DOCSLIB.ORG

Fashion,Costume,And Culture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. The Gale Group, Inc. Permissions Hotline: 27500 Drake Rd. While every effort has been made to 248-699-8006 or 800-877-4253, ext. 8006 Farmington Hills, MI 48331-3535 ensure the reliability of the informa- Fax: 248-699-8074 or 800-762-4058 Or you can visit our Internet site at tion presented in this publication, The http://www.gale.com Cover photographs reproduced by per- Gale Group, Inc. does not guarantee mission of: Volume 1, from top to bot- the accuracy of data contained herein. ALL RIGHTS RESERVED. tom, © Christel Gerstenberg/CORBIS, The Gale Group, Inc. accepts no pay- No part of this work covered by the AP/Wide World Photos, © Araldo de ment for listing; and inclusion in the copyright hereon may be reproduced or Luca/CORBIS; large photo, the Library publication of any organization, agency, used in any form or by any means— of Congress. Volume 2, from top to institution, publication, service, or indi- graphic, electronic, or mechanical, in- bottom, Public Domain, © Gianni Dagli vidual does not imply endorsement by cluding photocopying, recording, Orti/CORBIS, National Archives and the editors or publisher. Errors brought taping, Web distribution, or informa- Records Administration; large photo, to the attention of the publisher and tion storage retrieval systems—without the Smithsonian Institute. Volume 3, verified to the satisfaction of the pub- the written permission of the publisher. from top to bottom, © Historical lisher will be corrected in future editions. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Pendergast, Sara. Fashion, costume, and culture: clothing, headwear, body decorations, and footwear through the ages / Sara Pendergast and Tom Pendergast; Sarah Hermsen, editor. p. cm. Includes bibliographical references and index. ISBN 0-7876-5417-5 (set hardcover)—ISBN 0-7876-5418-3 (v.1 : alk. paper)— ISBN 0-7876-5419-1 (v.2 : alk. paper)—ISBN 0-7876-5420-5 (v.3 : alk. paper)— ISBN 0-7876-5421-3 (v.4 : alk. paper)— ISBN 0-7876-5422-1 (v.5 : alk. paper) 1. Costume—History. 2. Fashion—History. 3. Body marking—History. 4. Dress accessories—History. I. Title: Clothing, headwear, body decorations, and footwear through the ages. II. Pendergast, Tom. III. Hermsen, Sarah. IV. Title. GT511.P46 2004 391’.009—dc22 2003015852 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents ■ ■ ■ Entries by Alphabetical Order . .xxvii Entries by Topic Category . .xli Reader’s Guide . .liii Contributors . .lvii Timeline . .lix Words to Know . .lxvii ■ ■ ■ Volume 1: The Ancient World PREHISTORY Prehistoric Life . .1 Clothing Overview . .5 Headwear Overview . .9 Body Decorations Overview . .11 Footwear Overview . .13 ANCIENT EGYPT Ancient Egypt . .15 ■ v ■ ■ ■ CONTENTS Unraveling the Mystery of Hieroglyphs (box) . .18 Clothing Overview . .21 Kalasiris . .24 Loincloth and Loin Skirt . .25 Penis Sheath . .27 Schenti . .28 Tunic . .29 Headwear Overview . .31 Headdresses . .32 Pschent . .34 Wigs . .35 Body Decorations Overview . .37 Collars and Pectorals . .38 Fragrant Oils and Ointments . .39 Jewelry . .40 Kohl . .42 Footwear Overview . .45 Sandals . .46 MESOPOTAMIA Mesopotamia . .49 Clothing Overview . .53 Fringe . .55 Shawl . .56 Headwear Overview . .59 Turbans . .60 Veils . .61 Body Decorations Overview . .63 Footwear Overview . .65 Sandals . .66 vi ■ FASHION, COSTUME, AND CULTURE CONTENTS ■ ■ ■ INDIA India . .69 Clothing Overview . .75 Burka . .76 Chadar . .78 Choli . .79 Dhoti and Lungi . .80 Jama . .82 Punjabi Suit . .83 Purdah . .84 Modern Islamic Dress (box) . .85 Sari . .87 Uttariya . .89 Headwear Overview . .91 Turbans . .92 Body Decorations Overview . .95 Foot Decorating . .96 Forehead Markings . .97 Henna Stains . .99 Jewelry . .100 Piercing . .104 Footwear Overview . .107 Chappals . .108 Jutti . .109 Khapusa . .109 Paduka . .110 ANCIENT GREECE Life in Ancient Greece . .113 Clothing Overview . .119 Chlaina and Diplax . .122 Chlamys . .123 Doric Chiton . .124 Himation . .126 Ionic Chiton . .127 ■ CONTENTS vii ■ ■ ■ CONTENTS Loin Coverings . .129 Military Dress . .131 Minoan Dress . .132 Peplos . .134 Headwear Overview . .137 Phrygian Cap . .139 Pilos and Petasos . .141 Sakkos and Sphendone . .142 Wreaths . .143 Body Decorations Overview . .145 Cameo and Intaglio . .146 Fibulae . .147 Jewelry . .148 Makeup . ..
