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“The Hazarika's of Motijan”
THE HAZARIKA’S OF MOTIJAN PART 3 1 Chapters 9 through 18 The other children of Tafazzul Hussain Hazarika, brothers and sisters of Sharif Md. Shah Hussain Hazarika, and their families. DAISY SAHEBAN NISSA SHAMSUN BAHAR (AZIZ) FAIZ MD SHAH HUSSAIN HAZARIKA ALI MD. SHAH HUSSAIN HAZARIKA SHARIF MOHAMMED SHAH HUSSAIN HAZARIKA (Part 2) SHIRAZY SHAMSUN ARA (GHAFFAR) IMAM MD. SHAH HUSSAIN HAZARIKA (GEORGE) GEORGI SHAMSUN NISSA (HUSSAIN) GEORGINA SHAMSUN JEHAN (DUTT) HASSIN MD SHAH HUSSAIN HAZARIKA ZUM ZUM SHAMSUN NAHAR (ADIL) BULU SHARITAN BAHAN (CHAPMAN) Daisy Saheban Nissa Shamsun Bahar (January 28,1903 -1984) Faiz Md. Shah Hussain Hazarika (1906 -1977) Ali Md. Shah Hussain Hazarika ( 1907-1965) Sharif Md. Shah Hussain Hazarika (1909-1972) Shirazy Shamsun Ara (1912-1964) 2 Imam Md. Shah Hussain Hazarika (5-14-1912 to 2-2-1952) Georgi Shamsun Nissa ( 1916-2002) Georgina Shamsun Jehan (1918-2000) Hassin Md. Shah Hussain Hazarika (7-21-1921 to 7-1-1957) Zum Zum Shamsun Nahar (1922-1978) Bulu Sharifa Bahar (1924- Chapter 9 DAISY SHARITAN NISSA SHAMAU BAHAR (AZIZ) Daisy Saheban Nissa Shamsun Bahar married Nawab Abdul Aziz son of Nawab Julkad Ali, B.Sc, Tea Planter, of Titabar Children: Nawabzadi Wasiqua (Usiqua) married Brigadier Ashiq Md. Quasuria of Dehra Ismail Khan, Pakistan Sahabzadi Tusika married Ibrahim Md. Ali Dost Md. Peer Mohammed (Ebu) of Karachi, son of Md. Ali Dost Md. Peer Mohammed, Bombay grandson of Dost Md. Peer Mohammed, Glass factory owner in Bombay and Calcutta, India. Buni Nazma married Najibur Rahman who retired as Chief Engineer of Assam. Was the son of Faijizur Rahman, Proprietor of Gorajan tea estate in Borholla, Assam. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project
The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project PETER KOVACH Interviewed by: Charles Stuart Kennedy Initial Interview Date: April 18, 2012 Copyright 2015 ADST Q: Today is the 18th of April, 2012. Do you know ‘Twas the 18th of April in ‘75’? KOVACH: Hardly a man is now alive that remembers that famous day and year. I grew up in Lexington, Massachusetts. Q: We are talking about the ride of Paul Revere. KOVACH: I am a son of Massachusetts but the first born child of either side of my family born in the United States; and a son of Massachusetts. Q: Today again is 18 April, 2012. This is an interview with Peter Kovach. This is being done on behalf of the Association for Diplomatic Studies and I am Charles Stuart Kennedy. You go by Peter? KOVACH: Peter is fine. Q: Let s start at the beginning. When and where were you born? KOVACH: I was born in Worcester, Massachusetts three days after World War II ended, August the 18th, 1945. Q: Let s talk about on your father s side first. What do you know about the Kovaches? KOVACH: The Kovaches are a typically mixed Hapsburg family; some from Slovakia, some from Hungary, some from Austria, some from Northern Germany and probably some from what is now western Romania. Predominantly Jewish in background though not practice with some Catholic intermarriage and Muslim conversion. Q: Let s take grandfather on the Kovach side. Where did he come from? KOVACH: He was born I think in 1873 or so. -
West India Textile Mills Private Limited
