How Beads Are Made GBI Knowledge Center Introduction
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
• Argarrtnlngi5t " T" Votu.17'Ie
'.. • argarrtnlngi5t " t" VotU.17'Ie. Tlvte..e... Nllmb(Vt Two 1990 f' . ' .' ,.:-----.-'._I!!(L1g~t_Q~.3h,.!?_c..~n);mJ..QlJ-_13.ea,d. 'Re!,>~~ • B E ADS N G HAN A (W EST A F RCA) PAR T I I' , TWO FAMOUS BEADS '. ,,\ , . ' .~ The Aggrey Bead (After ~arbot, 1732, plate 22) "adorned 'with go1d spe l1s and s lfps of the sacred tree" • " A Bodan Bead (Two Views) In this iSsue: . Through the Rve of a Needle: The Editor's Page, 2 . The Mvsterio1:.s Ag-g-rey Bead. 3 •The B~om Be~d ~'. : ". " , , • • . • • .' 8 The Uses of Beads , • • • . • • • • 9 References for the Issue. ,11 . THE CENTER', FOR BEAD RESEARCH 4. Essex Street. Lake P 1ac; d. N. Y. 12946. p~(Vt Fnan~, 14.. D~e..C~04, {51S} S23~1794 • ISSN 0892-1989 2 This issue ha:s a new look, as we have upgraded our desktop publ i'shing to give us nnre. efficient tools. The next issue wi 11 be even differ,ent as it will be written,on the new word processing system. I also now have a ,laptop computer so I can work on the road. Herein we complete the topiF of bea~s in West Africa begun in the last issue.. Because of interest in jthese beads .' we may follow up with a separate publfcation, but will have to s'ee if there is time to do that before the middle of 1992. As this is our tenth issue after five years, we have put caTIolete sets of the Margaretologist into binders for those missing many issues land 'bead . -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
The Big Bopper Died for Your Sins
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Master of Divinity Thesis Concordia Seminary Scholarship 3-1-1970 The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth John Metzig Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/mdiv Part of the Practical Theology Commons Recommended Citation Metzig, John, "The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth" (1970). Master of Divinity Thesis. 101. https://scholar.csl.edu/mdiv/101 This Thesis is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Master of Divinity Thesis by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. TABLE OF CONTENTS Content Page I. THE• INTRODUCTION 1 II. THE PAPER . 3 III. THE FOOTNOTES BIBLIOGRAPHY 34 INTRODUCTION I'm not trying to cause a big sensation I'm just ttitkirtg 'bout my generation. -Peter Townshend (for The Who) 1 The problem with trying to write a paper on the subject of rock is that the field is so diverse and varied that it is all but impossible to describe everything in complete detail. Furthermore, the entire subject of the effects of rock on a listening audience varies considerably from listener to listener. The teen-ager just likes, the sound of the music and the feelings that the music brings out in him, while the adult still thinks of rock as a lot of noise no matter how many magazine articles they read or TV programs they see. -
Venetian Beads
BEADS: Journal of the Society of Bead Researchers Volume 10 Volume 10-11 (1998-1999) Article 9 1998 Venetian Beads Frank Hird Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Hird, Frank (1998). "Venetian Beads." BEADS: Journal of the Society of Bead Researchers 10: 57-62. Available at: https://surface.syr.edu/beads/vol10/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. VENETIAN BEADS Frank Hird Interesting accounts of the manufacture of Venetian glass It was in the thirteenth or fourteenth centuries beads turn up in the most unlikely places. The one repro historians do not agree upon the exact date-that duced here was published in The Girl's Own Paper for Febru bead-making was established at Murano, and through ary 1, 1896 (Vol. 17, No. 840, pp. 292-294). In addition to all the years during which Ven ice exercised her almost presenting a decent description ofthe manufacture ofdrawn and blown beads during the latter part of the 19th century, imperial sway, the glass manufacture, on this ugly and Mr. Hird gives us details concerning the setting in which the dirty little island, was one of her glories. The beadmakers and bead stringers worked. -
Beads Oct Bro.Pdf
