Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Fashion and culture
Native American culture
Essay clothes and culture
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Fashion and culture
The Linfield Gallery is currently hosting an exhibit titled, “Alterations” by Wendy Red Star and Kaj-anne Pepper. The work of these two artists demonstrates the many ways in which cultural identity is expressed and perceived through a mixture of costumes, rituals, and traditions. The costumes, created by Wendy Red Star, mimicked those of traditional Crow dance outfits for males, which are now viewed as a form of women’s fashion. This exhibit is the first time that Red Star and Pepper have displayed their work collaboratively, and I feel that there is a strong connection between these two artists. They both illuminate different aspects of cultural identity and individuality through unique forms of creativity and entertainment. Wendy Red …show more content…
Drips of blue paint were found leading from the circle of paint to the location of where this costume was hung. I really enjoy how the party hat, gloves, tights, and shoes were all integrated into this display, as well. The fact that all of Pepper’s clothing accessories were covered in paint and randomly tossed on the floor allowed it to be more interesting. If everything were to be symmetrically laid out, it would not have been as mysterious or fascinating. This aspect relates to the “AMUSE” acronym because the way in which the paint-coated items were dispersed added a bit of mystery to this exhibit, therefore leaving audience members open to interpretation. While watching the recording, I noticed that Pepper’s black and white dress look as though it were on backwards. In my opinion, the strings on a dress like this would tie in the back. After further thought, I predicted that Pepper wore it the way s/he did in order to remove it and hang it up without assistance after the …show more content…
As I have already mentioned, she tended to fixate on the same color scheme. Also, Red Star incorporated feathers, tassels, or fringes into each and every dress. The use of these materials, especially the feathers, could have been influenced from her time spend on the Crow reservation. I enjoyed these additions to the dresses because it provided them with texture and allowed for movement. A few of Red Star’s dress designs were a bit complex. One of them was red, black, and white, included three different patterns, and incorporated fringes. Another dress that stood out to me was red blue and white. The red and white sections on the back had a feathery texture. The top of this dress was silky blue and included bells. The entire front was covered in fringes and was significantly shorter than the back of the dress. There is a strong cultural aspect in the dresses designed by Red Star, which was influenced by her own cultural experiences and traditions. Red Star has a special talent, which gives her the ability to make all of these different textures and patterns collaborate with each
Clothing that is worn by the actors during the play can be a reflection of the characters personalities. Nick, Lucy, Lewis and Julie all seem to be in normal clothing, reflecting the fact they are relatively normal, and don’t show signs of extreme ‘Madness.’ Ruth wears simple, old, and neat clothes that reflect her OCD, and the colours and patterns that Roy wears reflect his crazy and upbeat personality. Meanwhile, Henry wears business-like outfits that you would expect to see a lawyer wear. This helps to inf...
...e to preserve traditional culture as well as be a part of modern culture is discussed within the exhibit. We can see this struggle in a scene depicted in the exhibit of women weaving in a modern home with a traditional room, while the men sit on the couch and read comic books. We see the melding together of tradition and modernization. Traditions like weaving and pastoral life in the Diné home serve as a teaching tool to remind young people where they come from and who they are as Diné people. It shows them how to be Diné in a colonized world. While maintaining tradition had become difficult at points in their journey, Diné persevered and adapted to change while maintaining tradition. They remain one of the largest groups of indigenous peoples in the Southwest today.
This paper describes the Sea Bear Transformation Mask, created by Don Svanvik in 2000, and how it reflects Northwest Coast Indian art and culture, specific to the Kwakiutl tribe. A transformation mask is a large mask with hinged shutters that, when open, reveal another mask. Audrey and Alan Bleviss gave this mask to the Montclair Art Museum in 2005. The medium consists of red cedar, cedar bark, copper, pigment, and string. In the Montclair Art Museum, the mask is displayed in its open form.
