The purpose of this research is to study the sounding pendants on the shamanic costume of the Evenks, Sakha and Nganasans in the unity of the shamanic ritual complex and ritual musical traditions. ...Shamanic pendants are interpreted as a special text of culture, a reflection of the geocultural ideas of the peoples of the Arctic. The paper is based on the materials of field research carried out by the authors in Taimyr in 1989-1990, in the Olenek Evenk national region of Yakutia in 2014 and scientific publications. The sound world of shamanic ritual is a complex phonic picture, which is formed when using vocal, verbal, vocal-speech, signal, instrumental types of intonation. The movements of shaman are accompanied by the sound of colliding pendants on the costume of shamans and its components (headband, shoes, mittens). The sounding pendants were described by ethnographers and musicologists, but they were not considered in connection with geocultural studies. Metal pendants on a shaman costume mark sacred spatial models of the Universe (images of heavenly bodies - the sun, the moon, stars), mythological spaces of the Upper, Middle and Lower worlds inhabited by the shaman's helper spirits - birds, animals, anthropomorphic creatures, they symbolize parts of the human body, etc. The prospects for the study of shaman costume pendants as a symbolic embodiment of the landscape are contained in a more complete description and generalization of all known materials, including the analysis of shaman costumes from ethnographic museum collections.
Selected byChoicemagazine as an Outstanding Academic Title for 2009When Broadway Was the Runwayexplores the central and largely unacknowledged role of commercial Broadway theater in the birth of ...modern American fashion and consumer culture. Long before Hollywood's red carpet spectacles, Broadway theater introduced American women to the latest styles. At the beginning of the twentieth century, theater impresarios captured the imagination of their largely female patrons by transforming the stage into a glorious site of consumer spectacle. Theater historian Marlis Schweitzer examines how these impresarios presented the dresses actresses wore onstage, as well as the jewelry and hairstyles they chose, as commodities that were available for purchase in nearby department stores and salons. The Merry Widow Hat, designed for the hit operetta of the same name, sparked an international craze, and the dancer Irene Castle became a fashion celebrity when she anticipated the flapper look of the 1920s by nearly a decade. Not only were the latest styles onstage, but advertisements appeared throughout theaters, in programs, and on the curtains, while magazines such asVoguevied for the rights to publish theatrical costume sketches andHarper's Bazarenticed readers with photo spreads of actresses in couture. This combination of spectatorship and consumption was a crucial step in the formation of a mass market for consumer goods and the rise of the cult of celebrity. Through historical analysis and dozens of early photographs and illustrations, Schweitzer aims a spotlight at the cultural and economic convergence of the theater and fashion industries in the United States.
Yue Opera is known as the second most important national opera in China. The costume is an important part of the performance of Yue Opera, which carries the culture and history of Yue Opera. The ...purpose of this paper is to attempt a virtual simulation of Yue Opera costumes through an understanding and analysis of Yue Opera costumes, as well as to use the extracted elements related to Yue Opera costumes for modern fashion design based on Yue Opera costume style. The research method of this paper is to draw 12 sets of traditional costumes of Yue Opera by understanding and studying the costume culture of Yue Opera and transform them into a 3D digital virtual presentation of the costumes. The costume elements are then extracted for costume design so that the designed fashions can reflect the cultural characteristics of Yue Opera, and then virtual simulation technology is used for costume display to realize the dissemination of Yue Opera costume culture. The use of three-dimensional virtual simulation technology to digitize costumes contributes to the preservation and dissemination of Yue Opera costume culture. Secondly, the design of modern fashion using the concept of Yue Opera plays a role in the preservation and dissemination of Yue Opera costume culture.
This paper explores the practice of football in Belo Horizonte, Brazil, in the 1940s, a few years after the official implementation of professionalism. In particular, the mechanisms of ...rationalization of the sport, such as the measures aimed at changing the players' habits; the hiring of foreign coaches; the changes in stadiums; the tactical alterations; the idea of the body-machine; and the medical interventions in sports. Introdução O objetivo desse artigo é analisar algumas das mudanças ocorridas a partir da instauração do regime profissional na cidade de Belo Horizonte, em 1933 (RODRIGUES, 2006, SOUZA NETO, 2010, MOURA, 2010, LAGE, 2013, SoUTTO MAYOR, 2017), e que reverberaram ou se manifestaram na década de 1940. Podem ser citados alguns exemplos preliminares, como a colocação de cercas separando gramado e arquibancada; a construção de aparatos para controlar a rentabilidade dos jogos; os dispositivos disciplinares aplicados a juízes e jogadores com a criação do Tribunal de Penas da F.M.F (e a proposta de que fossem também aplicados a torcedores); a realização de jogos em campos neutros; e as constantes reformulaçöes dos quadros de arbitragem (SOUTTO MAYOR, 2017).
