My fellow classmate and friend is Muslim and the top picture depicts their last prayer of the day called "Isha" (there are 5 during the day: Fajr, Dhur, Asr, Maghreb, and Isha). The bottom 2 pictures displays her friend "making Wudu" which is a mandatory washing of the mouth, nostrils, hands, arms, head, and feet for prayer. These 2 rituals are examples of the foundational pillars of Islam's #norms and the hijab that the women wear portrays their #materialculture .
My friend also shared with me that when she is out and about, she sometimes gets glares from other people of different religions. I thought this was a sad depiction of how non-Muslims in America are the #ingroup which antagonizes the #outgroup Muslims, and the Muslims are marked with the disgraceful #stigma because our media promotes the ludicrous idea that they are all terrorists. @soc_spot #UNHMintrosoc
i haven't worn MAC Russian Red in a month. 💄 i think i'm suffering from an unrecoverable identity crisis. and hygiene anxiety. i shower three times a day, always starting with the buffing and then a shine. sloths are sometimes green because of algae growth. that me. slowness is identical to complacency for me, even though i should be wiser, differentiate.
The 2017 Textile Society conference will explore traditional and contemporary approaches to textile craft, asking the question: what is critical for textile craft in the 21st century? Are we losing or building traditional textile craft skills? How are we interacting with cultures of making in other countries?
Dr Eiluned Edwards, Reader in Global Cultures of Textiles and Dress, Nottingham Trent University and speaker at this year’s conference is an author and researcher in design history and material culture, focusing on craft development and cultural heritage. She is currently collaborating on the development of the South Asian Galleries at the Whitworth Art Gallery in Manchester and the UK-India Year of Culture Project; and the development of the Islamic Art Galleries at the British Museum. She is also collaborating on the development of the Chintz exhibition at the Royal Ontario Museum, Toronto, for 2020. Eiluned has worked with the Craft Revival Trust, New Delhi, and Printers Associations across India.
Eiluned's most recent publications include 'Aneeth Arora: Crafting Fashion' in Selvedge magazine, 'Sustaining Cultural Heritage? The case of contemporary Indian block prints' in the journal of Asian Textiles, and 'Printing and Dyeing in India' in the Encyclopaedia of the History of Science, technology and Medicine in Non-Western Cultures.
Book your ticket now to hear Eiluned talk about her work on traditional craft skills and links with cultures in other countries. Ticket link in bio.
Images taken by Eiluned Edwards at Dhamadka village, Kachchh, Gujarat in December 2016
Coffin handles from the #ArchStreetProject cemetery range from elaborate to simple, with some well preserved and others deteriorated. Archaeologists like Adriana (pictured) carefully clean coffin hardware so that they can be documented and studied. One of these handles was the model for our project logo.
We don't yet know the exact metal used for the handles, nor why they varied in style so much, who designed them, and where they were manufactured. These are the questions our researchers will attempt to answer in the near future. (Swipe to view all photos). #archaeology#historicalarchaeology#materialculture
Photos by George Leader et al.
October 4, 2017: Dancing, for @zunestress This probably needs some explanation. I danced my whole childhood, and it's still one of my favorite things to do. As cliche as it is, dancing makes me feel completely and totally happy. It makes me feel sexy and empowered and in charge of my body. I love choreographed dance as much as I love improvising. When I got sober, the first time I knew I really was truly in recovery was the first time I went dancing sober and had as much of not more fun than I had ever had drinking and dancing. It's the number one way I relate to my body. So, red for passion and love, a somewhat childish pattern to evoke my childhood and both abstract and rigid lines and forms to represent the various modes with which a dancers body encounters space and movement. Directions/FAQ: I use a random number generator and count out the comments until I get to that day's number. Comment below with suggestions for tomorrow's stitch (an object, a feeling or sensation, a specific embroidery stitch), and I'll pick one at random to add! #materialculture#textilearts#fibertarts#queerartist#femmeartist#feministart#tompetty#embroidery#embroideryinstaguild#1yearofstitches2017#womenartists