DOCSLIB.ORG

Material Culture Studies and Art Education

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Material Culture Studies and Art Education The Pennsylvania State University The Graduate School College of Arts and Architecture MATERIAL CULTURE STUDIES AND ART EDUCATION: EXAMINING THE CULTURAL ARTIFACTS OF THE BOHRA FROM MAKAAN TO MASJID A Thesis in Art Education by Themina Kader Copyright 2000 Themina Kader Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2000 We approve the thesis of Themina Kader. Date of Signature Paul E. Bolin Head of Art Education Program Associate Professor of Art Education Thesis Advisor Chair of Committee Patricia M. Amburgy Associate Professor of Art Education Yvonne M. Gaudelius Assistant Professor of Art Education and Women’s Studies E. Paul Durrenberger Professor of Anthropology iii ABSTRACT In this research study I posit the theory that artifacts are and should be an integral part of art education. Despite continual controversy over the definition of the categories of art and artifacts, researchers generally agree that visual culture in the postmodern and post-historical context, must embrace all forms of expression. That the word “artifact has art embedded in it is no mere coincidence. Art and artifacts are a reflection of a culture, past and present. As such all objects, grand and small, good and bad, become part of the material culture of any given society. These cultural artifacts, once considered “craft” narrow the gap between European and non-European cultures. Hence, the focus of my inquiry is on how the study of artifacts can help to eliminate distinctions that have been drawn and are still prevalent between art and artifacts. Using the pedagogy of material culture studies, I examine three questions: (a) How can material culture studies, mediated by the cultural artifacts of the Bohra, be integrated into art education at the same level as the study of paintings and sculptures? (b) What is the link between the artifactual and art, vis-à-vis the dress, containers, and furniture of the Bohra? (c) How can artifacts become markers of a cultural identity for a people who are dispersed throughout the world as the Bohra are? These primary questions provoke further inquiry and analysis of the meaning Bohra families attach to their material world. iv This research is an ethnographic study of the culture of a specific community— the Bohra. As such, the interconnectedness of informants, artifacts and researcher was crucial. I employed participant observation as the main tool, supplemented by interview questions, for data collection. I used an intensive sampling of three families and 24 informants to provide me with information. The selection criterion was based on the socio-economic status of each family. In preparation for this study, I made preliminary contacts and conducted interviews with four Bohra families living in the state of Pennsylvania. The pilot study was particularly useful for revising some of my interview questions and how I presented myself to my informants. My research venue was Kenya, and although I interacted with the informants for only six weeks, any disadvantage accrued by this relatively short period was in part mitigated by my emic role. As a Bohra, I was able to capture the subtle nuances of attitudes to interpret the significance of artifacts and bring to the research the viewpoint of an observer as participant. Furthermore, knowledge of their language, customs, rites and rituals created an instant rapport between the researched and the researcher. I have also interspersed this study with narratives of experiences and memories that are inherent to the understanding of the close relationship between artifacts and artificers. The raison d’être of this study was the hypothesis that material culture studies and art education can be partners—each supporting and complementing the other. This research study enabled me to understand the role of artifacts and how the Bohra make sense of their lives through using them. Because I am a Bohra, I opted to study the artifacts of my culture. I suggest that art educators can utilize artifacts that are familiar to v their students to include material culture studies in an art education program. Toward this end, I discuss three inquiry methods that can be employed to teach art. vi TABLE OF CONTENTS LIST OF ILLUSTRATIONS .............................................................................................ix ACKNOWLEDGEMENTS ...............................................................................................xi CHAPTER I CONCEPTUAL AND THEORETICAL FRAMEWORK...........................1 Conceptual Framework ...................................................................................................1 Introduction .................................................................................................................1 Outline of Successive Chapters...................................................................................2 Statement of the Problem ................................................................................................3 The Purpose of the Study ............................................................................................8 The Significance of the Study ...................................................................................10 Definition of Terms—Listed Alphabetically ............................................................12 Theoretical Framework .................................................................................................17 Artifacts .....................................................................................................................17 Methodology .............................................................................................................30 Pilot Study.................................................................................................................33 Participant Observation .............................................................................................34 Historical and Demographic Information on the Bohra............................................35 A Memory .................................................................................................................37 CHAPTER II LITERATURE REVIEW..........................................................................40 Material Culture ............................................................................................................40 Material Culture Studies................................................................................................41 