Arts and Humanities Commons^™

Black Silk, Brown Silk: China And Beyond—Traditional Practice Meets Fashion, Abby Lillethun

Textile Society of America: Symposium Proceedings

This one-hour discussion panel will examine bi-colored black and brown silk textiles called chiao-chou and shiang-yin-sa, (a.k.a. black gummed silk, Canton silk, cloud perfumed silk, gambiered silk, and by other names). Little known in the West, these textiles express cultural identities associated with a specific geographic locals where the required mud treatment can take place. Thus, the textiles have primarily been made in southern China in Guangdong province and in Southeast Asia in Thailand and Vietnam where Chinese immigration occurred. Since their heyday during the Qing Dynasty (1644–1911), they faded from use. The panel first contextualizes the textiles and the …

Analysis Of Two Chinese Canton Silks: Jiāo-Chou And Xiang-Yun-Shā, Shuhwa Lin

Textile Society of America: Symposium Proceedings

This one-hour discussion panel will examine bi-colored black and brown silk textiles called chiao-chou and shiang-yin-sa, (a.k.a. black gummed silk, Canton silk, cloud perfumed silk, gambiered silk, and by other names). Little known in the West, these textiles express cultural identities associated with a specific geographic locals

Weaving Cloth From Tosa-Washi (Japanese Paper From Kochi In Shikoku, Japan): Connection And Expansion Of Area And People, Yuka Matsumoto

Textile Society of America: Symposium Proceedings

The purpose of this paper is to make clear the socio-cultural meanings of woven textiles through a case study of making textiles from Tosa-washi which was already being made in Kochi in the 10th century involving two textile craftswomen of two different generations. Mey Kusakawa (1933-) and Yuko Isozaki (1978-) create paper textiles with the underlying meaning and rationale of recycling used paper and thrift long ago. From activities of these two textile craftswomen in modern times, it is clear that the change from paper to cloth has a role which connects areas and people, and brings independence and a …

Warp The Loom – Wrap The Dead Trapezoid Shaped Textiles From The Chiribaya Culture, South Peru, Ad 900-1375, Wynne Minkes

Textile Society of America: Symposium Proceedings

Central in this presentation will be a trapezoidal shaped tunic and loincloth from the site La Cruz, Osmore Valley, in the extreme south of Peru. Their specific features allowed their identification to the Chiribaya culture, a poorly known culture from the Later Intermediate Period (950-1350 AD). The tunic's form was the result of inserting discontinuous warps, whereas the loincloth's shape had been achieved by varying the length of the warps on the loom. Reconstruction of both techniques was made possible by Minkes ethnographic studies in adjacent Aymara and Quechua highland communities (2000), where weaving is still considered the most important …

The String Or Grass Skirt; An Ancient Garment In The Southern Andes, Amy Oakland

Textile Society of America: Symposium Proceedings

The string or grass skirt appears among the earliest known garments in the Southern Andes. Archaeologists discovered the skirts wrapped around Chinchorro ancestor figures in burials near the Pacific coast of North Chile dating to 8000 B.C. The Chinchorro people’s mummified ancestors included specific gender traits so it is clear that they wanted to identify the skirts as a female garment. Chinchorro men were equipped with leather loincloths and both apparently used twinned grass mantles, blankets, or mats.

Through time, these coastal Andeans developed an elaborate dress with enormous string turbans and pelican-skin capes, however the string skirt remained the …

Black Silk, Brown Silk: China And Beyond—Fabric Analysis, Margaret T. Ordoñez

Textile Society of America: Symposium Proceedings

This one-hour discussion panel will examine bi-colored black and brown silk textiles called chiao-chou and shiang-yin-sa, (a.k.a. black gummed silk, Canton silk, cloud perfumed silk, gambiered silk, and by other names). Little known in the West, these textiles express cultural identities associated with a specific geographic locals

The Radical Reaction: 1603-1690, Christopher Null

Vulcan Historical Review

pp. 29-43

As Seen On Tv: The Visual Culture Of Everyday Life In The 1950s, John Faulkner

Vulcan Historical Review

pp. 97-98

Downtown: My Manhattan, Rebecca Comer Gunter

Vulcan Historical Review

pp. 99-102

Black Struggle, Red Scare: Segregation And Anticommunism In The South, 1948-1968, Zac Peterson

Vulcan Historical Review

pp. 105-107

Popular Culture In The Age Of White Flight: Fear And Fantasy In Suburban Los Angeles, Jennifer R. Phillips

Vulcan Historical Review

pp. 107-109

Leaves From An Autumn Of Emergencies: Selections From The Wartime Diaries Of Ordinary Japanese, John E. Van Sant

Vulcan Historical Review

pp. 109-112

Front Matter

Quidditas

No abstract provided.

