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Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’S Costumes Jeana Jorgensen Butler University, [email protected]
Butler University Digital Commons @ Butler University Scholarship and Professional Work - LAS College of Liberal Arts & Sciences 2006 Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes Jeana Jorgensen Butler University, [email protected] Follow this and additional works at: http://digitalcommons.butler.edu/facsch_papers Part of the Dance Commons, Feminist, Gender, and Sexuality Studies Commons, Folklore Commons, and the Social and Cultural Anthropology Commons Recommended Citation Jorgensen, Jeana, "Whether it’s coins, fringe, or just stuff that’s sparkly': Aesthetics and Utility in a Tribal Fusion Belly Dance Troupe’s Costumes" Midwestern Folklore / (2006): 83-97. Available at http://digitalcommons.butler.edu/facsch_papers/673 This Article is brought to you for free and open access by the College of Liberal Arts & Sciences at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - LAS by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Midwestern folklore. Terre Haute, Ind. : Dept. of English, Indiana State University, [1987- http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution http://www.hathitrust.org/access_use#cc-by-3.0 This work is protected by copyright law (which includes certain exceptions to the rights of the copyright holder that users may make, such as fair use where applicable under U.S. law) but made available under a Creative Commons Attribution license. You must attribute this work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). -
GI Journal No. 75 1 November 26, 2015
GI Journal No. 75 1 November 26, 2015 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL NO.75 NOVEMBER 26, 2015 / AGRAHAYANA 05, SAKA 1936 GI Journal No. 75 2 November 26, 2015 INDEX S. No. Particulars Page No. 1 Official Notices 4 2 New G.I Application Details 5 3 Public Notice 6 4 GI Applications Bagh Prints of Madhya Pradesh (Logo )- GI Application No.505 7 Sankheda Furniture (Logo) - GI Application No.507 19 Kutch Embroidery (Logo) - GI Application No.509 26 Karnataka Bronzeware (Logo) - GI Application No.510 35 Ganjifa Cards of Mysore (Logo) - GI Application No.511 43 Navalgund Durries (Logo) - GI Application No.512 49 Thanjavur Art Plate (Logo) - GI Application No.513 57 Swamimalai Bronze Icons (Logo) - GI Application No.514 66 Temple Jewellery of Nagercoil (Logo) - GI Application No.515 75 5 GI Authorised User Applications Patan Patola – GI Application No. 232 80 6 General Information 81 7 Registration Process 83 GI Journal No. 75 3 November 26, 2015 OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of Goods (Registration & Protection) Rules, 2002. 1. As per the requirement of Rule 41(1) it is informed that the issue of Journal 75 of the Geographical Indications Journal dated 26th November 2015 / Agrahayana 05th, Saka 1936 has been made available to the public from 26th November 2015. GI Journal No. 75 4 November 26, 2015 NEW G.I APPLICATION DETAILS App.No. Geographical Indications Class Goods 530 Tulaipanji Rice 31 Agricultural 531 Gobindobhog Rice 31 Agricultural 532 Mysore Silk 24, 25 and 26 Handicraft 533 Banglar Rasogolla 30 Food Stuffs 534 Lamphun Brocade Thai Silk 24 Textiles GI Journal No. -
Why Indian Embroidered Clothing Is Preferred by Everyone?
