DOCSLIB.ORG

Whether It's Coins, Fringe, Or Just Stuff That's Sparkly': Aesthetics and Utility

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Whether It's Coins, Fringe, Or Just Stuff That's Sparkly': Aesthetics and Utility 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: https://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 https://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). Please check the terms of the specific Creative Commons license as indicated at the item level. For details, see the full license deed at http://creativecommons.org/licenses/by/3.0/. Generated on 2015-07-10 17:32 GMT / http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution / http://www.hathitrust.org/access_use#cc-by-3.0 Jeana Jorgensen "Whether it's coins, or fringe, or just stuff that's sparkly:" Aesthetics and Utility in the Costumes of a Tribal Belly dance Troupe As both a scholar and a belly dancer, I believe that belly dance is recognizable on aesthetic grounds. In addition to the movements that belly dancers typically perform— muscle isolations, undulations, graceful hand motions and turns, and lots of hip work —belly dancers wear costumes that are visually identifiable as belly dance costumes. While this description may seem tautological, there are recognizable standards both in the public sphere and among dancers for what constitutes the belly dance image —or images, as belly dance is a diverse phenomenon that encompasses teaching, learning, performing, watching, socializing, and costuming. Though its origins are in the Middle East and Mediterranean (including influences from India, North Africa, Spain, and nomadic cultures such as Rom peoples), belly dance has achieved special status in America as a fusion form of dance. Indeed, the name belly dance is used only in English-speaking regions (Djoumahna 2000:10). The term belly dance is also very general; many belly dancers identify themselves as practicing a subcategory of the dance, apparent not only in the types of movements and music they prefer but also in their costuming choices. Some divisions in American styles of belly dance include cabaret, folkloric, and tribal. Brief definitions of these divisions will help provide context for this article's specific study of tribal belly dance costumes. Cabaret in America approximates styles practiced in clubs in the Middle East today. It is mostly a solo performance style, with a wide range of available movements that may be either choreographed or improvised; if a cabaret group performs (as opposed to an individual), the choreography is fixed. In an article, Dina, a cabaret belly dancer and costumer, addresses the question of what a cabaret costume is: "A magical vision of the glamorous, exotic belly dancer was popularized by Hollywood decades ago. In glittering bra and belly-baring skirt, draped with diaphanous veils, she undulated and shimmied to the accompaniment of her jingling finger cymbals. This cabaret style of costume and dance is flashier, more theatrical and more revealing than the many historic and ethnic styles of Middle Eastern cultures." Dina defines in structural terms the costume pieces that compose a cabaret outfit: "The cabaret costume usually consists of a fringed hip-belt, ornate bra, skirt and/or harem pants, and one or more veils. A fitted gown sometimes replaces bra and skirt. Decorative arm coverings, headpieces, and shoes are optional. Jewelry completes the ensemble" (2000: 108). The cabaret style allows for individual touches of glamour and glitz as desired by dancers. More than cabaret dance, folkloric belly dance in America values authenticity and traditionality. Kajira Djoumahna, author of The Tribal Bible: Exploring the Phenomenon That is American Tribal Style Bellydance, touches on folkloric styles in the U.S. in her definition of terms: "These groups learn as much as they can of actual folkloric dances of various countries in the Middle East, and then they change them if needed to suit their performance venues here in the U.S. These groups may or may not include completely authentic costuming, though their costumes do reflect an effort to appear traditional" Generated on 2015-07-10 17:32 GMT / http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution / http://www.hathitrust.org/access_use#cc-by-3.0 84 MIDWESTERN FOLKLORE (2003:iii). The emphasis on "traditional" dances and costumes is one reason why folkloric belly dance is often seen at Renaissance Faires and other cultural events that value authenticity and traditionality. As in cabaret, group performances tend to be strictly choreographed. In contrast to cabaret and folkloric styles, tribal belly dance originates entirely in America and is a collective improvisational style. Both the costuming style and the dance movements are syncretic (or fusional). The belly dancers that have written about tribal belly dance are divided as to whether they identify the dance style or the costumes as the defining factor of tribal belly dance. Relevant to their discussion is an important distinction between a general tribal style and the American Tribal Style (ATS).1 To some troupes the criteria that define ATS are movement-based. According to these dancers, for a performance to be deemed ATS, the following standards must be met: 1. There must be interaction between the dancers. This means no solo expressions unless at least one other dancer is present on the stage with you. Even then, the solo is not meant to be the focus of any Tribal performance. Working together in troupes of two or more dancers for the majority of the show is imperative for what you are doing to be called "Tribal." 