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Costume</title> <meta name="description" content="Search results for: Costume"> <meta name="keywords" content="Costume"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none navbar-toggler ml-auto" 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class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="Costume"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 25</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: Costume</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">25</span> Formal Thai National Costume in the Reign of King Bhumibol Adulyadej</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Chanoknart%20Mayusoh">Chanoknart Mayusoh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research about Formal Thai National Costume in the reign of King Bhumibol Adulyadej is an applied research that aimed to study the accurate knowledge concerning to Thai national costume in the reign of King Rama IX, also to study origin of all costumes in the reign of King Rama IX and to study the style, material used, and using accasion. This research methodology which are collect quanlitative data through observation, document, and photograph from key informant of costume in the reign of King Rama IX and from another who related to this field. The formal Thai national costume of the reign of King Bhumibol Adulyadej originated from the visit of His Majesty the King to Europe and America in 1960. Since Thailand had no traditional national costume; Her Majesty the Queen initiated the idea to create formal Thai national costumes. In 1964, Her Majesty the Queen selected 8 styles of formal Thai national costume. Later, Her Majesty the Queen confered another 3 formal Thai national costume for men. There are 8 styles of formal Thai national costume for women: Thai Ruean Ton, Thai Chit Lada, Thai Amarin, Thai Borom Phiman, Thai Siwalia, Thai Chakkri, Thai Dusit, and Thai Chakkraphat. There are 3 styles of formal Thai national costume for men: short-sleeve shirt, long-sleeve shirt, and long-sleeve shirt with breechcloth. The costume is widely used in formal ceremony such as greeting ceremony for official foreign visitors, wedding ceremony, or other auspicious ceremonies. Now a day, they are always used as a bridal gown as well. The formal Thai national costume is valuable art that shows Thai identity and, should be preserved for the next generation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=formal%20Thai%20national%20costume%20for%20women" title="formal Thai national costume for women">formal Thai national costume for women</a>, <a href="https://publications.waset.org/abstracts/search?q=formal%20Thai%20national%20costume%20for%20men" title=" formal Thai national costume for men"> formal Thai national costume for men</a>, <a href="https://publications.waset.org/abstracts/search?q=His%20Majesty%20King%20Bhumibol%20Adulyadej%20the%20Great%20King%20Rama%20IX" title=" His Majesty King Bhumibol Adulyadej the Great King Rama IX"> His Majesty King Bhumibol Adulyadej the Great King Rama IX</a>, <a href="https://publications.waset.org/abstracts/search?q=Her%20Majesty%20Queen%20Sirikit%20Queen" title=" Her Majesty Queen Sirikit Queen"> Her Majesty Queen Sirikit Queen</a> </p> <a href="https://publications.waset.org/abstracts/10856/formal-thai-national-costume-in-the-reign-of-king-bhumibol-adulyadej" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/10856.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">257</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">24</span> Utilising Reuse and Recycling Strategies for Costume Design in Kuwait Theatre </h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ali%20Dashti">Ali Dashti</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recycling materials within the realms of theatrical costume design and production is important. When a Kuwaiti play finishes its run, costumes are thrown away and new ones are designed when necessary. This practice indicates a lack of awareness of recycling strategies. This is a serious matter; tons of textile materials are being wasted rather than recycled. The current process of producing costumes for Kuwait theatre productions involves the conception and sketching of costumes, the purchase of new fabrics, and the employment of tailors for production. Since tailoring is outsourced, there is a shortage of designers who can make costumes autonomously. The current process does not incorporate any methods for recycling costumes. This combined with high levels of textile waste, results in significant ecological issues that demand immediate attention. However, data collected for this research paper, from a series of semi-structured interviews, have indicated that a lack of recycling facilities and increased textile waste do not present an area of concern within the Kuwaiti theatrical costume industry. This paper will review the findings of this research project and investigate the production processes used by costume designers in Kuwait. It will indicate how their behaviors, coupled with their lack of knowledge with using recycling strategies to create costumes, had increased textile waste and negatively affected Kuwait theatre costume design industry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=recycle" title=" recycle"> recycle</a>, <a href="https://publications.waset.org/abstracts/search?q=reuse" title=" reuse"> reuse</a>, <a href="https://publications.waset.org/abstracts/search?q=theatre" title=" theatre"> theatre</a> </p> <a href="https://publications.waset.org/abstracts/71327/utilising-reuse-and-recycling-strategies-for-costume-design-in-kuwait-theatre" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/71327.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">166</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">23</span> The Use of Alternative Material to Fabric in Stage Costume</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Melahat%20%C3%87evik">Melahat Çevik</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The discovery of fabric has a quite old historical perspective because of veiling, heating and shelter needs of human. Since the days which fashion has a say, this situation has pasted beyond needs and has become status symbols. For the theater art drama which tell people by people, in the concern of reflecting daily life there will be such regards also we may see alternative products to artistically reshaped fabric. The stage is determined in the consensus of costume designer and director. Costume Designer does the research, taking into account the alternative products. Approaching nature as inventor, discovering products, shapes the work because in this work, cost is considerable. All types of fabric will be used but also new materials which are not presented to clothing industry yet are of great importance. In the discovery of new materials there priorities of the costume designer. In the scene everything should be determined in the axis of actor. The material discussed should have positive qualities which allow the performer to move and invigorate him or her in terms of physical and also should be positive in terms of health. This point must be approached in a more precise in high action plays and the obtained material should be tested before the presentation process. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=fabric" title="fabric">fabric</a>, <a href="https://publications.waset.org/abstracts/search?q=stage%20design" title=" stage design"> stage design</a>, <a href="https://publications.waset.org/abstracts/search?q=alternative%20materials" title=" alternative materials"> alternative materials</a>, <a href="https://publications.waset.org/abstracts/search?q=clothing%20industry" title=" clothing industry"> clothing industry</a> </p> <a href="https://publications.waset.org/abstracts/28421/the-use-of-alternative-material-to-fabric-in-stage-costume" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/28421.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">576</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">22</span> Cultural Semiotics of the Traditional Costume from Banat’s Plain from 1870 to 1950 from Lotman’s Perspective</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Glavan%20Claudiu">Glavan Claudiu</a> </p> <p class="card-text"><strong>Abstract:</strong></p> My paper focuses on the cultural semiotic interpretation of the Romanian costume from Banat region, from the perspective of Lotman’s semiotic theory of culture. Using Lotman’s system we will analyse the level of language, text and semiosphere within the unity of Banat’s traditional costume. In order to establish a common language and to communicate, the forms and chromatic compositions were expressed through symbols, which carried semantic meanings with an obvious significant semantic load. The symbols, used in this region, receive a strong specific ethnical mark in its representation, in its compositional and chromatic complexity, in accordance with the values and conceptions of life for the people living here. Thus the signs become a unifying force of this ethnic community. Associated with the signs, were the fabrics used in manufacturing the costumes and the careful selections of colours. For example, softer fabrics like silk associated with red vivid colours were used for young woman sending the message they ready to be married. The unity of these elements created the important message that you were sending to your community. The unity of the symbol, fabrics and choice of colours used on the costume carried out an important message like: marital status, social position, or even the village you belonged to. Using Lotman’s perspective on cultural semiotics we will read and analyse the symbolism of the traditional Romanian art from Banat. We will discover meaning in the codified existence of ancient solar symbols, symbols regarding fertility, religious symbols and very few heraldic symbols. Visual communication makes obvious the importance of semiotic value that the traditional costume is carrying from our ancestors. