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Weaving the Past offers a comprehensive and interdisciplinary history of Latin America's indigenous women. While the book concentrates on native women in Mesoamerica and the Andes, it covers indigenous people in other parts of South and Central America, including lowland peoples in and beyond Brazil, and Afro-indigenous peoples, such as the Garifuna, of Central America. Drawing on primary and secondary sources, it argues that change, not continuity, has been the norm for indigenous peoples whose resilience in the face of complex and long-term patterns of cultural change is due in no small part to the roles, actions, and agency of women. The book provides broad coverage of gender roles in native Latin America over many centuries, drawing upon a range of evidence from archaeology, anthropology, religion, and politics. Primary and secondary sources include chronicles, codices, newspaper articles, and monographic work on specific regions. Arguing that Latin America's indigenous women were the critical force behind the more important events and processes of Latin America's history, Kellogg interweaves the region's history of family, sexual, and labor history with the origins of women's power in prehispanic, colonial, and modern South and Central America. Shying away from interpretations that treat women as house bound and passive, the book instead emphasizes women's long history of performing labor, being politically active, and contributing to, even supporting, family and community well-being.
Weaving the Past offers a comprehensive and interdisciplinary history of Latin America's indigenous women. While the book concentrates on native women in Mesoamerica and the Andes, it covers indigenous people in other parts of South and Central America, including lowland peoples in and beyond Brazil, and Afro-indigenous peoples, such as the Garifuna, of Central America. Drawing on primary and secondary sources, it argues that change, not continuity, has been the norm for indigenous peoples whose resilience in the face of complex and long-term patterns of cultural change is due in no small part to the roles, actions, and agency of women. The book provides broad coverage of gender roles in native Latin America over many centuries, drawing upon a range of evidence from archaeology, anthropology, religion, and politics. Primary and secondary sources include chronicles, codices, newspaper articles, and monographic work on specific regions. Arguing that Latin America's indigenous women were the critical force behind the more important events and processes of Latin America's history, Kellogg interweaves the region's history of family, sexual, and labor history with the origins of women's power in prehispanic, colonial, and modern South and Central America. Shying away from interpretations that treat women as house bound and passive, the book instead emphasizes women's long history of performing labor, being politically active, and contributing to, even supporting, family and community well-being.
The Weaving -- Past Silence -- Part IV. The Naming -- The Naming -- Acknowledgments -- Notes
Spanning the backs of choir stalls above the heads of the canons and their officials, large-scale tapestries of saints' lives functioned as both architectural elements and pictorial narratives in the late Middle Ages. In an extensively illustrated book that features sixteen color plates, Laura Weigert examines the role of these tapestries in ritual performances. She situates individual tapestries within their architectural and ceremonial settings, arguing that the tapestries contributed to a process of storytelling in which the clerical elite of late medieval cities legitimated and defended their position in the social sphere.Weigert focuses on three of the most spectacular and little-studied tapestry series preserved from the fifteenth and early sixteenth centuries: Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai), Life of Saint Steven (Saint-Steven, Auxerre [now Musée du Moyen Age, Paris]), and Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans). Each of these tapestries, measuring over forty meters in length, included elements that have traditionally been defined as either lay or clerical. On the prescribed days when the tapestries were displayed, the liturgical performance for which they were the setting sought to merge the history and patron saint of the local community with the universal history of the Christian church. Weigert combines a detailed analysis of the narrative structure of individual images with a discussion of the particular social circumstances in which they were produced and perceived. Weaving Sacred Stories is thereby significant not only to the history of medieval art but also to art history and cultural studies in general.
This gorgeously illustrated book presents important information on Pueblo, Navajo, Rio Grande, and Northern Mexican weaving styles. Traditional and modern styles of blankets, clothing, and rugs are identified and explained in detail, with brief accounts of some of the old trading posts that sold them, along with discussions of family styles among weavers today.
We find our way forward by going back. The invented history of the Western world is crumbling fast, Anishinaabe writer Patty Krawec says, but we can still honor the bonds between us. Settlers dominated and divided, but Indigenous peoples won't just send them all "home." Weaving her own story with the story of her ancestors and with the broader themes of creation, replacement, and disappearance, Krawec helps readers see settler colonialism through the eyes of an Indigenous writer. Settler colonialism tried to force us into one particular way of living, but the old ways of kinship can help us imagine a different future. Krawec asks, What would it look like to remember that we are all related? How might we become better relatives to the land, to one another, and to Indigenous movements for solidarity? Braiding together historical, scientific, and cultural analysis, Indigenous ways of knowing, and the vivid threads of communal memory, Krawec crafts a stunning, forceful call to "unforget" our history. This remarkable sojourn through Native and settler history, myth, identity, and spirituality helps us retrace our steps and pick up what was lost along the way: chances to honor rather than violate treaties, to see the land as a relative rather than a resource, and to unravel the history we have been taught.
Lyon and Anderson deliver this beautifully rendered picture book that shows the process of how a tapestry comes to life--from the wool sheared from prize-winning sheep to being dyed to put on the loom. Full color.
This survey of textile fundamentals and methods, written by the foremost textile artist of the 20th century, covers hand weaving and the loom, fundamental construction and draft notation, modified and composite weaves, early techniques of thread interlacing, interrelation of fiber and construction, tactile sensibility, and design. 9 color illustrations. 112 black-and-white plates.
In White Bread, readers accompany Jessica on a journey into her family's past, into herself, and into the bicultural community she teaches but does not understand. Jessica, a fictional White fifth-grade teacher, is prompted to explore her family history by the unexpected discovery of a hundred-year-old letter. Simultaneously, she begins to grapple with culture and racism, principally through discussions with a Mexican American teacher. White Bread pulls readers into a tumultuous six months of Jessica's life as she confronts many issues that turn out to be interrelated, such as why she knows so little about her family's past, why she craves community as she feels increasingly isolated, why the Latino teachers want the curriculum to be more Latino, and whether she can become the kind of teacher who sparks student learning. The storyline alternates between past and present, acquainting readers with German American communities in the Midwest during the late 1800s and early 1900s, portraits based on detailed historic excavation. What happened to these communities gives Jessica the key to unlock answers to questions that plague her. White Bread can be read simply for pleasure. It can also be used in teacher education, ethnic studies, and sociology courses. Beginning teachers may see their own struggles reflected in Jessica's classroom. People of European descent might see themselves within, rather than outside, multicultural studies. White Bread can also be used in conjunction with family history research.