This thesis concerns the process and outcomes of my research involving a group of Southern Yukon beadwork objects, a project carried out on behalf of the MacBride Museum in Whitehorse, Yukon, in 1993. I studied the objects themselves, researched museum documentation of them, and subsequently interviewed several women elders/beadworkers. In the thesis I examine several ways of studying and researching material culture and provide an analysis of these methods. Looking at objects in different ways tells us something about the nature of them but raises new questions which I address here. Reviewing museum collections records tells us more about the institution and the institutional lives of the objects than about their original context and meaning. Asking elders about the objects inspires them to speak about many seemingly unconnected topics: history, personal and mythical stories, and long ago life and times. An underlying theme which emerged in interviews with elders was their commentary on cultural and societal change within the First Nations community and how this has affected the process of learning for younger generations. I argue that beadwork objects can be best understood as learning and teaching tools for First Nations people of every generation, that their creation and essence are linked to every aspect of the culture, and their reclamation cannot properly happen without observance of all of these connections.

This thesis concerns the process and outcomes of my research involving a group of Southern Yukon beadwork objects, a project carried out on behalf of the MacBride Museum in Whitehorse, Yukon, in 1993. I studied the objects themselves, researched museum documentation of them, and subsequently interviewed several women elders/beadworkers. In the thesis I examine several ways of studying and researching material culture and provide an analysis of these methods. Looking at objects in different ways tells us something about the nature of them but raises new questions which I address here. Reviewing museum collections records tells us more about the institution and the institutional lives of the objects than about their original context and meaning. Asking elders about the objects inspires them to speak about many seemingly unconnected topics: history, personal and mythical stories, and long ago life and times. An underlying theme which emerged in interviews with elders was their commentary on cultural and societal change within the First Nations community and how this has affected the process of learning for younger generations. I argue that beadwork objects can be best understood as learning and teaching tools for First Nations people of every generation, that their creation and essence are linked to every aspect of the culture, and their reclamation cannot properly happen without observance of all of these connections. / Arts, Faculty of / Anthropology, Department of / Graduate

Thesis (MTech (Design))--Cape Peninsula University of Technology, 2012. / Judging from the market growth of African-style designs, including beadwork, it is clear that beadwork continues to recur in contemporary fashion, both locally and internationally. This thesis addresses the role traditional South African beadwork plays in contemporary fashion, in an attempt to determine its impact on fashion trends over time. It explores the history of beadwork in South Africa: its development from the pre-colonial era, under colonial rule, and during apartheid. The beadwork of the Ndebele, Zulu and Xhosa are looked at specifically, since beadwork forms a vibrant part of their cultures. The research examines the history of South African beads, as far back as 75 000 years ago, when beads were first made, used and traded. This research is underpinned by the way in which beads contribute to a cultural identity in society. The research considers how South Africa's colonial and apartheid past inhibited the development of beadwork in South African fashion. This thesis describes the process and dynamics of traditional beadwork in contemporary fashion; the way in which beadwork has been infused into fashion; and the reasons for these trends. It also investigates the way in which African designs, patterns, colours and techniques began to playa role in negotiating fashion designers' identities during the African renaissance and at present. This is a qualitative study that through in-depth interviews, analyses the relationship and balance between beadwork and fashion trends. Lastly, the research indicates whether South African fashion consciously affirms beadwork and beading techniques in contemporary fashion design.

No description available.

Pokot female body art identifies a woman’s beauty, husband, and social rank among the Pokot community through color, pattern, and mass. In the last sixty years, as a result of Kenya’s entrance into the global economy, Pokot women have turned a “traditional” art form into a commodity, creating a product for Western tourists that, in turn, provides Pokot women with a means to earn income that is less readily under male control. Pokot women consciously create beadwork that alludes to the “Idea of Africa,” while also conforming to Western standards of “colonial chic.” The result is a body art that visualizes a harmonious interaction between “exotic” and “modern.” This thesis argues that with the successful integration of beadwork into the global market, Pokot women have strategically identified an alternative to their traditional, gender-related power constraints and challenged historical constructions of Pokot gender identity.

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf [30]).