Load more

Recommended publications
  • À Chacun Son Chapeau! Vicky Boulay
    Document généré le 30 sept. 2021 03:51 Magazine Gaspésie --> Voir l’erratum concernant cet article À chacun son chapeau! Vicky Boulay En mode costume Volume 53, numéro 1 (185), mars–juin 2016 URI : https://id.erudit.org/iderudit/82767ac Aller au sommaire du numéro Éditeur(s) Musée de la Gaspésie ISSN 1207-5280 (imprimé) 2561-410X (numérique) Découvrir la revue Citer cet article Boulay, V. (2016). À chacun son chapeau! Magazine Gaspésie, 53(1), 44–45. Tous droits réservés © Musée de la Gaspésie, 2016 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ OBJETS DE MUSÉE À chacun son chapeau! Le chapeau, comme n’importe quelle autre pièce de vêtement, a d’abord une fonction utilitaire : celle de se protéger contre les intempéries. Au fil du temps, il deviendra un accessoire de mode. Voici une brève incursion dans la collection de chapeaux du Musée de la Gaspésie. Vicky Boulay omme accessoire de mode, on Si la coiffure acquiert une fonc- Coordonnatrice de la gestion des collections, porte le chapeau en d’innom- tion esthétique, certaines d’entre elles Musée de la Gaspésie Cbrables occasions : la messe du peuvent être le signe distinctif d’une dimanche et les célébrations religieuses fonction professionnelle, comme le en général, les sorties au théâtre ou « sawest » du pêcheur, ou d’un haut pour tout autre événement mondain, dignitaire, telle la mitre d’un évêque.
    [Show full text]
  • Effect of Protective Clothing Fabrics Characteristics on the Thermal
    International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2017): 7.296 Effect of Protective Clothing Fabrics Characteristics on the Thermal Comfort Properties Ghada Abdalla lotfy Elkholy Department of Apparel Design & Technology, Faculty of Applied Arts - Helwan University Abstract: This paper focuses on Protective clothing fabrics comfort characteristics that are Flame Resistance, Heat loss, thermal Resistance, Breathability, water vapor resistance, weight and thickness. In this study, Protective clothing consists of two layers: outer layer and cloth lining. Will be evaluated for the effectiveness of thermal comfort properties 7 different fabrics will be used: 100%Nomex, 50% Nomex\50%Wool, 100%wool, 65% polyester\35%viscose, 100% microfiber polyester, 50 %cotton\50%polyester and 100%cotton are tested for thermal Resistance, air permeability, water vapor resistance, weight and thickness. The fabrics which have the best properties were used to cloth lining for protective clothing. For the outer layer: 100%Nomex, 50% Nomex\50%Wool, 100%wool fabrics were tested for thermal comfort such as: flame resistant, thermal Transmittance, heat loss and the fabric that have the best properties was used to make outer layer of protective clothing. Keywords: Protective clothing, Comfort properties, Flame Resistance, heat loss, Nomex. 1. Introduction The thermal comfort properties of fabric and it’s ability to When comparing ignition properties for different fabrics. maintain the temperature of skin Through transfer of heat and Natural cellulosic fibers (cotton, linen), manufactured perspiration [1, 2]. Thermal comfort depends on cellulosic fibers (acetate, lyocell, and rayon), burn with a combinations of clothing, climate, and physical activity.
