PASSPORT May 18-20, 2018 Ethnic Attire Your Photo Here
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Northern Serbia. Photo By: Dragiša Deljanin
Male and Female folk dress, Srem region, Vojvodina, Northern Serbia Northern Serbia. Photo by: Dragiša Deljanin Central Serbia The Serb folk dress of Central Serbia are divided into two groups: the Dinaric and Morava styles Šumadija folk dress, Central Serbia Photo by: By Dragiša Deljanin Eastern Serbia The Serb folk dress of Eastern Serbia is part of the Morava style, but also take some small The costumes of Pirot are richly decorated, male costume influences from the Dinaric and Pannonian styles. As part of a cultural zone consists of natural-white zobun, black-red belt, black or red with Bulgaria and Romania, the attire has likeness to those in adjacent Bulgarian and Romanian provinces. Traditional shepherd attire, typical for this attire is woolen vests and trousers and subara on the head. Women wear white dresses capes (from sheep), walking sticks, etc. under black zobun, which has gold stripes on borders, decorated aprons and white kerchiefs around their heads. Serbian Dance group from Sombor, in East Serbian folk attire. Photo by: Orjen Photo by: Björn Láczay Southeastern Serbia The traditional urban dress of Vranje is a mix of local tradition and oriental influences. The male costume consists of dark trousers and gunj with red stripes at the end of its sleeves, red silk belt and the black shoes. Women wear black plush skirts, white blouses and highly decorated libada embroidered with gold srma, dimije (shalwar pants), pafta around waist and tepeluk on the head. Photo by: Petar Milošević Western Serbia The Serb folk dress of Western Serbia are part of the Dinaric style, but also take some small influences from the Adriatic, Morava, and Pannonian styles. -
The Nineteenth Century (History of Costume and Fashion Volume 7)
A History of Fashion and Costume The Nineteenth Century Philip Steele The Nineteenth Century Library of Congress Cataloging-in-Publication Data Copyright © 2005 Bailey Publishing Associates Ltd Steele, Philip, 1948– Produced for Facts On File by A history of fashion and costume. Bailey Publishing Associates Ltd The Nineteenth Century/Philip Steele 11a Woodlands p. cm. Hove BN3 6TJ Includes bibliographical references and index. Project Manager: Roberta Bailey ISBN 0-8160-5950-0 Editor:Alex Woolf 1. Clothing and dress—History— Text Designer: Simon Borrough 19th century. 2. Fashion—History— Artwork: Dave Burroughs, Peter Dennis, 19th century. Tony Morris GT595.S74 2005 Picture Research: Glass Onion Pictures 391/.009/034—dc 22 Consultant:Tara Maginnis, Ph.D. 2005049453 Associate Professor of the University of Alaska, Fairbanks, and creator of the website,The The publishers would like to thank Costumer's Manifesto (http://costumes.org/). the following for permission to use their pictures: Printed and bound in Hong Kong. Art Archive: 17 (bottom), 19, 21 (top), All rights reserved. No part of this book may 22, 23 (left), 24 (both), 27 (top), 28 be reproduced or utilized in any form or by (top), 35, 38, 39 (both), 40, 41 (both), any means, electronic or mechanical, including 43, 44, 47, 56 (bottom), 57. photocopying, recording, or by any information Bridgeman Art Library: 6 (left), 7, 9, 12, storage or retrieval systems, without permission 13, 16, 21 (bottom), 26 (top), 29, 30, 36, in writing from the publisher. For information 37, 42, 50, 52, 53, 55, 56 (top), 58. contact: Mary Evans Picture Library: 10, 32, 45. -
Joseph Smith Period Clothing 145
Carma de Jong Anderson: Joseph Smith Period Clothing 145 Joseph Smith Period Clothing: The 2005 Brigham Young University Exhibit Carma de Jong Anderson Early in 2005, administrators in Religious Education at Brigham Young University gave the green light to install an exhibit (hopefully my last) in the display case adjacent to the auditorium in the Joseph Smith Building. The display would showcase the clothing styles of the life span of the Prophet Joseph Smith and the people around him (1805–1844). There were eleven mannequins and clothing I had constructed carefully over many years, mingled with some of my former students’ items made as class projects. Those pieces came from my teaching the class, “Early