+91-8048372579 West India Textile Mills Private Limited https://www.indiamart.com/west-india-textile-mills/ PRINTED COTTON CAMBRIC FABRIC 72X72 P r o d u c t s & S e r v i c e s P r o d u c t s & S e r v i c e s Printed Cotton Cambric Fabric Printed Cotton Cambric Fabric 72x72 72x72 Printed Cotton Cambric Fabric Printed Cotton Cambric Fabric 72x72 72x72 PRINTED COTTON CAMBRIC 40X60 FABRIC P r o d u c t s & S e r v i c e s Cotton Cambric Printed Fabric Printed Cotton Cambric Fabric Cotton Cambric Printed Fabric Printed Cotton Cambric Fabric Printed Cotton Cambric Fabric Printed Cotton Cambric Fabric RAYON GOLD PRINTED FABRIC 12KG P r o d u c t s & S e r v i c e s Rayon Gold Print Dotted Rayon Gold Print Fabric Fabric Rayon Gold Print Fabric Rayon Gold Print Checks Print Fabric PRINTED COTTON CAMBRIC 32X40 FABRIC P r o d u c t s & S e r v i c e s Printed Cambric Cotton 32x40 Printed Cambric Cotton 32x40 Fabric Fabric Cambric Cotton Printed Fabric Printed Cambric Cotton 32x40 Kairi Design Fabric RAYON GOLD PRINTED FABRIC 14KG P r o d u c t s & S e r v i c e s Rayon Gold Print Fabric Gold Print Rayon Fabric Rayon Gold Print Rayon Gold Print Fabric GURJARI NAPTHOL PRINT FABRIC P r o d u c t s & S e r v i c e s P r o d u c t s & S e r v i c e s Gurjari Napthol Print Cotton Gurjari Napthol Print Cotton Fabric Fabric Gurjari Napthol Print Cotton Gurjari Napthol Print Cotton Fabric Fabric PRINTED COTTON CAMBRIC FABRIC 72S P r o d u c t s & S e r v i c e s Printed Cotton Cambric Fabric Printed Cotton Cambric Fabric 72x72 72x72 Printed Cotton Cambric -
Bachelor of Textile Science Syllabus 2016-17
RASHTRASANT TUKADOJI MAHARAJ NAGPUR UNIVERSITY NAGPUR (Established by Government of Central Provinces Education Department by Notification No. 513 dated the 1st of August, 1923 & presently a State University governed by Maharashtra Universities Act, 1994) FACULTY OF HOME SCIENCE DIRECTION NO. 70 OF 2016 DIRECTION GOVERNING THE EXAMINATION LEADING TO THE DEGREE OF BACHELOR OF TEXTILE SCIENCE (SEMESTER PATTERN) (Issued under section 14(8) of the Maharashtra University Act 1994) Whereas the Maharashtra Universities act No. XXXV of 1994 has come into force with effect from 22nd July, 1994 and was amended from time to time. AND WHEREAS, the University Grants Commission, New Delhi vide letter No.D.O.No.F-2/2008/(XI Plan), dated 31st January 2008 regarding new initiatives under the XI Plan – Academic reforms in the University has suggested for improving quality of higher education and to initiate the academic reform at the earliest, AND Whereas the Task Force in BFD/BTS/BPD in the Faculty of Home Science at its meeting held on 25/08/2016, have recommended for starting of semester pattern and prepared the syllabus and scheme of examination for Bachelor of Textile Science, commensurate with the governing guidelines. AND Whereas the Coordinator, Faculty of Home Science concurred with the recommendations of the Task Force in BFD/BTS/BPD in the Faculty of Home science vide his observations dated 25/08/2016, AND Whereas, the new draft direction and scheme of examination as per semester pattern is to be implemented from the academic session 2016-2017 for Bachelor of Textile Science which is to be regulated by this direction and as such there is no existence and framing of an ordinance for the above examination, AND WHEREAS the Hon’ble Vice-Chancellor has accepted the syllabus along with draft direction on the behalf of Academic Council on 7-10- 2016 under section 14(7) of Maharashtra University Act 1994. -
