University of Technology, Sydney. Institute of International Studies. / Within Borneo, the indigenous Iban pua kumbu cloth, historically associated with headhunting, is steeped in spirituality and mythology. The cloth, the female counterpart of headhunting, was known as women’s war (Linggi, 1999). The process of mordanting yarns in preparation for tying and dyeing was seen as a way of managing the spiritual realm (Heppell, Melak, & Usen, 2006). It required of the ‘women warriors’ psychological courage equivalent to the men when decapitating enemies. Headhunting is no longer a relevant cultural practice. However, the cloth that incited headhunting continues to be invested with significance in the modern world, albeit in the absence of its association with headhunting. This thesis uses the pua kumbu as a lens through which to explore the changing dynamics of social and economic life with regard to men’s and women’s roles in society, issues of identity and nationalism, people’s relationship to their environment and the changing meanings and roles of the textiles themselves with global market forces. By addressing these issues I aim to capture the fluid expressions of new social dynamics using a pua kumbu in a very different way from previous studies. Using the scholarship grounded in art and material culture studies, and with particular reference to theories of ‘articulation’ (Clifford, 2001), ‘circulation’ (Graburn & Glass, 2004) and ‘art and agency’ (Gell, 1998; MacClancy, 1997a), I analyse how the Dayak Iban use the pua kumbu textile to renegotiate their periphery position within the nation of Malaysia (and within the bumiputera indigenous group) and to access more enabling social and economic opportunities. I also draw on the theoretical framework of ‘friction’ and ‘contact zones’ as outlined by Tsing (2005), Karp (2006) and Clifford (1997) to contextualize my discussion of the of the exhibition and representation of pua kumbu in museums. Each of these theoretical frameworks is applied to my data to situate and illustrate my arguments. Whereas in the past, it was the culture that required the object be made, now the object is made to do cultural work. The cloth, instead of revealing hidden symbols and meanings in its motifs, is now made to carry the culture, having itself become a symbol or marker for Iban people. Using an exploration of material culture to understand the complex, dynamic and flowing nature of the relationship between objects and the identities of the producers and consumer is the key contribution of this thesis.

Summary: "The ignorance which, generally speaking, prevails regarding the true character of the aboriginal population is not wonderful, simply because we know that there is no other branch of knowledge of which men are so thoroughly ignorant as the study of man himself. the constitution of man, mental as well as bodily, forms as yet no part of the ordinary course of education; and men are sent forth into the world to meet, deal, and to treat with one another, in total ignorance of each other�s character. it is not, under such circumstances, to be wonderer at, that, even in civilized life, disputes, quarrels, and troubles should exist; how much less so when the two extremes, the savage and the civilized, are brought into contact with one another."(1) With these words Dr. Martin, in 1845, outlined the need for special training for those who had to deal with native races, whether as missionaries, administrators, or merely as settlers amongst them. All those who came into contact with the Maoris had, of necessity, to study their ways to a certain extent, and some naturally, were more proficient in this than were their fellows. Wherever there was one who, through his understanding of the native character and the strength of his influence, was able to guide both Maori and Pakeha in their relations with one another, there the two peoples lived in peace. Dissension arose through the ignorance of either party of laws of the other, or because those laws were deliberately flouted. Training in the study of man, as suggested by Martin, would have dispelled this ignorance and inculcated a spirit of tolerance which could have eased much of the friction that ensued. Where it was essential to compromise on conflicting points, or where the weaker of the two parties was forced to conform to the ways of the other, then again this training would have indicated the best procedure to be adopted. But no system of schooling at that time included a study of anything like anthropology, which was then an unthought-of science, and the only hope of harmonious race relations lay in the possibility that certain of those in responsible positions amongst both Europeans and Maoris would have enough wit to discern the right course--Introduction.

The thesis is a case study of two traditional family farms that were settled in Oregon in 1850 and 1915. The study embraces the theory that material culture reflects customs and values. The material culture indicators within the study are the architectural structures of the Oregon farms. The study filters the architecture through theoretical and historical data of both Oregon and the Upland South. The farms are recorded with oral history, photographs, architectural descriptions, and evolutionary settlement patterns. The filtering process results in two constructs that correlate the commonalities of both the Oregon farms and the Upland South architecture. The results point out that, with the disappearance of vernacular architecture on family farms, it follows that historic traditional cultures vanish. / Graduation date: 1993

Quanzhou Kaiyuan Monastery is an important Buddhist monastery on the Southeast coast of China, in Fujian. It was founded in the seventh century and survives with artifacts from every imperial dynasty stretching back more than one thousand years. Today it is the home of more than eighty monks and the site of a vibrant tradition of devotional life. The following chapters examine Kaiyuan monastery from multiple points of view (time, space, inhabitants and activities, discourse and relations with the state) in order to produce a multi-dimensional portrait considering the contributions of each element to the religious and institutional life of the monastery. In shedding light on monastic Buddhism in contemporary China, this study contributes to a small but growing body of knowledge on the revival of religion in post-Mao China. The study begins with a historical survey of the monastery providing the context in which to understand the current recovery. Subsequent chapters chronicle the dual interplay of secular and non-secular forces that contribute to the monastery's identity as a place of religious practice for monastics, laypersons and worshipers and a site of tourism and leisure for a steady stream of visitors. I survey the stages of recovery following the Cultural Revolution (chapter four) as well as the religious life of the monastery today (chapter five). Other chapters examine how material culture (chapter six) and memorials to auspicious events and eminent monks (chapter seven) contribute to the identity of the monastery. Chapters eight and nine consider how Kaiyuan balances demands to accommodate tourists while remaining a place of religious practice.