Mormon Clothing 1800–1850,” at BYU several years ago. There were also a few original pieces from the Joseph Smith period. During the August 2005 BYU Education Week, thousands viewed these things, even though I rushed the ten grueling days of installation for something less than perfect.1 There was a constant flow of university students passing by and stopping to read extensive signage on all the contents shown. Mary Jane Woodger, associate professor of Church History and Doctrine, reported more young people and faculty paid attention to it than any other exhibit they have ever had. Sincere thanks were extend- ed from the members of Religious Education and the committee plan- ning the annual Sydney B. Sperry October symposium. My scheduled lectures to fifteen to fifty people, two or three times a week, day or night for six months (forty stints of two hours each), were listened to by many of the thirty thousand viewers who, in thank-you letters, were surprised at how much information could be gleaned from one exhibit. -
Traditional Fashion Festooned with Motifs and Design in Karbi Culture of Assam, India- a State- Off- Art Report
IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 5, Series. 4 (May. 2020) 18-26 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Traditional Fashion Festooned With Motifs and Design In Karbi Culture Of Assam, India- A State- Off- Art Report 1 2 Kuntala N.Barua *, Bithi Batua and Hoimonti Saikia 3 1 &2 Forest Ecology & Climate Change Division Rain Forest Research Institute, Sotai,Jorhat-785010 3 Tata Institute of Social Sciences Guwahati, Assam Abstract: In the present study Traditional Textile and costumes related to motifs and design of Karbi tribe of Assam were primarily focused. Field survey was carried out in six blocks of East Karbi Anglong district and one block of West Karbi Anglong district during 2018-19 to illuminate the traditional knowledge through structured questionnaires and Focus Group Discussions. The most significant aspects included here was various components of traditional back strap loom, unique costumes of men and women, other clothing pattern, traditional ornaments, motifs & believes and herbal dye. At present context the usage and production of these traditional artifacts are under precarious condition due to modern production techniques apt for the changing of times. Key words: Traditional Textile, costumes, motifs & design, indigenous dyes, Karbi Tribe of Assam ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission: 04-05-2020 Date of Acceptance: 18-05-2020 ----------------------------------------------------------------------------------------------------------------------------- ---------- I. INTRODUCTION Every tribal community practices their own age old traditional weaving of textile. Folk costume was the identity markers of a community that represent their culture and brings up an image of the tribe 2. Weaving was a skill and livelihood occupation inherited from their forefather that was passed down generations among women. -
SPECIAL ANNUAL YEARBOOK EDITION Featuring Bilateral Highlights of 27 Countries Including M FABRICS M FASHIONS M NATIONAL DRESS
Published by Issue 57 December 2019 www.indiplomacy.com SPECIAL ANNUAL YEARBOOK EDITION Featuring Bilateral Highlights of 27 Countries including m FABRICS m FASHIONS m NATIONAL DRESS PLUS: SPECIAL COUNTRY SUPPLEMENT Historic Singapore President’s First State Visit to the Kingdom of Saudi Arabia CONTENTS www.indiplomacy.com PUBLISHER’S NOTE Ringing in 2020 on a Positive Note 2 PUBLISHER Sun Media Pte Ltd EDITOR-IN-CHIEF Nomita Dhar YEARBOOK SECTION EDITORIAL Ranee Sahaney, Syed Jaafar Alkaff, Nishka Rao Participating foreign missions share their highlights DESIGN & LAYOUT Syed Jaafar Alkaff, Dilip Kumar, of the year and what their countries are famous for 4 - 56 Roshen Singh PHOTO CONTRIBUTOR Michael Ozaki ADVERTISING & MARKETING Swati Singh PRINTING Times Printers Print Pte Ltd SPECIAL COUNTRY SUPPLEMENT A note about Page 46 PHOTO SOURCES & CONTRIBUTORS Sun Media would like to thank - Ministry of Communications & Information, Singapore. Singapore President’s - Ministry of Foreign Affairs, Singapore. - All the foreign missions for use of their photos. Where ever possible we have tried to credit usage Historic First State Visit and individual photographers. to Saudi Arabia PUBLISHING OFFICE Sun Media Pte Ltd, 20 Kramat Lane #01-02 United House, Singapore 228773 Tel: (65) 6735 2972 / 6735 1907 / 6735 2986 Fax: (65) 6735 3114 E-mail: [email protected] Website: www.indiplomacy.com MICA (P) 071/08/2019 © Copyright 2020 by Sun Media Pte Ltd. The opinions, pronouncements or views expressed or implied in this publication are those of contributors or authors. They do not necessarily reflect the official stance of the Indonesian authorities nor their agents and representatives. -
