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Kuna mola blouses: An example of the...

Jennings-Rentenaar, Teena.

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Kuna mola blouses: An example of the perpetuation of an art-craft form in a small scale society (Panama).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Kuna mola blouses: An example of the perpetuation of an art-craft form in a small scale society (Panama)./
作者:	Jennings-Rentenaar, Teena.
面頁冊數:	290 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 1999.
Contained By:	Dissertation Abstracts International66-06A.
標題:	Design and Decorative Arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3179689
ISBN:	0542197294

Kuna mola blouses: An example of the perpetuation of an art-craft form in a small scale society (Panama).
Jennings-Rentenaar, Teena.

Kuna mola blouses: An example of the perpetuation of an art-craft form in a small scale society (Panama). - 290 p.

Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 1999.

Thesis (Ph.D.)--The Ohio State University, 2005.

This research used a collection of Kuna mola blouses that are housed at Denison University in Granville, Ohio; to gain an understanding of what it is within a community that maintains an art and craft form. The Kuna are an indigenous people that live in the San Blas region of Panama. The women sew and wear a mola blouse that includes decorative panels sewn in a technique referred to as "reverse applique." Through documentation and analysis of the design, subject matter, color selection and method of manufacture, these blouses were categorized. The relative importance of the various categories was explored. Although mola-making came about through European contact, the blouses reflect a Kuna aesthetic and the art and craft practices already established within the community.

ISBN: 0542197294Subjects--Topical Terms:

1024640
Design and Decorative Arts.

Kuna mola blouses: An example of the perpetuation of an art-craft form in a small scale society (Panama).
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500 $a Source: Dissertation Abstracts International, Volume: 66-06, Section: A, page: 1999.
500 $a Adviser: Patricia Cunningham.
502 $a Thesis (Ph.D.)--The Ohio State University, 2005.
520 $a This research used a collection of Kuna mola blouses that are housed at Denison University in Granville, Ohio; to gain an understanding of what it is within a community that maintains an art and craft form. The Kuna are an indigenous people that live in the San Blas region of Panama. The women sew and wear a mola blouse that includes decorative panels sewn in a technique referred to as "reverse applique." Through documentation and analysis of the design, subject matter, color selection and method of manufacture, these blouses were categorized. The relative importance of the various categories was explored. Although mola-making came about through European contact, the blouses reflect a Kuna aesthetic and the art and craft practices already established within the community.
520 $a Generally speaking, regardless of how strong the cultural imperative may be, if the artists/crafters are not happy with the results, the art/craft form will not be maintained. Through the documentation and analysis of this collection, it was uncovered that there are different categories of mola blouses that reward the Kuna women for having different skills and abilities. By developing these, they receive the recognition that they require to propel them into more mola blouse making. Also, there was no category that was more prestigious than another; again assuring that everyone is rewarded. There were, however, good panels and even better panels within each category, giving everyone the incentive to continue to strive for better results. It was shown that the different categories are based on different art/craft traditions previously established within the community.
520 $a The different categories of mola blouses also support the presence of an art/craft interplay. Art stresses innovation, whereas craft stresses virtuosity of technical skill. This study demonstrated the possibility of an art/craft interplay existing, which implies that the community implicitly rewards the stitcher according to the needs of the community in keeping the art/craft vital. Evidence for this interplay was suggested by the presence of different categories that permit different types of emphasis. Research stretching over a longer time period is required to establish how and when the switches in emphasis occur.
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