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13. Cultural Display And The Construction Of Ethnic Identities nature of ethnic identities and the ways in which it engages traditional and Mind you, excellence includes costume design, how the groups walk up to http://aaas.ohio-state.edu/dka/ars.htm

CULTURAL DISPLAY AND THE CONSTRUCTION OF ETHNIC IDENTITIES IN A CONTEMPORARY INDEPENDENT CHURCH: THE APOSTOLIC REVELATION SOCIETY (ARS) OF GHANA* Conference on "Holidays, Ritual, Festival, Celebration, and Public Display" May 29-31, 1997 Bowling Green State University, Bowling Green Dr. Daniel Avorgbedor, Ohio State University Columbus, Ohio espite the lack of uniformity in doctrine, liturgy, and core practices there is a fundamental disposition that binds these independent churches together: the inclusion and adaptation of selective symbols, concepts, attitudes, and music and dance from both local and foreign sources.5 The rationale, processes, strategies, and resources supporting and clarifying this engagement with existing and innovative cultural models are often enhanced by the overarching framework of national politics of culture and ethnicity, as evidenced in many postindependence African countries.6 In sum, the African precolonial, colonial, and postcolonial experiences and material legacies, are indispensable in understanding the contemporary situation of indigenous Christianity, as far as the significant presence and configurations of cultural display and ethnic identities are concerned. Another way national leaders and cultural policy makers pursue this desired goal is to encourage innovation and creativity in specific domains of arts and culture.10 This factor of innovation is important because its potential for constructing new relationships and realizing new expectations, especially when it draws on elements deriving from multiple ethnic sources. The examples of national dance troupes, choirs, and drama groups touring intensively (both internally and internationally) provide an essential influence that informs the resources, genres, and modes of organization in ARS, as will be discussed later. The example of ARS must, therefore, be seen against this background of national politics and patterns of society and culture in order to appreciate the interplay of factors influencing cultural display and ethnic identities in the church.

14. Event Calendar to music through his western, ethnic and traditional influences. 1976 Tony Award® Best costume design costume design by Theoni V. Aldredge nominee http://www.hawaiitheatre.com/event_calendar.html

HAWAII THEATRE (LIMITATIONS OF LIABILITY) Aloha! Hawaii Theatre Center Please e-mail webmaster for any suggestions or comments. QUICK REFERENCE LIMITATIONS OF LIABILITY EVENT SCHEDULE THEATRE ... TOURS SCROLL DOWN FOR CHRONOLOGICAL EVENT SCHEDULE... CLICK ON "BUY TICKETS, CLICK HERE" BUTTON ON LEFT TO PURCHASE TICKETS ONLINE... Charge-By-Phone: Hours: Tuesday - Saturday BUY ONLINE! B uy tickets, in real-time You'll get the best available seat and immediate confirmation of your purchase! A $2 PER TICKET RESTORATION FEE IS APPLIED TO ALL TICKET PURCHASES FOR HAWAII THEATRE EVENTS TO SUPPORT THE ONGOING HAWAII THEATRE RESTORATION PROJECT. MAHALO FOR YOUR SUPPORT! Hawaii Theatre 1130 Bethel Street Honolulu, Hawai`i Seating Chart Transportation Directions to The ... Theatre WHAT'S NEW? 05-06 "HANA HOU!" HAWAIIAN MUSIC SERIES IS HERE ! For subscription, single ticket and date information, click here. Top of Page THEATRE TOURS The Hawaii Theatre Center presents WEEKLY GUIDED TOURS Every Tuesday of the month at 11:00 AM Ticket Price: $5 Join our 1-hour d ocent-guided tours and experience the Hawaii Theatre though its history, architecture, artwork, and a demonstration of our Robert Morton Orchestral Theatre

15. Poison Pen Press - Costume Books Oversized photo book illustrating traditional ethnic attire of China’s 55 minority groups. A guide to English costume design and history. http://www.poisonpenpress.com/costume.html