Folklore Electronic Journal of Folklore Printed Version Vol
Folklore Electronic Journal of Folklore http://www.folklore.ee/folklore Printed version Vol. 66 2016 Folk Belief and Media Group of the Estonian Literary Museum Estonian Institute of Folklore Folklore Electronic Journal of Folklore Vol. 66 Edited by Mare Kõiva & Andres Kuperjanov Guest editors: Irina Sedakova & Nina Vlaskina Tartu 2016 Editor in chief Mare Kõiva Co-editor Andres Kuperjanov Guest editors Irina Sedakova, Nina Vlaskina Copy editor Tiina Mällo News and reviews Piret Voolaid Design Andres Kuperjanov Layout Diana Kahre Editorial board 2015–2020: Dan Ben-Amos (University of Pennsylvania, USA), Larisa Fialkova (University of Haifa, Israel), Diane Goldstein (Indiana University, USA), Terry Gunnell (University of Iceland), Jawaharlal Handoo (University of Mysore, India), Frank Korom (Boston University, USA), Jurij Fikfak (Institute of Slovenian Ethnology), Ülo Valk (University of Tartu, Estonia), Wolfgang Mieder (University of Vermont, USA), Irina Sedakova (Russian Academy of Sciences). The journal is supported by the Estonian Ministry of Education and Research (IUT 22-5), the European Union through the European Regional Development Fund (Centre of Excellence in Estonian Studies), the state programme project EKKM14-344, and the Estonian Literary Museum. Indexed in EBSCO Publishing Humanities International Complete, Thomson Reuters Arts & Humanities Citation Index, MLA International Bibliography, Ulrich’s Periodicals Directory, Internationale Volkskundliche Bibliographie / International Folklore Bibliography / Bibliographie Internationale -
INTERWOVEN: Dress That Crosses Borders and Challenges Boundaries
INTERWOVEN: Dress that Crosses Borders and Challenges Boundaries International Conference of Dress Historians Friday, 27 October 2017 and Saturday, 28 October 2017 Conference Venue: The Art Workers’ Guild, 6 Queen Square London, WC1N 3AT, England Presented By: The Association of Dress Historians www.dresshistorians.org The border has emerged as a key conceptual device in recent political and social history. Join us as we consider the role of dress in transcending historical boundaries that operated to denote traditional divisions of gender, class, and nationality, among others. The Association of Dress Historians (ADH) is delighted to present its upcoming international conference, which features 62 separate paper presentations delivered over two exciting days of scholarship in dress history. Conference tickets are £30 for one day or £50 for two days. All conference tickets include tea and networking sessions, lunch, and a wine reception each day. Conference tickets can be purchased online at: https://tinyurl.com/ADHCONF. This conference programme includes the entire two–day presentation schedule, all 62 conference speakers’ paper abstracts and biographies, with an image that represents their conference presentation. Additionally, this programme includes the biographies of the 20 panel chairs and the five conference interns. In the interest of the environment, this conference programme will not be printed on paper. We advise reading it digitally. Also in the interest of the environment, at the end of the conference, please return your plastic name badge to the name badge table, so we can use them again. Thank you. The Association of Dress Historians is Registered Charity #1014876 of The Charity Commission for England and Wales. -
The Role of Ritual Traditional Clothing Among Bunjevci Croats in Serbia in the Revitalisation of Annual Customs and Rituals