2. This interaction between dancers during performance must be, at least primarily, improvisational. (Djoumahna 2003:i) Different tribal troupes negotiate this need for collective improvisation in different ways, but most follow or adapt the ATS system of cues, creating a shared vocabulary of dance movements that the dancers use to communicate with each other to facilitate improvising on stage. In contrast, the following definition focuses on costumes: "The most instantly recognizable aspect of ATS is the elaborate costume, with an ornately wrapped headpiece and multiple layers of fabric and antique jewelry" (Zenuba 2000:38).2 Regardless of the precise definitional balance of movement and costume, I would argue that costume is an important component not only in how tribal belly dance is defined but also in how it is performed and perceived. Additionally, costumes are an integral part of all belly dance due to the fact that it is a dance —at its most basic, "the body making patterns in time and space" (Royce 2002:3). But the body never dances unadorned in belly dance, so embellishments to the body must be taken into account when studying the dance. As Sheila Bock points out in her thesis on belly dance, "In dance performances, the viewer's attention is drawn to the movements of the body, and the body is used to communicate to the audience" (2005:50). What the body relates during a belly dance performance is especially important due to discourses of power and control affecting women in the United States. Belly dancers participate in these discourses not only by dancing but also by taking on identities and creating communities related to the dance; they also, through their motions and body modifications, necessarily make statements about issues such as ethnicity and femininity (Bock 2005:5 1). In addition to negotiating cultural issues, belly dancers express their aesthetic preferences and group memberships through bodily communications and clothing. Generated on 2015-07-10 17:32 GMT / http://hdl.handle.net/2027/inu.30000125293849 Creative Commons Attribution / http://www.hathitrust.org/access_use#cc-by-3.0 TRIBAL BELLY DANCE COSTUMES 85 Different Drummer at Gencon, August 2005. Front row: Heather and David. Back row, from left to right: Ann L., Ann S., Margaret, and Molly. The hairpieces Heather, Molly, and Ann S. are wearing are made of tubular crin; the hairpieces David and Margaret are wearing are made of foam an other components. Photo by Libby Bulloff. The Different Drummer Belly Dancers The same tension between individual creativity and group constraints that draws me to folklore attracted me to the study of belly dance costumes in tribal troupes. I chose to focus on one tribal troupe, Different Drummer Belly Dancers,3 for several reasons. First, they are easily accessible, meaning both that they are based where I live (in Bloomington, Indiana) and that they are friendly people.
Load more

Recommended publications
  • The Evolution of Musical Theatre Dance
    Gordon 1 Jessica Gordon 29 March 2010 Honors Thesis Everything was Beautiful at the Ballet: The Evolution of Musical Theatre Dance During the mid-1860s, a ballet troupe from Paris was brought to the Academy of Music in lower Manhattan. Before the company’s first performance, however, the theatre in which they were to dance was destroyed in a fire. Nearby, producer William Wheatley was preparing to begin performances of The Black Crook, a melodrama with music by Charles M. Barras. Seeing an opportunity, Wheatley conceived the idea to combine his play and the displaced dance company, mixing drama and spectacle on one stage. On September 12, 1866, The Black Crook opened at Niblo’s Gardens and was an immediate sensation. Wheatley had unknowingly created a new American art form that would become a tradition for years to come. Since the first performance of The Black Crook, dance has played an important role in musical theatre. From the dream ballet in Oklahoma to the “Dance at the Gym” in West Side Story to modern shows such as Movin’ Out, dance has helped tell stories and engage audiences throughout musical theatre history. Dance has not always been as integrated in musicals as it tends to be today. I plan to examine the moments in history during which the role of dance on the Broadway stage changed and how those changes affected the manner in which dance is used on stage today. Additionally, I will discuss the important choreographers who have helped develop the musical theatre dance styles and traditions. As previously mentioned, theatrical dance in America began with the integration of European classical ballet and American melodrama.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • Pittsburgh's Youth Artworks Is Designed to Take Teens Through