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=traditional%20costume" title="traditional costume">traditional costume</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=Lotman%E2%80%99s%20theory%20of%20culture" title=" Lotman’s theory of culture"> Lotman’s theory of culture</a>, <a href="https://publications.waset.org/abstracts/search?q=traditional%20culture" title=" traditional culture"> traditional culture</a>, <a href="https://publications.waset.org/abstracts/search?q=signs%20and%20symbols" title=" signs and symbols"> signs and symbols</a> </p> <a href="https://publications.waset.org/abstracts/123159/cultural-semiotics-of-the-traditional-costume-from-banats-plain-from-1870-to-1950-from-lotmans-perspective" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/123159.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">145</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">21</span> Costume Design Influenced by Seventeenth Century Color Palettes on a Contemporary Stage</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Michele%20L.%20Dormaier">Michele L. Dormaier</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The purpose of the research was to design costumes based on historic colors used by artists during the seventeenth century. The researcher investigated European art, primarily paintings and portraiture, as well as the color palettes used by the artists. The methodology examined the artists, their work, the color palettes used in their work, and the practices of color usage within their palettes. By examining portraits of historic figures, as well as paintings of ordinary scenes, subjects, and people, further information about color palettes was revealed. Related to the color palettes, was the use of ‘broken colors’ which was a relatively new practice, dating from the sixteenth century. The color palettes used by the artists of the seventeenth century had their limitations due to available pigments. With an examination of not only their artwork, and with a closer look at their palettes, the researcher discovered the exciting choices they made, despite those restrictions. The research was also initiated with the historical elements of the era’s clothing, as well as that of available materials and dyes. These dyes were also limited in much the same manner as the pigments which the artist had at their disposal. The color palettes of the paintings have much to tell us about the lives, status, conditions, and relationships from the past. From this research, informed decisions regarding color choices for a production on a contemporary stage of a period piece could then be made. The designer’s choices were a historic gesture to the colors which might have been worn by the character’s real-life counterparts of the era. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=broken%20color%20palette" title="broken color palette">broken color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20color%20research" title=" costume color research"> costume color research</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title=" costume design"> costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20history" title=" costume history"> costume history</a>, <a href="https://publications.waset.org/abstracts/search?q=seventeenth%20century%20color%20palette" title=" seventeenth century color palette"> seventeenth century color palette</a>, <a href="https://publications.waset.org/abstracts/search?q=sixteenth%20century%20color%20palette" title=" sixteenth century color palette"> sixteenth century color palette</a> </p> <a href="https://publications.waset.org/abstracts/87451/costume-design-influenced-by-seventeenth-century-color-palettes-on-a-contemporary-stage" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/87451.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">176</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">20</span> Properties of Bacterial Nanocellulose for Scenic Arts</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Beatriz%20Su%C3%A1rez%20L%C3%B3pez">Beatriz Suárez López</a>, <a href="https://publications.waset.org/abstracts/search?q=Gabriela%20Forman"> Gabriela Forman</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Kombucha (a symbiotic culture of bacteria and yeast) produces material capable of acquiring multiple shapes and textures that change significantly under different environment or temperature variations (e.g., when it is exposed to wet conditions), properties that may be explored in the scenic industry. This paper presents an analysis of its specific characteristics, exploring them as a non-conventional material for arts and performance. Costume Design uses surfaces as a powerful way of expression to represent concepts and stories; it may apply the unique features of nano bacterial cellulose (NBC) as assets in this artistic context. A mix of qualitative and quantitative (interventionist) methodology approaches were used -review of relevant literature to deepen knowledge on the research topic (crossing bibliography from different fields of studies: Biology, Art, Costume Design, etc.); as well as descriptive methods: laboratorial experiments, document quantities, observation to identify material properties and possibilities used to express a multiple narrative ideas, concepts and feelings. The results confirmed that NBC is an interactive and versatile material viable to be used in an alternative scenic context; its unique aesthetic and performative qualities, which change in contact to moisture, is a resource that can be used to show a visual and poetic impact on stage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biotechnological%20materials" title="biotechnological materials">biotechnological materials</a>, <a href="https://publications.waset.org/abstracts/search?q=contemporary%20dance" title=" contemporary dance"> contemporary dance</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title=" costume design"> costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=nano%20bacterial%20cellulose" title=" nano bacterial cellulose"> nano bacterial cellulose</a>, <a href="https://publications.waset.org/abstracts/search?q=performing%20arts" title=" performing arts"> performing arts</a> </p> <a href="https://publications.waset.org/abstracts/144789/properties-of-bacterial-nanocellulose-for-scenic-arts" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/144789.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">101</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">19</span> Costume Portrayal In K. Asif’s Mughal E Azam</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anketa%20Kumar">Anketa Kumar</a>, <a href="https://publications.waset.org/abstracts/search?q=Rajantheran%20Al%20Muniandy"> Rajantheran Al Muniandy</a>, <a href="https://publications.waset.org/abstracts/search?q=Rishabh%20Kumar"> Rishabh Kumar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> For centuries, Indian costumes are admired for their great aesthetics, functional and narrative qualities. The purpose of the current study is to investigate the role of costumes as visual narratives in Hindi Cinema as Filmmaking is simply one of the most recent manifestations of the human desire to tell stories in which costume acts as a tool to be read as an Intertext by the viewers watching the films. The problem that promoted this study arose when clothes become an interesting topic when examined within the social structures in which they are worn. It is this visual image of dress worn by the character that is investigated in this research through Hindi Cinema of the 1960s, which was a reflection of the society in the realistic form. This research intends to integrate the application of Roland Barthes Semiotic theory in analyzing main movie characters in the National Award-Winning Hindi movie Mughal e Azam (1960). The research helps in filling the gap between the singular level of interpretation and another level that offers a solution towards bridging the gap in viewers' manifold interpretation of a particular movie product. This study focuses on how visual appearance communicates for building up of perception and can relate to notions of realism, defining cultural identity and status in the society. The research methodology is subjected analytical technique that employs in this research is qualitative and descriptive in nature with the use of the Freeze frame technique. The portrayal of costumes is explained with Barthes' principles of Semiotics. The freeze-frame technique stops the motion of the film on a single frame and allows the chosen image to be read as a still photograph. The finding during this research into costume portrayal in the movie was that freezing the frame in midst of running the films attracted attention towards intricate costume details, leading to record the nuanced observations of this minutiae during the movie. Given that during the application of interpretation while watching K Asif’s Mughal e Azam focused on certain aspects of costumes of the king. On the same idea, further research can be employed to strengthen the relation between costumes and visual narration. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=character%20portrayal" title="character portrayal">character portrayal</a>, <a href="https://publications.waset.org/abstracts/search?q=costumes" title=" costumes"> costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=Indian%20cinema" title=" Indian cinema"> Indian cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=semiotics" title=" semiotics"> semiotics</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20significance" title=" visual significance"> visual significance</a> </p> <a href="https://publications.waset.org/abstracts/142687/costume-portrayal-in-k-asifs-mughal-e-azam" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142687.