International Journal For Technological Research In Engineering Volume 1, Issue 1, September-2013 ISSN (Online): 2347 - 4718 WHY INDIAN EMBROIDERED CLOTHING IS PREFERRED BY EVERYONE? Mrs. Dharti B. Thakkar Lecturer in C.A.C.D. & D. M. Department, Government Polytechnic for Girls, Ahmedabad. I. INTRODUCTION Embroidered Clothing of your desire and style. Customized Indian Embroidered clothing is the most ancient trend of Clothing provides us a wide range of designs and fittings to fashion and is still going on and will surely last to long choose from. Embroidered Clothing has remained a mark of lasting ages. The origin of Embroidered Clothing lies in various civilizations and cultures. Kashmiri Embroidered Stone Age. Many Embroidered Clothing made of animal Clothing has earned a name worldwide. Phulkari is a famous skins decorated with threads and beads have been found clothing used by Punjabi women. Wigs used by Egyptians during several excavation projects. Ever since man has were designed out of human hair or wool. Arabic embroidery invented clothing for protecting himself from natural climatic styles are known for their extraordinary handicraft patterns changes, he has always remained desperate to develop new and designs. Some Embroidered Clothing is marked for designs and styles for his dresses. Embroidered Clothing has special occasion like wedding wear. Today not only colorful played a significant role in it. Designing of Embroidered threads are used for embroidery works but gold and silver Clothing is an art of giving different looks to the same dress fibers are also used. Such types of Embroidered Clothing are material by adding separate designs and patters to it. -
For Directions on How to Make Shisha Click Here
TORANS There are several sources for buying torans. Traditions in downtown Olympia sometimes has them and most belly dance events that have vendors will have some for sale. Some of them don’t have very many mirrors. Also Mas Uda has a “home made pattern for making the torans, as the “ready mades” don’t fit some dancers well. Making “Shisha “ 1. Make a straight stitch across one side of the mirror bring your needle up a little above the mirror and make another straight stitch down one side. 2. Work a "square" of straight stitches then another "square" on top, in the same way, but across the corners of the previous square. These foundation stitches need to be tight, and not too close to the edge of the mirror - work into these, and they will pull outwards; too loose or too near the edge, and the mirror will not be held securely. 3. Bring your needle up next to the mirror (anywhere) pass it under the foundation stitches, keeping the thread under the point of the needle (as though it were a blanket stitch). Pull tight. 4. Make a small stitch into the fabric, alongside the mirror, again keeping the thread under the needle (like a chain stitch). 5. Pass the needle under the foundation threads (remember to keep the thread under the needle). 6. Make another small stitch into the fabric, inserting the needle into the previous "chain" stitch. Repeat steps 5 and 6 all round the mirror, then finish thread securely on the back. Most people work clockwise around the mirror, as shown here. -
How a New Generation of Designers Is Shaking up Storied Fashion Houses
How a New Generation of Designers Is Shaking Up Storied Fashion Houses FEBRUARY 13, 2018 8:00 AM photographed by MIKAEL JANSSON In 2018, a fashion house is not a home—not unless the designer living there is able to transform it so that it reflects our lives and times rather than some vainglorious past. A respectful reverence for the way things once were is one thing, but no one wants (or wants to wear) a timid tiptoe through a house’s greatest hits. Thankfully the last couple of years have seen houses taken over by designers who aren’t interested in just blithely looking back. It’s a big world out there—show that you actually live in it and put out work that’s both personal and real. The appearance of Alessandro Michele at Gucci in 2015 