    Pittsburgh’s Youth ArtWorks is designed to take teens through student instruction and paid apprenticeships to eventually turn them into full-time employees as mentors and instructors Art Work s to new students. By Douglas Root Photography by Ellen Kelson and Suellen Fitzsimmons he world-renowned DanceBrazil dance troupe performed three world- premiere works in New York City’s Joyce Theater last year. One of them, Unspoken ...Unknown, is a duet in the African-Brazilian form of Capoeira, Ta mix of pure dance blended with the raw athleticism of martial arts. Its history is represented in the movements imported to Brazil from Africa. Created by DanceBrazil artistic director Jelon Vieira, Unspoken ...Unknown tells the story of a friendship between two teenagers. As friends and fellow Capoeiristas, the two male dancers share everything—hopes, dreams and the Capoeira circle. The story line is a metaphor for how young people are drawn to Capoeira, in part because of the urban coolness inherent in the heart- pounding gymnastics and defensive fighting technique. But students also are captivated by the power of the movements to convey complex feelings of conflict, anxiety and isolation that teens often find difficult to verbalize. That power, which drew hundreds of young people to the New York dance theater, is on full display in a program now under way in Pittsburgh. The performances here are less grandiose—they are played out in school gymnasiums Nego Gato instructor Justin Laing helps a student with his form in and bare bones community centers—but no less energetic. And here the a Capoeira movement.
    [Show full text]
  • 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.
    [Show full text]
  • 2017 11 28 St Still-Young-At-Art.Pdf
    | THE STRAITS TIMES | TUESDAY, NOVEMBER 28, 2017 EPIGRAM BOOKS FICTION PRIZE CULTURE VULTURE D From croupier and Is travel writing prison officer to relevant in the age award-winning writer of social media? D3 D5 Making up the expanded team at Teater Ekamatra, which celebrates its 30th anniversary next year, are (from far left) resident designer Akbar Syadiq, associate artist Munah Bagharib, company manager Erny Melissa, artistic director Fared Jainal, company director Shaza Ishak and associate artists Irfan Kasban, Ruby Jayaseelan and Eric Lee. STILL YOUNG AT ART The Straits Times speaks to super high production values, but contemporary language and style has contributed to its longevity in will invite six drama companies to now so does everybody else.” for Malay theatre. the scene. reinterpret plays from three long-running art groups about She adds that competition is from In 1995, Lut handed over the reins Effendy and his successor Zizi decades of its repertoire as short, not just other theatre groups, but to poet Rafaat Hamzah, actor Azah Abdul Majid also set up train- one-man performances. renewal, staying relevant and also visual arts festivals, museums – Zamberi A. Patah, and interdiscipli- ing frameworks that nurtured Fared says: “It’s for us to engage where Singaporeans get free access nary artist Zai Kuning, along with younger artists including Shaza. with people we’ve not thought challenges ahead – and even Netflix. theatre-maker Noor Effendy She and artistic director Fared about or talked to, to understand “Do you want to watch House Of Ibrahim. The latter left for the Jainal are part of an expanding what’s out there so we are con- Cards or come to SRT’s Hand To United States two years later, but team which this year added com- nected to the larger community.” God? That’s a tough one,” she says.
    [Show full text]
  • 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.
    [Show full text]
  • MARK MORRIS DANCE GROUP and MUSIC ENSEMBLE Wed, Mar 30, 7:30 Pm Carlson Family Stage
    2015 // 16 SEASON Northrop Presents MARK MORRIS DANCE GROUP AND MUSIC ENSEMBLE Wed, Mar 30, 7:30 pm Carlson Family Stage DIDO AND AENEAS Dear Friends of Northrop, Northrop at the University of Minnesota Presents I count myself lucky that I’ve been able to see a number of Mark Morris Dance Group’s performances over the years—a couple of them here at Northrop in the 90s, and many more in New York as far back as the 80s and as recently as last MARK MORRIS year. Aside from the shocking realization of how quickly time flies, I also realized that the reason I am so eager to see Mark Morris’ work is because it always leaves me with a feeling of DANCE GROUP joy and exhilaration. CHELSEA ACREE SAM BLACK DURELL R. COMEDY* RITA DONAHUE With a definite flair for the theatrical, and a marvelous ability DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT BRIAN LAWSON to tell a story through movement, Mark Morris has always AARON LOUX LAUREL LYNCH STACY MARTORANA DALLAS McMURRAY been able to make an audience laugh. While most refer to BRANDON RANDOLPH NICOLE SABELLA BILLY SMITH his “delicious wit,” others found his humor outrageous, and NOAH VINSON JENN WEDDEL MICHELLE YARD he earned a reputation as “the bad boy of modern dance.” *apprentice But, as New York Magazine points out, “Like Martha Graham, Merce Cunningham, Paul Taylor, and Twyla Tharp, Morris has Christine Tschida. Photo by Patrick O'Leary, gone from insurgent to icon.” MARK MORRIS, conductor University of Minnesota. The journey probably started when he was eight years old, MMDG MUSIC ENSEMBLE saw a performance by José Greco, and decided to become a Spanish dancer.
