Thesis (M.A.)--University of Southern California, c2006. / "This thesis describes the development of a Web site, We dance with them: Pueblo Indian embroidery, which is based on the collection of embroidered textiles in the Indian Arts Research Center (IARC) in Santa Fe, New Mexico"--P. 1. "August 2006." Includes bibliographical references (p. 25).

The embroidery of the Banjara people makes an important part of Indian culture, The Banjara are a previously migrating non-hinduistic ethnic, today mostly settled and merging with the hinduistic population which represents the majority. We still have very scarce information about this distinctive textile production. This theses is based on mostly Indian studies, as well as on field-work which was carried out in fourteen Banjara communities living in two Indian states, Maharashtra and Karnataka. Another source of information were several collections of Banjara textile in important European museums and a collection of more than 550items in the Czech Republic. The theses focuses on five subjects: 1. The typology of the fourty most common and traditional types of textile pieces made by Banjara women, 2. The description of the material and embroidery techniques, 3. The attempt of the iconography analysis of the Banjara embroidery, 4. The provenience of the Banjara traditional pieces, and 5. The description of the state of art of the mbroidery which still exists in the present day Banjara communities. Vast photodocumentation made during the field-work is included in the theses and a catalogue of typical examples from studied collections. A side product has evolved during the study of the Indian literature - an...

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho faz uma discussão sobre a situação das mulheres nos espaçostempos não instituídos. Pesquisei histórias dessas mulheres, buscando perceber as mudanças ocorridas na escola, mais especificamente no currículo, com os estudos sobre a questão do gênero e das práticas cotidianas e nas relações intersubjetivas que estabelecem entre si e com o mundo. Trago para minha rede de discussão alguns aspectos da cultura escrita a partir de certos suportes e textos ligados às práticas femininas, buscando perceber o seu aparecimento, desaparecimento, reaparecimento em espaçostempos educativos e no currículo escolar. No meu trabalho, tratando das imagens contidas nos bordados, privilegio a cultura escrita da pessoa comum que aparecem em bordados, ou seja, as escritas bordadas, relacionando-as às questões acima colocadas, buscando perceber como encontram seu espaço no currículo escolar e em outras atividades humanas. Com toda a dificuldade encontrada em seus caminhos, essas mulheres continuam a bordar, para além de somente entender essa atividade como um trabalho ou obrigação, mas pela necessidade de falar, tecer suas histórias bordando identidades. São mulheres, avós, mães, filhas, casadas, solteiras, viúvas, mas, além disso, são bordadeiras. / This paper provides a discussion on the standing of women in non-academic fields. I have researched - between the lines - the story of these women, trying to understand the changes that have taken place in school, more specifically in the school curriculum. I did so through studies on the issue of gender and daily practices, and observing the intersubjective relationship that they establish among themselves and with the world. I bring this written culture to my discussion net based on certain school material and on texts related to womens activities, seeking to understand how this culture appeared, disappeared and reappeared in educational time/fields, especially in school curriculum. In my paper I emphasize the written culture, more specifically the ordinary persons writings that are shown in embroideries, i.e., the embroidered writings, and relate them to the issues mentioned above, seeking to know how they find out their space in the school curriculum. In spite of all the difficulties in their lives, these women go on embroidering not because its an obligation or a job, but due to their necessity of speaking up, weaving their stories, embroidering their identities. They are women, grandmothers, mothers, daughters, married, single, widowers, but besides all that, they are embroiderers.

Conselho Nacional de Desenvolvimento Científico e Tecnológico / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho faz uma discussão sobre a situação das mulheres nos espaçostempos não instituídos. Pesquisei histórias dessas mulheres, buscando perceber as mudanças ocorridas na escola, mais especificamente no currículo, com os estudos sobre a questão do gênero e das práticas cotidianas e nas relações intersubjetivas que estabelecem entre si e com o mundo. Trago para minha rede de discussão alguns aspectos da cultura escrita a partir de certos suportes e textos ligados às práticas femininas, buscando perceber o seu aparecimento, desaparecimento, reaparecimento em espaçostempos educativos e no currículo escolar. No meu trabalho, tratando das imagens contidas nos bordados, privilegio a cultura escrita da pessoa comum que aparecem em bordados, ou seja, as escritas bordadas, relacionando-as às questões acima colocadas, buscando perceber como encontram seu espaço no currículo escolar e em outras atividades humanas. Com toda a dificuldade encontrada em seus caminhos, essas mulheres continuam a bordar, para além de somente entender essa atividade como um trabalho ou obrigação, mas pela necessidade de falar, tecer suas histórias bordando identidades. São mulheres, avós, mães, filhas, casadas, solteiras, viúvas, mas, além disso, são bordadeiras. / This paper provides a discussion on the standing of women in non-academic fields. I have researched - between the lines - the story of these women, trying to understand the changes that have taken place in school, more specifically in the school curriculum. I did so through studies on the issue of gender and daily practices, and observing the intersubjective relationship that they establish among themselves and with the world. I bring this written culture to my discussion net based on certain school material and on texts related to womens activities, seeking to understand how this culture appeared, disappeared and reappeared in educational time/fields, especially in school curriculum. In my paper I emphasize the written culture, more specifically the ordinary persons writings that are shown in embroideries, i.e., the embroidered writings, and relate them to the issues mentioned above, seeking to know how they find out their space in the school curriculum. In spite of all the difficulties in their lives, these women go on embroidering not because its an obligation or a job, but due to their necessity of speaking up, weaving their stories, embroidering their identities. They are women, grandmothers, mothers, daughters, married, single, widowers, but besides all that, they are embroiderers.