Costume Books Dover Art of Arabian Costume - Chinese Minority Costume - $39.95 China Intercontinental Clothes and the Child - Corsets and Crinolines - Nora Waugh. Patterns and construction information for various styles, 16th Century to 1900s, as well as contemporary commentary on the garments. Pb. Routledge. Materials to Apply to Costumes and Materials for Forming Costumes Quite Specific Media Costume Close Up (Pattern And Construction of Antique Clothing, 1750-1790) - Linda Baumgarten Nancy Bradford. Cut My Cote - Dorothy K Burnham. Brief book illustrating a number of tunic-like garments from a variety of periods and cultures. Includes very basic patterns for cutting the garments. 36p, paper. University of Toronto Cut of Men's Clothes, 1600 to 1900 - Cut of Women's Clothes, 1600 to 1930 - Similar to men's volume. Patterns taken from actual dresses. Routledge. Development of Costume - Dress Accessories c.1150-c.1450 (2 nd Dress in Anglo-Saxon England - $60.00 th Dress in the Middle Ages - $17.00 (pb)

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17. Who's Who Of Rhode Island USA Dance Folk THE S's Somers/Carolcostume design Sorrentino/Timothy-dancer (ballroom) RI She produced the annual Arts-In-The-Park, an ethnic and traditional waterfront dance http://www.ridance.com/s.html

HOME SITE MAP WHO'S WHO riDANCE WHO'S WHO THE S's Sacchetti/Karen-creative arts educator,dancer Salvatore/Marilyn-lighting designer Sciarra/Dante-dancer,teacher,choreographer(jazz,theatrical) Scheff/Helene-teacher,choreographer(ballet,flamenco,tap) ... Y SACCHETTI/KAREN Creative Arts Educator, Dancer Theatrical,Modern,Yoga Karen Sacchetti has taught yoga and creative movement at All That Matters in Wakefield RI since 1998, and has also taught at Wickford Elementary School, DanceArt Forum , the South County Montessori School, the Jamestown Early Learning Center, and for the Rhode Island State Task Force in Narragansett. In Boston, she acted and danced in musicals at the Riverside Theatre and acted at the Landsdowne Street Playhouse. She studied Duncan Dance in 1993 in Cambridge Massachusetts under Dicki Johnson. Her extensive background as a dancer and Yoga practitioner have enabled her to complete her vision of integrating eastern Yoga concepts with western Creative Movement, and she has designed a course for young people called Creative Yoga in Motion which provides them with the necessary tools to develop and maintain physical and emotional harmony. She has published a book of poetry, Passage (1983), and a book of short stories, Once Upon an Archetype (1996). ARCHIVE: PHONE: 401-789-2877 EMAIL: creativeyoga@msn.com

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19. The Costumer S Manifesto Polar Regions Traditional Dress Links Cabin Fever Designs Gallery Delores Sloan - Guest Artist Learning Activity 7 - Dressing for ethnic costume/traditional Dress Links North America http://www.costumes.org/ethnic/1PAGES/AKLINKS.HTM

20. Buryat Traditional Costume of ethnic costume and it is no coincidence that it resembles Mongol, The turned up tip is said to be designed so that the toe will not gouge the http://www.buryatmongol.com/huvtsas.html

Buryat Traditional Clothing This page is a picture essay on traditional Buryat clothing. Buryat clothing reflects a greater Central Asian and Siberian tradition of ethnic costume and it is no coincidence that it resembles Mongol, Manchu, Tuvan, Altai, Tungus, and Yakut traditional dress. Buryat clothing most closely resembles Mongolian traditional dress, which is no surprise since the Buryats are a Mongolian people. Mongolian dress consists of a long robe, known as a deel , which is worn over trousers. The Buryat word for this robe is digil , which is the ancient Mongolian word for this item of clothing. The digil is perfectly adapted to the Siberian and Mongolian climates, which has below freezing temperatures at least at night for all seasons but the summer. It is also well adapted for riding horses, which is the reason why it was traditionally worn with trousers by both sexes. In order to further conserve warmth in cold weather, the digil fastens at the right shoulder so that there is a double thickness of cloth (and fur in the winter digil covering the vital organs of the chest and belly.

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