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Cloth, Commerce and History in Western Africa 1700-1850
The Texture of Change: Cloth, Commerce and History in Western Africa 1700-1850 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Benjamin, Jody A. 2016. The Texture of Change: Cloth, Commerce and History in Western Africa 1700-1850. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493374 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Texture of Change: Cloth Commerce and History in West Africa, 1700-1850 A dissertation presented by Jody A. Benjamin to The Department of African and African American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of African and African American Studies Harvard University Cambridge, Massachusetts May 2016 © 2016 Jody A. Benjamin All rights reserved. Dissertation Adviser: Professor Emmanuel Akyeampong Jody A. Benjamin The Texture of Change: Cloth Commerce and History in West Africa, 1700-1850 Abstract This study re-examines historical change in western Africa during the eighteenth and nineteenth centuries through the lens of cotton textiles; that is by focusing on the production, exchange and consumption of cotton cloth, including the evolution of clothing practices, through which the region interacted with other parts of the world. It advances a recent scholarly emphasis to re-assert the centrality of African societies to the history of the early modern trade diasporas that shaped developments around the Atlantic Ocean. -
C O Ra G in Sb U R G Mo De
CORA GINSBURG • MODERN TITI HALLE CORA GINSBURG LLC A Catalogue of 20th century costume & textiles 2018 by appointment 19 East 74th Street tel 212-744-1352 New York, NY 10021 fax 212-879-1601 www.coraginsburg.com [email protected] LES JETS D’EAU RAYON AND COTTON WALL COVERING BY EDOUARD BÉNÉDICTUS FOR BRUNET-MEUNIÉ French, 1925 Edouard Bénédictus (1878–1930) is known today primarily for his textile, wallpaper, and carpet designs. However, over the course of his prolific career spanning the first three decades of the twentieth century, from the Art Nouveau to the Art Deco movements, he was also a chemist, musician, composer, poet, critic, and theatrical costume designer. Born in Paris, Bénédictus entered the École des Arts Décoratifs in 1897 and, in 1900, he traveled to Darmstadt, Germany, to study chemistry, an interest that he continued to pursue after his return to Paris. Between 1900 and 1910, he worked primarily in cuir incrusté (inlaid leather), a technique for which he became well known; his panels and boxes featuring flowers, birds, and animals were regularly exhibited at the Salon des Artistes Décorateurs. He also provided the illustrations for a series of articles by the artist Maurice Verneuil for Art et Décoration on adapting motifs from nature for decorative purposes. Bénédictus’s renderings of insects, reptiles, and butterflies reflect the sinuous, organic forms of the Art Nouveau style. The 1920s represent the high point of Bénédictus’s professional career in terms of his contribution to the Art Deco aesthetic and his public recognition. He produced gouaches with repeating patterns for large-format hand-colored pochoir albums: Variations (1924), Nouvelles Variations (1926), and Relais (published posthumously in 1930). -
Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Newsletters Textile Society of America Spring 2016 Textile Society of America Newsletter 28:1 — Spring 2016 Textile Society of America Follow this and additional works at: https://digitalcommons.unl.edu/tsanews Part of the Art and Design Commons Textile Society of America, "Textile Society of America Newsletter 28:1 — Spring 2016" (2016). Textile Society of America Newsletters. 73. https://digitalcommons.unl.edu/tsanews/73 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 Newsletters by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. VOLUME 28. NUMBER 1. SPRING, 2016 TSA Board Member and Newsletter Editor Wendy Weiss behind the scenes at the UCB Museum of Anthropology in Vancouver, durring the TSA Board meeting in March, 2016 Spring 2016 1 Newsletter Team BOARD OF DIRECTORS Roxane Shaughnessy Editor-in-Chief: Wendy Weiss (TSA Board Member/Director of External Relations) President Designer and Editor: Tali Weinberg (Executive Director) [email protected] Member News Editor: Caroline Charuk (Membership & Communications Coordinator) International Report: Dominique Cardon (International Advisor to the Board) Vita Plume Vice President/President Elect Editorial Assistance: Roxane Shaughnessy (TSA President) [email protected] Elena Phipps Our Mission Past President [email protected] The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, Maleyne Syracuse political, social, and technical perspectives. -
