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Meanings of Kente Cloth Among Self-Described American And
MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICAN AND CARIBBEAN STUDENTS OF AFRICAN DESCENT by MARISA SEKOLA TYLER (Under the Direction of Patricia Hunt-Hurst) ABSTRACT Little has been published regarding people of African descent’s knowledge, interpretation, and use of African clothing. There is a large disconnect between members of the African Diaspora and African culture itself. The purpose of this exploratory study was to explore the use and knowledge of Ghana’s kente cloth by African and Caribbean and American college students of African descent. Two focus groups were held with 20 students who either identified as African, Caribbean, or African American. The data showed that students use kente cloth during some special occasions, although they have little knowledge of the history of kente cloth. This research could be expanded to include college students from other colleges and universities, as well as, students’ thoughts on African garments. INDEX WORDS: Kente cloth, African descent, African American dress, ethnology, Culture and personality, Socialization, Identity, Unity, Commencement, Qualitative method, Focus group, West Africa, Ghana, Asante, Ewe, Rite of passage MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICAN AND CARIBBEAN STUDENTS OF AFRICAN DESCENT By MARISA SEKOLA TYLER B.S., North Carolina Agricultural & Technical State University, 2012 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GEORGIA 2016 ©2016 Marisa Sekola Tyler All Rights Reserved MEANINGS OF KENTE CLOTH AMONG SELF-DESCRIBED AMERICANS AND CARIBBEAN STUDENTS OF AFRICAN DESCENT by MARISA SEKOLA TYLER Major Professor: Patricia Hunt-Hurst Committee: Tony Lowe Jan Hathcote Electronic Version Approved: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 iv DEDICATION For Isaiah and Lydia. -
Accompanying Label Information for Respect the Dress Exhibit
Accompanying Label Content for Virtual Tour of Respect the Dress: Clothing and Activism In U.S. Women’s History Section I: Introduction R.E.S.P.E.C.T. the Dress: Clothing and Activism in U.S. Women’s History The year 2020 marks the 100th anniversary of the ratification of the 19th Amendment. It took many decades for advocates to reach the successful passage of federal-level suffrage for women in the United States. In the century that followed, challenges toward women’s right to vote, to hold office, and to participate fully and completely in American society remain. Advocates for and against women’s expanded rights have used clothing to define or support their mission. From bloomer costumes to bra burning, the story of women’s rights activism in the United States is filled with references to how women dress. Radical fashion choices are often given as examples revealing the equally radical behaviors of activists. Yet few women adopted the dress reform style known as bloomers in the 1850s or burned their bras during the women’s liberation movement protests in the 1970s. The 19th Amendment legally prohibited voter discrimination based on sex. Suffragists, the name U.S. activists advocating for women’s voting rights called themselves, played on and influenced the 1910s fashion for white lacy dresses, allowing them to express affiliation with women’s rights advocacy while also maintaining a less radical choice in dress. Suffragists used the three colors of white, purple, and yellow for sashes, buttons, and flags. Feminists in the 1970s and in the new millennium continue to wear these colors as a signal of support to earlier activists. -
Adire Cloth: Yoruba Art Textile
IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida IROHIN Taking Africa to the Classroom SPRING 2001 A Publication of The Center for African Studies University of Florida Editor/Outreach Director: Agnes Ngoma Leslie Layout & Design: Pei Li Li Assisted by Kylene Petrin 427 Grinter Hall P.O. Box 115560 Gainesville, FL. 32611 (352) 392-2183, Fax: (352) 392-2435 Web: http://nersp.nerdc.ufl.edu/~outreach/ Center for African Studies Outreach Program at the University of Florida The Center is partly funded under the federal Title VI of the higher education act as a National Resource Center on Africa. As one of the major Resource Centers, Florida’s is the only center located in the Southeastern United States. The Center directs, develops and coordinates interdisci- plinary instruction, research and outreach on Africa. The Outreach Program includes a variety of activities whose objective is to improve the teaching of Africa in schools from K-12, colleges, universities and the community. Below are some of the regular activities, which fall under the Outreach Program. Teachers’ Workshops. The Center offers in- service workshops for K-12 teachers on the teaching of Africa. Summer Institutes. Each summer, the Center holds teaching institutes for K-12 teachers. Part of the Center’s mission is to promote Publications. The Center publishes teaching African culture. In this regard, it invites resources including Irohin, which is distributed to artists such as Dolly Rathebe, from South teachers. In addition, the Center has also pub- Africa to perform and speak in schools and lished a monograph entitled Lesson Plans on communities. -
03 Oct 2019 (Jil. 63, No. 20, TMA No
M A L A Y S I A Warta Kerajaan S E R I P A D U K A B A G I N D A DITERBITKAN DENGAN KUASA HIS MAJESTY’S GOVERNMENT GAZETTE PUBLISHED BY AUTHORITY Jil. 63 TAMBAHAN No. 20 3hb Oktober 2019 TMA No. 37 No. TMA 142. AKTA CAP DAGANGAN 1976 (Akta 175) PENGIKLANAN PERMOHONAN UNTUK MENDAFTARKAN CAP DAGANGAN Menurut seksyen 27 Akta Cap Dagangan 1976, permohonan-permohonan untuk mendaftarkan cap dagangan yang berikut telah disetuju terima dan adalah dengan ini diiklankan. Jika sesuatu permohonan untuk mendaftarkan disetuju terima dengan tertakluk kepada apa-apa syarat, pindaan, ubahsuaian atau batasan, syarat, pindaan, ubahsuaian atau batasan tersebut hendaklah dinyatakan dalam iklan. Jika sesuatu permohonan untuk mendaftarkan di bawah perenggan 10(1)(e) Akta diiklankan sebelum penyetujuterimaan menurut subseksyen 27(2) Akta itu, perkataan-perkataan “Permohonan di bawah perenggan 10(1)(e) yang diiklankan sebelum penyetujuterimaan menurut subseksyen 27(2)” hendaklah dinyatakan dalam iklan itu. Jika keizinan bertulis kepada pendaftaran yang dicadangkan daripada tuanpunya berdaftar cap dagangan yang lain atau daripada pemohon yang lain telah diserahkan, perkataan-perkataan “Dengan Keizinan” hendaklah dinyatakan dalam iklan, menurut peraturan 33(3). WARTA KERAJAAN PERSEKUTUAN WARTA KERAJAAN PERSEKUTUAN 6558 [3hb Okt. 2019 3hb Okt. 2019] PB Notis bangkangan terhadap sesuatu permohonan untuk mendaftarkan suatu cap dagangan boleh diserahkan, melainkan jika dilanjutkan atas budi bicara Pendaftar, dalam tempoh dua bulan dari tarikh Warta ini, menggunakan Borang CD 7 berserta fi yang ditetapkan. TRADE MARKS ACT 1976 (Act 175) ADVERTISEMENT OF APPLICATION FOR REGISTRATION OF TRADE MARKS Pursuant to section 27 of the Trade Marks Act 1976, the following applications for registration of trade marks have been accepted and are hereby advertised. -
OPFOR Solutions GSA Pricelist, 6-8-2017
GENERAL SERVICES ADMINISTRATION FEDERAL SUPPLY SERVICE AUTHORIZED FEDERAL SUPPLY SCHEDULE PRICELIST On-line access to contract ordering information, terms and conditions, up-to-date pricing, and the option to create an electronic delivery order are available through GSA Advantage!, a menu-driven database system. The INTERNET address for GSA Advantage! is: GSAAdvantage.gov. For more information on ordering from Federal Supply Schedules click on the GSA Schedules link www.gsa.gov. MULTIPLE AWARD SCHEDULE (MAS) LARGE CATEGORY: Miscellaneous; SUB CATEGORY: Apparel SIN: 339113PA Protective Apparel SIN: NEW Introduction of New Supplies and Services SIN: OLM Order-Level Materials CONTRACT NUMBER: GS-07F-052DA CONTRACT PERIOD: January 15, 2016 through January 14, 2026 CONTRACTOR: OPFOR Solutions, Inc. dba AFG Classics 21414 Chases St., Suite 1 Canoga Park, CA 91304-2658 Phone Number: 800-270-2078 Fax Number: 747-666-7367 E-mail: [email protected] Website: www.opforsolutions.com CONTRACT ADMIN: Moe Noorzai [email protected] BUSINESS SIZE: Small Business SOCIO-ECONOMIC: Small Business