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In a tapestry photo blanket the thinner of the two yarns; i.e., the warp, actually consists of 6-8 different color strands of yarn which are combined in various ways, based on a photo, to re-create the colors as accurately as possible (even black and white). A knitted photo blanket is made by a machine that uses a similar scanning and pattern ...
The thick handspun yarns and synthetic dyes are typical of pieces made during the transition from blanket weaving to rug weaving, when more weavings were sold to outsiders. Commerce expanded after the Santa Fe Trail opened in 1822, and greater numbers of examples survive. Until 1880, all such textiles were blankets as opposed to rugs.
Chilkat blanket attributed to Mary Ebbetts Hunt (Anisalaga), 1823-1919, Fort Rupert, British Columbia.Height: 117 cm. (46 in.) [1] Chilkat weaving is a traditional form of weaving practiced by Tlingit, Haida, Tsimshian, and other Northwest Coast peoples of Alaska and British Columbia.
The Balinese Sacred Dance Sanghyang Dedari involves girls being possessed by hyang, Bali, Indonesia. The theologian W. O. E. Oesterley proposed in 1923 that sacred dance had several purposes, the most important being to honour supernatural powers; the other purposes were to "show off" before the powers; to unite the dancer with a supernatural power, as in the dances for the Greek goddesses ...
Dances and dancing of this kind is seen as opportunity to develop participants' spiritual awareness, hand-eye-body coordination, and competency in harmonizing with others through dance. Many dances are choreographed with movements, steps, and gestures encouraging dancers to explore for deeper mystical meanings of the dance.
The cakewalk was influenced by the ring shout, which survived from the 18th into the 20th century. [5] This dance style was often part of African American slaves' religious ceremonies and involved shuffling the feet counterclockwise in a circle (ring) formation and reciting spirituals in a call-and-response format with others outside of the ring.
Ethnic diversity is also a key factor in influencing the dances of the Zimbabwean culture. These dances are self-reflective, for the entire community because all music and dance are communal events. Dance to Zimbabweans is a very spiritual, powerful tool that carries on traditions, and chronicles the important events of their history and culture.
This raises the blanket to about waist height. With or without the beams, men and women, naluaqtit ('pullers'. [12] "the springs of a centuries-old trampoline." [13]), circle the blanket and hold rope woven around the edges, and rhythmically pull out on the blanket to throw the blanket dancer, nalukataqtuaq, [8] in the air. [14] "