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">186</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">18</span> From Ritual to Entertainment: Echoes of Realism and Creativity in Costumes of Masquerades in New Nigerian Festivals</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bernard%20Eze%20Orji">Bernard Eze Orji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The masquerade, which is the most popular indigenous art form in Africa, is obviously identified by its elaborate, weird, and opulent costumes. The costume is the major essential accouterments in the art of the masquerade. From time past, masquerades have performed and enjoyed the freedom associated with its inscrutability and mystification solely because of its costumes. Noninitiates and women watched masquerades from a distance due to the reverence attached to its costumes and performances. In fact, whether in performance or as an item of art, the masquerade costume was seen as an embodiment of a tradition of liveliness, showiness, secrecy, and sacredness. This liveliness and showiness transformed masked characters who are believed to be possessed by spirits of ancestors and animals that inhabited the costumes. However, with the translocation of masquerade in new festivals such as carnival and state-sponsored cultural days, its costumes have been reduced to a mere item of entertainment and aesthetic values. The sacredness and reverence which hitherto elevated masquerade art to the point of wonderment have given way to an aesthetic appreciation of ingenious and individual creativity deployed in these festivals. This is as a result of the realistic and artistic creations that pervade masquerade costumes and masks in these festivals. It is a common sight to see such masquerades of animal and human genera like a lion, elephant, hippopotamus, and antelope; Agbogho Mmuo, Adamma, and Nchiekwa, respectively. This creative flair has emerged to expunge the ritual narratives associated with masquerades in the past. The study utilized performance analysis and aesthetic theory to establish that the creative ingenuity deployed by fine artists and mask designers who combine traditional artifacts to achieve modern masterpieces for the masquerades of the new festivals have reduced the ritual trappings and hype ascribed to masquerades in indigenous societies. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20mask%20designs" title="costume and mask designs">costume and mask designs</a>, <a href="https://publications.waset.org/abstracts/search?q=entertainment" title=" entertainment"> entertainment</a>, <a href="https://publications.waset.org/abstracts/search?q=masquerade" title=" masquerade"> masquerade</a>, <a href="https://publications.waset.org/abstracts/search?q=ritual" title=" ritual"> ritual</a> </p> <a href="https://publications.waset.org/abstracts/113845/from-ritual-to-entertainment-echoes-of-realism-and-creativity-in-costumes-of-masquerades-in-new-nigerian-festivals" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/113845.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">128</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">17</span> Evolution of Pop Art Pattern on Modern Ao Dai</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mai%20Anh%20Pham%20Ho">Mai Anh Pham Ho</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ao Dai is the traditional dress of Vietnamese women that consists of a long tunic with slits on either side and wide trousers. This is the Vietnamese national costume which most common worn by women in daily life. The Vietnamese men may wear Ao Dai on special occasions like New Year Eve or Wedding Ceremony. Ao Dai is one of the few Vietnamese words that appear in English language dictionaries. Nowadays, there are variations in modern Ao Dai that consist of a short tunic on knee and slim trousers with the other materials like kaki or jeans. This paper aims to apply Pop art pattern on modern Ao Dai through the image of Vietnamese women by modifying the creation process of fashion design. It reflects on how modern culture is involved in Ao Dai and how it affects on fashion design. The research method of this paper is done through surveying the various examples of technological applications to fashion design, then the pop art pattern with the image of Vietnamese women is applied on modern Ao Dai. The results of this paper have shown through the collection of modern Ao Dai with three artworks applied the pop art pattern. In conclusion, the role of fashion technology supports and evolves the traditional value in order to establish the Vietnamese national personality as well as distinguish to other cultural values in the world. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=pop%20art%20pattern" title="pop art pattern">pop art pattern</a>, <a href="https://publications.waset.org/abstracts/search?q=Vietnamese%20national%20costume" title=" Vietnamese national costume"> Vietnamese national costume</a>, <a href="https://publications.waset.org/abstracts/search?q=modern%20ao%20dai" title=" modern ao dai"> modern ao dai</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20design" title=" fashion design"> fashion design</a> </p> <a href="https://publications.waset.org/abstracts/58634/evolution-of-pop-art-pattern-on-modern-ao-dai" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/58634.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">283</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">16</span> A Comparative Study of Costumes for Religious Festivals in ASEAN Countries</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Jaruphan%20Supprung">Jaruphan Supprung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Aims of this research were to study the major religious festivals of merit making and joyful celebrations (nationwide) in each country of ASEAN countries and to compare the costumes for these major religious festivals among these countries. This documentary research employed qualitative research methodology. The findings of the research disclosed that there are 28 main religious festivals in ASEAN countries: 3 Islamic festivals in Brunei Darussalam such as Hari Raya Aidiladha Festival, Mauludin Nabi Festival and Hari Raya Aidilfitri Festival; 2 Buddhist festivals in Cambodia such as Pchum Ben Festival and Khmer New Year Festival; 3 Islamic festivals in Indonesia such as Eid al-Adha Festival, Maulid Nabi Festival and Eid ul-Fitr Festival; 5 Buddhist festivals in Laos such as Boun Awk Pansa Festival, Boun Pha Vet Festival, Boun Pi Mai Festival, Boun Khao Pradabdin Festival and Boun Khao Salak Festival; 3 Islamic festivals in Malaysia such as Hari Raya Aidil Adha Festival, Maulidur Rasul Festival and Hari Raya Aidilfitri Festival; 4 Buddhist festivals in Myanmar such as Thadingyut Festival, Tazaungmon Full Moon Festival, Htamane Festival, and Thingyan Festival; 2 Christian festivals in Philippines such as Christmas Festival and Feast of the Santo Niño; Only 1 Buddhist festival in Singapore: Festival of Vesak Day; 4 Buddhist festivals in Thailand such as Songkran Festival (Thai New Year), Sart Thai Festival, Khao Pansa Festival and Awk Pansa Festival; and only 1 Buddhist festival in Vietnam: Tet Nguyen Dan Festival. For the comparison of the costumes for these major religious festivals, it can be concluded that the most popular style of male costume for religious festivals in ASEAN countries consists of stand-up collar (100%), long sleeves (100%), shirt (90%), and long pants (100%), and the most popular style of male costume for religious festivals in ASEAN countries consists of round neck (90%), long sleeves (80%), blouse (60%), and maxi tube skirt (80%). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume" title="costume">costume</a>, <a href="https://publications.waset.org/abstracts/search?q=religious%20festival" title=" religious festival"> religious festival</a>, <a href="https://publications.waset.org/abstracts/search?q=ASEAN%20countries" title=" ASEAN countries"> ASEAN countries</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20and%20performing%20arts" title=" visual and performing arts"> visual and performing arts</a> </p> <a href="https://publications.waset.org/abstracts/5496/a-comparative-study-of-costumes-for-religious-festivals-in-asean-countries" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/5496.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">300</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">15</span> From Research to Practice: Upcycling Cinema Icons</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mercedes%20Rodriguez%20Sanchez">Mercedes Rodriguez Sanchez</a>, <a href="https://publications.waset.org/abstracts/search?q=Laura%20Luce%C3%B1o%20Casals"> Laura Luceño Casals</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of social media, creative people and brands everywhere are constantly generating content. The students with Bachelor's Degrees in Fashion Design use platforms such as Instagram or TikTok to look for inspiration and entertainment, as well as a way to develop their own ideas and share them with a wide audience. Information and Communications Technologies (ICT) have become a central aspect of higher education, virtually affecting every aspect of the student experience. Following the current trend, during the first semester of the second year, a collaborative project across two subjects –Design Management and History of Fashion Design– was implemented. After an introductory class focused on the relationship between fashion and cinema, as well as a brief history of 20th-century fashion, the students freely chose a work team and an iconic look from a movie costume. They researched the selected movie and its sociocultural context, analyzed the costume and the work of the designer, and studied the style, fashion magazines and most popular films of the time. Students then redesigned and recreated the costume, for which they were compelled to recycle the materials they had available at home as an unavoidable requirement of the activity. Once completed the garment, students delivered in-class, team-based presentations supported by the final design, a project summary poster and a making-of video, which served as a documentation tool of the costume design process. The methodologies used include Challenge-Based Learning (CBL), debates, Internet research, application of Information and Communications Technologies, and viewing clips of classic films, among others. After finishing the projects, students were asked to complete two electronic surveys to measure the acquisition of transversal and specific competencies of each subject. Results reveal that this activity helped the students' knowledge acquisition, a deeper understanding of both subjects and their skills development. The classroom dynamic changed. The multidisciplinary approach encouraged students to collaborate with their peers, while educators were better able to keep students' interest and promote an engaging learning process. As a result, the activity discussed in this paper confirmed the research hypothesis: it is positive to propose innovative teaching projects that combine academic research with playful learning environments. