Thesis (M.F.A.)--Rochester Institute of Technology, 1988. / Includes bibliographical references (leaf 24).

M.Tech. / In this research, I examine whether cultural meanings embedded in original sixteenth to eighteenth century Dutch lace and Shweshwe fabric, as examples of colonial forms, are transformed through selected processes. With reference to Dutch lace from Holland, I analyse how the form changes within colonial and post-colonial contexts, but propose that the cultural meanings of the lace remain similar in both contexts. With reference to Shweshwe fabric, I argue that the form stays the same within both colonial and post-colonial contexts, but that its cultural meaning changes as a result of how patterns printed on it are named and identified in a post-colonial context. In this research, I use the term ‘cultural meaning’ to refer to certain signifiers of culture. I propose that factors such as value, class, aspiration, desire and consumption are embedded in or make cultural meaning. My central argument proposes that crocheted doilies, and plastic tablecloths and placemats might be seen as post-colonial versions of Dutch lace. These post-colonial versions of Dutch lace are adopted and adapted by female homemakers in Naledi Ext. 2 to suit certain decorative tastes, values, aspirations and act as markers of class. This adoption and adaptation of the original colonial form, shifts the cultural meanings imbued within it, but not necessarily the associated consumptive meanings. Whilst the primary focus of the theoretical research is Dutch lace and its proposed post-colonial counterparts, I also examine examples of original Shweshwe fabric and how meanings of motifs found on this fabric have been transformed by the modern Mosotho to reflect notions of value and aspiration, whilst the actual motifs appear to be unchanged. In my practical work, I use Dutch lace, crocheted doilies, and plastic tablecloths and placemats, as well as Shweshwe fabric as visual references in the production of large to small scale paintings. In these, I explore how, through painterly alteration and transformation, shifts can occur in the meanings of patterns derived from these culturally-loaded sources.

According to Domowitz (1992), the Agni women of Cote d'Ivoire assign proverbs and aphorisms as names to wax-dyed cloth. Women then use the imagery and associated proverbs behind cloth names to send non-verbal messages they would otherwise be unable to express publicly. The purpose of this study is twofold: first, to investigate wax-dyed cloth names including their underlying meanings and uses given by women in Cote d'Ivoire and Togo; and second, to investigate how these names are acquired in French by women who have no formal education. Qualitative results revealed that women in these two countries are very motivated to learn cloth names. New undocumented names and their underlying meanings were also found. Some of these meanings were found to be educational; others are used to maintain status or to clarify power relationships. At the same time, quantitative results indicated that knowledge and use of cloth names in both communities studied is in decline.

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