40 A-3 Bld Voile Cambr
Sheet1 S.NO. QUALITY WIDTH PROD. RATE A-1 BLD MULMUL 8072 42" 35 A-2 BLD MULMUL 9280 42" 40 A-3 BLD VOILE CAMBRIC 60S 42" 50 A-4 BLD CAMBRIC 60S 54" 65 A-5 BLD VOILE CAMBRIC 80S 54" 75 A-6 BLD FINE MULMUL 100S 54" 65 A-7 BLD POPLIN 40S 44" 55 A-8 WRINKLE COTTON 60S 32" 55 A-9 ORGANDY EQ 46' 42 A-10 LAWN ASHISH 44" 75 A-11 VOILE TWILL LIGHT 54" 75 A-12 VOILE TWILL HEAVY 54" 80 A-13 VOILE SLUB 54" 60 A-14 COTTON SATIN VOILE 44" 80 A-15 COTTON SATIN 80S 54" 110 A-16 REMIE LINEN 54" 140 A-17 LINEN 60" 325 A-18 COTTON LINEN 42" 110 B-1 VISCOSE CHIFFON 30X30 40" 60 B-2 VISCOSE GGEORGETTE 60S 44" 70 B-3 VISCOSE GEORGETTE 50s 44" 80 B-4 VISCOSE GEORGETTE 80GMS 44" 55 B-5 VISCOSE CREPE 44" 80 B-6 SHANTOON 10KG 42" 55 B-7 VISCOSE GAUGE 44" 60 B-8 VISCOSE GAUGE SLUB 44" 65 B-9 VISCOSE GAUGE SLUB 44" 65 B-10 DULL VISCOSE PLAIN 120GMS 40" 55 B-11 VISCOSE VOILE 80GMS 40" 65 B-12 SWEETY 50GMS 44" 35 B-13 VISCOSE TAFFETA 130GMS 46" 75 B-14 MOS RAYON 44" 55 C-1 MODAL CREPE 120GMS 46" 60 C-2 MODAL VOILE 70GMS 44" 75 C-3 MODAL VOILE TWILL 44" 85 C-4 MODAL SATIN TWILL 44" 95 C-5 COTTON VISCOSE SATIN 44" 90 C-6 VISCOSE SATIN 44" 75 C-7 MOS CREPE 42" 60 C-8 DULL VISCOSE TWILL 44" 65 C-9 SHINY VISCOSE TWILL 44" 75 C-10 D-1 NYLON SATIN 90 GMS 44" 50 D-2 RASGULLA CREPE 44" 45 D-3 CHIRMIN 44" 35 D-4 NYLON SATIN 10KG WJ 44" 60 D-5 POLY GGT 44" 40 Page 1 Sheet1 D-6 GLASS NYLON 54" 40 D-7 DYEABLE TISSUE 44" 40 E-1 SHANTOON JAQAURD 42" 65 E-2 SHANTOON JAQAURD 42" 65 E-3 SHANTOON JAQAURD 42" 65 E-4 SHANTOON JAQAURD 42" 65 E-5 SHANTOON 10KG 42" 55 F-1 LYCRA CAMBRIC -
Checklist for Textiles U.S.A
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y. TELEPHONE: CIRCLE 5-8900 No. &• TENTATIVE AND CONFIDENTIAL CHECKLIST FOR TEXTILES U.S.A. Home Furnishings Category Anderson Studio of Handweaving - East Gloucester, Massachusetts. Drapery material. Cotton, viscose and Jute. Designed by Beatrice Anderson, 1951*. Thelma Becherer - West Franklin, New Hampshire. Tapestry. Handwoven of green, yellow and clear "velon" plastic, with dried horsetails and cattails. Plain weave. 1956. Monica Bella Broner, Tapestry. "Fur Weave." Wool, cotton and fur strips, 195^• Bill Carter and Dodie Childs - Chicago, Illinois. Roll Shade, Handwoven matchstick bamboo across multicolored and textured cotton, wool and metallic yarn warp, 1955* Arundell Clarke Drapery fabric. "Strocm Draden". Handscreened white print on trans parent white silk. Designed by Pierre Kleykamp, 1955. Drapery fabric, "Primitive Forms." Handscreened black print on brown cotton. Designed by Baldwin-Machado, 1950, Drapery fabric. "10,000 B.C." Cotton jacquard, charcoal on white. Designed by Naomi Raymond, 1952. Cohn-Hall-Marx Co, (For Colvin, see Bertha Schaefer Callery - Page 3.) Upholstery fabric, Saran and metal, novelty weave. Brown, 1955. Fazakas Fabrics, Inc. Drapery fabric, "Hit & Miss," Black spray on white cotton batiste, Designed by DoneIda Fazakas, 1950, Qeraldine Punk - Lancaster, Pennsylvania, Window ahade, Handwoven red and rust cotton and rayon warp. Banana bark and coconut cord weft. 1950, Screen, Handwoven in Puerto Rico, White string warp,, white jnaguey and coconut sliver weft, 19^8, % Ginstrom - Cedar Falls, Iowa. Screen. "Scallops." Handwoven, handtied openwork; all linen panel. 1955. folding Decorative Fabrics. Drapery fabric. "Torero-Vermilion 33." Silk screened cotton sateen. Designed by Otto and Grete Wollner,1955» LiUy E. -