    [Show full text]
  • Rising Choreographic Star Aszure Barton and Her Virtuosic Dance Troupe Make Their Dance Celebration Debut
    FOR IMMEDIATE RELEASE MEDIA CONTACT: April 7, 2011 LAUREN SAUL Marketing & Communications Manager Annenberg Center for the Performing Arts 215.573.8537 [email protected] JPEG images available upon request Rising choreographic star Aszure Barton and her virtuosic dance troupe make their Dance Celebration debut May 5 – 7 at the Annenberg Center “One of the most innovative choreographers of this generation” – Mikhail Baryshnikov (Philadelphia, April 7, 2011) — She has been called “brilliant” by the San Francisco Chronicle, “audacious” by the New York Times, the Globe & Mail has called her choreography “exuberant” and the Boston Globe considers her “a rare accomplishment in the world of contemporary dance.” Now Philadelphia audiences can experience for themselves the joyful, sassy, playful and quirky work of rising choreographic star and Baryshnikov protégée Aszure Barton and her collective of visual, sound and performing artists, Aszure Barton & Artists. Performances take place on Thursday, May 5 at 7:30 PM; Friday, May 6 at 8:00 PM; and Saturday, May 7 at 2:00 PM & 8:00 PM and are the final performances of the 2010/11 Dance Celebration series, presented by Dance Affiliates and the Annenberg Center. Tickets are $24-$42 (afternoon performances) $28- $48 (evening performances). For tickets or for more information, please visit AnnenbergCenter.org or call 215.898.3900. Tickets can also be purchased in person at the Annenberg Center Box Office located at 3680 Walnut Street. The program opens with Blue Soup, a movement-to-music spectacular drawn from Barton's early repertoire. A series of vignettes, Blue Soup is set to an eclectic score that mixes Hungarian, Italian and African music with American pop music including artists such as Paul Simon, Andy Williams and even a recording of Maya Angelou reciting her poetry.
    [Show full text]
  • Chapter 1 Uday Shankar and Locating Modernity
    CHAPTER 1 UDAY SHANKAR AND LOCATING MODERNITY In 1920, a twenty year old, handsome Indian student arrived in London to study painting at the Royal College of Art. Three years later, he made his debut at Covent Garden alongside the legendary Russian ballet dancer, Anna Pavlova, although—quite remarkably—until a few months earlier, he had little to no dance experience. His audiences in England, France, and the United States nevertheless thought he was very talented at what he did. The dancer invented a new style of dance, which purportedly represented Indian culture; his dance looked “foreign” enough that nobody doubted his claim. In the late 1920s, the dancer returned to India, and demonstrated his new style to his fellow compatriots. Most of his compatriots did not care for this new style, but a few prominent figures encouraged him to continue with what he was doing. His family and friends also supported him; some of them even joined his dance troupe as dancers and musicians, including his youngest brother, twenty years his junior. The troupe then returned to Paris. Meanwhile, India was nearing the end of its dramatic transition from a British imperial colony to a newly independent nation. When the dancer returned to settle in India in the late 1930s, he immersed himself in the current debates over India’s future identity and culture. Most people, who believed the essence of Indian culture could be found in its ancient traditions, were looking to the past for the “real” definition of national culture and identity. The dancer, however, proposed that his invented style and eclectic approach to art defined India’s culture instead.
    [Show full text]
  • 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.
    [Show full text]
  • 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,
    [Show full text]