www.opforsolutions.com | OPFOR Solutions, Inc. | updated 10/2/2020 | TABLE OF CONTENTS Company Overview 2 Customer Information 3 SIN 339113PA Protective Apparel 6 SIN NEW Introduction of New Supplies/Services 10 www.opforsolutions.com | OPFOR Solutions, Inc. | updated 10/2/2020 | 1 COMPANY OVERVIEW OPFOR Solutions MISSION: To meet military training objectives by importing, designing, and producing culturally realistic stages, props, and 3D simulations in an effort to enhance world class training environments. About Us Opfor Solutions Inc. understands that we are a nation at war and live in a very volatile and ever dangerous world. -
Fashion,Costume,And Culture
FCC_TP_V2_930 3/5/04 3:55 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V2_930 3/5/04 3:55 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 2: Early Cultures Across2 the Globe SARA PENDERGAST AND TOM PENDERGAST SARAH HERMSEN, Project Editor Fashion, Costume, and Culture: Clothing, Headwear, Body Decorations, and Footwear through the Ages Sara Pendergast and Tom Pendergast Project Editor Imaging and Multimedia Composition Sarah Hermsen Dean Dauphinais, Dave Oblender Evi Seoud Editorial Product Design Manufacturing Lawrence W. Baker Kate Scheible Rita Wimberley Permissions Shalice Shah-Caldwell, Ann Taylor ©2004 by U•X•L. U•X•L is an imprint of For permission to use material from Picture Archive/CORBIS, the Library of The Gale Group, Inc., a division of this product, submit your request via Congress, AP/Wide World Photos; large Thomson Learning, Inc. the Web at http://www.gale-edit.com/ photo, Public Domain. Volume 4, from permissions, or you may download our top to bottom, © Austrian Archives/ U•X•L® is a registered trademark used Permissions Request form and submit CORBIS, AP/Wide World Photos, © Kelly herein under license. Thomson your request by fax or mail to: A. Quin; large photo, AP/Wide World Learning™ is a trademark used herein Permissions Department Photos. Volume 5, from top to bottom, under license. The Gale Group, Inc. Susan D. Rock, AP/Wide World Photos, 27500 Drake Rd. © Ken Settle; large photo, AP/Wide For more information, contact: Farmington Hills, MI 48331-3535 World Photos. -
Using Portrait Art Styles to Create Designs for Women Keywords
23 Wafaa Qurashi Using portrait art styles to create designs for women Dr. Wafaa Abd Elradi Qurashi Assistant Professor, Fashion and Apparel Design Department, Faculty of Applied Arts, Helwan University, [email protected] Abstract: Keywords: Through the widespread spread of portraiture as an inspiration to Portrait Art, Flat many fashion houses and retail clothing companies, which is a great Portrait, Illustrated attraction for a large group of young people within our society, Portrait, Fantasy through their use of the faces of celebrities and public figures who Portrait. may have ideas that contradict our principles and identity, and what follows On this from the gradual loss of our identity and our belonging to the African continent. So this research aims to revive the traditional African style in women's clothing in a contemporary style, using a mixture of traditional African design lines (Dashiki, Kaftan, Agbada) and portraiture art. The choice was made on an original copy of a painted portrait representing an African woman from the researcher's work that was shown at the exhibition - Africa in Egyptian Eyes - May 2017 , which was reproduced in 8 copies by the researcher, representing four styles of portraiture (abstract, flat portraiture, illustrated portraiture, fantasy portraiture) and so used in designing women's clothing ,the eight painted portrait has been applied to stain material through digital printing technology to produce the final 8 pieces of clothes, the statistical results determined the best designs that were produced ( (1,2, 4) they got the highest marks, as each of (2, 4) depended on the abstract style, while (1) was based on the flat portraiture style, and (8) achieved the lowest marks and was based on the imaginative style. -
West African Textiles