This portfolio consists of three research projects that predominantly lie within the socio-cultural strand. The first project is a qualitative ethnomathematical study that links students' knowledge of mathematics to their cultural heritage. The study was conducted with a group of final year student teachers at a College of Education in Umtata, Eastern Cape. These students visited a city museum where mathematics concepts were identified from beadwork artifacts. Mathematics concepts that were identified consisted of symmetry, tessellation and number patterns. Students' views about the nature of mathematics shifted radically after their own explorations. Initially students did not perceive mathematics as relating to socio-cultural practices. But now, they have reviewed their position and see mathematics as inextricably interwoven in everyday activities and as such, a product of all cultures. They also pride themselves of their own cultural heritage to have mathematical connections. A more positive attitude towards studying mathematics in this approach was noticed. Data was collected by means of interviews, reflective journal entries and photographs. The second project is a survey with a group of practising teachers who have already implemented Curriculum 2005, and a group which is about to implement it in 2001. The study sought teachers' understanding of connections between mathematics and socio-cultural issues. The new mathematics curriculum in South Africa calls for teachers to grapple well with these issues. About a third of the articulated specific outcomes specifically relate to socio-cultural issues. If teachers' understanding of these issues is poor, implementation of the new curriculum will remain a mere dream. The findings of the survey revealed that the majority of teachers could not identify the culture related specific outcomes in the new mathematics curriculum. Complicated language used in the OBE policy documents was found to inhibit meaning to these teachers. Although, all teachers showed a positive attitude towards the inclusion of socio-cultural issues in the mathematics classroom, the implementation of these outcomes was found to be very problematic. In this survey data was collected by means of questionnaires. The third project is a literature review on the need to popularise mathematics to students in particular, and to the broader public in general. The 21 st century places great technological demands. Mathematics underpins most thinking behind technological development. The role played by mathematics in advancing other fields is largely hidden to the majority of people. There is, therefore, a need to bring forth the vital role that mathematics plays in these fields. The number of students participating in mathematics is decreasing. Mathematics, as a field, is experiencing competition from other science fields. There is a need to bring some incentives to attract more students into this field and retain those mathematicians already involved. Also important, is the need to change the negative image that the public often holds about mathematics. Many people are mathematically illiterate and do not see mathematics as an everyday activity that relates to their needs. There is, therefore, a need to change the face of mathematics.

This thesis explores how urban Indigenous women experience reconnections to cultural identity when they take up the practice of traditional beadwork. A beading methodology was used to explore the experiences of five urban Indigenous women in Winnipeg. Within this methodology, stories and conversations about beadwork are used as a way to gather and share knowledge in research. Participants were asked to share their experience of identity reconnections through beadwork stories. The major elements of this beading methodology and its underlying theoretical, epistemological and ontological roots are told through the story of the beaded medicine bags that were created for and gifted to each participant for the knowledge they contributed to this research. The author’s own beaded medicine bag is also used as a framework for a thematic analysis and discussion of the research findings. The themes identified through this analysis suggest beading as a multi-faceted and action-oriented approach that facilitates processes of journeying, remembering, relationships, asserting the self and healing that urban Indigenous women experience through their engagement with this practice. This thesis concludes by highlighting some of the important implications of beading as an Indigenous way of knowing, being and doing in social work practice and research to promote decolonization, resiliency, wellness and healing in our work with Indigenous communities. / Graduate

Objects have the power to create a concrete connection to our past - a connection we can hold in our hands. Each object in a family collection is connected to an ancestor and their story. It is these stories that ground us in who we are and where we come from; these stories that create our heritage and identity. The McTavish Collection is made up 159 objects and is housed at the Manitoba Museum. The collection belonged to a prominent fur trade family and has been passed down through five generations of women of mixed Indigenous/European decent. Eighty objects were pulled from the vaults and reunited as a single collection for closer study. An object biography was created using a combination of research techniques and perspectives to piece together a deeper understanding of the life of women of the fur trade era. Through these objects, a story emerged and shone a light on the women who made, collected and used these objects. This is a study of that process and those stories. / May 2017

This study examines the tradition of beaded capes among the Lower Colorado River Yuman groups, with the goal of understanding the meaning and cultural significance that the capes held in the past and continue to hold for those that wear and create them today. Questions posed by this study ask how and to whom do beaded capes hold meaning; and why were the beaded capes overlooked by collectors if they are culturally significant? As a marker of River Yuman identity and artistic expertise, the lack of historic beaded capes that are held within museum collections is surprising, with only twenty-two museums across the United States and Europe housing a composite total of fifty-eight River Yuman beaded capes. This study attempts to answer the proposed questions by conducting interviews with River Yuman beadworkers and community members, regarding their perspectives on the meanings and symbolism presented by beaded capes, and the cultural significance of these items. In contrast, this study examines the views of Euro-American collectors that were collecting beaded capes in the late 19th and early 20th centuries when others were not. An understanding of outsider perspectives and motivation for collecting beaded capes is achieved through analysis of collector's field notes, journals, and museum accession files. Combining ethnography, archival research, and museum collections-based research, this study seeks to present a more detailed understanding of the River Yuman beaded cape as a marker of gender and ethnic identity. This research addresses the existing voids in knowledge about the cultural significance that the beaded capes hold for Quechan (Yuma) and Pipa Aha Macav (Mojave) people, and introduces that information to outsiders, creating a record of the views of River Yuman community members on the contemporary meanings that the beaded capes hold.