Locally Produced Textiles on the Indian Ocean Periphery 1500-1850: East Africa, the Middle East, and Southeast Asia William Gervase Clarence-Smith
Locally produced textiles on the Indian Ocean periphery 1500-1850: East Africa, the Middle East, and Southeast Asia William Gervase Clarence-Smith Ravi Palat and Immanuel Wallerstein claim that India 'deindustrialised' its Indian Ocean periphery, by exploiting its advanced proto-industrial techniques, especially for the production of cloth. (Pearson 1998: 109-12, 121, 126) After 1500, the picture was complicated by the violent irruption of Europeans, and yet they failed to dislodge South Asian cloth from its hegemonic position. All scholars agree on the continued market penetration of Indian cottons and silks in early modern times, although statistics hardly exist, and publications are patchy over the thousands of kilometres that separated Luzon from Arakan, and Mozambique from the Red Sea and the Persian Gulf. There is a real problem in determining what the performance of peripheral textiles might have been without imports from India. (Pearson 1998: 121-2) Anthony Reid postulates a 'zero-sum game,' whereby local output fell when Indian cottons surged in, but increased when imports from India were curtailed for some exogenous reason. (Reid 1988: 96) The evidence put forward in this paper does not bear out this mechanistic model. In reality, imports from India were as much a stimulus as a threat to local industries. Complicating matters was a marked blurring of the traditional distinction between 'manufactured imports' and 'local raw materials', given that imported textiles could serve as intermediate goods. Local artisans decorated coloured cloth from abroad, printed and dyed imports of plain white cloth, and wove yarn that had been spun far away. Indeed, they even unpicked finished cloth to obtain the dyed yarn that they desired. -
The Journal of the Walters Art Museum
THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 THE JOURNAL OF THE WALTERS ART MUSEUM VOL. 73, 2018 EDITORIAL BOARD FORM OF MANUSCRIPT Eleanor Hughes, Executive Editor All manuscripts must be typed and double-spaced (including quotations and Charles Dibble, Associate Editor endnotes). Contributors are encouraged to send manuscripts electronically; Amanda Kodeck please check with the editor/manager of curatorial publications as to compat- Amy Landau ibility of systems and fonts if you are using non-Western characters. Include on Julie Lauffenburger a separate sheet your name, home and business addresses, telephone, and email. All manuscripts should include a brief abstract (not to exceed 100 words). Manuscripts should also include a list of captions for all illustrations and a separate list of photo credits. VOLUME EDITOR Amy Landau FORM OF CITATION Monographs: Initial(s) and last name of author, followed by comma; italicized or DESIGNER underscored title of monograph; title of series (if needed, not italicized); volume Jennifer Corr Paulson numbers in arabic numerals (omitting “vol.”); place and date of publication enclosed in parentheses, followed by comma; page numbers (inclusive, not f. or ff.), without p. or pp. © 2018 Trustees of the Walters Art Gallery, 600 North Charles Street, Baltimore, L. H. Corcoran, Portrait Mummies from Roman Egypt (I–IV Centuries), Maryland 21201 Studies in Ancient Oriental Civilization 56 (Chicago, 1995), 97–99. Periodicals: Initial(s) and last name of author, followed by comma; title in All Rights Reserved. No part of this book may be reproduced without the written double quotation marks, followed by comma, full title of periodical italicized permission of the Walters Art Museum, Baltimore, Maryland. -
A Weaver Looks at Tinguian Blankets
Textile VOLUME 23 n NUMBER 3 n FALL, 2011 Society of Symposium 2012 news on Page 2 America A Weaver Looks at Tinguian Blankets Kathleen Forance Johnson with Yushan Tsai CONTENTS N 1898 THE AMERICAN they enjoyed some of the new Cole (1881-1961), to take up Commodore, George Dewey, amenities offered, but Benedict the challenge. Cole studied 1 A Weaver Looks at Tinguian defeated the Spanish fleet in deplored that their original cultures a group of isolated and little- Blankets I the Battle of Manila Bay, ending would never again be seen in known mountain people from 2 Symposium 2012 News the period of Spanish domination their undisturbed, natural settings. 