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cinema" title="cinema">cinema</a>, <a href="https://publications.waset.org/abstracts/search?q=cooperative%20learning" title=" cooperative learning"> cooperative learning</a>, <a href="https://publications.waset.org/abstracts/search?q=fashion%20design" title=" fashion design"> fashion design</a>, <a href="https://publications.waset.org/abstracts/search?q=higher%20education" title=" higher education"> higher education</a>, <a href="https://publications.waset.org/abstracts/search?q=upcycling" title=" upcycling"> upcycling</a> </p> <a href="https://publications.waset.org/abstracts/160029/from-research-to-practice-upcycling-cinema-icons" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/160029.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">14</span> Fashion Utopias: The Role of Fashion Exhibitions and Fashion Archives to Defining (and Stimulating) Possible Future Fashion Landscapes</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Vittorio%20Linfante">Vittorio Linfante</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Utopìa is a term that, since its first appearance in 1516, in Tommaso Moro’s work, has taken on different meanings and forms in various fields: social studies, politics, art, creativity, and design. The utopias, although of short duration and in their apparent impossibility, have been able to give a shape to the future, laying the foundations for our present and the future of the next generations. The Twentieth century was the historical period crossed by many changes, and it saw the most significant number of utopias not only social, political, and scientific but also artistic, architectural, in design, communication, and, last but not least, in fashion. Over the years, fashion has been able to interpret various utopistic impulses giving form to the most futuristic visions. From the Manifesto del Vestito by Giacomo Balla, through the functional experiments that led to the Tuta by Thayath and the Varst by Aleksandr Rodčenko and Varvara Stepanova, through the Space Age visions of Rudi Gernreich, Paco Rabanne and Pierre Cardin, and the Archizoom’s political actions and their fashion project Vestirsi è facile. Experiments that have continued to the present days through the (sometimes) excessive visions of Hussein Chalayan, Alexander McQueen, and Gareth Pugh or those that are more anchored to the market (but no fewer innovative and visionaries) by Prada, Chanel, and Raf Simmons. If, as Bauman states, it is true that we have entered in a phase of Retrotopia characterized by the inability to think about new forms of the future; it is necessary, more than ever, to redefine the role of history, of its narration and its mise en scène, within the contemporary creative process. A process that increasingly requires an in-depth knowledge of the past for the definition of a renewed discourse about design processes. A discourse in which words like archive, exhibition, curating, revival, vintage, and costume take on new meanings. The paper aims to investigate–through case studies, research, and professional projects–the renewed role of curating and preserving fashion artefacts. A renewed role that–in an era of Retrotopia–museums, exhibitions, and archives can (and must) assume, to contribute to the definition of new design paradigms, capable of overcoming the traditional categories of revival or costume in favour of a more contemporary “mash-up” approach. Mash-up in which past and present, craftsmanship and new technologies, revival and experimentation merge seamlessly. In this perspective, dresses (as well as fashion accessories) should be considered not only as finished products but as artefacts capable of talking about the past and of producing unpublished new stories at the same time. Archives, exhibitions (academic and not), and museums thus become powerful sources of inspiration for fashion: places and projects capable of generating innovation, becoming active protagonists of the contemporary fashion design processes. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=heritage" title="heritage">heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=history" title=" history"> history</a>, <a href="https://publications.waset.org/abstracts/search?q=costume%20and%20fashion%20interface" title=" costume and fashion interface"> costume and fashion interface</a>, <a href="https://publications.waset.org/abstracts/search?q=performance" title=" performance"> performance</a>, <a href="https://publications.waset.org/abstracts/search?q=language" title=" language"> language</a>, <a href="https://publications.waset.org/abstracts/search?q=design%20research" title=" design research"> design research</a> </p> <a href="https://publications.waset.org/abstracts/126307/fashion-utopias-the-role-of-fashion-exhibitions-and-fashion-archives-to-defining-and-stimulating-possible-future-fashion-landscapes" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/126307.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">13</span> Application of 3D Apparel CAD for Costume Reproduction</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Zi%20Y.%20Kang">Zi Y. Kang</a>, <a href="https://publications.waset.org/abstracts/search?q=Tracy%20D.%20Cassidy"> Tracy D. Cassidy</a>, <a href="https://publications.waset.org/abstracts/search?q=Tom%20Cassidy"> Tom Cassidy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> 3D apparel CAD is one of the remarkable products in advanced technology which enables intuitive design, visualisation and evaluation of garments through stereoscopic drape simulation. The progressive improvements of 3D apparel CAD have led to the creation of more realistic clothing simulation which is used not only in design development but also in presentation, promotion and communication for fashion as well as other industries such as film, game and social network services. As a result, 3D clothing technology is becoming more ubiquitous in human culture and lives today. This study considers that such phenomenon implies that the technology has reached maturity and it is time to inspect the status of current technology and to explore its potential uses in ways to create cultural values to further move forward. For this reason, this study aims to generate virtual costumes as culturally significant objects using 3D apparel CAD and to assess its capability, applicability and attitudes of the audience towards clothing simulation through comparison with physical counterparts. Since the access to costume collection is often limited due to the conservative issues, the technology may make valuable contribution by democratization of culture and knowledge for museums and its audience. This study is expected to provide foundation knowledge for development of clothing technology and for expanding its boundary of practical uses. To prevent any potential damage, two replicas of the costumes in the 1860s and 1920s at the Museum of London were chosen as samples. Their structural, visual and physical characteristics were measured and collected using patterns, scanned images of fabrics and objective fabric measurements with scale, KES-F (Kawabata Evaluation System of Fabrics) and Titan. Commercial software, DC Suite 5.0 was utilised to create virtual costumes applying collected data and the following outcomes were produced for the evaluation: Images of virtual costumes and video clips showing static and dynamic simulation. Focus groups were arranged with fashion design students and the public for evaluation which exposed the outcomes together with physical samples, fabrics swatches and photographs. The similarities, application and acceptance of virtual costumes were estimated through discussion and a questionnaire. The findings show that the technology has the capability to produce realistic or plausible simulation but expression of some factors such as details and capability of light material requires improvements. While the use of virtual costumes was viewed as more interesting and futuristic replacements to physical objects by the public group, the fashion student group noted more differences in detail and preferred physical garments highlighting the absence of tangibility. However, the advantages and potential of virtual costumes as effective and useful visual references for educational and exhibitory purposes were underlined by both groups. Although 3D apparel CAD has sufficient capacity to assist garment design process, it has limits in identical replication and more study on accurate reproduction of details and drape is needed for its technical improvements. Nevertheless, the virtual costumes in this study demonstrated the possibility of the technology to contribute to cultural and knowledgeable value creation through its applicability and as an interesting way to offer 3D visual information. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20clothing%20technology" title="digital clothing technology">digital clothing technology</a>, <a href="https://publications.waset.org/abstracts/search?q=garment%20simulation" title=" garment simulation"> garment simulation</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20Apparel%20CAD" title=" 3D Apparel CAD"> 3D Apparel CAD</a>, <a href="https://publications.waset.org/abstracts/search?q=virtual%20costume" title=" virtual costume"> virtual costume</a> </p> <a href="https://publications.waset.org/abstracts/84859/application-of-3d-apparel-cad-for-costume-reproduction" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/84859.