriate cuts, became the spinning wheel. The elegance and beauty of the yarn, together with the practice and sensitivity of Felisa Claver's fingers, turn this patient and relaxed work into a wonderful scene that has disappeared from the natural frames in which it was once reflected. The spinning wheel held at his waist. The spindle in your right hand, and with your left hand, patiently twisting the wool strands, you will make the thread necessary for weaving. The amount of wool thread that completes a spindle is called fusada. For one type of fabric, single-thread wool was used, but in other tasks, wool of more consistency was required. To do this, the fusadas are joined together two by two into balls, to make the double thread in the next process. With the twisting spindle, Felisa twists the two component threads of the ball. The technique, as in the entire process, requires a lot of concentration. While lifting the threads with one hand to let the fuso hang like a pendulum, he gives it a strong impulse with the other to make it spin until the wool is twisted into a single strand. To make larger spindles when working with large quantities of wool, the twisting cart was used. By turning the wheel in one direction, the two threads of the wool fuses were wound together. And this was in order to make more progress when twisting and since they did it for coarse things, they worked quickly and twisted all the balls at once. Then turning the wheel is when it twists. By turning in the opposite direction, the threads twisted together taking the desired consistency. So that the skein does not move, it must be tied. It is tied here. And now it goes around like this. The skein was the most practical way both to dye or wash and to store it until use. After several turns in the "demuré", it became a skein. They called this knot "Centenario". It goes through here, it goes through another again and now it is tied here. And the skein no longer opens. The traditional knot called "Centenario" prevented the skein from opening. When the wool had to be used, it had to be put back into a ball with the winder. Popular tradition has compared both the demoré and the winder to four horses in a riddle that has been passed down generation after generation. Four horses run to France, they run and run and they never catch up. There have been multiple uses for wool throughout the ages. Foot gaiters, sturdy footwear, sweaters, blankets, bedspreads, mattresses, blankets, etc. Today, all these objects made with wool have disappeared from everyday use, and have been replaced by more modern ones made with artificial fibers derived from plastics. To preserve this traditional technique, it is good that women like Felisa Claver feel that need that drives them to continue transforming the elements that nature has offered them. I am Eugenio Monesma, director and producer of the documentary you just watched. If you liked it, I encourage you to subscribe to the channel by activating notifications from the bell and so you can enjoy the hundreds of documentaries that I already have on the channel and which I will be uploading weekly.