WEST AFRICAN TEXTILES BARROW HALL GALLERY March 4—April 3 9 a.m.—5 p.m. WEST AFRICAN TEXTILES Exhibit curated by José Blanco and Jennifer Regan with assistance from Dr. Patricia Hunt-Hurst, Raúl Vázquez -López, and students from TXMI 4580: World Textiles (Jessica Baker, Allie Bashuk, Lauren Fylstra, Sara Idacavage, Rachel Jack, Ashley Scruggs, Kim Stober, Danielle Walsh). Unknown maker Light teal and brown two piece female outfit, Burkina Faso Cotton, synthetic embroidery On loan from Dr. Karim Traore This female outfit represents the colorful and flamboyant prints of modern African fashion which contrast the hand woven designs of traditional African dress. It is interesting to note that the modern print of the ensemble is not a traditional African design and resembles the art deco style of the early twentieth century. The pattern is created by a wax-printing process that has been copied by the Europeans. Interestingly, English wax-printed fabrics have become prestigious items in Nigeria costing more than the local outputs of the region. The fabric is inscribed with the words “Guaranteed English Wax” therefore verifying the quality of the print. The second interesting feature of this ensemble is the colorfully embroidered collar around the neckline of the caftan that appears to be industrially made. The decorative elements of the ensemble indicate that it is probably intended for special occasions. Unknown maker Teal Kampala fabric with white and orange print, Nigeria Cotton brocade On loan from Dr. Akinloye Ojo This piece is similar to Kampala textiles created in Uganda. The material is likely a damask weave created with a synthetic fiber. -
The Following Writing Sample on African Clothing Is Printed with Demopermission
The following writing sample on African Clothing is printed with DEMOpermission. Celebrate Your Heritage with African Clothing Celebrating your African heritage through the clothing you wear is one dynamic and versatile way to tell others who you are and what you are about. Our website offers you access to fashions that are not merely African-inspired, but rather are real, authentic African clothes made on the continent of Africa. African clothing has a rich history. Depending on what part of Africa a person is from, their clothing is a reflection of that region and diversity. For example, the dashiki is a men’s garment that is typically worn in western Africa. Colorful and unique, the dashiki covers the upper part of the body. There are formal and informal dashikis worn for various ceremonies. Typically, Muslims, Christians and followers of the African traditional religions wear dashikis. The dashiki is typically paired with drawstring pants that match. Often, bridegrooms wear dashikis for their wedding ceremonies. Another type of dashiki is called a grand boubou. This style is commonly DEMOworn with matching pants and a long robe over the outfit. This attire is often worn by Nigerians and also by Muslims. The attire is frequently seen in Francophone countries. However, in recent years, this attire has become popular in western countries as well. The dashiki is also a popular choice for Kwanzaa celebrations and can be seen frequently in western countries on these occasions. African clothing choices like the dashiki are a great way to make a fashion- forward statement while simultaneously telling others of your heritage. -
Fashion and Textiles Ebook
Africa Imports Textiles and Fashion All You Need to Know I TABLE OF CONTENTS AFRICAN TEXTILES AND FABRICS 2 WHAT IS MUDCLOTH? 3 WHAT DOES THIS MUDCLOTH DESIGN MEAN? 6 NIGERIAN ASOKE FABRIC AND ITS UNIQUE HISTORY 8 THE DASHIKI: A SYMBOL OF AFRICA 10 WHAT IS GEORGE FABRIC? 