    [Show full text]
  • Islamic Art from the Collection, Oct. 23, 2020 - Dec
    It Comes in Many Forms: Islamic Art from the Collection, Oct. 23, 2020 - Dec. 18, 2021 This exhibition presents textiles, decorative arts, and works on paper that show the breadth of Islamic artistic production and the diversity of Muslim cultures. Throughout the world for nearly 1,400 years, Islam’s creative expressions have taken many forms—as artworks, functional objects and tools, decoration, fashion, and critique. From a medieval Persian ewer to contemporary clothing, these objects explore migration, diasporas, and exchange. What makes an object Islamic? Does the artist need to be a practicing Muslim? Is being Muslim a religious expression or a cultural one? Do makers need to be from a predominantly Muslim country? Does the subject matter need to include traditionally Islamic motifs? These objects, a majority of which have never been exhibited before, suggest the difficulty of defining arts from a transnational religious viewpoint. These exhibition labels add honorifics whenever important figures in Islam are mentioned. SWT is an acronym for subhanahu wa-ta'ala (glorious and exalted is he), a respectful phrase used after every mention of Allah (God). SAW is an acronym for salallahu alayhi wa-sallam (may the blessings and the peace of Allah be upon him), used for the Prophet Muhammad, the founder and last messenger of Islam. AS is an acronym for alayhi as-sallam (peace be upon him), and is used for all other prophets before him. Tayana Fincher Nancy Elizabeth Prophet Fellow Costume and Textiles Department RISD Museum CHECKLIST OF THE EXHIBITION Spanish Tile, 1500s Earthenware with glaze 13.5 x 14 x 2.5 cm (5 5/16 x 5 1/2 x 1 inches) Gift of Eleanor Fayerweather 57.268 Heavily chipped on its surface, this tile was made in what is now Spain after the fall of the Nasrid Kingdom of Granada (1238–1492).
    [Show full text]
  • The Effect of Clothing Fit and Material of Women's Islamic Sportswear On
    MATEC Web of Conferences 154, 01074 (2018) https://doi.org/10.1051/matecconf/201815401074 ICET4SD 2017 The effect of clothing fit and material of women’s Islamic sportswear on physiological and subjective responses during exercise in warm and humid environment Astrid Wahyu Adventri Wibowo*, Titis Wijayanto*, Watri Widyastuti, and Muhammad Kusumawan Herliansyah Gadjah Mada University, Departement of Mechanical and Industrial Engineering, Jl. Grafika 2, Yogyakarta, Indonesia Abstract. The purpose of this study was to investigate the effects of clothing fit and material of Islamic sportswear for female on physiological responses and body heat balance during exercise in warm and humid environment. Twelve healthy female students (20.3±0.4 years) exercised wearing four types of women’s Islamic sportswear comprised of two level of clothing fit: loose-fit and tight-fit, and two types of material for sportswear: cotton and polyester on four separate occasions, and in random order. They performed a 30-min treadmill exercise at an intensity of 70% HRmax and then rested on a chair for 20 min for recovery in a chamber set at an ambient temperature of 34°C and relative humidity of 80%. The results showed that clothing fit did not significantly affect physiological and subjective responses, but clothing material did; sportswear made of cotton resulted in a higher increase of tympanic temperature during exercise and recovery compared to that made of polyester (P<0.05). In addition, sportswear made of cotton have lower conductive and evaporative heat loss than sportswear made of polyester (P<0.05). Clothing fit only had significant effect on conductive heat loss; that is tight-fit sportswear showed greater conductive heat loss than loose-fit one (P <0.05).
    [Show full text]
  • Buddhism and State Power in Myanmar
    Buddhism and State Power in Myanmar Asia Report N°290 | 5 September 2017 Headquarters International Crisis Group Avenue Louise 149 • 1050 Brussels, Belgium Tel: +32 2 502 90 38 • Fax: +32 2 502 50 38 [email protected] Preventing War. Shaping Peace. Table of Contents Executive Summary ................................................................................................................... i I. Introduction ..................................................................................................................... 1 II. Buddhist Nationalism in Myanmar and the Region ........................................................ 3 A. Historical Roots in Myanmar .................................................................................... 3 1. Kingdom and monarchy ....................................................................................... 3 2. British colonial period and independence ........................................................... 4 3. Patriotism and religion ......................................................................................... 5 B. Contemporary Drivers ............................................................................................... 6 1. Emergence of nationalism and violence .............................................................. 6 2. Perceived demographic and religious threats ...................................................... 7 3. Economic and cultural anxieties .......................................................................... 8 4.
