Incised pebbles found at the mid-Holocene, Middle Preceramic period Ostra Base Camp site on the Peruvian north coast demonstrate long-distance links to coastal Ecuador, 700 km to the north. The ...artifacts belong to a northwestern Andean pebble-figurine tradition associated with the tropical coast. Environmental indicators at the Ostra site show a warm-water lagoonal environment, unlike the modern cold-water conditions of northwestern Peru but similar to modern Ecuador. The Ostra site dates between ca. 5500 and 6250 B.P. (3550 and 4300 B.C.), during a hiatus in the coastal Ecuadorian record, so the link to Ecuador provides the earliest evidence of long-distance cultural interaction between these regions. Until contemporary sites are found in Ecuador, the Ostra Base Camp site provides our only example for this time of tropical coastal cultures of the northwestern Andean interaction sphere.
OMONGNYŎ Yi, T'aejun
Dust and Other Stories,
04/2018
Book Chapter
This place called Sŏsura is a port located at the northernmost tip of Northern Hamgyŏng Province, far beyond the towns of Wŏnsan, Sŏngjin, Ch’ŏngjin, and Ŭnggi.
If you travel about ten ri further ...north of Sŏsura you reach the Tuman River, and there, right on the east coast, lies a small town called Samgŏri. There are no more than forty households, all farming families, as well as a police substation; four or five inns; a barber shop; a dry goods store run by some Japanese selling cigarettes, alcohol, sweets, postage stamps, and the like; and a house operating something along
...cutting, piecing, and stitching lent themselves to team work, and so quilt-making, unlike more solitary domestic tasks, justified visiting with other women and thereby enabled the cultivation of ...private female society. The utilization of forms from carpeting and furniture design was quite common, and the appropriation of images from popular culture was surprisingly widespread in applique quilting, wholecloth stenciling, "autograph" quilts, and the many woven coverlets that included symbols and motifs of the new American Republic.
Studies have been done on contemporary non-traditional quilts in the larger quilting context in Alabama (Arnett et al., 2002; Callahan, 1987), Arizona (Hazard, 1993), Arkansas (Benberry, 2000), and ...Kentucky (Benberry, 1992). However, from my examination of the literature no intensive study had been done on contemporary, non-traditional African American quilts in Florida. This study examined the quilts and quilting processes of three African American contemporary non-traditional women quilters in Florida. Although there are African American male quilters my focus was on women quilt artists. For this study I defined traditional quilts as those quilts that utilized long-established patterns, designs and exacting construction techniques and that were usually used as bed coverings. Contemporary non-traditional quilts were made within the last twenty-five years for artistic purposes, did not largely consist of established patterns, and were without a planned functional use. The study explored the meaning of quilting to the quilters and the overall implications for art education. I began by exploring the general history of quilting and African American traditional quilting and ended with the more recent history of art quilts and African American art quilters. Participants were sought through a combination of online and mail-in surveys. The surveys or survey links were sent to Internet quilting groups, Florida quilting guilds, and quilt shops in an attempt to locate members of the African American quilting population in Florida. Of the quilters interested in participating in the study I selected three African American quilters based on their survey information that reflected the diversity in experience and quilting I sought. The quilters were from different areas of the state, represented different age ranges, and quilting techniques. Quilters were videotaped and photographed as I interviewed and observed them. The report takes narrative form (Eisner, 1998) and addresses themes that arose during the study as well as the research questions.
À la suite d'une discussion sur la production contemporaine de l'artiste mi'kmaq Teresa Marshall (née en 1962), cet article établit des rapports entre le travail de Marshall et les arts traditionnels ...de la fibre produits par les femmes mi'kmaq. Je soutiens que l'artiste continue la tradition de l'elitekey, laquelle, en langue mi'kmaq, renvoie à la fabrication d'objets associés au sacré et au bien-être de la communauté – un processus de production qui a été historiquement lié au monde des contes et à la dissémination d'informations culturelles spécifiques. L'article propose aussi que le travail de Marshall est politiquement engagé et s'efforce de récupérer une certaine histoire de la colonisation, histoire qui s'est retrouvée en grande partie occultée dans les pratiques artistiques dominantes. De la même manière l'auteur défend deux propositions théoriques : d'abord, qu'il faut élargir les paradigmes constitutifs de sens afin de s'assurer que l'artiste trouve sa place à l'intérieur du discours artistique. Ensuite, que dans le cas spécifique de la production artistique des Premières Nations, on doit considérer l'objet selon la possibilité pour les femmes autochtones d'occuper les positions de sujet, au moment précis de sa production. Pour mieux saisir la manière dont les pratiques artistiques autochtones contemporaines ont dû fonctionner malgré les limites structurales imposées aux Premières Nations, cet article a puisé dans les Actes Indiens et l'histoire de la colonisation au Canada. Les arts de la fibre produits par les femmes mi'kmaq aux dix-huitième et dix-neuvième siècles (connus maintenant mondialement et se trouvant dans tous les grands musées du monde), sont présentés dans cet essai comme des preuves matérielles de l'histoire de la colonisation et comprises comme symbiotiquement liées aux pratiques artistiques contemporaines d'artistes telle que Teresa Marshall.
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