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">221</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">12</span> Influence of the Popular Literature on Consciousness of the Person</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alua%20Temirbolat">Alua Temirbolat</a>, <a href="https://publications.waset.org/abstracts/search?q=Sergei%20Kibalnik"> Sergei Kibalnik</a>, <a href="https://publications.waset.org/abstracts/search?q=Zhuldyz%20Essimova"> Zhuldyz Essimova</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The article is devoted to research of influence of the modern literature on the consciousness of the person. Tendencies and features of the progress of the historical-cultural and artistic process at the end of XX–the beginning of XXI centuries are considered. The object of the analysis is the popular literature which has found last decades greater popularity among readers of different generations. In the article, such genres, as melodramas, female, espionage, criminal, pink, costume-historical novels, thrillers, elements, a fantasy are considered. During research, specific features of the popular literature, its difference from works of classics is revealed. On specific examples, its negative and positive influence on consciousness, psychology of the reader is shown, its role and value in a modern society are defined. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=the%20popular%20literature" title="the popular literature">the popular literature</a>, <a href="https://publications.waset.org/abstracts/search?q=the%20person" title=" the person"> the person</a>, <a href="https://publications.waset.org/abstracts/search?q=consciousness" title=" consciousness"> consciousness</a>, <a href="https://publications.waset.org/abstracts/search?q=a%20genre" title=" a genre"> a genre</a>, <a href="https://publications.waset.org/abstracts/search?q=psychology" title=" psychology"> psychology</a> </p> <a href="https://publications.waset.org/abstracts/34025/influence-of-the-popular-literature-on-consciousness-of-the-person" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/34025.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">299</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">11</span> Case Study of Human Factors and Ergonomics in the Design and Use of Harness-Embedded Costumes in the Entertainment Industry</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Marielle%20Hanley">Marielle Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Brandon%20Takahashi"> Brandon Takahashi</a>, <a href="https://publications.waset.org/abstracts/search?q=Gerry%20Hanley"> Gerry Hanley</a>, <a href="https://publications.waset.org/abstracts/search?q=Gabriella%20Hancock"> Gabriella Hancock</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Safety harnesses and their protocols are very common within the construction industry, and the Occupational Safety and Health Administration has provided extensive guidelines with protocols being constantly updated to ensure the highest level of safety within construction sites. There is also extensive research on harnesses that are meant to keep people in place in moving vehicles, such as seatbelts. Though this research is comprehensive in these areas, the findings and recommendations are not generally applicable to other industry sectors where harnesses are used, such as the entertainment industry. The focus of this case study is on the design and use of harnesses used by theme park employees wearing elaborate costumes in parades and performances. The key factors of posture, kinesthetic factors, and harness engineering interact in significantly different ways when the user is performing repetitive choreography with 20 to 40 lbs. of apparatus connected to harnesses that need to be hidden from the audience’s view. Human factors and ergonomic analysis take into account the required performers’ behaviors, the physical and mental preparation and posture of the performer, the design of the harness-embedded costume, and the environmental conditions during the performance (e.g., wind) that can determine the physical stresses placed on the harness and performer. The uniqueness and expense of elaborate costumes frequently result in one or two costumes created for production, and a variety of different performers need to fit into the same costume. Consequently, the harnesses should be adjustable if they are to minimize the physical and cognitive loads on the performer, but they are frequently more a “one-size fits all”. The complexity of human and technology interactions produces a range of detrimental outcomes, from muscle strains to nerve damage, mental and physical fatigue, and reduced motivation to perform at peak levels. Based on observations conducted over four years for this case study, a number of recommendations to institutionalize the human factors and ergonomic analyses can significantly improve the safety, reliability, and quality of performances with harness-embedded costumes in the entertainment industry. Human factors and ergonomic analyses can be integrated into the engineering design of the performance costumes with embedded harnesses, the conditioning and training of the performers using the costumes, the choreography of the performances within the staged setting and the maintenance of the harness-embedded costumes. By applying human factors and ergonomic methodologies in the entertainment industry, the industry management and support staff can significantly reduce the risks of injury, improve the longevity of unique performers, increase the longevity of the harness-embedded costumes, and produce the desired entertainment value for audiences. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=ergonomics%20in%20entertainment%20industry" title="ergonomics in entertainment industry">ergonomics in entertainment industry</a>, <a href="https://publications.waset.org/abstracts/search?q=harness-embedded%20costumes" title=" harness-embedded costumes"> harness-embedded costumes</a>, <a href="https://publications.waset.org/abstracts/search?q=performer%20safety" title=" performer safety"> performer safety</a>, <a href="https://publications.waset.org/abstracts/search?q=injury%20prevention" title=" injury prevention"> injury prevention</a> </p> <a href="https://publications.waset.org/abstracts/138010/case-study-of-human-factors-and-ergonomics-in-the-design-and-use-of-harness-embedded-costumes-in-the-entertainment-industry" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/138010.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">10</span> Aesthetic Analysis and Socio-Cultural Significance of Eku Idowo and Anipo Masquerades of the Anetuno (Ebira Chao)</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Lamidi%20Lawal%20Aduozava">Lamidi Lawal Aduozava</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Masquerade tradition is an indigenous culture of the Anetuno an extraction of the Ebira referred to as Ebira chao. This paper seeks to make aesthetic analysis of the masquerades in terms of their costumes and socio-cultural significance. To this end, the study examined and documented the functions and roles of Anipo and Idowo masquerades in terms of therapeutic, economic, prophetic and divination, entertainment, and funeral functions to the owner community(Eziobe group of families) in Igarra, Edo State of Nigeria, West Africa. For the purpose of data collection, focus group discussion, participatory, visual and observatory methods of data collection were used. All the data collected were aesthetically, descriptively and historically analyzed. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Aesthetics" title="Aesthetics">Aesthetics</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=" "> </a>, <a href="https://publications.waset.org/abstracts/search?q=Costume" title=" Costume"> Costume</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=" "> </a>, <a href="https://publications.waset.org/abstracts/search?q=Masquerades" title=" Masquerades"> Masquerades</a>, <a href="https://publications.waset.org/abstracts/search?q=" title=""></a>, <a href="https://publications.waset.org/abstracts/search?q=Significance." title=" Significance. "> Significance. </a> </p> <a href="https://publications.waset.org/abstracts/117160/aesthetic-analysis-and-socio-cultural-significance-of-eku-idowo-and-anipo-masquerades-of-the-anetuno-ebira-chao" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/117160.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">163</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">9</span> Getting Back Out There Looking like That: A Visual Critique of Rebecca Welton’s Costuming in Reference to Female Representation in Television</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Abigail%20R.%20Gardner">Abigail R. Gardner</a> </p> <p class="card-text"><strong>Abstract:</strong></p> With the rise of big budget television comes a demand for more nuanced characters. However, female characters are often underdeveloped, especially those who do not fit neatly into societal norms. This study examines how Ted Lasso’s Rebecca Welton challenges this idea by using her on-screen fashion to mirror her motivations and character development. Through detailed analysis, this research explores how Rebecca’s wardrobe adds depth to her character, contrasting traditional strategies of costuming female characters in mainstream movies and television. While women, especially older women, are getting more screen time, very few have been given a wardrobe to reflect their dynamic characters. Rebecca’s costumes represent a form of visual storytelling typically reserved for film, but with the rise of single-camera television, there is an opportunity to redefine the relationship between women and fashion on screen. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=costume%20design" title="costume design">costume design</a>, <a href="https://publications.waset.org/abstracts/search?q=gender%20and%20media" title=" gender and media"> gender and media</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20storytelling" title=" visual storytelling"> visual storytelling</a>, <a href="https://publications.waset.org/abstracts/search?q=women%20in%20television" title=" women in television"> women in television</a> </p> <a href="https://publications.waset.org/abstracts/191201/getting-back-out-there-looking-like-that-a-visual-critique-of-rebecca-weltons-costuming-in-reference-to-female-representation-in-television" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/191201.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">19</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">8</span> On the Difference between Cultural and Religious Identities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mputu%20Ngandu%20Simon">Mputu Ngandu Simon</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Culture and religion are two of the most significant markers of an individual or group's identity. Religion finds its expression in a given culture, and culture is the costume in which a religion is dressed. In other words, there is a crucial relationship between religion and culture which should not be ignored. On the one hand, religion influences the way in which a culture is consumed. A person's consumption of a certain cultural practice is influenced by his/her religious identity. On the other hand, cultural identity plays an important role in how a religion is practiced by its adherents. Some cultural practices become more credible when interpreted in religious terms just as religious doctrines and dogmas need cultural interpretation to be understood by a given people in a given context. This relationship goes so deep that sometimes the boundaries between culture and religion become blurred, and people end up mixing religion and culture. In some cases, the two are considered to be one and the same thing. However, despite this apparent sameness, religion and culture are two distinct aspects of identity, and they should always be considered as such. One results from knowledge, while the other has beliefs as its foundation. This essay explores the difference between cultural and religious identity by drawing from existing literature on this topic as a whole before applying that knowledge to two specific case studies: Christianity and Islam in some African and Asian countries. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=culture" title="culture">culture</a>, <a href="https://publications.waset.org/abstracts/search?q=religion" title=" religion"> religion</a>, <a href="https://publications.waset.org/abstracts/search?q=identity" title=" identity"> identity</a>, <a href="https://publications.waset.org/abstracts/search?q=knowledge" title=" knowledge"> knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=belief" title=" belief"> belief</a> </p> <a href="https://publications.waset.org/abstracts/148478/on-the-difference-between-cultural-and-religious-identities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/148478.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">192</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">7</span> Pachhedi: A Material Culture Study on Folk Textile of India</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shrutisingh%20Tomar">Shrutisingh Tomar</a>, <a href="https://publications.waset.org/abstracts/search?q=Madhu%20Sharan"> Madhu Sharan</a> </p> <p class="card-text"><strong>Abstract:</strong></p> It has been an undisputed fact that the culture of a nation has always been reflected in its practice, visual content and in forms of its oral traditions. Regional and communal costumes in India since ancient times have worked as a strong repository for its people to comprehend not only the locality but also the community of the wearer. Such a strong visual language apparently was ordained to communicate basic details about the person such as age, marital status, and socio-cultural status. Most of the fragments of this visual vocabulary have been intensively investigated, recorded, diversified and revived, while a limited range of these has died a slow death. Some of the rare existent kinds of such threads have survived as a mainstream article of clothing: simpler, apparent and a product for daily life yet unique in their own kind. The paper intends to consider and elaborate the investigated repository pertinent to the Pacchedi weaving tradition of Gujarat. The research involved field surveys across seven districts of the two states of India namely Gujarat and Rajasthan. Ethnographic interviews, observations, recording of oral histories and archival research was conducted through multi-timed and multi-cited studies between from the year 2012 to 2015. The results include varied forms of Pacchedi based on the sartorial expressions in the male costume. The characteristic features of these textiles were accorded by the sumptuous use of brocaded cross borders and weft heavy ends along with the details on the languishing fabrication procedure. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=handloom%20weaving" title="handloom weaving">handloom weaving</a>, <a href="https://publications.waset.org/abstracts/search?q=material%20culture" title=" material culture"> material culture</a>, <a href="https://publications.waset.org/abstracts/search?q=sartorial%20expressions%20and%20vernacular%20textile%20craft" title=" sartorial expressions and vernacular textile craft"> sartorial expressions and vernacular textile craft</a> </p> <a href="https://publications.waset.org/abstracts/104365/pachhedi-a-material-culture-study-on-folk-textile-of-india" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/104365.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">146</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">6</span> Self-Management among the Ethnic Groups with Type 2 Diabetes Mellitus in Thailand</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Siwarak%20Kitchanapaibul">Siwarak Kitchanapaibul</a>, <a href="https://publications.waset.org/abstracts/search?q=Warren%20Gillibrand"> Warren Gillibrand</a>, <a href="https://publications.waset.org/abstracts/search?q=Rob%20Burton"> Rob Burton</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The prevalence of diabetes mellitus has been rising all over the world. Self-management is required for diabetes mellitus patients. The objective of this study is to explore the self-management among the ethnic groups with type 2 diabetes mellitus in Thailand, an upper middle-income country which is located in South East Asia. The ethnic groups in Thailand are a minority group which has limited education and a different culture, language, costume and lifestyle from Thai people. The qualitative exploratory study was used in this study. In-depth interviews with semi-structured open questions were conducted by 20 participants from purposive sampling. These participants were the ethnic groups who have type 2 diabetes mellitus, received the services from a region hospital, understood Thai and were willing to participate. Content analysis was adopted for the study. The results showed that all of the participants controlled their diet before the appointment day and never miss their appointment. Only 3 participants did their exercise while 2 participants stated that they occasionally forgot to take medicine. 10 participants use the herbs for reducing the sugar level. 12 participants drank a lot of water after a lapse in the diet because they believed that water could dilute the sugar. The findings identified 5 themes; ‘controlling diet before appointment day’; ‘drinking water after a lapse in diet’; ‘medication being a vital importance’; ‘exercise is unimportant’; and ‘taking herbs for sugar reduction’. The results of this study are important to the health professionals to understand the self-management of Ethnic groups and use the data to create the appropriate intervention for promoting health among the ethnic groups with type 2 diabetes mellitus in Thailand. The findings will lead to the revision of health policy and the procedure for promoting health in this special ethnic groups. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=self-management" title="self-management">self-management</a>, <a href="https://publications.waset.org/abstracts/search?q=diabetes" title=" diabetes"> diabetes</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnic%20groups" title=" ethnic groups"> ethnic groups</a>, <a href="https://publications.waset.org/abstracts/search?q=Thailand" title=" Thailand"> Thailand</a> </p> <a href="https://publications.waset.org/abstracts/67048/self-management-among-the-ethnic-groups-with-type-2-diabetes-mellitus-in-thailand" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/67048.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">302</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">5</span> Aesthetics of Colours, Symbols, and Spectacles in the 2021 National Festival of Arts and Culture, Ekiti State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Bade-Afuye%20Toyin%20Beatrice">Bade-Afuye Toyin Beatrice</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Nigeria, as a multi-cultural nation, boasts of many festivals, many of which are found in the six geo-political zones of the country. One of the major festivals that bring together the Nigerian citizens as one entity is the National Festival of Arts and Culture (NAFEST), organized by the National Council for Arts and Culture (NCAC). The festival is celebrated yearly in ways that are unique to Nigerians and culture enthusiasts locally and abroad. The festival has equally boosted the Nigerian economy through tourism promotion and culture preservation. This study shall adopt the cultural identity theory. The theory will be used to examine the festival as a platform that showcases culture, which represents the totality of the ways and lives of the Nigerian people. To achieve this, the researcher shall gather data as a participant-observer during the festival, which featured elements such as costume, make-up, dance, drama, children's theatre, fashion parade, local cuisines, local games, music, props, acrobatic displays, trade fair among others. These elements are the cultural aesthetics of the festival, thereby creating spectacles and colours in unique styles by each of the 36 states of the federation and the FCT Abuja. The study particularly examines the 2021 edition of NAFEST hosted by the Ekiti State Government. The study reveals that the festival is a unique multi-ethnic event that brings together Nigerians and their kinsmen in the diaspora. NAFEST has equally provided a good opportunity to showcase the rich cultural heritage of the Ekiti people and the economic values of their products and materials. The paper, therefore, concludes that the National Festival of Arts and Culture has over the years promoted national unity and social integration among Nigerians. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=colours" title="colours">colours</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=spectacle" title=" spectacle"> spectacle</a>, <a href="https://publications.waset.org/abstracts/search?q=NAFEST" title=" NAFEST"> NAFEST</a> </p> <a href="https://publications.waset.org/abstracts/149361/aesthetics-of-colours-symbols-and-spectacles-in-the-2021-national-festival-of-arts-and-culture-ekiti-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/149361.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">106</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">4</span> The Study of Using Mon Dance in Pathum Thani Province’s Tradition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dusittorn%20Ngamying">Dusittorn Ngamying</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This investigation of Mon Dance is focused on using in Pathum Thani Province’s tradition and has the following objectives: 1) to study the background of Mon dance in Pathum Thani Province; 2) to study Mon dance in Pathum Thani Province; 3) to study of using Mon Dance in Pathum Thani province’s tradition. This qualitative research was conducted in Pathum Thani provinces (the central of Thailand). Data was collected from a documentary study and field data by means of observation, interview and group discussion. Workshops were also held with a total of 100 attendees, comprised of 20 key informants, 40 casual informants and 40 general informants. Data was validated using a triangulation technique and findings are presented using descriptive analysis. The results of the studied showed that the historical background of Mon dance in Pathum Thani Province initiated during the war evacuation from Martaban (south of Burma) to settle down in Sam Khok, Pathum Thani Province in Ayutthaya period to Rattanakosin. The study found that Mon dance typically consists of 12 dancing process. The melodies have 12 songs. Piphat Mon (Mon traditional music ensemble) was used in the performance. The costume was dressed on Mon traditional. The performers were 6-12 women and depending on the employer’s demands. Length of the performance varied from the duration of music orchestration. Rituals and Customs were paying homage to teachers before the performance. The offerings were composed of flowers, incense sticks, candles, money gifts which were well arranged on a tray with pedestal, and also liquors, tobaccos and pure water for asking propitiousness. To using Mon Dance in Pathum Thani Province’s tradition, was found that it commonly performed in the funeral ceremonial tradition at present because the physical postures of the performance were graceful and exquisite as approved conservative. In addition, the value since the ancient time had believed that Mon Dance was the sacred thing considered as the dignity glorification especially for funeral ceremonies of the priest or royal hierarchy classes. However, Mon dance was continued to use in the traditions associated with Mon people activities in Pathum Thani Province, for instance, customary welcome for honor guest and Songkran Festival. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mon%20dance" title="Mon dance">Mon dance</a>, <a href="https://publications.waset.org/abstracts/search?q=Pathum%20Tani%20Province" title=" Pathum Tani Province"> Pathum Tani Province</a>, <a href="https://publications.waset.org/abstracts/search?q=tradition" title=" tradition"> tradition</a>, <a href="https://publications.waset.org/abstracts/search?q=triangulation%20technique" title=" triangulation technique"> triangulation technique</a> </p> <a href="https://publications.waset.org/abstracts/29578/the-study-of-using-mon-dance-in-pathum-thani-provinces-tradition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/29578.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">592</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">3</span> Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Dusittorn%20Ngamying">Dusittorn Ngamying</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The research on Thatsana Nataya Chatri Dance: A Creative Conservation Process of Cultural Performing Arts for Competition was aimed at 1) studying the creative conservation process of cultural performing arts; 2) creating conservation process of cultural performing arts of Thatsana Nataya Chatri dance; and 3) utilizing the created performing arts for the competition. The study was conducted using the qualitative research method in the Central region provinces of Thailand through documentary study and data from field observations, interviews and focus group meetings. Data were collected from 50 informants consisting of 10 experts on the subject, 30 practitioners and 10 general information providers. The data collection instruments consisted of participatory and non-participatory forms, structured and non-structured interview schedules and focus group note forms. The data were verified by the triangulation technique and presented using the descriptive analysis. The results of the study reveal that the creative conservation process of cultural performing arts should be initiated by those who have experienced using a prior knowledge in the pursuit of new knowledge. The new knowledge is combined to generate creative work with the conservation process in 9 aspects: acquiring the related knowledge, creating theme and inspiration, designing the music and melody, designing costumes, inventing dance postures, selecting dancers, transferring the dance postures, preparing the stage and performance equipment, planning the performance event. Inventing the conservation process of cultural performing arts Thatsana Nataya Chatri dance consists of 33 dance postures and 14 transformed patterns. The performance requires 6 dancers, 3 males and 3 females. Costume features both male and female classical and modified dancer’s costumes. The duration of the show takes 5 minutes. As for the application for the competition, this creative work has been selected by Dramatic Works Association (Thailand) to represent Thailand at the Lombok International Dance Sports Festival 2015 held at Lombok, Indonesia. The team has been awarded the Second Place in the Traditional Dance category. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=creative%20conservation%20process" title="creative conservation process">creative conservation process</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20performing%20arts" title=" cultural performing arts"> cultural performing arts</a>, <a href="https://publications.waset.org/abstracts/search?q=Thatsana%20Nataya%20Chatri%20dance" title=" Thatsana Nataya Chatri dance"> Thatsana Nataya Chatri dance</a>, <a href="https://publications.waset.org/abstracts/search?q=competition" title=" competition"> competition</a> </p> <a href="https://publications.waset.org/abstracts/47633/thatsana-nataya-chatri-dance-a-creative-conservation-process-of-cultural-performing-arts-for-competition" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/47633.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">222</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">2</span> Sharing and Developing Cultural Heritage Values through a Co-Creative Approach</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Anna%20Marie%20Fisker">Anna Marie Fisker</a>, <a href="https://publications.waset.org/abstracts/search?q=Daniele%20Sepe"> Daniele Sepe</a>, <a href="https://publications.waset.org/abstracts/search?q=Mette%20B%C3%B8gh%20Jensen"> Mette Bøgh Jensen</a>, <a href="https://publications.waset.org/abstracts/search?q=Daniela%20Rimei"> Daniela Rimei</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In the space of just a few years, the European policy framework on cultural heritage has been completely overhauled, moving towards a people-centred and holistic approach, and eliminating the divisions between the tangible, intangible and digital dimensions. The European Union regards cultural heritage as a potential shared resource, highlighting that all stakeholders share responsibility for its transmission to future generations. This new framework will potentially change the way in which cultural institutions manage, protect and provide access to their heritage. It will change the way in which citizens and communities engage with their cultural heritage and naturally influence the way that professionals deal with it. Participating in the creation of cultural heritage awareness can lead to an increased perception of its value, be it economic, social, environmental or cultural. It can also strengthen our personal identity, sense of belonging and community citizenship. Open Atelier, a Creative Europe project, is based on this foundation, with the goal through co-creation to develop the use, understanding and engagement with our cultural heritage. The project aim to transform selected parts of the heritage into an “experience lab” – an interactive, co-creative, dynamic and participatory space, where cultural heritage is the point of departure for new interactions and experiences between the audience and the museum and its professionals. Through a workshop-based approach built on interdisciplinary collaboration and co-creative processes, Open Atelier has started to design, develop, test, and evaluate a set of Experiences. The first collaborative initiative was set out in the