The Canadian firm of Jacques & Hay was in business for fifty years, during which the company, if The Globe (Toronto) is to be believed, furnished the Province of Canada. This was a stunning and largely undocumented success. Jacques & Hay was one of the largest employers in the province and dominated the cabinet-making trade from 1835 to 1885. In 1871, Jacques & Hay employed 430 men and 50 women in a vertically-integrated operation that included a sawmill, two factories and a showroom. Jacques & Hay produced abundant furniture at reasonable prices. The availability of such household furnishings greatly enhanced domestic life in nineteenth-century Canada, providing scope for a more elaborate social life and allowing more people to achieve a greater sense of comfort and decency in their living arrangements.

The emergence of desktop ‘3D printing’ is not only a technological development, but equally a social and economic phenomenon that actively (and often contentiously) co-produces the material and ideological infrastructures it occupies. Reflecting wider momentum toward digital-material convergence, the current “revolution” in desktop digital fabrication is fundamentally attributable to the efforts of decentralized Maker and DIY communities who, connected through digital networks, practice citizen-led technological experimentation and occupy novel spaces for innovation and entrepreneurship. Employing hybrid qualitative methods that include Critical Making, this research explores the following themes: rhetoric versus reality, the divisive notion of ‘digital craft’, perceptions of authenticity, as well as cultural momentum manifested in decentralization, convergence, stratification, and iteration. An overarching theme emerges: 3D printing is a fluid phenomenon – in literal, metaphorical, technological and cultural ways.

The emergence of desktop ‘3D printing’ is not only a technological development, but equally a social and economic phenomenon that actively (and often contentiously) co-produces the material and ideological infrastructures it occupies. Reflecting wider momentum toward digital-material convergence, the current “revolution” in desktop digital fabrication is fundamentally attributable to the efforts of decentralized Maker and DIY communities who, connected through digital networks, practice citizen-led technological experimentation and occupy novel spaces for innovation and entrepreneurship. Employing hybrid qualitative methods that include Critical Making, this research explores the following themes: rhetoric versus reality, the divisive notion of ‘digital craft’, perceptions of authenticity, as well as cultural momentum manifested in decentralization, convergence, stratification, and iteration. An overarching theme emerges: 3D printing is a fluid phenomenon – in literal, metaphorical, technological and cultural ways.

Khwaam Jam is an introspective installation of works that explore the perceptions of identity based on memory. Created through the exploration of my past and present, the works of Khwaam Jam utilize the principles and techniques of textile design and production while involving mixed media and new materials in a site-specific installation. This installation is intended to represent my memory on a large scale. The hanging pieces are the focal point of the exhibition and are the physical manifestation of my perception of the categorization and storage of my memories. Memories are the vessels through which we create our identity. An individual’s identity is not only created from the personal experiences of the individual, but also from the experiences of those linked to the individual, whether on an intimate or social level. This overlap of memories is what connects us and helps create both individual and social identities through a series of shared memories.

This dissertation uses the Icelandic-Canadian community to discuss alternate media and the production of “ethnoscapes,” or landscapes of ethnic identity, on the prairies from 1875 to the present. Drawing from larger historiographies of food, gender, material culture, oral history, and commemoration, it offers an investigation into power, acculturation, and representation using often-marginalized terrains of Canadian ethnic expression. Each of the project’s five chapters examines the cultural history of the community through a different medium. The first chapter uses clothing, one of the most intimate and immediate ways that migrants experienced transition in North America, to explore the impact of poverty, marginalization, disease, climate, and eventual access to Anglo commercial goods on migrant culture. Chapter two analyses the role of food and drink, specifically coffee, alcohol, and vínarterta (a festive layered torte) in everyday life and the development of migrant identity. The third chapter analyses the growth of conservatism and depictions of women in the Icelandic-Canadian community in the twentieth century, with a focus on the decline of radical Icelandic language publications and the rise of ethnic spectacles. Chapter four analyses the impact of centennial and multicultural heritage campaigns on Icelandic-Canadian life, popular narrative, and domestic space by tracing the emergence of the koffort (immigrant trunk) in intergenerational family commemorative practices. Chapter five continues the discussion of popular memory with an examination of the compelling hjátru (superstitious) narrative tradition in the community. It illustrates that Icelandic migrants imported and adapted this tradition to the North American context in a way that also reflected their understanding of colonial violence as an unresolved, disruptive, and damaging intergenerational inheritance. Providing an alternate view of the community beyond either cultural endurance or assimilation, this dissertation argues that the multiple material, visual, and oral conduits through which members have experienced life in the New World have been crucial to the construction of Icelandic-Canadian identity. It is through these terrains that community members have continually engaged with public expectations and demands for both ethnic performance and suppression. The fluidity of these forms and forums and their facilitation of members’ engagement with, adaptations to, and contestation of images of ethnicity and history have enabled the continual construction of Icelandic identities in North America 135 years after departure.

This work is about objects and their makers, their relationship, and the negotiation between tradition and innovation in the creation of things. I explore the relationship between tradition, innovation, and technology as it pertains to the creation, perception, and interaction with acoustic steel string guitars and ethnographies. First, I focus on the works of two Nashville based guitar makers, Grant and Cory Batson. I investigate the ways in which the Batsons critically evaluate traditional construction techniques and design features as they create their instruments, looking at their theories of tone production, methods of construction, and their perceptions and uses of various media within their guitars. Secondly, I recruit the Batsons’ theories, methods, and revisions of tradition as a metaphor to discuss the traditional ways of constructing ethnographic representations. Through this work, I argue for the craftsmanship of more responsive ethnographic things which take into account not only theoretical, but also methodological and media eclecticism.