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Creating African Fashion Histories examines the stark disjuncture
between African self-fashioning and museum practices.
Conventionally, African clothing, textiles, and body adornments
were classified by museums as examples of trade goods, art, and
ethnographic materials-never as "fashion." Counterposing the
dynamism of African fashion with museums' historic holdings thus
provides a unique way of confronting ways in which coloniality
persists in knowledge and institutions today. This volume brings
together an interdisciplinary group of scholars and curators to
debate sources and approaches for constructing African fashion
histories and to examine their potential for decolonizing museums,
fashion studies, and global cultural history. The editors of this
volume seek to answer questions such as: How can researchers use
museum collections to reveal traces of past self-fashioning that
are obscured by racialized forms of knowledge and institutional
practice? How can archival, visual, oral, ethnographic, and online
sources be deployed to capture the diversity of African sartorial
pasts? How can scholars and curators decolonize the Eurocentric
frames of thinking encapsulated in historic collections and current
curricula? Can new collections of African fashion decolonize museum
practice? From Moroccan fashion bloggers to upmarket Lagos
designers, the voices in this ground-breaking collection reveal
fascinating histories and geographies of circulation within and
beyond the continent and its diasporic communities.
This collection examines cloth as a material and consumer object
from early periods to the twenty-first century, across multiple
oceanic sites-from Zanzibar, Muscat and Kampala to Ajanta,
Srivijaya and Osaka. It moves beyond usual focuses on a single
fibre (such as cotton) or place (such as India) to provide a fresh,
expansive perspective of the ocean as an "interaction-based arena,"
with an internal dynamism and historical coherence forged by
material exchange and human relationships. Contributors map
shifting social, cultural and commercial circuits to chart the many
histories of cloth across the region. They also trace these
histories up to the present with discussions of contemporary trade
in Dubai, Zanzibar, and Eritrea. Richly illustrated, this
collection brings together new and diverse strands in the long
story of textiles in the Indian Ocean, past and present.
This collection examines cloth as a material and consumer object
from early periods to the twenty-first century, across multiple
oceanic sites-from Zanzibar, Muscat and Kampala to Ajanta,
Srivijaya and Osaka. It moves beyond usual focuses on a single
fibre (such as cotton) or place (such as India) to provide a fresh,
expansive perspective of the ocean as an "interaction-based arena,"
with an internal dynamism and historical coherence forged by
material exchange and human relationships. Contributors map
shifting social, cultural and commercial circuits to chart the many
histories of cloth across the region. They also trace these
histories up to the present with discussions of contemporary trade
in Dubai, Zanzibar, and Eritrea. Richly illustrated, this
collection brings together new and diverse strands in the long
story of textiles in the Indian Ocean, past and present.
Creating African Fashion Histories examines the stark disjuncture
between African self-fashioning and museum practices.
Conventionally, African clothing, textiles, and body adornments
were classified by museums as examples of trade goods, art, and
ethnographic materials—never as "fashion." Counterposing the
dynamism of African fashion with museums' historic holdings thus
provides a unique way of confronting ways in which coloniality
persists in knowledge and institutions today. This volume brings
together an interdisciplinary group of scholars and curators to
debate sources and approaches for constructing African fashion
histories and to examine their potential for decolonizing museums,
fashion studies, and global cultural history. The editors of this
volume seek to answer questions such as: How can researchers
use museum collections to reveal traces of
past self-fashioning that are obscured by racialized
forms of knowledge and institutional practice? How can archival,
visual, oral, ethnographic, and online sources be deployed to
capture the diversity of African sartorial pasts? How can scholars
and curators decolonize the Eurocentric frames of thinking
encapsulated in historic collections and current curricula? Can new
collections of African fashion decolonize museum practice? From
Moroccan fashion bloggers to upmarket Lagos designers, the voices
in this ground-breaking collection reveal fascinating histories and
geographies of circulation within and beyond the continent and its
diasporic communities.
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African Textiles (Hardcover)
Duncan Clarke, Vanessa Drake Moraga, Sarah Fee
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R3,498
R2,952
Discovery Miles 29 520
Save R546 (16%)
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The African continent is home to numerous outstanding textile
traditions, many dating to antiquity and all playing a multifaceted
role in their respective societies: these eye-catching fabrics
proclaim wealth and status, convey symbolic meanings, and of course
serve a practical function in garments both ordinary and
exceptional. This magnificent book conveys the amazing diversity of
African textiles, from the geometric-patterned kente cloths of
Ghana, to the multicolour raffia skirts of the Democratic Republic
of Congo, to the beaded barkcloths once reserved for Ugandan
royalty. The authors, all leading experts in the field, examine
each region of sub-Saharan Africa and Madagascar in turn,
elucidating the aesthetic qualities, cultural significance, and
production methods of the most important textile traditions. Their
authoritative text is illustrated with over 300 superlative
textiles from public and private collections, many reproduced as
full-page plates that allow the reader to appreciate each
individual fibre. This impressive clothbound volume will be a key
reference for students and scholars, an essential sourcebook for
designers, and a delight for all art lovers.
The story of India's exuberantly colored textiles that made their
mark on design, technology, and trade around the world Chintz, a
type of multicolored printed or painted cotton cloth, originated in
India yet exerted influence far beyond its home shores: it became a
driving force of the spice trade in the East Indies, and it
attracted European merchants, who by the 17th century were
importing millions of pieces. In the 18th century, Indian chintz
became so coveted globally that Europeans attempted to imitate its
uniquely vibrant dyes and design-a quest that eventually sparked
the mechanical and business innovations that ushered in the
Industrial Revolution, with its far-reaching societal impacts. This
beautifully illustrated book tells the fascinating and
multidisciplinary stories of the widespread desire for Indian
chintz over 1,000 years to its latest resurgence in modern fashion
and home design. Based on the renowned Indian chintz collections
held at the Royal Ontario Museum, the book showcases the genius of
Indian chintz makers and the dazzling variety of works they have
created for specialized markets: religious and court banners for
India, monumental gilded wall hangings for elite homes in Europe
and Thailand, luxury women's dress for England, sacred hangings for
ancestral ceremonies in Indonesia, and today's runways of Lakme
Fashion Week in Mumbai. Distributed for the Royal Ontario Museum
Exhibition Schedule: Royal Ontario Museum (April 4-September 27,
2020)
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