Art and Artifacts............................................................................................................52 Material Culture and Art Education..............................................................................55 Inquiry Methods ............................................................................................................60 Recontextualizing Artworks......................................................................................61 Museums, Material Culture, and Masterpieces .........................................................63 CHAPTER III THE BOHRA AND THEIR MATERIAL CULTURE ............................69 A Celebration: Misaaq Mubaarak ...............................................................................69 The Artifacts..................................................................................................................72 Dress..............................................................................................................................73 Men’s Dress...............................................................................................................74 Kurta......................................................................................................................74 Saya .......................................................................................................................76 Perun .....................................................................................................................76 Topi........................................................................................................................77 Women’s Dress .........................................................................................................78 Ridah .....................................................................................................................78 Orhnu ....................................................................................................................80 Massalaa ...............................................................................................................81 Tasbee....................................................................................................................81 vii Bakhoor and Bakhoor Dani...................................................................................83 Personal Experience ..............................................................................................84 Misri and Ittar .......................................................................................................85 Misri Dani .............................................................................................................86 Ittar Dani...............................................................................................................86 Ornaments .................................................................................................................87
Load more

Recommended publications
  • Ancient Jades Map 3,000 Years of Prehistoric Exchange in Southeast Asia
    Ancient jades map 3,000 years of prehistoric exchange in Southeast Asia Hsiao-Chun Hunga,b, Yoshiyuki Iizukac, Peter Bellwoodd, Kim Dung Nguyene,Be´ re´ nice Bellinaf, Praon Silapanthg, Eusebio Dizonh, Rey Santiagoh, Ipoi Datani, and Jonathan H. Mantonj Departments of aArchaeology and Natural History and jInformation Engineering, Australian National University, Canberra ACT 0200, Australia; cInstitute of Earth Sciences, Academia Sinica, P.O. Box 1-55, Nankang, Taipei 11529, Taiwan; dSchool of Archaeology and Anthropology, Australian National University, Canberra ACT 0200, Australia; eDepartment of Ancient Technology Research, Vietnam Institute of Archaeology, Hanoi, Vietnam; fCentre National de la Recherche Scientifique, Unite´Mixte de Recherche 7528, 27 Rue Paul Bert, 94204 Ivry-sur-Seine, France; gDepartment of Archaeology, Silpakorn University, Bangkok 10200, Thailand; hArchaeology Division, National Museum of the Philippines, Manila, Philippines; and iSarawak Museum, Kuching, Malaysia Edited by Robert D. Drennan, University of Pittsburgh, Pittsburgh, PA, and approved October 5, 2007 (received for review August 3, 2007) We have used electron probe microanalysis to examine Southeast Japanese archaeologist Kano Tadao (7) recognized four types of Asian nephrite (jade) artifacts, many archeologically excavated, jade earrings with circumferential projections that he believed dating from 3000 B.C. through the first millennium A.D. The originated in northern Vietnam, spreading from there to the research has revealed the existence of one of the most extensive Philippines and Taiwan. Beyer (8), Fox (3), and Francis (9) also sea-based trade networks of a single geological material in the suggested that the jade artifacts found in the Philippines were of prehistoric world. Green nephrite from a source in eastern Taiwan mainland Asian origin, possibly from Vietnam.
    [Show full text]
  • A Study on Ancient Artifacts Around Badami Hill and Their Correlation with the Natural Rock Arch Of
    A Study on Ancient Artifacts Around Badami Hill and Their Correlation with the Natural Rock Arch of Sidlaphadi SHORT REPORT PRADIPTA BANERJEE MAYUR BAJAJ *Author affiliations can be found in the back matter of this article ABSTRACT CORRESPONDING AUTHOR: Pradipta Banerjee The Badami hill of Bagalkot district, Karnataka, India, houses a large rock arch termed Dayananda Sagar University, IN “Sidlaphadi” that was used as a shelter by primitive man. The hill was searched to [email protected] find any prehistoric artifact that would act as a directional marker towards the arch. An interesting structure was noted in one of the natural caves near the southwestern part of the hill at 15°55’06”N latitude and 75°41’02”E longitude. A miniature replica TO CITE THIS ARTICLE: of the arch was carved onto the floor of the cave. The axis of the miniature bridge Banerjee, P and Bajaj, M. 2021. made an angle of 28.5 ± 1.5° with the 75°41’02”E longitude. The axis, upon extension A Study on Ancient Artifacts eastwards at the defining angle reaches the northern slope of Sidlaphadi. The authors Around Badami Hill and Their also located a megalithic stone arrangement in the northern part of the hill that had Correlation with the Natural a pointed capstone and was thought to be oriented towards the rock arch. The stone Rock Arch of Sidlaphadi. Ancient Asia, 12: 9, pp. 1–9. arrangement was in the same latitude as that of the Sidlaphadi site, but the capstone DOI: https://doi.org/10.5334/ ° ° was oriented 22 E towards the winter solstice sunrise at 112.5 azimuth.