Exhibitors7 Hands Design 224 Chule’s 190 Absolutely Unique, LLC 157 Colibri Sisters 201 AE Trade Shows 115 Color Vibe Designs 178 African Gems San Miguel #A Craft Fantastic 182 Design Superb Studios 171 Dewa 236 Diana Serrano 171 Dichroic Inc 184 Donna Conklin 153 Dorothy Dudek 110 Dovetail37 102 Dutch Stowe 112 East West Best Trading Co 130 Elaine Sonne 142 African Imports 181 Elle of California North 161 Ancient Designs 142 Elle of California South 189 Anne Englehardt 182 Evan Anderson 101 Art Spirit Studio 245 Forever Silvers 119 Atalia Molaro Santa Rosa #B Gemini Gems 180 A-Z Arts & Crafts 116 Barbara Garwood 164 Gemstones of Africa 121-123 Glass Clay Santa Rosa #B Goddess Anacapa Rm #A & 250 Gregoire-Jones Designs 233 H.E. Tunkara & Beads 194 HandFast Design 165 Healing Stones Jewelry 142 Bead Art Worth San Miguel #B Himalayan Designs 197-198 Bead Resources Corp Santa Cruz #B Huichol Beaded Jewelry 155 Beads and Etc 244 Incredibly Handmade 107 Beads by Sandy Santa Cruz #A Inspired Adornment 128 Beads Creation Santa Rosa #A -134-135 Janu Gems 229-220 Beads U Need Anacapa Room #B Jewelry by WendyLea 137 Beadshaper 221 Jewelry Designs by Judith 179 Beroya Designs 170 Joan’s Collection 246 Betty Jane’s Creations 235 Jody Young San Miguel #B Beyond Beads San Miguel #B Josie Wood Atelier 237 Billy’s a Bad Kitty 231 Judie Mountain 105 Callie Morgan Designs 103 Judith Balcerzak 179 Carole Witt Santa Rosa #B Julie Picarello 167 Chara Designs 234 Kim Fox 165 Charlie’s Creations 141 Kim Williams 200 Klews Gallery 225 Realm of the Goddess 242Exhibitors Robert Lopez Designs 231 Rose Klapman 221 Royal International 203-204 Royale Creations 192-191 Sahil Gems 116 Sandy Schor Co. -
Beaded Jewelry Designs Class-A Piece of Delicate Valentines Day Gifts For
Beaded jewelry designs class-a piece of delicate valentines day gifts for her Via learning today’s beaded jewelry designs class, you will gain another method to bead some delicate valentines day gifts for her. While practicing the tutorial, you only need several inches of Tiger tail wire and a few pearlized Acrylic Beads and 12/0 Seed Beads. Giving peculiar valentines day gifts for her, to the special women, is an unexceptionable chance to get her a little bit more wild with joy. Not only for the Valentine’s Day on routine, but also for her birthday or Christmas, etc. Valentine’s Day is about romantic, but never underestimates the significant value of individual gifts. Hence, in this article, I will show you one of the numerous beaded jewelry designs classes relate to the unique occasion. Things you will need: 8mm Acrylic Beads-Imitation Shell & Pearl 8mm Rondelle Swarovski Crystal Beads 12/0 Seed Beads Crimp bead Earring hooks Tiger tail wire Side Cutting Plier Wire-cutter Plier How to make valentines day gifts for her? Step1: bead the first flower portion 1. Prepare 50cm long Tiger tail wire and then form a loop with 6 pieces of 12/0 Seed Beads; 2. Slide the following beads on outer wire tip in order: 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead, 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead. Next, cross both tips through another 8mm Pearlized Acrylic Bead; 3. Do the same with outer wire. Further, thread the inner tip through its adjacent seed bead. At last, cross both tips through one 8mm Pearlized Acrylic Bead again; 4. -
Tripping with Stephen Gaskin: an Exploration of a Hippy Adult Educator
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2012 Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator Gabriel Patrick Morley University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Adult and Continuing Education Administration Commons, Civic and Community Engagement Commons, Critical and Cultural Studies Commons, Curriculum and Social Inquiry Commons, Educational Methods Commons, and the Educational Sociology Commons Recommended Citation Morley, Gabriel Patrick, "Tripping With Stephen Gaskin: An Exploration of a Hippy Adult Educator" (2012). Dissertations. 808. https://aquila.usm.edu/dissertations/808 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ABSTRACT TRIPPING WITH STEPHEN GASKIN: AN EXPLORATION OF A HIPPY ADULT EDUCATOR by Gabriel Patrick Morley May 2012 For the last 40 years, Stephen Gaskin has been an adult educator on the fringe, working with tens of thousands of adults in the counterculture movement in pursuit of social change regarding marijuana legalization, women’s rights, environmental justice issues and beyond. Gaskin has written 11 books about his experiences teaching and learning with adults outside the mainstream, yet, he is virtually unknown in the field of adult education. -