1907-1908 during a stay of 16 3 From the President of the Philippines, and the Worse yet, those cultures months for the Field Columbian 4 TSA News, TSA Member News archipelago was annexed by had not been systematically Museum. the United States of America. In documented in those original Cole called these people 6 Conference Reviews the early years of the American settings by professional observers. Tinguian but they have always 10 Tinguan Blankets, Continued Colonial Period, anthropolo- referred to themselves as 14 Textile Community News gist Laura E Benedict was “Itneg” and that is how they working to document indig- are known in much of the 15 In Memoriam: Ardis James enous tribal cultures in the literature. Here we have 16 Book Reviews southern Philippines. In 1907 used the terms interchange- 17 Exhibition Reviews she wrote an urgent letter, ably. At Cole’s time, the now in the Field Museum Tinguian/Itneg were among 20 Calls for Papers, Calendar archives, to Dr. -
01 PAG ING 30-03-2012 11:40 Pagina 1
01 PAG ING 30-03-2012 11:40 Pagina 1 Reading Ghereh opens a window on the world of rugs. One of the few international magazines dedicated to textiles arts and the art of Oriental rugs, Ghereh gives a voice to many elements of these ancients arts. Elements of beauty, harmony and peace. 02-03 SOMMARIO ing 30-03-2012 11:41 Pagina 2 ISSUE N.50 INTERNATIONAL CARPET & TEXTILE REVIEW 67 TRANSYLVANIAN RUGS The collection of St. Margaret’s Church in Mediash Stefano Ionescu An original study of the Anatolian rugs to be found in Transylvania, and the fine examples conserved in the churches of the region. 21 THE MULBERRY The Silk Road Taher Sabahi Silk, its origins, its distribution th- rough Europe and Italy told through the history of an ancient tree. 33 THE ICOC CONFERENCE A review R. John Howe An account of the 12th ICOC Confe- rence, its meetings and market news. A review of the three temporary exhi- bitions organised for the occasion: the display of rare Turkoman rugs; a collection of Oriental carpets from private Swedish collections and, fi- nally, an exhibition dedicated entirely to Scandinavian textiles. 2 02-03 SOMMARIO ing 3-04-2012 10:40 Pagina 3 INTERNATIONAL CARPET & TEXTILE REVIEW News 50 News and updates from leading museums in Europe and the United States: from the nomination of the new director of the MAK in Vienna to the new layout of the gallery de- dicated to Islamic art at the Metropolitan Museum of New York. Exhibitions 56 There are plenty of exhibitions reviewed in this issue. -
The Inner Eye Vision and Transcendence in African Arts
exhibition preview The Inner Eye Vision and Transcendence in African Arts Mary Nooter Roberts “e Inner Eye” draws attention to African individuals, such as “THE INNER EYE: rulers, mothers, and healers, as well as spirit beings who exhibit VISION AND TRANSCENDENCE IN AFRICAN ARTS” heightened senses of awareness, while acknowledging artists and CURATED BY MARY NOOTER ROBERTS performers as visionaries who bring works to life. A number of LOS ANGELES COUNTY MUSEUM OF ART artists are identiable master hands, and in some cases sculptures RESNICK PAVILION, FEBRUARY 26—JULY 9, 2017 are shown in clusters to appreciate the remarkable ingenuity that Oro, the essence of communication, takes place in the eyes. each artist brings to a single genre. Ultimately, in their own set- (Yoruba axiom cited in Abiodun :) tings and, one can hope, museum spaces as well, these objects empower people to transcend human limitations and boundaries he Inner Eye: Vision and Transcendence in and envision their own potentialities and possibilities (Fig. ). African Arts” features a cross-cultural con- Most works of art encourage viewers to gaze upon them in all stellation of sculptures—many of them iconic their multidimensionality. In fact, museum experience is predi- in the corpus of African art—and eye-catching cated upon looking. When we see art in most Western museum textiles. e exhibition explores how works of settings, the assumption is that objects are meant to be scruti- art and the visual regimes through which they nized and beheld, and in a sense consumed by visitors’ eyes and have been created and performed enable transitions from one caressed by their gaze. -
African Textile Design and Fabric Arts As a Source for Contemporary Fashion Trends Dereje Debeli , Liu Jie Yuan , Zhou