kick-started a revolution in the industry that’s still being felt. Michele was an unknown studio stalwart of two-plus decades who manned up—in bejeweled brocades and masses of rings—to take on a label that was threatening to lose its luster. His riotous celebration of outsider beauty and embrace of diversity didn’t just give us all some thrilling stuff to wear; it provided a gorgeous, sparkly, gender-defying brew that was a delicious corrective to the challenging and oftentimes nasty narratives coming at us from elsewhere. In the space of a mere two years or so, there has been a remarkable number of names arriving at some of the most storied houses, and we celebrate them this month by photographing their spring 2018 collections on an equally compelling cast of characters. -
Translation of the French Interim Financial Report Six
TRANSLATION OF THE FRENCH INTERIM FINANCIAL REPORT SIX-MONTH PERIOD ENDED JUNE 30, 2021 CONTENTS EXECUTIVE AND SUPERVISORY BODIES; STATUTORY AUDITORS AS OF JUNE 30, 2021 3 FINANCIAL HIGHLIGHTS 4 HIGHLIGHTS 6 SHARE CAPITAL AND VOTING RIGHTS 6 COMMENTS ON THE CONSOLIDATED INCOME STATEMENT 8 WINES AND SPIRITS 12 FASHION AND LEATHER GOODS 13 PERFUMES AND COSMETICS 15 WATCHES AND JEWELRY 16 SELECTIVE RETAILING 17 COMMENTS ON THE CONSOLIDATED BALANCE SHEET 18 COMMENTS ON THE CONSOLIDATED CASH FLOW STATEMENT 20 CONSOLIDATED INCOME STATEMENT 22 CONSOLIDATED STATEMENT OF COMPREHENSIVE GAINS AND LOSSES 23 CONSOLIDATED BALANCE SHEET 24 CONSOLIDATED STATEMENT OF CHANGES IN EQUITY 25 CONSOLIDATED CASH FLOW STATEMENT 26 SELECTED NOTES TO THE CONSOLIDATED FINANCIAL STATEMENTS 27 STATUTORY AUDITORS’ REPORT ON THE HALF-YEAR FINANCIAL INFORMATION 55 STATEMENT BY THE PERSON RESPONSIBLE FOR THE INTERIM FINANCIAL REPORT 56 As table totals are based on unrounded figures, there may be discrepancies between these totals and the sum of their rounded component figures. This document is a free translation into English of the original French “Rapport financier semestriel – 30 juin 2021”, hereafter referred to as the “Interim financial Report”. It is not a binding document. In the event of a conflict in interpretation, reference should be made to the French version, which is the authentic text. Interim Financial Report – Six-month period ended June 30, 2021 2 EXECUTIVE AND SUPERVISORY BODIES; STATUTORY AUDITORS AS OF JUNE 30, 2021 Board of Executive Performance Directors -
Razzle-Dazzle: the Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006
Razzle-Dazzle: The Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006 Shells, mirrors, beads, seeds, metal disks, coins, sequins, feathers; these are only some of the items that have been used to make clothing and textiles jingle, sparkle, and jiggle. Throughout time, all over the world, in every society, humans have embellished their clothing in ways that signal status and religion or serve as talismanic, flirtatious, or protective charms. These days, many Westerners have lost touch with the symbolic power of ornament applied to apparel, dismissing such adornment as superficial, artificial, and even disingenuous. The group of objects in this exhibition spanning the Asian world reminds viewers of the pleasure and meaning that such materials may convey. The English word "ornament" derives from the Latin ornare, meaning "to equip, get ready, or fit out." Some have pushed this definition one step further, suggesting that the term also expresses completion. Although not a structural necessity, ornament makes an object whole. How differently might we look upon certain articles in this gallery if they did not include gold for its inherent wealth and homage to hierarchy, purity, and indestructibility; silver, metal, and sequins for their associations with prosperity and protection; mirrors for their power to ward off malevolence; beads and seeds for their correlations with fortune, resiliency, and fertility; and feathers for their regal connotations? Lacking such accoutrements, these textiles would take on another function, causing the wearer to behave in another fashion and the beholders to interpret the behavior in other ways. The thread of meaning would dissolve. -