Graded-In Textiles
Graded-In Textiles For a list of each of our partner commpany’s patterns with Boss • Indicate GRADED-IN TEXTILE on your order and Boss Design Design Grades visit www.bossdesign.com. To order memo will order the fabric and produce the specified furniture. samples visit the websites or call the numbers listed below. • Boss Design reserves the right to adjust grades to accommodate price changes received from our suppliers. • Refer to our website www.bossdesign.com for complete pattern memo samples: www.arc-com.com or 800-223-5466 lists with corresponding Boss Design grades. Fabrics priced above our grade levels and those with exceptionally large repeats are indicated with “CALL”. Please contact Customer Service for pricing. • Orders are subject to availability of the fabric from the supplier . • Furniture specified using multi-fabric applications or contrasting welts be up charged. memo samples: www.architex-ljh.com or 800-621-0827 may • Textiles offered in the Graded-in Textiles program are non- standard materials and are considered Customer’s Own Materials (COM). Because COMs are selected by and used at the request of a user, they are not warranted. It is the responsibility of the purchaser to determine the suitability of a fabric for its end use. memos: www.paulbraytondesigns.com or 800-882-4720 • In the absence of specific application instructions, Boss Design will apply the fabric as it is sampled by the source and as it is displayed on their website. memo samples: www.camirafabrics.com or 616 288 0655 • MEMO SAMPLES MUST BE ORDERED DIRECTLY FROM THE FABRIC SUPPLIER. -
M/S Y B Ethnics
+91-8048372567 M/s Y B Ethnics https://www.indiamart.com/yb-ethnics/ Established in year 2017, M/s Y B Ethnics is one of the leading Manufacturer of Mens Blazer, Mens Suit, Mens Nehru Jacket, Mens Jodhpuri Suit, etc. We offer these to our customers at market leading rates. About Us Established in year 2017, M/s Y B Ethnics is one of the leading Manufacturer of Mens Blazer, Mens Suit, Mens Nehru Jacket, Mens Jodhpuri Suit, Mens Kurta Pajama, Mens Kurta Pajama and Jacket Set and Mens Indo Western Dress. We are well-supported by our team of highly skilled vendors who possess rich industry experience in their respective domains of business operations. We have a team of highly experienced professionals, and their strong support makes us able to provide the utmost level of satisfaction to our clients. Since we have incepted in this industry, we are working under the leadership and quality management of our mentor Mr. Yash. Moreover, his inspiration and motivation has assisted us in completing all our tasks in a hassle free manner thus earning a top stature in the market. For more information, please visit https://www.indiamart.com/yb-ethnics/profile.html MENS KURTA PAJAMA O u r P r o d u c t s Mens Plain Cotton Kurta Mens Cotton Satin Kurta Pajama Pajama Mens Party Wear Silk Kurta Mens Silk Embossed Kurta Pajama Pajama MENS KURTA PAJAMA AND JACKET SET O u r P r o d u c t s Mens Kurta Pajama and Mens Silk Embossed Leaves Nehru Jacket Set Kurta Pajama and Nehru Jacket Set Mens Silk Kurta Pajama And Mens Silk Scuba Kurta Nehru Jacket Set Pajama -
African Lace