    [Show full text]
  • THE JEWELRY of POTTERY MOUND with a Comparison To
    THE JEWELRY OF POTTERY MOUND With a Comparison to Tijeras Pueblo By Lucy C. Schuyler Maxwell Museum Technical Series No. 26 Maxwell Museum of Anthropology University of New Mexico 2016 TABLE OF CONTENTS Page LIST OF FIGURES......................................................................................................................... v LIST OF TABLES......................................................................................................................... vii ACKNOWLEDGMENTS.............................................................................................................. xi 1. INTRODUCTION....................................................................................................................... 1 Excavations at Pottery Mound............................................................................................. 2 Methods................................................................................................................................3 Overview of the Artifacts.....................................................................................................4 2. JEWELRY AND RELATED ARTIFACTS IN THE COLLECTIONS..................................... 5 Beads.................................................................................................................................... 6 Bone......................................................................................................................... 6 Shell........................................................................................................................
    [Show full text]
  • Artistar Jewels in Milan EXHIBITION / 19 FEB 2019 - 24 FEB 2019 Published: 12.12.2018
    Discover Art Jewelry from Selected Jewelers, Galleries and Institutions Artistar Jewels in Milan EXHIBITION / 19 FEB 2019 - 24 FEB 2019 Published: 12.12.2018 Bracelet and neckpiece made by Rachel Reilly. © By the author. Read Klimt02.net Copyright. Artistar Jewels, the international event dedicated to body ornaments now in its sixth edition, will be held for the first time at Palazzo Bovara in Corso di Porta Venezia in Milan. The entire building will be dedicated exclusively to the exhibition, with over 700 square meters of exhibition space. A not-to-be-missed opportunity to admire the beauty of contemporary jewellery declined in 500 sculptural ornaments, ironic, sometimes on the verge of wearability, inserted in an experiential path divided into themes: avant-garde, innovation, precious and recycling. The creations on show are of the highest artistic and technical level, most of which created for the project and never exhibited before. Artist list Hawraa Almaqseed, Nita Angeletti, Artifact Jewellery, Asimi, Aurum by Guðbjörg, Priyanka Baburaj, Francesco Barbato, Ronel Bauermeister, Miruna Belicovici, Raquel Bessudo, Glauco Cambi, Elizabeth Jane Campbell, Ana Margarida Carvalho, Milla Castro, Alva Chen, Valerie Cheung, Sarah Christian, Luana Loureiro Coelho, Marion Colasse, Anca Ioana Croitoru, Susan Crow, Silvia Cruceru, Sheila Cunha, Francesca Di Virgilio, Maria Elisabetta Donadio, Yichen Dong, Anastasia Dubrova, Dominika Durtan, Mikky Eger, Ellence, Quinta Essenza, John Farris, Mina Farrokhi, Flaminia Quattrocchi Design, Lindsey Fontijn,
    [Show full text]
  • British Royal Ancestry Book 3, Kings of Wessex, from Cerdic, Who Came to Brittany in 495 to Harold II of England, My 27Th Great Grandfather
    GRANHOLM GENEALOGY BRITISH ROYAL ANCESTRY, BOOK 3 Book 3, Kings of Wessex INTRODUCTION The British ancestry is very much a patchwork of various beginnings. Until King Alfred the Great established England various Kings ruled separate parts. In most cases the initial ruler came from the mainland. That time of the history is shrouded in myths, which turn into legends and subsequent into history. Alfred the Great (849-901) was a very learned man and studied all available past history and especially biblical information. He came up with the concept that he was the 72nd generation descendant of Adam and Eve. Moreover he was a 17th generation descendant of Woden (Odin). Proponents of one theory claim that he was the descendant of Noah’s son Sem (Shem) because he claimed to descend from Sceaf, a marooned man who came to Britain on a boat after a flood. See the Biblical Ancestry and Early Mythology Ancestry books). The book British Mythical Royal Ancestry from King Brutus shows the mythical kings including Shakespeare’s King Lair. The lineages are from a common ancestor, Priam King of Troy. His one daughter Troana leads to us via Sceaf, the descendants from his other daughter Creusa lead to the British linage. No attempt has been made to connect these rulers with the historical ones. Before Alfred the Great formed a unified England several Royal Houses ruled the various parts. Not all of them have any clear lineages to the present times, i.e. our ancestors, but some do. I have collected information which show these. These include British Royal Ancestry Book 1, Legendary Kings from Brutus of Troy to including King Leir.
