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UMI A Bell & Howell Information Company 300 North Z esb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 AN ETHNOGRAPHIC STUDY OF SIX ECUADORIAN INDIGENA WOMEN WHO MAKE SHIGRAS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Deanna Elizabeth Dennis, M.A. The Ohio State University 1998 Dissertation Committee: Approved by Professor Patricia Stuhr, Advisor 7 Professor Don Krug 4 - A Professor Laurel Richardson Adviser Art Education Graduate Program UMI Number: 9822300 UMI Microform 9822300 Copyright 1998, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ABSTRACT In this study I present research concerning six women in the Ecuadorian Sierra who make shigras (baskets). It is important because as cultures of the world become progressively interconnected, the exigency for addressing our human understanding of each other is imperative. Because global awareness is seldom promoted except on a superficial level, this study presents an example for use in expanding the focus of multicultural education as it is commonly understood to include the art and artists of all cultures of the world, not just the cultures represented in the United States. A second consideration is the changing perspectives of art and aesthetics and how these concepts can be explained and implemented in the classroom. These shifting views support deconstructing the artificially-imposed polarities of fine and folk artists and their work. The role gender plays in valuing art in Ecuador, and by implication in the United States, is also discussed along with some alternative ways of interacting with other cultures. It is not enough for teachers to understand only what they should teach but also that they need to be cognizant of children's understanding of art as grounded in their own cultural value system. ACKNOWLEDGMENTS I wish to express my sincere appreciation to my advisor, Dr. Patricia Stuhr. Without her guidance and continuous encouragement, the writing of this dissertation would not have been possible. I would also like to express my heartfelt gratitude to the members of my dissertation committee-Dr. Donald Krug for his understanding and support and to Dr. Laurel Richardson, a special thank you for sharing my "field." Ill VITA January 30,1943 Bom - Granite, OK 1965-1967 T.E.F.L. & Art Teacher, Iran 1976 B A Capital University, Bexley, OH 1977-1982 Art Teacher, Liberty Union- Thurston Schools, Baltimore, OH 1983 M A The Ohio State University 1984-1991 Art Teacher, Liberty Union- Thurston Schools, Baltimore, OH 1991-1992 G.T A T he Ohio State University 1992-Present Art Teacher, Liberty Union- Thurston Schools, Baltimore, OH FIELD OF STUDY Major Field: Art Education IV TABLE OF CONTENTS Page A bstract......................................................................................................................ii Acknowledgments ...................................................................................................ill V ita .......................................................................................................................... iv List of Figures ........................................................................................................vii Chapters: 1. An Overview of the R esearch ............................................................. 1 1.1 Introduction 1 1.2 Background 1 1.3 Statement of the Problem 4 1.4 Purpose and Significance of the Research 7 1.5 The Research 8 2. Literature Review ........................................................................................... 12 3. The M ethodology ............................................................................. 23 3.1 Introduction 23 3.2 Design of the Study 24 3.3 Locating a Site 25 3.4 First Trip to Ecuador 27 3.4.1 Preparations 27 3.4.2. Choice of Aesthetic Product 29 3.5 Second Trip to Ecuador 40 3.5.1 Preparations 40 3.5.2 Location of Key Informants 41 3.5.3 Development of Interview Questions 42 3.5.4 Collection of Data 42 3.5.5 Choice of Informants 47 3.5.6 Interviews 50 3.5.7 Gift Giving 52 3.5.8 Transcription and Analysis 54 4 . Shigras............................................................................................................. 55 4.1 History of Fiber in Inca Society 55 4.2 Geographic Environment 55 4.3 Uses 59 4.4 Characteristics 61 4.5 Construction 61 5. Findings ........................................................................................................... 67 5.1 Narratives 67 5.1.1 Gabriela 68 5.1.2 Beatrice 79 5.1.3 Maria 85 5.1.4 Ana 92 5.1.5 Isabel 97 5.1.6 Julia 104 5.2 Data Summary and Analysis 111 6. C onclusion ................................................................................................ 119 7.1 Introduction 119 7.2 Implications for the Field of Art Education 119 7.3 Suggestions for Further Research 126 Glossary 128 Appendices 138 A. Lesson Plan - Arabic Calligraphy 139 8. Unit of Instruction - Art of Iran 145 C. Characteristics of Quechua Language 147 D. Major Locations of Various Aesthetic Products 149 E. Museums in Quito 152 F. Interview Questions 154 G. Analysis Charts 158 H. Sampling of Organizations which Promote Cross-cultural Awareness 178 Bibliography 181 vi LIST OF FIGURES Figure Page 1 Three-minute sketches of Ecuadorian children ............................................32 2 Sketches for game played with Ecuadorian children ...................................35 3 Traditional Inca design on woven hanging ....................................................37 4 Variation on M.C. Escher design on woven hanging .................................. 39 5 Map of Ecuador .................................................................................................56 6 Example of typical contemporary shigra..........................................................58 7 Sketch of cabuya, or agave Americana .......................................................57 8 Dyed and natural cabuya fib ers.......................................................................62 9 Steps in shigra construction ..............................................................................65 10 Bottom view of a s/7/gra illustrating beginning stitches ..............................66 11 Sketch of Gabriela and her daughter Angelita ..............................................74 12 Sketches of Gabriela and her daughter Angelita ........................................75 13 Shigra with bird design. Made by Gabriela ...................................................76 14 Reverse side of shigra with bird design. Made by Gabriela ......................77 15 Bottom view of shigra with bird design. Made by Gabriela ........................78 16 Sketch of Beatrice and a friend .........................................................................82 17 Sh/gra with stripe design. Made by Beatrice .................................................. 83 vii 18 Bottom view of shigra with stripe design. Made by Beatrice ...................84 19 Sketch of Maria and her daughter Ana ........................................................88 20 Shigra with geometric designs. Made by Maria ..........................................89 21 Detail of shigra with geometric designs. Made by Maria ..........................90 22 Bottom view of shigra made by Maria ............................................................91 23 Shigra with combination of stepped boxes and alternating diagonal bands. Made by A n a ......................................................................................94 24 Detail of shigra with combination of stepped boxes and alternating diagonal bands. Made by Ana ......................................................................95 25 Bottom view of shigra made by Ana ..............................................................96 26 Sketches of Isabel.......................................................................................... 100 27 Shigra with combination design of stepped