Anishinaabe Regalia of the Reservation Era, 1870s-1930s (original) (raw)

MAPPING TRADITION AND MODERNIZATION: A STUDY ON THE EVOLUTION OF COSTUMES OF THE TRIPURI AND REANG WOMEN IN TRIPURA

ShodhKosh: Journal of Visual and Performing Arts, 2024

Tripura is a landlocked state in Northeast India that comprises of multiple communities. Majorly dominated by the Tribal and Bengali communities, this state has witnessed drastic changes in its culture and heritage. Since partition, a huge demographic and ethnographic change has ushered in major challenges for the tribal communities. One such major change was witnessed in the evolution of Tripuri and Reang costumes. The traditional dresses of the communities faced historic challenges that questioned their personal and collective identity. The impact of westernization and modernization on Tripuri dressing culture shall be analysed in this paper. This paper shall also try to study how patterns of cloth and style of dressing have evolved due to the impact of global culture over the local culture. The reasons for the evolution shall be mapped through qualitative data collected from different people (of different communities) belonging to different parts of the state.

Conserving and Sustaining Culture through Traditional Dress

Journal of Social Development in Africa, 2011

The government of Botswana through its National Policy on Culture (2001) and the National Ecotourism Strategy (2002) is committed to preserving national culture and historical heritage. The policy stipulates that valuable heritage must be preserved and developed in order to foster a sense of national identity, pride and unity. It is necessary to reformulate cultural values and valuing processes, in order to better understand the Setswana culture and its meaning in material objects. To this end, dress as one of the valuable material culture objects is essential for signifying and expressing subtle cultural value and social relationships. The intimate link between people and their traditional dress lies at the core of ethnic identity, and has assumed a higher level of significance among consumers and tourists who collect symbolic items. A specific emphasis on a national traditional dress seems to be lacking in Botswana. This paper argues that there is need to restore traditional dress in Botswana, which would serve as a symbol of national identity and cultural heritage. The paper is based on the findings of a study that explored the historical underpinnings of national dress in Botswana, and how national dress could be used to sustain culture.

Semiotic Analysis Of Indigenous Fashion-In The Island Of Buru

Customary clothing becomes an important part in every ritual and customary activities for the community in the island of Buru, the function of traditional clothing in addition to body armor is also a symbol of identity attached to the outfit. This research is a qualitative study aimed at describing indigenous fashion for the community. The research location focuses on three villages namely Kayeli village, Kubalahin Village and Wasi Village with consideration of the traditional clothing use which is more often found in comparison of other villages in Buru Island. The number of informant interviewed by 25 people, consisting of customary figures, community leaders, leaders of indigenous institutions and village apparatus as well as local people residing at the research site. Analytical techniques used to follow the concept of Miles and Huberman where activities in the analysis of qualitative data are conducted interactively and continuously. The results showed that customary clothing in all three locations had several similarities in the use as well as differences in the placement of custom fashions. The villagers of Kayeli and Wasi used traditional clothes for the activities of receiving indigenous guests and traditional activities that took place in the village, while the community was kubalahin using traditional clothes while the traditional ritual was carried out. For people of the village Kayeli customary clothing has a value of sacral that must be obeyed by everyone who uses it, as well as in the village of Wasi and Kubalahin, they assume that identity in the customary clothing should be maintained with not arbitrary use Or placing custom clothes in everyday life.

THE DAY MY PHOTOGRAPHS DANCED: MATERIALIZING PHOTOGRAPHS OF MY ANISHINABE ANCESTORS

This research explores the role of Anishinabe photographs as distinct material things, in Anishinabeg memory production. Through the materialization and transformation of six (6) photographs of her ancestors, the author as an Anishinabekwe (Ojibwe) artist/researcher, draws upon performative and embodied aspects of Anishinabeg ways of knowing, emphasizing the agency of the materials worked with in the process of meaning-making. Research findings stress the importance of conceptualizing Anishinabeg memory as a visceral, relational, intuitive, creative, and sensorial experience to strengthening relationships to the ancestral past, now and into the future. By locating Anishinabeg photographs as distinct Indigenous things—things that can be worked with as opposed to simply " read " — the author transcends ontological and methodological limitations often associated with photographs in order to trace or " stitch " through the different relationships between actuants made visible, sensible and knowable through a material and phenomenological oriented approach that is informed her identity and cultural teachings.

Dressing Herero Women: The Ethnogenesis of Herero Women Pre and Post-Colonization

Thanks to the growing tourist industry in East Africa and National Geographic, images of Herero women and their beautiful attire have captivated non-academics and scholars alike. Who are these women? How have they self-identified or been represented historically? How can researchers create models of decolonization within the African research field? In academia, as institutions become more integrated and diverse, practical discussions must occur on the ways typical research methodologies need to adapt and change. Scholars using newer research methods often confront resistance from institutions and fellow academics. Not only will researchers have to grapple with their own assumptions but, academic institutions and fellowship grantors will also have to work with different benchmarks and wider time frames in research. In researching Herero women’s pre and post-colonial attire, I was faced with either misguided or unethical research from predecessors. To offer a fresh new face for research and the potential for academics and artists in anthropology, my paper outlines considerations and practical implementation of ‘cooperative research and engagement’. I argue that with this real-world application, academia can start the shift to acknowledging, teaching, and funding these methods, thus, creating models of decolonization within the field.