Texas, Rodeo, Jessica Murray

Birmingham Poetry Review

p. 32

Lament Through A Windshield, Jason Slatton

Birmingham Poetry Review

p. 41

Two Republics Again, Gail Hosking Gilberg

Birmingham Poetry Review

p. 15

23 September 2005, Theodore Haddin

Birmingham Poetry Review

p. 19

Sad For The Hunchback, Charles Harper Webb

Birmingham Poetry Review

p. 44

Snow At Louvenciennes (Rain In Arles), Robert Miltner

Birmingham Poetry Review

p. 29

Deshabille, Jennifer Soule

Birmingham Poetry Review

p. 42

Houses Fly Away, Jessica Murray

Birmingham Poetry Review

pp. 45-48

Revolt Of The Crash-Test Dummies, Eric Bliman

Birmingham Poetry Review

pp. 54-56

Mending As Metaphor: Contemporary Fiber And Cultural Change, Mary Babcock

Textile Society of America: Symposium Proceedings

My vision in curating the exhibition of which I speak, “Tattered Cultures: Mended Histories” in conjunction with this 11^th Textile of America Symposium is to reveal “mending” as a potent metaphor for cultural enrichment and transformation. The work reminds us to honor textiles as living — not historical— research tools, and to invites us to continue to locate contemporary concerns with issues of marginalization, colonialism and social justice as an essential discourse within textile arts.

Crochet Lace As Expression Of Digital Culture, Gail Kenning

Textile Society of America: Symposium Proceedings

Human designed, physical textile patterns such as lace are familiar in our everyday lives and the historical, geographic and cultural significance of these patterns, and their aesthetic and/or mathematical characteristics, have been extensively investigated and documented. However, their evolutionary potential remains under-theorized. While the digital environment is increasingly used as a design aid in the production of textiles, its potential for exploring the evolutionary possibilities for lace has not been fully investigated. This paper discusses an experimental research art project that explored the evolutionary potential for lace patterns within the digital environment.

Human designed, hand-made domestically produced physical textile patterns …

Donning The Cloak: Safavid Figural Silks And The Display Of Identity, Nazanin Hedayat Shenasa, Nazanin Hedayat Munroe

Textile Society of America: Symposium Proceedings

This study examines the function of figural silk textiles from Safavid Iran (1501-1722) as visual transmitters of identity. Textile historians and connoisseurs have admired figural silks for the technically advanced weave structures, delicate textures and brilliant colors, but the narrative motifs featured in a sub-genre of these compositions set them apart from other luxury textiles. The emphasis of this study will be on scenes depicting events and characters from Iranian poet Nizami’s twelfth century epic poem, Layla and Majnun.

The appeal of narrative textiles among the Safavid elite will be analyzed in relation to political and religious conditions that propagated …

Kākahu As Cultural Identity, Christina Hurihia Wirihana

Textile Society of America: Symposium Proceedings

As Maori, we recognise ourselves as Tangatawhenua, literally meaning people of the land. We acknowledge our Earth Mother, Papatuanuku and Sky Father, Ranginui as the kaitiaki, guardians of our natural world. The natural fibres of Harakeke, commonly known as NZ Flax, was the most extensively used fibres in the production of traditional clothing, fishing nets, lashing, baskets and other functional forms that contributed to the survival of my people. The medicinal values of Harakeke also played a major role. The process of extracting the fibres (muka) from Harakeke continues today as it did many many years ago. The humble kuku, …

The Centre For Advanced Textiles: A Case Study In Uk Digital Textile Culture, Eulanda A. Sanders

Textile Society of America: Symposium Proceedings

If textiles serve as records of a culture’s history and values, how should we approach and evaluate the integration of digitally-created and digitally-produced textiles? How do the application of digital technologies encourage or inhibit cultural expressions?

Government and academic institutions in the United Kingdom (UK) are actively trying to support and invigorate what is being called the ‘research culture’ in the UK, yet the ability to create and maintain sustainable research centres in the creative textile fields have proven to be difficult. Through reflectively analysing the creation, re-evaluation and re-focusing of the Centre for Advanced Textiles (CAT) at Glasgow School …

Meanings And Messages: Quilts To Comfort The Families, Jonathan Gregory

Textile Society of America: Symposium Proceedings

Introduction During the American Civil War, 1861-1865, women from the northern states made at least 250,000 quilts to supply bedding to the Union Army in the field and in military hospitals through the aegis of the U. S. Sanitary Commission. Southern women carried on similar types of relief work for the Confederate Army, though with far fewer resources to draw upon. Hundreds of red and white quilts were made as fundraisers for the American Red Cross during the First World War. And Mennonite and Mormon women from Canada and the U.S. made and shipped thousands of quilts in a massive …

Warp The Loom – Wrap The Dead Trapezoid Shaped Textiles From The Chiribaya Culture, South Peru, Ad 900-1375, Wynne Minkes

Textile Society of America: Symposium Proceedings

Trapezoid shaped garments are not common in the Andean Pre-Columbian cultures. Generally, men and women wore sleeveless tunics made from the whole woven fabric without cutting and sewing it into any shape as did the Europeans for instance. The lengths of these tunics ranged from chest to ankle. Often the shorter tunics were complemented by loincloths or skirts. The number of fabrics needed to make these garments would vary: one web folded in half or two or more webs sown together. The warps were hardly ever cut from the loom bar and wefts would be inserted up to the heading …

Ethnicity Mobility And Status – Textiles From The Taklamakan Desert, Helen Persson

Textile Society of America: Symposium Proceedings

The Taklamakan Desert in the Tarim Basin is now within the boundaries of the Xinjiang Uyghur Autonomous Region of the People's Republic of China. Taklamakan is one of the largest sandy deserts in the world and covers an area of 270,000 km2. It is bounded by Kunlun Mountains to the south, Pamir Mountains and Tian Shan to the west and north. Life-giving water from the mountains forms rivers and lakes and hence creating lush oasis on the borders of the desert. Neolithic stone tools show that humans have long been present in the area. Branches of trade routes, later known …