Imitation Amber Beads of Phenolic Resin from the African Trade
IMITATION AMBER BEADS OF PHENOLIC RESIN FROM THE AFRICAN TRADE Rosanna Falabella Examination of contemporary beads with African provenance reveals large quantities of imitation amber beads made of phenol- formaldehyde thermosetting resins (PFs). This article delves into the early industrial history of PFs and their use in the production of imitation amber and bead materials. Attempts to discover actual sources that manufactured imitation amber beads for export to Africa and the time frame have not been very fruitful. While evidence exists that PFs were widely used as amber substitutes within Europe, only a few post-WWII references explicitly report the export of imitation amber PF beads to Africa. However they arrived in Africa, the durability of PF beads gave African beadworkers aesthetic freedom not only to rework the original beads into a variety of shapes and sizes, and impart decorative elements, but also to apply heat treatment to modify colors. Some relatively simple tests to distinguish PFs from other bead materials are presented. Figure 1. Beads of phenol-formaldehyde thermosetting resins INTRODUCTION (PFs) from the African trade. The large bead at bottom center is 52.9 mm in diameter (metric scale) (all images by the author unless otherwise noted). Strands of machined and polished amber-yellow beads, from small to very large (Figure 1), are found today in the He reports that other shapes, such as barrel and spherical stalls of many African bead sellers as well as in on-line (Figure 2), were imported as well, but the short oblates stores and auction sites. They are usually called “African are the most common. -
Dewdrop Beaded Bead. Beadwork: ON12, 24-26 Bead Four: Treasure Trove Beaded Bead
Beadwork Index through December 2017/January 2018 Issue abbreviations: D/J =December/January FM = February/March AM = April/May JJ = June/July AS=August/September ON=October/November This index covers Beadwork magazine, and special issues of Super Beadwork. To find an article, translate the issue/year/page abbreviations (for example, “Royal duchess cuff. D10/J11, 56-58” as Beadwork, December 2011/January 2012 issue, pages 56-58.) Website = www.interweave.com or beadingdaily.com Names: the index is being corrected over time to include first names instead of initials. These corrections will happen gradually as more records are corrected. Corrections often appear in later issues of Beadwork magazine, and the index indicates these. Many corrections, including the most up-to-date ones, are also found on the website. 15th Anniversary Beaded Bead Contest Bead five: dewdrop beaded bead. Beadwork: ON12, 24-26 Bead four: treasure trove beaded bead. Beadwork: AS12, 22-24 Bead one: seeing stars. Beadwork: FM12, 18-19 Bead three: stargazer beaded bead. Beadwork: JJ12, 20-22 Bead two: cluster beaded bead. Beadwork: AM12, 20-23 Beaded bead contest winners. Beadwork: FM13, 23-25 1800s-era jewelry Georgian jewels necklace. Beadwork: D14/J15, 80-81 1900s-era jewelry Bramble necklace. Beadwork: AS13, 24-27 Royal duchess cuff. Beadwork: D10/J11, 56-58 1920s-era jewelry Art Deco bracelet. Beadwork: D13/J14, 34-37 Modern flapper necklace. Beadwork: AS16, 70-72 1950s-era jewelry Aurelia necklace. Beadwork: D10/J11, 44-47 2-hole beads. See two-hole beads 20th anniversary of Beadwork Beadwork celebrates 20 years of publication. -
Gooseberry Beads
