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"Beadwork History."
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Beadwork : a world guide
A cultural and historical tribute to the art of beadwork evaluates a broad range of creative applications from French mourning wreaths and Ukrainian Easter eggs to Chinese slippers and Sioux moccasins, exploring beadwork in four regional areas while surveying various beading techniques.
Book
Bead Talk
Sewing new understandings
Indigenous beadwork has taken the art world by storm, but it is still sometimes misunderstood as static, anthropological artifact. Today's prairie artists defy this categorization, demonstrating how beads tell stories and reclaim cultural identity. Whether artists seek out and share techniques through YouTube videos or in-person gatherings, beading fosters traditional methods of teaching and learning and enables intergenerational transmissions of pattern and skill.
In Bead Talk, editors Carmen Robertson, Judy Anderson, and Katherine Boyer gather conversations, interviews, essays, and full-colour reproductions of beadwork from expert and emerging artists, academics, and curators to illustrate the importance of beading in contemporary Indigenous arts. Taken together, the book poses and responds to philosophical questions about beading on the prairies: How do the practices and processes of beading embody reciprocity, respect, and storytelling? How is beading related to Indigenous ways of knowing? How does beading help individuals reconnect with the land? Why do we bead?
Showcasing beaded tumplines, text, masks, regalia, and more, Bead Talk emphasizes that there is no one way to engage with this art. The contributors to this collection invite us all into the beading circle as they reshape how beads are understood and stitch together generations of artists.
eBook
Community Collaborations and Social Biographies of Museum Collections from Colonial Contexts
In this article, we look at collections of Zulu beadwork at Manchester Museum and Ditsong National Museum of Cultural History tracing their provenances and social biographies. We present these two institutions as colonial museums founded on similar ideals of presenting objects as cultures of the “other” in absence of object and community agency. In rethinking colonial contexts associated with processes of collecting beadwork, we look at how these museums can be decolonized by collaborating with communities. Decolonization is deployed here as both a theory and a method toward the integration of Indigenous ways of knowing and doing in museum practices. Methodologically, the article highlights decolonial strategies in the form of open, democratic, inclusive, and multivocal engagement that we embraced undertaking the research.
Journal Article
Governance Begins at the Kitchen Table: Anishinaabe Resurgence through Beading
When my grandmother and I picked up our beading needles and strung our first beads together, beading became \"a part of our lives\" as we began absorbing cultural knowledge and values, accessing spiritual connections and cementing relationships within the community, our ancestors, and with the natural world (Edge; Ray, 2016; Prete; Gustafson). With each bead that we strung, we became one stitch closer to cultural sovereignty and restructuring our relations within our family, nation, and with the land (Kuokkanen). In the next section, beading to evoke cultural sovereignty and Anishinaabe diplomacy and governance is demonstrated through a conversation between my grandmother and I about events impacting ourselves, the community, and the land at her kitchen table, where we would always bead together. Aside: \"Aboriginal Capitalism\" is an identified practice within some Indigenous communities that refers to economic development (often export-oriented development that extracts natural resources) that is preoccupied with the accumulation of wealth, characterized by corporate alliances, Indigenous elites who benefit disproportionately from profits, and a neglect of social issues such as violence and housing (Kuokkanen 276).
Journal Article
Beads and Ceremony: The Collision of Pan-American, European, African, and Asian Bead Networks in the Sixteenth-Century Spanish Empire
A powerful bead network that wove together a transcontinental tapestry of cultures predated the Spanish invasion of the Americas. Beads created in the northeastern Atlantic world found themselves in Aztec and Incan territories, as did beads made from rocks found in the Pacific Northwest, all of which had been borne along trade networks that have existed for ages. Sixteenth-century illustrations found in the Mexican codices demonstrate the traditional manufacture of beads, which were used for a range of quotidian and ceremonial purposes. Since medieval times, Spaniards employed beads, called rescate, as currency for inequitable trade, whether for slaves or precious metals. The Spanish invasion introduced beads manufactured in other parts of the world to the Americas to form part of the ceremonial and spiritually endowed objects and ceremonies, and vice versa, American beads made their way into Spanish clothing and religious objects such as the rosary. A significant infusion of new beads from Spain rushed into the American bead network in the sixteenth century, some of which had international origins from places such as Venice, India, and West Africa. As material objects, beads negotiated intercultural relationships in powerful ways throughout the Spanish empire: beads were involved in treaties, territorial agreements, prayer, spiritual relations, wayfinding, and most importantly, ceremony. This article maps out the collision of bead networks within the sixteenth-century Spanish empire so as to flesh out the similar and innovative uses of beads, whether among Native American, Afro-descendant, or European communities, and their connection to spiritual and ceremonial practices.
Journal Article
A Probe into the Mutual Enhancement between Tertiary Education of Art and Intangible Cultural Heritage in China: A Case Study of Xiamen Bead Embroidery Course by Xiamen Academy of Arts and Design, Fuzhou University
Higher education has recently become an essential path to inheriting ICH in China. This research shows consideration about the protection of ICH. Using the ICH inheriting Xiamen d embroidery class undertaken at the Xiamen Academy of Arts and Design, Fuzhou University, as the evidence and example, this study may present the latest status of China’s ICH protection from the perspective of higher art education. This research contains two parts, one consisting of a general outline of ICH protection and status, in China and globally. Another part discusses the details of a class teaching the ICH art form of Xiamen bead embroidery. In this part, a questionnaire survey on social awareness, higher education, and basic understanding of ICH was conducted. Meanwhile, a scientific model was developed, and, with it, public sense was examined precisely by data correlation analysis according to the questionnaire’s distribution. The R language was used as the technical method for all statistical collation and summary. This research attempts to prove the correctness of the ICH inheriting class, which could be used as a model of an advanced and sustainable educational system featuring the scientific integration of ICH inheritance and higher education in the near future.
Journal Article
Not Just for Show
Beads, beadwork, and personal ornaments are made of diverse materials such as shell, bone, stones, minerals, and composite materials. Their exploration from geographical and chronological settings around the world offers a glimpse at some of the cutting edge research within the fast growing field of personal ornaments in humanities’ past. Recent studies are based on a variety of analytical procedures that highlight humankind’s technological advances, exchange networks, mortuary practices, and symbol-laden beliefs. Papers discuss the social narratives behind bead and beadwork manufacture, use and disposal; the way beads work visually, audibly and even tactilely to cue wearers and audience to their social message(s). Understanding the entangled social and technical aspects of beads require a broad spectrum of technical and methodological approaches including the identification of the sources for the raw material of beads. These scientific approaches are also combined in some instances with experimentation to clarify the manner in which beads were produced and used in past societies.
eBook
Land and Beaded Identity: Shaping Art Histories of Indigenous Women of the Flatland
Le territoire constitue une force déterminante dans la création artistique. Les prairies austères, notamment, exigent des artistes actuels comme de ceux qui les ont précédés une adaptation constante, déterminée par l'accès aux ressources et la nécessité de mobilité. Cet article s'intéresse à l'impact du territoire sur la pratique du perlage telle qu'exercée par les femmes autochtones. Il met en relation des exemples de perlage traditionnel conservés dans les collections muséales de la Saskatchewan avec les œuvres de trois artistes contemporaines autochtones des plaines, soit Ruth Cuthand, Judy Anderson et Katherine Boyer. La comparaison vise à mieux comprendre le processus intergénérationnel de transmission des pratiques ancestrales et ainsi révéler comment s'exprime le territoire dans les objets et œuvres ornés de perles, qui contribuent à façonner le récit des plaines.
Journal Article