https://doi.org/10.7592/FEJF2016.66.cernelic THE ROLE OF RITUAL TRADITIONAL CLOTHING AMONG BUNJEVCI CROATS IN SERBIA IN THE REVITALISATION OF ANNUAL CUSTOMS AND RITUALS Milana Černelić Abstract: The article deals with the traditional costume worn in the course of calendar festivals and the feast marking the end of the harvest among a Croa- tian subethnic group in the region of Bačka (county of Vojvodina) in Serbia. The traditional costume carries an important symbolic meaning in the process of revitalising customs and, as such, it represents an ethnocultural identity marker of the group. The customs analysed have undergone a great revival in the past twenty years, being observed in certain calendar periods or on specific days during the ritual year, such as the central cultural and social event – the prelo (spinning bee) in the winter period of Shrovetide, and the Pentecost pageant called kraljice, as well as on the occasion of the Dužijanca, a celebration marking the end of the harvest among the Bunjevci Croats in the region of Bačka, which has existed as a public event for over a century. The article is based on the actual field data gathered by the author and her associates. Keywords: annual customs, Bunjevci, Dužijanca (harvest celebration), kraljice (Pentecost pageant), prelo (spinning bee), St. John’s Day, traditional costume INTRODUCTION: THEORETICAL ANNOTATIONS In an attempt to understand the reality which we live (in), we often rely on ethnology and cultural anthropology. As a conceptual science it directs us, theoretically and methodologically (with the pertaining terminology), towards the definitions and concepts of culture and identity, i.e. -
FOLK CULTURE INSPIRATION in CZECH FASHION of the 20Th CENTURY* Alena KŘÍŽOVÁ*
FOLK CULTURE INSPIRATION IN CZECH FASHION OF THE 20th CENTURY* Alena KŘÍŽOVÁ* ABSTRACT Interest in folk culture and costumes emerged in central Europe in the romanticism period, clothes of country people became a hallmark of patriotism and iden- tification with one’s country folk. In the 20th century, during the First and Second World War folk culture and its forms such as ornament and embroidery became manifestations of the specific nature of Czech and Slovak nations, as well as a shield against foreign interference and a declaration of patriotism in the time of danger. The communist coup in 1948 brought about the closing of the state borders and the separation of the country from the western world. Folk Art Production Centre continued the tradition where it was still alive and restored it where it had been interrupted, involved domestic materials and manual techniques and preserved spe- cific regional manufacture. Young artists and students create a distinct stylization that employed materials, techniques and decoration from the folk environment, and assemble them into a whole that complied with the modern lifestyle. Keywords: Folk Culture, Folk Costume, Czech Fashion. 20. YÜZYIL ÇEK MODASINDA HALK KÜLTÜRÜNDEN ESİNTİLER ÖZET Romantik Çağ Orta Avrupa’sında ortaya çıkan halk kültürü ve kostümlerine olan ilgi, yöresel halk kıyafetini vatanseverliğin bir işareti ve yöre halkının kimliği haline getirdi. Halk kültürüne ait süsleme, işleme gibi formlar, 20. yüzyılda I. ve II. Dünya savaşları sırasında, Çek ve Slovak uluslarının doğal manifestosuna dönüştü. Bunlar düşmana karşı bir kalkan olmasının yanı sıra tehlike anında vatanseverliğin bir bildirgesi oldu. 1948’de gerçekleşen komünist darbe, devlet sınırlarının kapatılmasını ve ülkenin Batı dünyasından ayrılmasını getirdi. -
Total Work of Fashion: Bernhard Willhelm and the Contemporary Avant-Garde
TOTAL WORK OF FASHION: BERNHARD WILLHELM AND THE CONTEMPORARY AVANT-GARDE CHARLENE KAY LAU A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ART HISTORY AND VISUAL CULTURE YORK UNIVERSITY TORONTO, ONTARIO April 2016 © Charlene Kay Lau, 2016 ii Abstract In fashion discourse, the term “avant-garde” is often applied to garments that fall outside of the mainstream fashion, whether experimental, conceptual or intellectual. However, such usage overlooks the social and political aims of the historical, artistic avant-gardes. Through an examination of the contemporary avant-garde fashion label Bernhard Willhelm – led by designers Bernhard Wilhelm and Jutta Kraus – this dissertation reconnects the historical or original vanguard and its revolutionary potential and proposes that