'. Journal 01 the Center lor Bead Research Volume 7 Number 1 1994 1 5 YEARS OF SERVICE The Center for Bead Research is an outgrowth of the Bead Research Bureau, founded in 1979 with lapis Route Books and Cornerless Cube. A permanent location was planned in 1984 and operating the next year with a library, study collections. a print shop and ,a photo studio in place. The first issue of the Mmgareto/ogist was published in the same year. We have grown into an internationally recognized institution. Scholars and bead lovers from around the world avail themselves of our facilities. We have an expanding program of publications. lectures and workshops and co-sponsor Bead Expos and the Horace C. Beck Fund. Much of this is due to the backing of our Members, Patrons and Supporters. We thank you deeply. This issue. full of recent work done here at the Center, is dedicated to you. r'-'-'-'-'-'-'-'-'-'~ i For Puzzlers: i ! Howmany i lbe~ds of what i i kinds were ! • · I I used to make ! i the Birthday I I Cake? ! :• Answer on !I i p.14. 1 1_._._.-· ....._._._._._.:I THE BEAD SAMPLE Eye of the Needle/Calendar..... 2 CARD PROJECT Bead Sample Card Project ....3 Gooseberry Beads .... 5 :::·;.:::i·::"~,::.:::·., More on South India Stone Beadmaking ., .. 7 ;;; ~ F~; ~: :-:.:. First Horace C. Beck: Grant .... 8 limi Kola· Our First Intern .... 9 New Beadmakers .... 10 Bead Alert .. , . 10, GOOSEBERRIES, Short Notes .... 11 GOOSEBERRY BEADS Sources .... 12 & THE SLAVE TRADE Advertising and Announcements. , .. 13/14 The MARGARETOLOGIST ia published twice • year with the moat CUlTent inform&tion on bead reaearch, primarily our own. -
Winning Hearts and Minds: One Man's Journey to Vietnam and Back
Winning Hearts and Minds: One Man’s Journey to Vietnam and Back Towards Peace Interviewer: Colin McDermott Interviewee: John Ketwig Date: May 30th, 2019 Instructor: Alex Haight Table of Contents Interviewer Release Form …..…………………………………………………………….……………... 3 Interviewee Release Form ………………………………………………………………………………. 4 Statement of Purpose ………………………………………………………………………………..…... 5 Biography ……………………………………………………………………………………………….. 6 Historical Contextualization: The Vietnam War:……...………………………….……………………... 7 Interview Transcription ………………………………………………………………………………..... 19 Interview Analysis ………………………………………………………………………………………. 65 Work Consulted …………………………………………………………………………………………. 71 Appendix ……………………………………………………………………………………………...… 73 Statement of Purpose The purpose of this project is to gain a strong understanding of the origins and history of the Vietnam war; including the Vietnam Veterans Against the War (VVAW) and its place in the anti-war movement. The Vietnam war is one of the most questionable and misconstrued wars in world history and deserves continuing study for lessons that can be applied going forward. My interview with Vietnam Veteran, John Ketwig offers the vital first-hand perspective of a person who was an American soldier in Vietnam and also an activist in the VVAW. Contained in this interview is the story of John Ketwig and the lessons he learned from his Vietnam experiences. Biography John Ketwig was born in 1948 and grew up in the Finger Lakes region of western New York. As a boy he was a fan of the Beatles, Rolling Stones, and Bob Dylan and had a special interest in automobiles. He graduated from high school and in anticipation that he would soon be drafted and assigned combat duty in Vietnam, instead enlisted in the United States Army with the hope of assignment elsewhere. In September of 1967, however, he was sent to Vietnam. -
Book Reviews and End Matter
BEADS: Journal of the Society of Bead Researchers Volume 1 Volume 1 (1989) Article 10 1989 Book Reviews and End Matter Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation (1989). "Book Reviews and End Matter." BEADS: Journal of the Society of Bead Researchers 1: 95-101. Available at: https://surface.syr.edu/beads/vol1/iss1/10 This End Matter is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOOK REVIEWS The History of Beads from 30,000 B.C. to the It is to be hoped that the _degree of completeness Present. represented in the map of North America is not indi cative of the completeness of the other maps. Only Lois Sherr Dubin. Harry N. Abrams, New those tribes or archaeological cultures mentioned in York, 1987. 346 pp., 130 figs., 248 color figs. the text are included, thus the Chumash represent the $60.00. California Culture Area, the Yakima represent the Plateau, and the Haida represent the Probably the most important line in this work is Northwest Coast. We are told in the caption that on the title page: "Original Photography by Togashi." italics represent prehis toric cultures, yet three of the four This will be the final word in coffee-table books on listed are the three traditional Southwest cultures the subject of beads.