discourse and knowledge of a highly creative period in Denmark where a specific group of Scandinavian artists, the Skagen Painters, gathered in the village of Skagen, the northernmost part of Denmark from the late 1870s until the turn of the century. The Art Museums of Skagen have a large collection of photos from the period, that has never been the subject of more thorough research. The photos display a variation of many different subjects: community, family photos, reproductions of art works, costume parties, family gatherings etc., and carry with them the energies of those peoples’ work and life and evoke instances of communication with the past. This paper is about how we in Open Atelier connect these special stories, this legacy, with another place, in another time, in another context and with another audience. The first Open Atelier Experience – the performance “Around the Lighthouse” – was an initiative resulted from the collaboration between AMAT, an Italian creative organisation, and the Art Museums of Skagen. A group of Italian artists developed a co-creative investigation and reinterpretation of a selection of these historical photos. A poetic journey through videos and voices, aimed at exploring new perspectives on the museum and its heritage. An experiment on how to create new ways to actively engage audiences in the way cultural heritage is explored, interpreted, mediated, presented, and used to examine contemporary issues. This article is about this experiment and its findings, and how different views and methodologies can be adopted to discuss the cultural heritage in museums around Europe and their connection to the community. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title="cultural heritage">cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=community" title=" community"> community</a>, <a href="https://publications.waset.org/abstracts/search?q=innovation" title=" innovation"> innovation</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a> </p> <a href="https://publications.waset.org/abstracts/167728/sharing-and-developing-cultural-heritage-values-through-a-co-creative-approach" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167728.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">79</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">1</span> Kanga Traditional Costume as a Tool for Community Empowerment in Tanzania in Ubuntu perspective - A Literature Review</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Meinrad%20Haule%20Lembuka">Meinrad Haule Lembuka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: Ubuntu culture represents African humanism with collective and positive feeling of people living together, interdependence, equally and peaceful etc. Overtime, Ubuntu culture developed varieties of communicative strategies to express experiences, feelings and knowledge. Khanga or kanga (garment) is among the Ubuntu cultural practice of Bantu speaking people along the East African coast following interaction with Arabs and Bantu speaking people to formulate Swahili culture. Kanga or Kanga is a Swahili word which means a traditional soft cotton cloths in varieties of colours, patterns, and styles which as a deep cultural, historical, and social significance not only in Tanzania but the rest of East African coast. Swahili culture is a sub culture of Ubuntu African culture which is rich in customs and rituals that serve to preserve goodness and life where Tanzania, like the rest of East African societies along the Indian coast engaged in kanga dressing custom under Swahili culture to express their feelings and knowledge sharing. After the independence of Tanzania (formerly Tanganyika) from British colonial rule, Kanga traditional dressing gained momentum in Swahili culture and spread to the rest of East Africa and beyond. To date kanga dressing holds a good position as a formal and informal tool for advocating marginalised groups, counselling, psychosocial therapy, liberation, compassion, love, justice, campaign, and cerebration etc. Methodology: A literature review method was guided by Ubuntu theory to assess the implications of kanga traditional dressing in empowering Tanzanian community. Findings: During slavery, slaves wore Kaniki and people despised Kaniki dressing due to its association with slavery. Ex-slave women seeking to become part of the Swahili society began to decorate their Kaniki clothes. After slavery was abolished in 1897, Kangas began to be used for self-empowerment and to indicate that the wearer had personal wealth. During colonial era, freedom of expressions for Africans were restricted by colonial masters thus Tanzanians used kanga to express the evils of colonialism and other social problems, Under Ubuntu value of unity and solidarity liberation and independence fighters crafted motto and liberation messages that were shared and spread rapidly in the community. Political parities like TANU used kanga to spread nationalism and Ujamaa policy. kanga is more than a piece of fabric-it is a space for women to voice unspeakable communication and a women-centred repository for indigenous knowledge, feminisms addressing social ills, happiness, campaigns, memories and reconciliation etc. Kanga provides an indirect voice and support vulnerable and marginalised populations and strongly it has proved to be a peaceful platform of capture attention of government and societies. Kanga textiles gained increased international fame when an Obama kanga design was produced upon the president’s election in 2008 and his visit to Tanzania in 2013. Conclusion: Kanga preserves and symbolises Swahili culture and contributes in realization of social justice, inclusion, national identity and unity. As an inclusive cultural tool, Kanga spread across Africa to international community and the practice has moved from being a woman domination dressing code to other sex orientations. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=African%20culture" title="African culture">African culture</a>, <a href="https://publications.waset.org/abstracts/search?q=Kanga" title=" Kanga"> Kanga</a>, <a href="https://publications.waset.org/abstracts/search?q=khanga" title=" khanga"> khanga</a>, <a href="https://publications.waset.org/abstracts/search?q=swahili%20culture" title=" swahili culture"> swahili culture</a>, <a href="https://publications.waset.org/abstracts/search?q=ubuntu" title=" ubuntu"> ubuntu</a> </p> <a href="https://publications.waset.org/abstracts/172583/kanga-traditional-costume-as-a-tool-for-community-empowerment-in-tanzania-in-ubuntu-perspective-a-literature-review" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172583.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">68</span> </span> </div> </div> </div> </main> <footer> <div id="infolinks" class="pt-3 pb-2"> <div class="container"> <div style="background-color:#f5f5f5;" class="p-3"> <div class="row"> <div class="col-md-2"> <ul class="list-unstyled"> About <li><a href="https://waset.org/page/support">About Us</a></li> <li><a href="https://waset.org/page/support#legal-information">Legal</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/WASET-16th-foundational-anniversary.pdf">WASET celebrates its 16th foundational anniversary</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Account <li><a href="https://waset.org/profile">My Account</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Explore <li><a href="https://waset.org/disciplines">Disciplines</a></li> <li><a href="https://waset.org/conferences">Conferences</a></li> <li><a href="https://waset.org/conference-programs">Conference Program</a></li> <li><a href="https://waset.org/committees">Committees</a></li> <li><a href="https://publications.waset.org">Publications</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Research <li><a href="https://publications.waset.org/abstracts">Abstracts</a></li> <li><a href="https://publications.waset.org">Periodicals</a></li> <li><a href="https://publications.waset.org/archive">Archive</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Open Science <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Philosophy.pdf">Open Science Philosophy</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Science-Award.pdf">Open Science Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Open-Society-Open-Science-and-Open-Innovation.pdf">Open Innovation</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Postdoctoral-Fellowship-Award.pdf">Postdoctoral Fellowship Award</a></li> <li><a target="_blank" rel="nofollow" href="https://publications.waset.org/static/files/Scholarly-Research-Review.pdf">Scholarly Research Review</a></li> </ul> </div> <div class="col-md-2"> <ul class="list-unstyled"> Support <li><a href="https://waset.org/page/support">Support</a></li> <li><a href="https://waset.org/profile/messages/create">Contact Us</a></li> <li><a href="https://waset.org/profile/messages/create">Report Abuse</a></li> </ul> </div> </div> </div> </div> </div> <div class="container text-center"> <hr style="margin-top:0;margin-bottom:.3rem;"> <a href="https://creativecommons.org/licenses/by/4.0/" target="_blank" class="text-muted small">Creative Commons Attribution 4.0 International License</a> <div id="copy" class="mt-2">© 2024 World Academy of Science, Engineering and Technology</div> </div> </footer> <a href="javascript:" id="return-to-top"><i class="fas fa-arrow-up"></i></a> <div class="modal" id="modal-template"> <div class="modal-dialog"> <div class="modal-content"> <div class="row m-0 mt-1"> <div class="col-md-12"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> </div> </div> <div class="modal-body"></div> </div> </div> </div> <script src="https://cdn.waset.org/static/plugins/jquery-3.3.1.min.js"></script> <script src="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/js/bootstrap.bundle.min.js"></script> <script src="https://cdn.waset.org/static/js/site.js?v=150220211556"></script> <script> jQuery(document).ready(function() { /*jQuery.get("https://publications.waset.org/xhr/user-menu", function (response) { jQuery('#mainNavMenu').append(response); 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