    [Show full text]
  • The Hat Magazine Archive Issues 1 - 10
    The Hat Magazine Archive Issues 1 - 10 Issue No Date Main Articles Workroom Process ------------------------------------------------------------------------------------------------------------------------ Issue 1 Apr-Jun 1999 Luton - Ascot Shoot - Sean Barratt Feathers - Dawn Bassam -Trade Shows - Fashion Museums & Dillon Wallwork ------------------------------------------------------------------------------------------------------------------------ Issue 2 Jul-Sep 1999 Paris – Marie O’Regan – Royal Ascot Working with crinn with - Student Shows – Geoff Roberts Frederick Fox ------------------------------------------------------------------------------------------------------------------------ Issue 3 Oct-Nov 1999 Hat Designer of the Year ’99 - Block Making with Men in Hats, shoot – Trade Fairs Serafina Grafton-Beaves ------------------------------------------------------------------------------------------------------------------------ Issue 4 Jan-Mar 2000 Mitzi Lorenz – Philip Treacy couture Working with sinamay (1) show Paris – Florence – Bridal shoot with Marie O’Regan Street page – Trades Shows ------------------------------------------------------------------------------------------------------------------------ Issue 5 Apr-Jun 2000 Coco Chanel – Trade Fairs Working with sinamay (2) Dagmara Childs – Knits Shoot with Marie O’Regan Street page - Trade Shows ------------------------------------------------------------------------------------------------------------------------ Issue 6 Jul-Sep 2000 Luton shoot – Royal Ascot Working with
    [Show full text]
  • The Morgue File 2010
    the morgue file 2010 DONE BY: ASSIL DIAB 1850 1900 1850 to 1900 was known as the Victorian Era. Early 1850 bodices had a Basque opening over a che- misette, the bodice continued to be very close fitting, the waist sharp and the shoulder less slanted, during the 1850s to 1866. During the 1850s the dresses were cut without a waist seam and during the 1860s the round waist was raised to some extent. The decade of the 1870s is one of the most intricate era of women’s fashion. The style of the early 1870s relied on the renewal of the polonaise, strained on the back, gath- ered and puffed up into an detailed arrangement at the rear, above a sustaining bustle, to somewhat broaden at the wrist. The underskirt, trimmed with pleated fragments, inserting ribbon bands. An abundance of puffs, borders, rib- bons, drapes, and an outlandish mixture of fabric and colors besieged the past proposal for minimalism and looseness. women’s daywear Victorian women received their first corset at the age of 3. A typical Victorian Silhouette consisted of a two piece dress with bodice & skirt, a high neckline, armholes cut under high arm, full sleeves, small waist (17 inch waist), full skirt with petticoats and crinoline, and a floor length skirt. 1894/1896 Walking Suit the essential “tailor suit” for the active and energetic Victorian woman, The jacket and bodice are one piece, but provide the look of two separate pieces. 1859 zouave jacket Zouave jacket is a collarless, waist length braid trimmed bolero style jacket with three quarter length sleeves.
    [Show full text]
  • Dashikis Choose Your Perfect Fit
    1 Dashikis Choose Your Perfect Fit S-XL Colors: 1X-6X Colors: Black Black/Blue Fuchsia Black/Dark Green Gold Black/Light Blue Green Black/Purple Light Blue Black/Red Maroon Black Red Blue Green Lime Military Green Mustard Red White/Lt Blue White/Lime White/Pink Yellow Mustard Blue Pink White/ Purple Traditional Print Dashiki - 3 Sizes King-Sized Dashikis Comes in sizes: Small (42”-44” chest), Choose from 1X, 2X, 3X, 4X, 5X, and 6X. Medium (46”-50” chest), and Large (48”-52” chest). 100% cotton. Made in India. C-U932 Made in Thailand. C-U918 Fitted Long Hoodie Elastic Sleeve Colors: Colors: Colors: Waist Burgundy Blue Black Green Light Blue Red Orange Lime Purple Maroon Yellow Orange Purple Red White / Black White / Blue Blue Gold Purple Traditional Elastic Dashiki Traditional Print Long-Sleeve Dashiki Trad Print Long Hoodie Up to a 42” bust, 32” long. Made in India Available in SM, MD, LG Available in LG, XL, 2X C-WS851 C-U940 C-U204 Colors: White Style 4 Navy Black Blue Brown Style 2 Black Batik Mud Print Mud Dashiki Lt. Blue Free size: Will fit up to a 52” bust and is 33” in length Embroidered Travelers Dashiki Kente Dashiki Fits up to a 50” chest. 35” length. 55% Fits up to 56” bust/chest measurement. with 19” sleeves. Plus size: Will fit up to a 56” bust and cotton/45% polyester. Made in India. C-U151 33” length. Made in India C-U920 is 36” in length with 20” sleeves. C-WH800 2 Best Sellers Black Red White/ Black/ White Black Light Blue White Blue Orange Traditional Print Luxury Skirt Set Polka Dot Maxi Skirt Mixed Print Denim Skirt - ASSORTED Make a bold statement with this traditional print It is 40” in length and fits up to a 48” elastic Fits up to 48” waist and is 41” long.