Introduction Does changing an original material destroy its traditional context? If a material assumes new meaning or significance in a new context, is this inherently an appropriation of the object? What loss does this cause, and is it a positive change, a negative one, or neither? This lexicon revolves around African Lace. Through an analysis of this particular material, I broadly explain, craftsmanship, authenticity and reasons behind an object’s creation, including why and how it is made, from which materials, and how the object translates into a specific environment. Various kinds of objects are created in and relate to specific places and time periods. If situated in an environment in which it did not originate, the meaning of an object changes. In fact, the object is used from a new perspective. Although it is possible to reuse an object as a source of inspiration or research, it cannot be used as it was in its previous context. Thus, it is necessary to rethink the authenticity of an object when it is removed from its past context. History is important and can explain a materials origin, and it therefore warrants further attention. A lack of knowledge results in a loss of authenticity and originality of a historical material. In view of this, I develop this Lexicon to elaborate on the importance of this historical attention. It is interesting to consider how an object can influence a user in relation to emotional or even material value. The extent of this influence is uncertain, but it is a crucial aspect since any situation could diminish the value and the meaning of an object. -
Utilization of Nigerian Made Fabrics for Garment Making Among Academic and Non Academic Female Staff in Enugu State
UTILIZATION OF NIGERIAN MADE FABRICS FOR GARMENT MAKING AMONG ACADEMIC AND NON ACADEMIC FEMALE STAFF IN ENUGU STATE BY AGBO BLESSING NONYELUM PG/M.Ed/12/64238 DEPARTMENT OF HOME ECONOMICS AND HOSPITALITY MANAGEMENT EDUCATION, UNIVERSITY OF NIGERIA, NSUKKA JUNE, 2017. TITLE PAGE UTILIZATION OF NIGERIAN MADE FABRICS FOR GARMENT MAKING AMONG ACADEMIC AND NON ACADEMIC FEMALE STAFF IN ENUGU STATE BY AGBO BLESSING NONYELUM PG/M.Ed/12/64238 A RESEARCH REPORT SUBMITTED TO THE DEPARTMENT OF HOME ECONOMICS AND HOSPITALITY MANAGEMENT, UNIVERSITY OF NIGERIA NSUKKA, IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF MASTERS DEGREE IN CLOTHING AND TEXTILE JUNE, 2017 APPROVAL PAGE The project has been approved for the Department of Home Economics and Hospitality Management Education, University of Nigeria, Nsukka DR. MRS. N. M. EZE Prof. E. U. ANYAKOHA Supervisor Head of Department ________________________ ____________________________ External Examiner Internal Examiner _____________________________________ Prof. C.A. Igbo Dean, Faculty of Vocation and Technical Education CERTIFICATION AGBO, BLESSING NONYELUM, a Postgraduate student in the Department of Home Economics and Hospitality Management Education with Registration Number PG/M.ED/12/64238, has satisfactorily completed the requirements for the award of Masters Degree in Home Economics Education (Clothing and Textile). The work embodied in this project is original and has not been submitted in part or full for another diploma or degree in this or any other university. _________________________ ____________________________ AGBO, BLESSING N. DR. N.M. EZE Student Supervisor DEDICATION This research work is dedicated to Almighty God for granting me wisdom, guidance and protection throughout the period of this study.