12 WAX PRINT FABRICS 14 KENTE CLOTH 16 THE AFRICAN KAFTAN 18 Kaftans in Weddings 19 Kaftans in Funerals 19 AN OVERVIEW ON VARIOUS AFRICAN FABRICS 20 Four Types of Textiles 20 Interesting Cloth Facts 21 AFRICAN JEWELRY 22 AFRICAN FASHION JEWELRY AND ITS MEANING 23 MASSAI BEADWORK 25 What the Colors Mean 26 TUAREG SILVER AND BLACK HISTORY 27 WHAT IS MUDCLOTH? Mudcloth is a traditional African fabric that was first made in Mali, West Africa. It’s typically characterized by white geometric designs on a black, brown, mustard, red or green background (although other colors are sometimes found). Although Mudcloth is relatively new to the US, having only been commonly seen here since the 1990’s, Mudcloth in Africa dates as far back as the 12th century AD. Mudcloth actually does contain mud due to the process used to make it, which involves among other things using fermented mud as well as a liquid that is concocted from the leaves of native trees. Mud cloth is often soaked in this liquid several times before the cloth is actually fin- ished. The term Mudcloth is actually a direct translation of an African word – bogolanfini. Traditional Mudcloth is made in the old-fashioned man- ner of weaving cotton into strips on looms and then binding these strips together. -
Contemporary British Menswear: Hybridity, Flux, and Globalisation
Contemporary British Menswear: hybridity, flux, and globalisation Designer Kim Jones’ debut collection for Dior Men was unveiled in Paris in June of 2018 and, as the models proceeded along the runway to the strains of Underworld’s ‘Born Slippy,’ many of the major developments that have animated men’s fashion in recent years were brought together. Hybridised outfits encompassing elements of sportswear, casual clothing and tailoring appeared; decorative, floral motifs and delicate fabrics were allied to utilitarian flourishes to produce curiously refined boiler-suits, soft unstructured trench-coats, and bomber-jackets upon which neoclassical botanicals unfurled. The aesthetic codes of subculture and street style combined with the savoire faire and elegance of the famous maison de couture. Gesturing to the disintegration of barriers between formerly distinct genres of clothing, Jones played with transparency throughout the collection: trousers in lightweight shirting exposed the boxer-shorts worn beneath them; a billowing white lace shirt was layered over a chiffon vest – the ornate pattern seeming to float like vapour – veiling the model’s naked torso as lightly as dew. In this collection Jones, a British menswear designer, drew upon the stylistic references, colours, textures, and modes of fabrication of one of the most famous of French fashion houses while simultaneously alluding to a history of British subculture as underlined by the transgressive, elegiac laddishness of the Born Slippy anthem: “drive boy dog boy, dirty numb angel boy, she was a lipstick boy […] lager lager lager, shouting”.1 This exchange between French and British sartorial cultures echoes earlier moments of borrowing, particularly in the eighteenth and nineteenth centuries, as dandy, fop and macaroni aesthetics crossed and re-crossed la manche to the chagrin of jingoists of both nationalities. -
African Cowrie Shells 47 the Season’S Hottest African Inspired Shoes 100 Cut & Polished Kenyan Cowrie Shells M-B402 $15
Summer 2009 Retail Catalog Africa’s Fastest-Selling Favorites • African Clothing • Musical Instruments • African Skincare • African Oils • Black Soaps • African Fabrics • Accessories and More Massai Shield Page 70 Senegalese Mask Page 72 See Clothing On Pages 4-29 Medium D’Jembe Drum Page 65 Cowrie Shell Beaded Jewelry Set Page 50 White with Gold Embroidery Kaftan Page 29 2 Table of Contents Women’s Clothing....PGS 4-29 Men’s Clothing....PGS 30-35 Kids/T-Shirts....PGS 36-37 Accessories....PGS 38-46 Jewelry....PGS 47-57 Fabric....PGS 58-61 Order Form....PGS 62-63 Music....PGS 64-67 Artwork....PGS 68-77 Packaging...PGS 78-81 Fragrances....PGS 82-89 Dear Friends, Burners/Incense....PGS 90-94 There are a lot of new ideas Soaps....PGS 95-105 in this catalog that can make your life better. I know you’ll Personal Care....PGS 106-123 find something that you love inside. You will see a lot of new products that you have never seen before. One of the most popular new groups of products in this catalog are the handbags on page 86. If you want to know what other people looking at this catalog liked most from the last catalog, you can try the African tea and Make a honey on page 113. Another new health product in this catalog Difference are the herbal bitters on page 109. With the economy being in bad shape, we all need to find new ways to save money. There are drastic price cuts and closeouts on products in all categories.