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The author presents a collection of 150 contemporary African American quilts and the stories behind both the quilts and the quilters.
Jazz, like quilting, is a woven art form. Both genres produce textural harvests spun from the life fibers of masters of the imagination who create for our contemplation. Quiltmaking, as in jazz, evokes a host of complex rhythms and moods. Some quilt artists listen to jazz music while working on their quilts because the one form of artistic inspiration ignites in the other. When the two forms connect, the creative energy explodes exponentially. Textural Rhythms: Quilting the Jazz Tradition releases both the individual particles and the synergistic power of this explosion. The 83 quilts pictured include traditional, improvisational, and art quilts from some of the countries best known African American quilters. Textural Rhythms: Quilting the Jazz Tradition unite the two most well known, and popular artistic forms in African American culture jazz and quilts. These quilt artists have harnessed in cloth the spirit of jazz, and let us feel, hear, and see jazz music.
One million African Americans spend approximately $118 million annually on quilting. Some believe that recent studies of oral histories telling of the role quilting played in the Underground Railroad have inspired African Americans to take up their fabric and needles, but whatever the reason, quilters like Faith Ringgold, Clementine Hunter, Winnie McQueen, and many others are keeping the African American traditions of quilting alive. This is the first comprehensive guide to African American quilt history and contemporary practices. It offers more than 1,700 bibliographic references, many of them annotated, covering exhibit catalogs, books, newspapers, magazines, dissertations, films, novels, poetry, speeches, works of art, advertisements, patterns, greeting cards, auction results, ephemeral items, and online resources on African American quilting. The book also includes primary research done by the author on the Internet usage of African American quilters, a listing of over 100 museums with African American-made quilts in their permanent collections, a directory of African American quilting groups in 29 states, and a detailed timeline that covers 200 years of African American quilting and needle arts events.
Cloth and Human Experience explores a wide variety of cultures and eras, discussing production and trade, economics, and symbolic and spiritual associations.
The best-selling textbook in its field, The Last Dance offers an interdisciplinary approach to the study of death and dying. Integrating the experiential, scholarly, social, individual, emotional, and intellectual dimensions of death and dying, this acclaimed text provides solid grounding in theory and research, as well as practical application to students' lives. The ninth edition has been updated to offer cutting-edge and comprehensive coverage of death studies.
Containing many designs, this book offers quilters useful ideas and techniques. It features colourful photographs of design motifs in totem poles, carnival masks, murals, and more. It also includes sixteen illustrated patterns that invite quilters to create their own Africa-inspired quilts.
"Cloth only wears, it does not die," the paradoxical phrase from a Bunu Yoruba prayer, emphasizes the power of cloth as a symbol of continuing social relations and identities in the face of uncertainty and death. The Bunu Yoruba people of central Nigeria mark every critical juncture in an individual’s life, from birthing ceremonies to funeral celebrations, with handwoven cloth. Anthropologist Elisha Renne explains how and why this is so and discusses why handwoven cloth is still valued although it is rarely woven in Bunu villages today. Special marriage cloths mark changes in the status of Bunu brides, as well as in the social connections of kin during traditional marriage rituals. In funerals, handwoven cloth is used to rank chiefs; in masquerade performances, it indicates the presence of ancestral spirits. As tailored and untailored dress, it expresses gender and educational differences. Further, it is worn to distinguish ritual events that have a unique Bunu identity from everyday affairs where commercial, industrially woven cloth prevails. Renne examines the use and production of cloth in Bunu society from approximately 1900 to the present. Some traditions associated with cloth have given way to changes brought about by long contact with Christian missionaries and by British colonial policies that altered methods of cotton and cloth production. Today weaving is no longer done as a matter of course by all village women, but rather has become the specialty of only a few. Why does handwoven cloth still play such a vital role in Bunu social life when, in fact, Bunu women have largely given up weaving? To explain cloth’s continued cultural importance, Renne takes the story beyond the descriptive and historic to examine the meaning of different kinds of cloth for various members of Bunu village communities -- from wives and diviners to chiefs and hunters. The details of Bunu village life in Cloth That Does Not Die complement the many uses of cloth that Renne interprets. Anthropologists, social historians, and historians of African art will find the book of great value as an example of how material culture can integrate the study of various aspects of social life. The book will interest textile artists with its close attention to the visual properties of cloth itself.
Winner of the Ellii Kongas-Maranda Prize from the Women's Section of the American Folklore Society, 2003. Ritual Medical Lore of Sephardic Women preserves the precious remnants of a rich culture on the verge of extinction while affirming women's pivotal role in the health of their communities. Centered around extensive interviews with elders of the Sephardic communities of the former Ottoman Empire, this volume illuminates a fascinating complex of preventive and curative rituals conducted by women at home--rituals that ensured the physical and spiritual well-being of the community and functioned as a vital counterpart to the public rites conducted by men in the synagogues. Isaac Jack Lévy and Rosemary Lévy Zumwalt take us into the homes and families of Sephardim in Turkey, Israel, Greece, the former Yugoslavia, and the United States to unravel the ancient practices of domestic healing: the network of blessings and curses tailored to every occasion of daily life; the beliefs and customs surrounding mal ojo (evil eye), espanto (fright), and echizo (witchcraft); and cures involving everything from herbs, oil, and sugar to the powerful mumia (mummy) made from dried bones of corpses. For the Sephardim, curing an illness required discovering its spiritual cause, which might be unintentional thought or speech, accident, or magical incantation. The healing rituals of domesticated medicine provided a way of making sense of illness and a way of shaping behavior to fit the narrow constraints of a tightly structured community. Tapping a rich and irreplaceable vein of oral testimony, Ritual Medical Lore of Sephardic Women offers fascinating insight into a culture where profound spirituality permeated every aspect of daily life.
Contemporary quilt artists trace the path of Black history in the United States with 97 original works exploring important events, places, people, and ideas over 400 years. Arranged in chronological order, quilt themes include the first enslaved people brought to the US by Dutch traders in 1619, the brave souls marching for civil rights, the ascendant influence of African American culture on the American cultural landscape, and the election of the first African American president. Other quilts commemorate and celebrate cultural milestones and memories, such as the first African American teacher, the Buffalo Soldiers, the first black man to play Othello on Broadway, Muhammed Ali, and Maya Angelou's I Know Why the Caged Bird Sings. The 69 artists who contributed works for this curated collection provide narrative explaining the important stories and histories behind the quilts.
This book was written in response to a promise made ten years ago, a commitment given to a group of spirits who caused accidents to get our attention. They agreed to stop their activity and go into the light if we would publish their story. This spiritual mystery shares their compelling heart-wrenching stories woven through the journey of creating the book itself. This fascinating story was communicated by the Spirits of Amoskeag, the Wounded Heroes of the Manchester Mills. We would like to hear your stories and personal insights that may shed light on the mysteries of the Spirits of Amoskeag.