    [Show full text]
  • Maureen O'hara
    Maureen O'Hara Année Titre du film VF Titre du film VO Support Réalisé par Numéro 1938 Kicking the Moon Around Walter FORDE 1939 My Irish Molly Eileen O'SHEA 1939 La Taverne de la Jamaïque Jamaica Inn Alfred HITCHCOCK 1939 Quasimodo The Hunchback of Notre Dame William DIETERLE 1940 A Bill of Divorcement John FARROW 1940 Dance, Girl, Dance Dorothy ARZNER 1941 Idylle en Argentine They Met in Argentina Leslie GOODWINS & Jack HIVELY 1941 Qu'elle était verte ma vallée How Green Was My Valley John FORD 1942 Les Rivages de Tripoli To the Shores of Tripoli H. Bruce HUMBERSTONE 1942 Ten Gentlemen from West Point Henry HATHAWAY 1942 Le Cygne Noir The Black Swan Blu-ray Disc Henry KING 404 1943 Vivre libre This Land is Mine Jean RENOIR 1943 Nid d'espions The Fallen Sparrow Richard WALLACE 1943 Aventure en Libye Immortal Sergeant John M. STAHL 1944 Buffalo Bill Buffalo Bill William A. WELLMAN 1945 Pavillon noir The Spanish Main DVD vidéo Frank BORZAGE 1002 1946 Voyage sentimental Sentimental Journey Walter LANG 1946 Voulez-vous m'aimer ? Do You Love Me Gregory RATOFF 1947 Sinbad le marin Sinbad the Sailor Richard WALLACE 1947 L'Amour au trot The Homestretch H. Bruce HUMBERSTONE samedi 12 septembre 2020 Page 1 sur 3 Année Titre du film VF Titre du film VO Support Réalisé par Numéro 1947 Le Miracle sur la 34e rue Miracle on 34th Street George SEATON 1947 La Fière Créole The Foxes of Harrow John M. STAHL 1948 Bonne à tout faire Sitting Pretty Walter LANG 1949 Bagdad Bagdad Charles LAMONT 1949 Secret de femme A Woman's Secret Nicholas RAY 1949 Britannia Mews Jean NEGULESCO 1949 Father Was a Fullback John M.
    [Show full text]
  • MUMMIES BEYOND the GRAVE
    THE SOAP LADY USA, NORTH AMERICA MUMMIES BEYOND the GRAVE An Introduction to Mummy Studies around the World by janet monge RIGHT: Mummies are found throughout the world—in high mountains and low deserts, in both frigid and hot climates. The locations of the mummies discussed in the following INCA CHILD SACRIFICES articles are shown. PERU, SOUTH AMERICA ver 20 years ago, I got hooked on mummies. on mummy studies that give us both a view to the It began when we first x-rayed the many biology of peoples in the past as well as the cultural O South and North American mummies that circumstances that produce these unique artifacts of are part of the Physical Anthropology Section collec- human mortuary history. The articles in this special tions at the Penn Museum. This led to a drive to glean issue of Expedition illustrate the diversity of mummy even more information from the mummies. For several studies, the nature of mummification, and the cultural years, on Sunday mornings at 6 am, my students and I context of preserving the body. drove all the mummies of the collection one city block They also challenge us to consider questions like: to the Hospital of the University of Pennsylvania, what is a mummy? And what are the ethical concerns Department of Radiology, to CT scan and even MRI with manipulation, study, and display of these bod- them. Eventually we included the Egyptian Section ies? As both cultural and biological artifacts of past mummies, both human and animal. I am still hooked peoples, these authors bring together a diversity of
    [Show full text]
  • Leslie White (1900-1975)
