Developing the disappearing art of Lefkaritika into a community pedagogy, in order to witness the silences in marginalised women's lives.

“Lefkaritika”是塞浦路斯乡村特有的一种花边制作风格，列奥纳多·达芬奇非常欣赏这种风格，在1491年访问米兰后，他买了一块米兰大教堂的祭坛布，这启发了他的画作《最后的晚餐》中的桌布（Özyigit，2020年，第47页）。2009年，联合国认识到这一工艺的国际意义和对其生存的直接威胁，将其列入“人类非物质文化遗产代表作名录”（联合国教科文组织，2009年）。Lefkaritika被定义为一种“社会和艺术实践”，现在“处于这种压力之下，它可能会消失”，因为知识主要存在于老年人的手中，以及少数幸存的花边制造商的记忆中（Kokko，Kaipainen，2015年第10页）。2014年，仅在莱夫卡拉就有大约250名妇女工作，这个村庄给花边起了名字（联合国教科文组织，2014年），也是我父亲的家人居住的地方。今天，岛上只有不到40人（采访玛格丽塔，Castledine，2020）。在我的创意写作硕士期间，尽管大流行病，我在莱夫卡拉完成了两个伊拉斯谟资助的居住（Grampus遗产培训有限公司）。采用人种学方法（粉红色，2013），并支持我的职业生涯作为一个社区艺术从业者，我开始探索跨学科的沉默表示在创伤妇女的证词，特别是沉默作为一种保护机制（Nórby，2005）。通过对村民的定性采访和对档案材料的视觉分析，揭示了花边匠生活中和周围的多层次沉默。就像故意制造漏洞一样，这是Lefkaritika的一个定义性特征，这些沉默往往是故意的;有意识的间隙嵌入到故事的结构中。基于新兴的女权主义理论，将沉默定位为故意不说话的修辞（Glenn，2004年），我打算开发一种教学方法，见证弱势妇女生活中的沉默，包括如何听到差距，分享并最终鼓励声音。

'Lefkaritika', a style of lacemaking unique to rural Cyprus, was so admired by Leonardo Da Vinci that following a visit in 1491, he bought a piece for the altar cloth of the Milan Cathedral, which inspired the tablecloth in his painting The Last Supper (Özyigit, 2020, p.47). In 2009, recognising both the craft's international significance and the immediate threat to its survival, the United Nations inscribed it onto the 'Representative List of Intangible Cultural Heritage of Humanity' (UNESCO, 2009). Defined as a 'social and artistic practice', Lefkaritika is now 'under such stress that it may disappear' because knowledge primarily lies in the ageing hands and memories of the few remaining lacemakers (Kokko, Kaipainen, 2015 p.10). In2014, approximately 250 women worked in Lefkara alone, the village which gives the lace its name(UNESCO, 2014) and where my paternal family lived. Today there are barely 40 scattered across the island(Interview with Margarita, Castledine, 2020).During my Creative Writing MA, despite the pandemic, I completed two Erasmus funded residencies in Lefkara (Grampus Heritage Training Ltd). Adopting an ethnographic approach (Pink, 2013) and supported by my career as a community arts practitioner, I began to explore interdisciplinary representations of silence in traumatised women's testimony, especially where silence acts as a protective mechanism (Nórby,2005). Through qualitative interviews with villagers and visual analysis of archive material, multi-layered silences in and around the lacemakers' lives were revealed. Just like the deliberate creation of holes, a defining feature of Lefkaritika, these silences are often intentional; conscious gaps embedded into the fabric of a story. Building on emerging feminist theory, which positions silence as a rhetoric of the deliberately unspoken (Glenn, 2004), I intend to develop a pedagogy that witnesses silences in vulnerable women's lives, including how gaps may be heard, shared and ultimately encourage voice.