This dress features trimming with a silk polychrome fly fringe. It compares to the size of an adolescent. It is quite small in size and has sharp angles among the waist, hips, and shoulder areas. The structure of the gown is what some may consider traditional. While the front of the dress has a dip near the chest area the back has a long cape that extends to the ground. The fabric is rather thick and matte. There is various pleating that adorns the ends of the sleeves, the cape, and the hips. At the front of the gown there is cross-hatching in the stitching at the waist. The gown features one main fabric with various colors and patterns. The fabric has a light blue background with cream-colored leaf shapes. There are also olive-green leafs and maroon (white) flowers printed on the
Although concerns about cultural appropriating cultural objects such as bindis, war bonnets, and kimonos have been receiving more attention, the effects of cultural tourism of modern Asian subcultures has been relatively ignored. This lack of attention may be due to the assumption of modernity as Western or a lack of an object that bears significant cultural meaning to the ethnic culture as a whole. However, if the potential effects are left ignored, cultural tourism of modern Asian subcultures may perpetuate harmful constructions of race. The visual analysis of Gwen Stefani and Avril Lavinge’s cultural appropriation of Harajuku culture reveals that it not only reaffirms Asian American female submissiveness and Asian American invisibility, but it also constructs meanings of race and whiteness that excludes American cultural citizenship from Asian Americans.
Ramsay, B. (2000). Dance theory, sociology, and aesthetics. Dance Research Journal, 32(1), 125-131. Retrieved from http://www.jstor.org/stable/1478286
To begin with, culture is something that may change evolve within time but culture is something that come with your heritage or your ethnicity the traditions and things that happen that make up your culture like how your parents raised you are culture. In the informational text “ What is cultural identity” by Elise Trumbull and Maria Pacheco, and in the personal essay “Ethnic Hash” by Patricia Williams, there are similarities and differences in how each writer conveys their message about cultural identity. Based upon their research, Trumbull and Pacheco present the idea that culture changes and that it will never stay the same, while Williams uses her personal experience to develop the idea that many things influence cultural inheritage but
I got much out of watching the video that was playing in the exhibit. I learned that WalkingStick was half Indian, a Cherokee, in fact; although she did not appear Indian, she had an Indian father that she never met. She was raised in a white household, yet she was urged to embrace her identity as part Indian, which I found interesting as she did not grow up with any Indian relatives. She said that she did not learn any history about American Indians in school, so she had to research her own ancestral background herself. I partially connected this to Flight, as Zits/Michael had to depend on television such as the History Channel to learn about his people as he did not grow up in a Native community. She said that through her artwork, she wants to convey that Native Americans are human just like any other race, and she believes that art is a great way to express the visual history of her people on Earth. I also connected WalkingStick’s search for identity to Zits/Michael in Flight, as she started painting feminist scenes or the sensual body early in her career in the early 1970s then found her identity and explored it through art. She went to graduate school for art in the 1970s when the feminist and American Indian movements were occurring, both which affected her artwork. One piece of hers that I liked was “Where Are the Generations?” which has some text about the dying of the Indian
For a long time now body art and decoration has been a custom in many cultural groups. Through research we have learned about the different types of body art and ornamentation such as permanent and nonpermanent tattooing, scarification, and piercings. These forms of body art and ornamentation are done for a variety of reasons, ranging from identification purposes to religious rituals. “Skin, as a visible way of defining individual identity and cultural difference, is not only a highly elaborated preoccupation in many cultures; it is also the subject of wide-ranging and evolving scholarly discourse in the humanities and social sciences” (Schildkrout, 2004). The process of ornamentation and body art is usually a painful experience, but it is a way to signify a person’s self-discovery and their place in society. In this paper, I will explore the different aspects of body art and ornamentation in two different cultures; the Maori people of New Zealand and the Yoruba’s of West Africa and explain the cultural importance of their art.