January-2011
Issue No. 153, January 2011 Palestinian Handicrafts ..................................................................................................4 Palestinian Christians An Innovative Approach to Reviving Palestinian Arts and Crafts ..................................6 Traditional but Trendy… ..............................................................................................10 Since it is such a wonderful season, Palestinians Christians still insist on Al Mirsat for Arts and Crafts .........................................................................................14 having three Christmases every year! As opposed to Jordanian Christians, Real-World Obstacles to Supernatural Demand: A Classic Tale of Tragedy ..............18 for instance, who have set 25 December to be Christmas for all Christians A Beacon for Perplexed Souls .....................................................................................22 in Jordan, here in Palestine, 25 December is only celebrated by members of The Devil in Disguise? Secrets of the Narghile ...........................................................30 Western Christian churches; 7 January is Christmas for the Eastern Orthodox Atfaluna Crafts .............................................................................................................34 churches, and, as if that were not enough, 18 January is celebrated by the Beauty and Identity for the Next Generation ...............................................................38 Armenian Orthodox Church. Three Christmases, -
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1 GOVERNMENT OF INDIA GEOGRAPHICAL INDICATIONS JOURNAL (SUPPLEMENTARY - 1) MARCH- 24 , 2008/ CHAITRA - 4, SAKA 1930 2 vkf/kdkfjd lwpuk,¡ fo"k; % HkkSxksfyd min'kZu eky ¼iathdj.k vkSj laj{k.k½ fu;e 2002 ds fu;e 41¼1½ ds v/khu ;g lwfpr fd;k tkrk gSA 1- fu;e 41¼1½ ds vko';drk ds vuqlkj] ;g lqfpr fd;k tkrk gSS fd ekpZ 24 2008@&pSrz 10 'kd 1930 fnukafdr liyhesUVjh HkkSxksfyd min'kZu if=dk 1 dk laLdj.k la[;k 24] ekpZ] 2008 ls turk dks miyC/k djk;k tkrk gSA OFFICIAL NOTICES Sub: Notice is given under Rule 41(1) of Geographical Indications of goods (Registration & Protection) Rules 2002. 1. As per the requirement of Rule 41(1), it is informed that the issue of Supplementary Journal (1) of the Geographical Indication Journal dated 24th March 2008 / Chaitra- 4 Saka 1930 has been made available to the public from 24th March 2008. 3 HkkSxksfyd min'kZu vkosnu fooj.k% HkkSxksfyd HkkSxksfyd oxZ Ekky min'kZu min'kZu ds uke vkosnu la[;k 1 nkftZfyax ¼oMZ½ 30 Pkk; 2 nkftZfyax ¼yksxks½ 30 Pkk; 3 vkjUeqyk /kkrq dk¡p 20 /kkrq dk vkbuk 4 ikspeiYyh bDdr 24 oL= rFkk oL= eky] csM vkSj Vscy doj 25 oL=] ixMh 27 dkisZV] #eky] dEcy vkSj pVkbZ Q'kZ dks vkoj.k djus dh oLrq 5 Lksye oL= 24 oL= rFkk oL= eky 6 i;Uuwj ifo=k fjax 14 xguk 7 pansjh lkMh 24 lkfM+;ka 8 lksykiqj 24 pknj 4 G.I. Name of Geographical Application Goods Indication Class No. -
Wrap. Pierre-Ange Carlotti Per Vogue Italia
Leggi l'articolo su beautynews Wrap. Pierre-Ange Carlotti per Vogue Italia Pierre-Ange Carlotti ha firmato lo shooting Wrap per il numero di dicembre di Vogue Italia. Insieme al fotografo francese ha lavorato Helena Tejedor, che si è occupata dello styling. Ecco alcune immagini tratte dal servizio. pagina 1 / 16 Cardigan, Fifi Chachnil; pantaloni pied-de-poule, Vicolo; stringate in naplak, Miu Miu; tiara di nappa trapuntata, Fendi. Orecchini in metallo dorato con logo e pendente, Chanel; bracciale in argento e oro giallo, Bottega Veneta. Pierre-Ange Carlotti pagina 2 / 16 Giacca di poliammide ed elastan, realizzata con Holystic Technology 3, RRD - Roberto Ricci Designs; crop top di mohair, GCDS; leggings e calzini di cotone, Calzedonia; sneakers, Reebok; guanti, Hermès; Cleo Bag in pelle spazzolata, Prada. Racchette da tennis, Chanel (nelle boutique solo su ordinazione). Pierre-Ange CarlottiGuardate anche la gallery degli oggetti dello shooting