Bernhard Willhelm belongs to an emerging, contemporary narrative of the avant- garde that intersects with fashion. In this study, I analyze Willhelm and Kraus’s collections, ephemera, runway presentations, exhibitions, online media, fashion films and critical reception from the brand’s inception in 1999 to 2016. Firstly, I develop the notion of “fashion-time” and contend that Willhelm and Kraus’s designs reject accelerated change, oscillating between the temporalities of fashion and anti-fashion and fashion and art. Secondly, I argue that the designers devise a political fashion, one that simultaneously critiques global politics and challenges norms in the fashion system. Thirdly, I assert that enduring collaboration with other cultural producers underpins Willhelm and Kraus’s work. The interdisciplinarity born of their collective work informs their spectacular visual language, the of sum of which I term a “total work of fashion.” By exploring these tenets of Willhelm and Kraus’s practice, I demonstrate that the avant- garde project is dynamic and in constant flux, at times incorporating dialectical facets that continually expand the disciplines of fashion and art. -
Culture Box of Colombia
COLOMBIA CONTENIDO CONTENTS Acknowledgments .......................3 Introduction .................................6 Items .............................................7 More Information ........................56 Contents Checklist ......................83 Evaluation.....................................84 AGRADECIMIENTOS ACKNOWLEDGMENTS Contributors The Culture Box program was created by the University of New Mexico’s Latin American and Iberian Institute (LAII), with support provided by the LAII’s Title VI National Resource Center grant from the U.S. Department of Education. Contributing authors include Latin Americanist graduate students Adam Flores, Charla Henley, Jennie Grebb, Sarah Leister, Neoshia Roemer, Jacob Sandler, Kalyn Finnell, Lorraine Archibald, Amanda Hooker, Teresa Drenten, Marty Smith, Maria Jose Ramos, and Kathryn Peters. Project management, document design, and editorial support were provided by LAII staff person Keira Philipp-Schnurer. María Clara Herrera Rekow generously collected materials for the Culture Box of Colombia. Sponsors All program materials are readily available to educators in New Mexico courtesy of a partnership between the LAII, Instituto Cervantes of Albuquerque, National Hispanic Cultural Center, and Spanish Resource Center of Albuquerque - who, together, oversee the lending process. To learn more about the sponsor organizations, see their respective websites: • Latin American & Iberian Institute at the University of New Mexico • Instituto Cervantes of Albuquerque • National Hispanic Cultural Center • Spanish Resource Center of Albuquerque SOUTH AMERICA COLOMBIA INTRODUCCIÓN INTRODUCTION Any attempt to box in a country’s culture is necessarily problematic. Colombia is no exception, and for many years, the country has been subjected to just that. In contemporary times, discussions of Colombia have been largely dominated by la Violencia, promulgating images of Colombia does provide a necessary context to many of the current issues in the country. -
Abstracts & Author Biographies for Textile Society of America, 15Th
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2016 Abstracts & Author Biographies for Textile Society of America, 15th Biennial Symposium (2016): Crosscurrents: Land, Labor, and the Port Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons "Abstracts & Author Biographies for Textile Society of America, 15th Biennial Symposium (2016): Crosscurrents: Land, Labor, and the Port" (2016). Textile Society of America Symposium Proceedings. 1061. https://digitalcommons.unl.edu/tsaconf/1061 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Dr. Heather J Abdelnur, Ph.D. Associate Professor of History, Augusta University The British are Coming! A Contraband Cloth Tsunami Flows Over Maya Handicrafts and Homespun in the Kingdom of Guatemala, 1760-1820 1 B. Colonial Export Latin America today has a lower perceived place on the global scale of development in comparison to other Western regions, however incorrect that assumption may be. And, Central American nations, in particular,