When analyzing artwork, in any form, there are often times social contexts in which can be interpreted. Not always does the history behind the painting need to be revealed to fully understand the concept of the artwork, yet it is helpful in determining if the artwork is truthful in its representation. Although in analyzing artwork it is likely that there are drawbacks to considering the social context. To illustrate this point, I'm going to use the visual arts as my medium of choice. Understanding the social context can be an important tool. An advantage of knowing the history of the painting or sculpture can really enrich our knowledge, being in the 21st century, about some of the social periods from previous times. It can demonstrate how traditions were carried out, how they had an impact on the different social classes. It's a visual teaching aid of a sort. Even in the time period of which the artwork was created can be used as a tool to show how the life was in different parts of the world. It was also used as a hammer in the realist movement to show the upper classes that life for the poor was horrible. The visual arts is the only medium in which the pictorial image creates a universal language in which anyone, regardless of nationality or social class can interpret. The text which is created by this language often creates a context which is left open to interpretation. Contexts are created by the artist, critics, judges, the public, essentially, any one who views the work and forms an opinion relating to it. The contexts stem from subject or content of an artwork, and are usually facts regarding the content. Yet, the contexts almost always have backgrounds themselves, therefore making the original contexts, texts. This will be more clearly illustrated later. The chain is seeming to be a never ending process. There are always more conditions to the previous ones. All context, therefore, is in itself, textual. This concept of all context in itself textual is a post-structuralist strategy. A man named Derrida is a man who has developed this idea that the post-structuralist concept of every statement made, can be interpreted in infinite ways, with each interpretation triggering a range of subjective associations. Every statement has an association, therefore it's a sort of domino effect.
My culture identity, as I know it as is African American. My culture can be seen in food, literature, religion, language, the community, family structure, the individual, music, dance, art, and could be summed up as the symbolic level. Symbolic, because faith plays a major role in our daily lives through song, prayer, praise and worship. When I’m happy I rely on my faith, same as when I’m sad, for I know things will get better as they have before.
Some may say music is just music; a song is just a song. However, music plays an enormous role in our psychology, because a single song has the ability to bring about many kinds of thoughts and emotions in the listener. Music is subtly one of the main factors in which people identify with certain groups and establish their belonging in society. It shapes people’s perspectives on how the world functions and the roles they play within it. Music can function the same way in a culture; it can reflect many of the culture’s values and ideologies. Music can have many effects on culture and the people’s idea of who they think they are within that culture. Music can serve in a way that promotes cultural identity and pride, yet it could also play a role in the separation of social and economical identities in within cultures.
The gingham dress is horrifying matched with an attached black apron with a skull print on it. The black and white stripe warmers are an added attraction.
The Principle of Separate Corporate Personality The principle of separate corporate personality has been firmly established in the common law since the decision in the case of Salomon v Salomon & Co Ltd[1], whereby a corporation has a separate legal personality, rights and obligations totally distinct from those of its shareholders. Legislation and courts nevertheless sometimes "pierce the corporate veil" so as to hold the shareholders personally liable for the liabilities of the corporation. Courts may also "lift the corporate veil", in the conflict of laws in order to determine who actually controls the corporation, and thus to ascertain the corporation's true contacts, and closest and most real connection. Throughout the course of this assignment I will begin by explaining the concept of legal personality and describe the veil of incorporation. I will give examples of when the veil of incorporation can be lifted by the courts and statuary provisions such as s.24 CA 1985 and incorporate the varying views of judges as to when the veil can be lifted.
...l at the time. As we see in the two pictures above, her design involves simplicity and comfortableness and utilitarian yet also innovative styling. Her playsuits, high-waisted shorts, skirts, and trousers are so simple yet elegant that models in the pictures looks comfortable and glamorous at the same time. McCardell barely used decoration elements to make the garment standout but she played with the silhouettes with excellent choice of fabrics to enhance her collections. She used tweed, leather, twill, wool, chiffon, jersey and cotton extensively. Although the garments in the pictures don’t show prints, she used many geometric prints, stripes as her signature prints. She liked playing with prints and silhouette to change the overall mood. McCardell mentioned in her book, "clothes have moods. Fabrics have personalities. Prints suggest types. Colors shout or speak