Moda: i regali di Natale più glam pagina 3 / 16 Chanel Chitarra con logo (disponibile in boutique solo su ordinazione) Press office pagina 4 / 16 Chanel Racchette da spiaggia (disponibile solo in boutique) Press office pagina 5 / 16 Hermès Borsa Haut a? Courroies 40 Western in pelle di vitello Togo (disponibile solo in boutique) Press office pagina 6 / 16 Loewe x Ken Price Cappello in cotone con stampa Ken Price (disponibile online su www.loewe.com) Press office pagina 7 / 16 Dior Borsa "Lady D-Lite" con ricamo ?Dior in Lights? multicolor Press office pagina 8 / 16 Dolce&Gabbana e Donna Fugata Vino -
27Th February – 1St March 2020 Business Design Centre, London
previously A-Z LEARNING CURVE and DRESSMAKING STUDIO AND WORKSHOP DESCRIPTIONS The Learning Curve and Dressmaking Studio Workshops Timetable and Detailed Information 27th February – 1st March 2020 Business Design Centre, London Dressmaking Studio • Workshops range from 1 hour taster sessions to 1.5 hour, 2 hours and 3 hours. Technique classes from basics • All materials you need are included in to couture for all dressmaking levels 1 hour, 1.5 hour and 2 hour sessions (unless otherwise stated). NEW baby lock Workshop Room • Sewing machines are provided where necessary. Learn to use an overlocker NB: Some of the longer classes (3 hour and 1 day) and garment making classes require you to bring More workshops than ever your own materials or pay for a kit on the day. Over 244 classes in 12 dedicated rooms What is needed is included in the course description. Tickets and information: thestitchfestival.co.uk or 0844 854 1349 BOOK EARLY TO AVOID DISAPPOINTMENT! thestitchfestival.co.ukNB: In order to attend any of the thestitchfstvlworkshops, you do also needthestitchfestival to purchase an entry ticket to the show. 1 TIMETABLE Thursday 27th February 2020 Early Morning classes starting at 8.30am or 9am include light refreshments of pastry and tea/coffeeE CODE START TITLE TUTOR ROOM LEVEL LENGTH COST 1 08:30 Knit with Wire: Dancing Spring Daffodils Susan Burns Room 4 I 1.5 hr £29 2 08:30 Everlasting Rag Rug Bouquets Elspeth Jackson, RaggedLife Room 5 AL 1.5 hr £29 3 08:30 Hand Stitched Memory Trinket Box Ami James Room 6 B 1.5 hr £29 4 08:30 Learn -
Indian Embroidery ULITA Exhibition
Indian Embroidery ULITA Exhibition May – December 2015 Panel text © ULITA – an Archive of International Textiles Indian Embroidered Textiles in ULITA The majority of the Indian textiles in the ULITA Collection were transferred from the West Riding Educational Resource Service, Bretton Hall, which took museum objects into schools during the 1970s-80s. These included contemporary costume. The museum already held a collection of Kashmiri shawls and embroidered shawl fragments, many collected by Sir Michael Sadler (a former Vice-Chancellor of the University). Several recent donations are exhibited, include two phulkari and this Gujarati boys smock. Indian Embroidery In gaining an understanding of Indian embroidery it is important to consider India’s position in relation to other countries, and its past trade, invasions and migration patterns. In the early 20th century this would have involved the whole subcontinent, but this has now been divided into the countries of Pakistan, Bangladesh and India. The movement of peoples though the subcontinent meant that similar embroidery can be found throughout these countries despite boundaries. India also lies along the trade routes of Asia, resulting in influences from both West (Persia) and East (China). Its extensive coastline has also enabled trade to flourish, with many countries, particularly the Europeans, several later becoming invaders. Various ethnic groups make up the population of India today. As in the past, specific techniques still generally relate to particular regions. Each still has its own identity, based on religion, patterns, cultural traditions and market requirements. In India, textiles are everywhere: on clothes, adorning animals, in temples and in homes. These items form part of the traditional way of life.