Course Description

This course is meant to be a space for you to examine and deepen your relationship to the field and your own practice through readings, discussions, and presentations.  The readings are meant to expand your perspective on the field of jewelry and metalsmithing, to define its particularities and concerns in relation to the discourses of the contemporary art world.

Together we will explore a series of seminal theoretical texts, seeking ways to relate them to our own practice.  Through these texts we will encounter a series of themes and historical perspectives that are crucial to the field of jewelry, while also delving into fields and areas of inquiry, that have not commonly been related to our field, but perhaps should or could be.  Our aim is to get a historical and interdisciplinary perspective on where we are as artists/makers today, how we got here and where we could go from here. The course aims to bring up critical questions on why we make, whom we make for and the meaning of our practice beyond the studio and the jewelry and metals world.

This is a chance to practice your skills in connecting theory, reading and writing to your work and to build a vocabulary and ground of reference around your ideas, interests and intentions. It’s a chance to take part in an intense discourse around your field, which you might be asked to do many times in the future of your career.

The Wednesday meetings will adopt the form of a reading/talking circle. Your role in the group is important and the success of our conversations will be based on your participation and engagement. We will all take turns in presenting and leading the discussion and also examine what “research through practice” might mean for us, by exploring some ways of connecting theory and making. 

Oct 5, 2009

Ornament & Ritual:

Gombey

Main article: Gombey

The gombey dance is an iconic symbol of Bermudan culture. It mixes elements of British, West African and indigenous New World cultures. Dancers are usually male, and perform in groups of 10-30[2] in wild masquerade costumes with brilliant colors and odd angles, meant to evoke the plumage of tropical birds; they are sometimes based on Bible verses. Gombey dances are taught orally, through family members. The dances are energetic, and grow swifter gradually, while the spectators become more wild and energetic. The gombey tradition is at its liveliest during the Christmas season, and is also performed during Boxing Day, Easter, New Year's Day, football and cricket matches and other festivals and celebrations.[3]

The word gombey is related to the Bahamian goombay, a similar dance tradition. It also refers to a specific drum of African origin, and may be related to a Bantu word for rhythm. In addition to the Bahamian goombay tradition, gombey is similar to some other Afro-Caribbean styles and celebrations (such as the Mummers). Afro-Caribbeans brought to Bermuda as slaves or convicts during colonial times introduced other Caribbean traditions. The modern Bermudan gombey is distinguished by the use of the snare drum (generally in pairs), derived from the British use of the instrument.[3] In addition, a kettle drum, a fife are integral parts of gombey accompaniment.[2]
Posted by

No comments:

Post a Comment

Subscribe to: Post Comments (Atom)