    Neoevolutionism Leslie White Julian Steward Neoevolutionism • 20th century evolutionists proposed a series of explicit, scientific laws liking cultural change to different spheres of material existence. • Although clearly drawing upon ideas of Marx and Engels, American anthropologists could not emphasize Marxist ideas due to reactionary politics. • Instead they emphasized connections to Tylor and Morgan. Neoevolutionism • Resurgence of evolutionism was much more apparent in U.S. than in Britain. • Idea of looking for systematic cultural changes through time fit in better with American anthropology because of its inclusion of archaeology. • Most important contribution was concern with the causes of change rather than mere historical reconstructions. • Changes in modes of production have consequences for other arenas of culture. • Material factors given causal priority Leslie White (1900-1975) • Personality and Culture 1925 • A Problem in Kinship Terminology 1939 • The Pueblo of Santa Ana 1942 • Energy and the Evolution of Culture 1943 • Diffusion Versus Evolution: An Anti- evolutionist Fallacy 1945 • The Expansion of the Scope of Science 1947 • Evolutionism in Cultural Anthropology: A Rejoinder 1947 • The Science of Culture 1949 • The Evolution of Culture 1959 • The Ethnology and Ethnography of Franz Boas 1963 • The Concept of Culture 1973 Leslie White • Ph.D. dissertation in 1927 on Medicine Societies of the Southwest from University of Chicago. • Taught by Edward Sapir. • Taught at University of Buffalo & University of Michigan. • Students included Marshall Sahlins and Elman Service. • A converted Boasian who went back to Morgan’s ideas of evolutionism after reading League of the Iroquois. • Culture is based upon symbols and uniquely human ability to symbolize. • White calls science of culture "culturology" • Claims that "culture grows out of culture" • For White, culture cannot be explained biologically or psychologically, but only in terms of itself.
    [Show full text]
  • Archaeology Activity Book
    Archaeology Activity Book Illustrations: Heather Brindza Text: Danielle Ellis Layout: Rebecca Conway Appalachian Forest Heritage Area (AFHA) is a non-profit, grassroots organization that promotes economic and community development by linking central Appalachian forest history, culture, natural history, products and forest management into a multi-state heritage tourism initiative. Monongahela National Forest hosts AFHA-sponsored AmeriCorps service at forest sites that enhance natural resources and tourism and connect local communities. The Eastern National Forests Interpretive Association (ENFIA) is a non-profit association that aids and promotes the historical, scientific, and educational activities of the USDA Forest Service. This activity book was made possible through grants and partnership agreements with AFHA AmeriCorps, ENFIA, and USDA Forest Service. Archaeology is the study of material culture left behind by people from the past. Material culture are things created or used by people, like stone tools, a glass bottle, or even an entire building. Archaeologists look for archaeological sites to try to answer questions about the past. A site is where artifacts, features, or ecofacts are grouped together in an area. This means people were in that area in the past, and it’s up to the archaeologist to figure out what they were doing there. Sometimes archaeologists find things that can’t be easily collected or are part of the environment past peoples used. These things are called features. Features are often large, like the foundation of a house, or difficult to collect from the site, like an ashy campfire ring. Feature example: campfire ring Artifacts are things created or used by past peoples.
