In 1970 a small group of young Inuit women in Pangnirtung on Baffin Island began to tell a story - a story about their past, their culture, their lives - a story told through woven pictures. The first book dedicated to the art form of tapestry weaving, Nuvisavik shows how weaving became a bridge between nomadic camp life and life in a permanent settlement. The tapestries, meticulously woven by women trained by their mothers as seamstresses, portray images wistfully remembered by elders in the community and captured by local artists. Both the drawings and the tapestries convey the pride of the Inuit in their culture. The tapestries are presented against a rich cultural and historical context. Two of the essays in the book are based on interviews with elders and reflect the colourful history of the Cumberland Sound, where sustained contact between Inuit and Americans and Scots began as early as the mid-nineteenth century. The cultural content of the tapestries is discussed by members of the Inuit community, decoding otherwise enigmatic and puzzling images. A wonderful blend of art history and cultural history, Nuvisavik will entertain the scholar and art collector as well as readers with a special interest in the history of the Canadian North. Contributors include July Papatsie, a well-established artist from Pangnirtung who brings his personal background and knowledge of his culture to his writing; Deborah Hickman, a tapestry weaver herself, who was general manager and artistic advisor to the Pangnirtung Tapestry Studio from 1980 to 1983; Cathleen Knotsch, a researcher who specializes in issues pertaining to the Canadian Eastern Arctic; and Maria von Finckenstein.
This innovative book reassesses the history of musicology, unearthing the field’s twentieth-century German and global roots. In the process, Anna Maria Busse Berger exposes previously unseen historical relationships such as those between the modern rediscovery of medieval music, the rise of communal singing, and the ways in which African music intersected with missionary work in the German colonial period. Ultimately, Busse Berger offers a monumental new account of the early twentieth-century music culture in Germany and East Africa. ?The book unfolds in three parts. Busse Berger starts with the origins of comparative musicology circa 1900, when early proponents used ideas from comparative linguistics to test whether parallels could be drawn between nonwestern and medieval European music. She then turns to youth movements of the era—the Wandervogel, Jugendmusikbewegung, and Singbewegung—whose focus on joint music making influenced many musicologists. Finally, she considers case studies of Protestant and Catholic mission societies in what is now Tanzania, where missionaries—many of them musicologists and former youth-group members—extended the discipline via ethnographic research and a focus on local music and communities. In highlighting these long-overlooked transnational connections and the role of global music in early musicology, Busse Berger shapes a fresh conception of music scholarship during a pivotal part of the twentieth century.
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