Transforming Vancouver into Japan circa the late Sengoku period required a sizable team that rivals the powerful Lord Yoshii Toranaga's (Hiroyuki Sanada) army, with nearly 300 people across the globe ...working on the project. Every costume piece in Rachel Kondo and Justin Marks' historical epic, based on James Clavell's 1975 novel, was painstakingly made by hand-from Toda Mariko's (Anna Sawai) silk robes, called uchikake, to Kashigi Yabushige's (Tadanobu Asano) armor and traditional samurai coat, or jinbaori. The Edo period is much more elaborate in terms of fabrics-much more wealthy.
Historical, folk, and opera costumes are part of cultural heritage, embodying the history, culture, art, and spirit of given nations. Due to aging and various damages, handed-down and unearthed ...historical clothing is often fragile and complex to preserve. Recently, digital methods have emerged as a meaningful way to restore and reconstruct all kinds of heritage clothing. The appearance of heritage costumes can be preserved permanently and presented to the public in a more accessible and interesting way via digitization. However, there is a lack of systematic review on this topic. To fill this gap, recent progress in digital restoration and 3D virtual reconstruction of heritage clothing is reviewed in this article. On the one hand, the methods and advantages of digitally restoring damaged archaeological costumes and fabrics, as well as damaged clothing images in archaeological murals, are summarized and emphasized. On the other hand, the digital reconstruction and virtual simulation of heritage costumes from different prototypes with known or unknown original appearances using different digital frameworks are presented and discussed. Furthermore, general steps and challenges in the digital reconstruction process, as well as future directions for digitalizing heritage clothing, are also discussed.
Grayscale image colorization, especially for ethnic costume images, is highly challenging due to its rich and complex color features. The existing image colorization methods usually take the costume ...image as a whole in practical applications that lead to the ignorance of the semantic information of different parts of the costume. It is known that each part's color distribution of the ethnic costume is different. So, the color mapping of other parts is also diverse, which is determined by distinctive ethnic characteristics. This study introduces fine‐grained level semantic information and proposes a high‐resolution image colorization model for ethnic costumes targeting enhancement, inspired by semantic‐level colorization. The semantic information of different regions of ethnic costumes has a significant impact on the performance of the coloring task. Using Pix2PixHD as the backbone network, we create a new network architecture that maintains color distribution correspondence and spatial consistency of costume images using fine‐grained semantic information. In our network, we take the splice result of fine‐grained semantic for ethnic costume and grayscale image as the conditions and then feed them into the generative adversarial networks. We also discuss and analyze the influences of the grayscale channel and fine‐grained semantics on discriminator. Extensive experiments demonstrate that our method performs well compared with other state‐of‐the‐art automatic colorization methods.
...we wanted to be able to build out from their looks, because they're real-life people. Maybe it's a little more tattered; there's dried blood or maybe a layer that we've added. When they get to ...their different destinations, what a gift for a costume designer and a set designer, because we get to build a whole group of people. The background performers in a show like this are paramount A lot of "clickers" (a type of infected person at the furthest stage of fungal mutation) appear on Episode 5, "Endure and Survive"-including a little girl played by Skye Cowton. ...we're dealing with real performers standing in the snow, running through muck and glass, jumping off walls; we had to have shoes on them-there was no getting around it. Do you have any advice for child actors in the fitting room? If their parents are doing it right, it's a great experience. Just be your-self, because diversity matters and individuality matters. B ONE PIECE OF EQUIPMENT SUMMERS CAN'T DO HER JOB WITHOUT "My phone.
This practice-led study contributes new methods of practice and applications of theory to record and analyse the costumed body in performance. While costume scholarship has gained momentum in recent ...years, this is the first research project to fully explore the application of drawing blind as a means of documenting a researcher’s response to the costumed body. This study contributes to existing knowledge of drawing practice as a method of costume research,through its development of a specific methodology of blind drawing used to record observations while watching video, rehearsals and performance. It also extends the theorisation of costume, through its application of texts by Charles Sanders Peirce on semiosis, interpretation and habits, and contributes new insight into costume design practice by enabling the first costume-focussed analysis of works by 'Tanztheater Wuppertal' in the English language. The first part of the thesis discusses three cycles of drawing, interpretation and costume design. The starting points for these investigations are my experiences watching dancers perform in the German dance theatre company 'Tanztheater Wuppertal'. These experiences were enriched by my being granted access to rehearsals and performances,which facilitated unique opportunities to observe dancers in and out of costume. Blind drawing was used to look more attentively at costumes and to record my observations of these dancers. The complexities of using blind drawing and annotation, as methods to articulate this visual, auditory and spatial information, were tested through drawing practice and analysed using a theoretical framework incorporating Peircean theory,costume studies and scenography. Questions and uncertainties that arose through this process were then explored through experimental costume practice, in which costumes were designed and tested on volunteer performers. The second stage of the research describes and analyses my costume design for three experimental performances shown in public spaces that were informed by these cycles of practice and theory.
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