2nd International Conference on Science and Social Research (ICSSR 2013) African textile design and fabric arts as a source for contemporary fashion trends Dereje Debeli 1, a, Liu Jie Yuan 1, b, Zhou Jiu1, c* 1Key Laboratory of Advanced Textile Materials and Manufacturing Technology, Ministry of Education, Zhejiang Sci-Tech University, Hangzhou, Zhejiang, 310018, China. [email protected], [email protected], [email protected] Key words: African textiles, design, fabric, arts Abstract. Textile design and arts in Africa traced back to thousand of centuries when some ethnic groups were started producing clothes for multi-purpose uses. Their design creations and arts were known to be having geometric patterns graced with wonderful choice of colors which were primarily bright in that sense. This paper introduces African textile designs and dressing styles. The concept of designing African textiles and its method to integrate on contemporary fashion trends are intended to be discussed. Color choices, selection of patterns and combination of aesthetics values are also included after taking some examples that illustrated African textiles. The kind of motif selection, balancing shapes and color sonority imbedded on these fabrics have a lot of thing to do with their wearing culture and dressing styles. The import of motifs on fabric has its own techniques. Textile design and fabrics produced based on these techniques are finally planned to convey known values from generation to generation. Introduction African textile designs and arts are representative symbols of African society. Some people and societies in Africa have developed symbols from proverbs, sayings, and king’s quotation in a form of arts. -
Textiles Department Records BMA.18 Finding Aid Prepared by Anna J
Textiles Department Records BMA.18 Finding aid prepared by Anna J. Clarkson, Tracy Lewis, and Waneta Gagne This finding aid was produced using the Archivists' Toolkit October 18, 2016 Describing Archives: A Content Standard Generously supported with funding from the National Historical Publications and Records Commission (NHPRC) and Frick Foundation Archives and Manuscripts Collections, The Baltimore Museum of Art October 5, 2016 10 Art Museum Drive Baltimore, MD, 21032 (443) 573-1778 [email protected] Textiles Department Records BMA.18 Table of Contents Summary Information ................................................................................................................................. 3 Institutional History....................................................................................................................................... 5 Scope and Contents....................................................................................................................................... 5 Arrangement...................................................................................................................................................6 Administrative Information .........................................................................................................................6 Controlled Access Headings..........................................................................................................................6 Collection Inventory..................................................................................................................................... -
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. -
African Textiles Kente, Adinkra & Korhogo
AFRICAN TEXTILES KENTE, ADINKRA & KORHOGO “Our lives are woven together like the threads on a loom. One thread is very weak. Threads woven together are strong.” Grades 3-5 PowerPoint Lesson Plan OBJECTIVES HISTORY: Places an artwork in its art historical context. Students will examine the use of textiles to express ideas, beliefs or stories created by West African peoples. CRITICISM: Informed talk about art. Students will be able to identify the use of line that creates patterns in Adinkra cloth and discuss the symbolism of the designs used. AESTHETICS: Questions the nature, value and beauty of art. Students will discuss the value of textiles as art even though they are created to be worn. PRODUCTION: Creating art. Students will create an Africa-inspired textile using line to create pattern. VOCABULARY Note to volunteers The vocabulary words will be in bold italics throughout the lesson. They will be defined within the text of the lesson and do not need to be presented separately. The definitions included under this section of the lesson are very detailed and intended for adults. Line: the path of a moving dot. Pattern: the repeated placement of a basic unit, called a motif (this could be created with a shape, line, texture, or color). In general, pattern has two main functions in art and design; it provides visual enrichment and interest, and it helps unify a composition or an area of a composition. 1 PowerPoint Presentation Symbol: a design or object, which represents an idea, concept, or product. Textile: woven fabric or cloth. INTRODUCTION Can anyone tell me what a proverb is? There are some that you may have heard before like, “You can’t judge a book by its cover” or “The early bird catches the worm”.