    [Show full text]
  • The Allopoiesis of the Artifact
    Syracuse University SURFACE School of Architecture Dissertations and Architecture Thesis Prep Theses 12-2015 The Allopoiesis of the Artifact Cristina Abondano Follow this and additional works at: https://surface.syr.edu/architecture_tpreps Part of the Architecture Commons Recommended Citation Abondano, Cristina, "The Allopoiesis of the Artifact" (2015). Architecture Thesis Prep. 276. https://surface.syr.edu/architecture_tpreps/276 This Thesis Prep is brought to you for free and open access by the School of Architecture Dissertations and Theses at SURFACE. It has been accepted for inclusion in Architecture Thesis Prep by an authorized administrator of SURFACE. For more information, please contact [email protected]. Cristina Abondano THE ALLOPOIESIS OF THE ARTIFACT (Of Pathological Permanence) Pathological Permanence image caption image caption Cristina Abondano THE ALLOPOIESIS OF THE ARTIFACT (Of Pathological Permanence) Cristina Abondano Advisor | Theodore L. Brown Secondary Advisors| Maya Alam, Daekwon Park 12 . 18 . 2015 Syracuse University School of Architecture The Allopoiesis of the Artifact image caption image caption 4 Cristina Abondano CONTENTS 7 Glosary 9 Claim 11 Proposal 13 Case Study | Castillo san Felipe de Barajas 23 The Urban Artifact In Crisis 27 Pathological Permanence 29 Death of the Political Idea 31 Interrupted Morphological Development 33 Un-Reciprocal Context 35 Physical Barriers of Context 43 Museification 45 -Poiesis 47 Autopoiesis 51 Allopathy 53 Allopoiesis 55 Euthanasia 57 Possible Program Needs 61 Thesis Publication
    [Show full text]
  • Technologies of Menstrual Management in Nineteenth-Century America
    AMERICA’S BLOODY HISTORY: MENSTRUATION MANAGEMENT IN THE MID-NINETEENTH CENTURY by Tess Frydman A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of the Arts in American Material Culture Spring 2018 © 2018 Tess Frydman All Rights Reserved AMERICA’S BLOODY HISTORY: MENSTRUATION MANAGEMENT IN THE MID-NINETEENTH CENTURY by Tess Frydman Approved: __________________________________________________________ Rebecca Davis, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Wendy Bellion, Ph.D. Acting Director of the Winterthur Program in American Material Culture Approved: __________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS Foremost, I wish to express my sincere thanks to my advisor, Rebecca Davis, who has given so freely of her time to guide me through this process. Her advice, painstaking edits, encouragement, and support are deeply appreciated. I also gratefully acknowledge the support and generosity of The Coco Kim Scholarship and the Winterthur Program Professional Development Funds, without which this research could not have been completed. I am also incredibly thankful to those who have opened their archives, libraries, and collections to me. Harry Finley, founder of the Museum of Menstruation, initially sparked my interest in this subject and allowed me to explore his incredible collection of menstrual ephemera. Patricia Edmonson of the Western Reserve Historical Society provided advice and let me explore numerous undergarments in the historical society’s collection.
    [Show full text]
  • Married Blitz
    PA2678 TRIANGLE THEATRE 1987 - 2000 Production records of Triangle Theatre, together with records relating to the company's collaborations with Bare Essentials Youth Theatre, Crescent Youth Theatre, Kindle Theatre and Kids' Praise Company (Cardinal Wiseman School). PA2678/1 Triangle Theatre Production: 'Married Blitz' 1989 - 1997 Documents relating to the production and performance of ''Married Blitz'' by Carran Waterfield of Triangle Theatre (Triangle Projects.) Writer: Peter Billingham. Director: Ian Cameron. Music: James Lantsbery. PA2678/1/1 /1-4 Correspondence and Certificates 1990 - 1992 /1 Miscellaneous correspondence relating to the production of ''Married Blitz,'' including letters of thanks from the Blitz Commemoration Committee and St Edmund Campion School; letter regarding workshops at Ernsford Grange Community College; letter from Carran Waterfield to the New Experimental Theatre in Volgograd, 1990 - 1992; /2 Certificate awarded to Triangle Projects by the Coventry Blitz Commemoration Committee for its help and support during the Fiftieth Anniversary of the Coventry Blitz, 1990; /3 Certificates awarded to Triangle Theatre Group and Carran Waterfield for their contribution to the Coventry Evening Telegraph's ''Coventry Is Making It'' campaign, 1992; /4 Guidelines re Spring Tour, February - April [1990]. Includes list of possible venues, projected tour revenues, nd [1990s.] PA2678/1/2 /1 Costume Pattern 1990s Costume pattern for skirt used in the production of ''Married Blitz.'' PA2678/1/3 /1 Photographs 1990s Black and white and colour photographs of the stage set and performance of ''Married Blitz.'' Includes duplicates. PA2678/1/4 /1 Press Cuttings 1990 - 1991 Press cuttings relating to the work of Carran Waterfield and reviews of ''Married Blitz,'' 1990 - 1991 PA2678/1/5 /1-3 Drafts and Final Script 1990s /1 Second Rehearsal Draft Script of ''Married Blitz,'' 1990s; /2 Second Rehearsal Draft Script of ''Married Blitz,'' 1990s; /3 Final Draft Script of ''Married Blitz,'' 1990s.
    [Show full text]