Following its acquisition in 1204, Crete became one of Venice’s prime colonial possessions in the Eastern Mediterranean. Venice’s maritime empire was known as the Stato da mar or the Oltremare. Candia, Crete’s capital, was the island’s largest urban centre, the heart of the colony’s administration, and a thriving port. Its inhabitants included patricians sent from Venice to govern the island, noble Cretans and noble Venetians, descendants of the early Venetian colonisers, cittadini, and a host of transient residents. The city’s Jewish community was confined to the Judaica, a section of the urban expanse inside the city’s Byzantine walls. By the sixteenth-century, three centuries of Creto-Venetian co-existence had given birth to an urban society which was polyglot and multi-denominational. Cretans travelled frequently to Venice, which hosted a large Greek community after the fall of Constantinople (1453). This thesis examines aspects of Cretan identity in the sixteenth century, such as class, religion and locality. The importance of appearances in the early modern colonial context is discussed and evidence is presented of Venice’s influence on Cretan attire and the language used to describe such artefacts. Stemming from this, sumptuary legislation is examined and instances when appearances deceived and threatened social order. Sources consulted and brought to bear on the discussion include extant material records, such as embroidery, and archival and published documents, such as state and private correspondence, notarial records, costume books, maps, atlases, contemporary literature, and historical accounts of Crete. The last chapter examines aspects pertaining to Crete’s insularity: the experience of sea travel, the cartographic genre of isolarii, island-books, where Crete featured prominently, the maps of Crete’s most famous cartographer and, finally, the unpublished wills of the Regno di Candia and the island of Scio.

This Master’s degree project explores the design possibilities of thread tension, to create a transformation in an interactive, 3D embroidered, wooden surface. The aim is to create a playful visual expression on a surface triggered by interaction. The surface is manipulated by embroidery and the embroidery is manipulated by the tension in the thread. Together all parts create a simple mechanism that allows the viewer to sink into a playful loop of a rising and collapsing structure. Dancing embroidery.  The work explores the potential of the thread as a key factor together with interaction to make a transformation of a surface possible. The thread is used both in the function of the surface and at the same time it creates a strong visual expression as it stands out to show its strength and power.

La presente investigación tiene como objetivo general diseñar una colección de vestidos de novia a partir del análisis teórico y visual de las características del bordado ayacuchano. El bordado ayacuchano se enmarca dentro de la artesanía peruana, y más precisamente, dentro de la artesanía “textil” peruana, la cual es considerada como la actividad artesanal de mayor desarrollo y práctica común en nuestro país que se transmite de generación en generación, donde las mujeres mayores les enseñan a sus hijas el arte del bordado. El origen del bordado Ayacuchano se remonta al distrito de Luricocha en la provincia de Huanta, zona donde hasta el día de hoy se ha mantenido la tradición de bordar y tejer mantas multicolores. / The present research has as general objective to design a collection of wedding dresses from the theoretical and visual analysis of the characteristics of Ayacuchano embroidery. Ayacuchano embroidery is part of Peruvian craftsmanship, and more precisely, within Peruvian "textile" craftsmanship, which is considered as the most developed and common craft activity in our country that is passed down from generation to generation, where older women teach their daughters the art of embroidery. The origin of Ayacuchano embroidery dates back to the district of Luricocha in the province of Huanta, an area where to this day the tradition of embroidering and weaving multicolored blankets has been maintained. / Trabajo de investigación

In this paper I investigate the emotional benefits of textile crafts in general and embroidery in particular. How can embroidery be used to express love and care for others? Can embroidery be used as a therapeutic tool? Using my own embroidery project Flower heart as a starting point, my research goes into craft as a manifestation of love, from handmade gifts in the 18th century to contemporary art, and crafting as a therapeutic medium, from rehabilitation of soldiers after WW1, to a recent study on 92 Finnish craft makers. My material is based on research on (textile) craft, research on occupational therapy, interviews with contemporary embroidery artists Michelle Kingdom, Alexandra Drenth and Willemien de Villiers, as well as my own experiences with the project Flower heart. My conclusions are that there are many emotional benefits to textile crafts. Our crafts can comfort us from sorrow, help us deal with pain, both physical and mental, make us connect to one another, provide meaning to our lives, anchor us in the present and live on long after we are gone as a manifestation of our lives and our love.

Traditional Palestinian embroidery (tatreez) played an important role as a form of indigenous language in Palestinian culture before the Nakba, the 1948 mass displacement of Palestinians from their homeland. After the exile of the Palestinian population and through the subsequent conflicts and occupation in the decades since the Nakba, tatreez has become a symbol of Palestinian resistance, represented in art and dress as a way to demonstrate the history of the Palestinian people, their attachment to the land of Palestine, and their continued struggle for justice. Existing research on Palestinian tatreez examines the use of embroidery during various time periods, either the historical development of motifs and regional patterns or post-1948 changes, for example its rise as an economic tool in the mid-twentieth century within Palestinian refugee camps and its development as a political emblem inside Palestine during the First Intifada in the 1980s. Separately, there is research on the importance of online platforms for Palestinians both within the Palestinian territory and the diaspora. This thesis bridges existing research on the role of tatreez for Palestinians and the online diaspora dimension to discuss the impact of new technologies on the practice of tatreez. The thesis argues that sharing tatreez via online platforms allows for an expansion of the traditional usage of tatreez as a form of collective and individual expression and continues the post-1948 practice of presenting political and artistic visions via embroidery.

No description available.