    [Show full text]
  • Miss Lisa Brown's Guide to Dressing for a Regency Ball – Gentlemen's
    MMiissss LLiissaa BBrroowwnn’’ss GGuuiiddee ttoo DDrreessssiinngg ffoorr aa RReeggeennccyy BBaallll –– GGeennttlleemmeenn’’ss EEddiittiioonn (and remove string!) Shave Jane Austen & the Regency face every Wednesday and The term “Regency” refers to years between 1811 Sunday as per regulations. and 1820 when George III of the United Kingdom was deemed unfit to rule and his son, later George Other types of facial hair IV, was installed as his proxy with the title of were not popular and were “Prince Regent”. However, “Regency Era” is often not allowed in the military. applied to the years between 1795 and 1830. This No beards, mustaches, period is often called the “Extended Regency” goatees, soul patches or because the time shared the same distinctive culture, Van Dykes. fashion, architecture, politics and the continuing Napoleonic War. If you have short hair, brush it forward into a Caesar cut style The author most closely associated with the with no discernable part. If your Regency is Jane Austen (1775-1817). Her witty and hair is long, put it into a pony tail engaging novels are a window into the manners, at the neck with a bow. lifestyle and society of the English gentry. She is the ideal connexion to English Country Dancing as Curly hair for both men and each of her six books: Pride and Prejudice , Sense women was favored over straight and Sensibility , Emma , Persuasion , Mansfield Par k hair. Individual curls were made and Northanger Abbey, feature balls and dances. with pomade (hair gel) and curling papers. Hair If you are unable to assemble much of a Regency wardrobe, you can still look the part by growing your sideburns The Minimum and getting a Caesar cut If you wish to dress the part of a country gentleman hairstyle.
    [Show full text]
  • Westminsterresearch
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The waves of the hills: community and radio in the everyday life of a Brazilian favela. Andrea Meyer Landulpho Medrado School of Media, Arts and Design This is an electronic version of a PhD thesis awarded by the University of Westminster. © The Author, 2010. This is an exact reproduction of the paper copy held by the University of Westminster library. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Users are permitted to download and/or print one copy for non-commercial private study or research. Further distribution and any use of material from within this archive for profit-making enterprises or for commercial gain is strictly forbidden. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: (http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] THE WAVES OF THE HILLS: COMMUNITY AND RADIO IN THE EVERYDAY LIFE OF A BRAZILIAN FAVELA A.Medrado PhD 2010 THE WAVES OF THE HILLS: COMMUNITY AND RADIO IN THE EVERYDAY LIFE OF A BRAZILIAN FAVELA ANDREA MEDRADO A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Doctor of Philosophy October 2010 ABSTRACT This thesis is a study of the everyday listening to community radio by residents of Pau da Lima, a working class neighbourhood with several favela areas, located in Salvador, Brazil.
    [Show full text]
  • Fashion,Costume,And Culture
    FCC_TP_V4_930 3/5/04 3:59 PM Page 1 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages FCC_TP_V4_930 3/5/04 3:59 PM Page 3 Fashion, Costume, and Culture Clothing, Headwear, Body Decorations, and Footwear through the Ages Volume 4: Modern World Part I: 19004 – 1945 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.
    [Show full text]
  • 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.
    [Show full text]