https://www.thejugaadproject.pub/home daily 1.0 2024-11-12 https://www.thejugaadproject.pub/home/south-african-healing-spaces monthly 0.5 2026-01-16 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/86533fef-3bf9-4259-9b51-de9ed07053a0/1.JPG Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 1. Healing space at the Festival Spiritfest, Western Cape, February 2025, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8c0afbc2-ec8f-4563-b661-f06e9f35aa6e/2.png Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 2. Burning imphepu in Langa, Cape Town, October 2022, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/bdec45ee-3388-41b7-b338-41ad9ce56d4b/3.JPG Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 3. Muthi on sale in Langa township, Cape Town, October 2022, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8a1de5e9-57d6-4644-aa13-36a3ef61c381/4.JPG Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 4. Pharmacy in Langa township, October 2022, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/15b510d4-1730-434e-939c-9634e099c78e/5.png Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 5. Vegetal and other materials on sale in the shop of Angel Schack, Johannesburg, February 2024, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c844504a-e593-4417-9ac4-07622afcfa6e/6.jpg Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 6. Variety of materials on sale in the House of Isis, Johannesburg, July 2023, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d8300bdd-46d7-40fa-b3af-728746aec0b2/7.JPG Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 7. The Consultation space or ndumba of a sangoma member of THO, Katlehong township of Johannesburg, July 2023, photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1c4f2d44-7b99-477f-a820-d2c1e8ec6d31/8.JPG Home - Materials in Motion in South African Healing Spaces - Make it stand out Fig. 8. Bones divination by a Namibian sangoma who is being trained by a South African specialist, Katutura township of Windhoek, November 2023, photo by author. https://www.thejugaadproject.pub/home/interview-lagi-maama monthly 0.5 2024-11-15 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/53fca296-6b96-4208-846d-ba1bdb2de19e/IMG_0939_Cambodians.JPG Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/0f457231-ff96-4e69-ab1a-267254389b05/IMG_4025.JPEG Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c3f09670-01b4-4f52-8f6f-dd3a30c3defa/Screenshot_20241021_193610_Chrome.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3d7d8ea3-5164-4044-a926-e710c01fefba/20231006_182807_tibuta.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/0398e882-eebe-42bc-b223-908eaed6cb1f/FB_IMG_1696651382424.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/11e11828-86e6-4bb4-8a20-3b64f35b57c2/20231117_180732_Niue.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/2ffb80e2-1b82-44fd-a21d-7c6b4b7a5f57/20230401_165436.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/cfdeeead-bcf4-4ee7-b09d-35c48b55cd41/20230401_170208.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/2779912d-bee5-4692-bd6d-30d6d429e6b8/20240103_171215.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/08fb15c9-c0ec-4794-abcc-67f8b3b57ea1/20240728_150103.jpg Home - Walking Alongside Others: An Interview with Lagi-Maama Academy and Consulting - Make it stand out Barbara and Kolokesa https://www.thejugaadproject.pub/home/drawn-thread-narratives monthly 0.5 2024-09-23 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/039c27b9-6072-469c-9b0a-c044687344a7/Screenshot+2024-09-18+at+10.32.04%E2%80%AFPM.png Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 1 Hem-stitched calico place mat with woven wheel corners. 2023. Made and photographed by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a6444bcc-de50-4e5f-99ab-dc2a5f426a0c/1.jpg Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 2 Pillowcase in linen displaying drawn thread work along with uterine curette, trinket box, and syringe case. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d7034997-47c2-46e2-aa19-fbdf7ab3d51d/2.jpg Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 3 Amma in 1960 in India. She came to Pakistan in 1969. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/5f528cee-91ba-4301-82ff-397849144e06/3_1.jpg Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 4 Amma on a rickshaw in 1940 in India. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/95eb2c28-eb79-4dfb-89cb-76c442fd8847/Photo+Montage.jpg Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 5 Begum’s samplers with various motifs. Multan, Pakistan. 2024. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b2366c5e-9500-45f0-89e4-340ca7a6816d/Figure+5+Zainab+Bibi.JPG Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 6 Zainab Bibi embroidering borders on a sampler in Khanqah Sharif, Bahawalpur. 2024. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/85e6a2eb-4bf8-4b13-af6e-8e1a19653110/Screenshot+2024-09-18+at+10.51.51%E2%80%AFPM.png Home - Giving Form to Memory: Drawn Thread Embroidery as Embodied ‘Re-membering’ of Trauma Narratives - Make it stand out Figure 7 (L) Bundle of letters from India 1965-71. (R) Letter from India sent by my mother’s uncle in 1974. Photos by author. https://www.thejugaadproject.pub/home/interview-nyamnjoh monthly 0.5 2024-09-19 https://www.thejugaadproject.pub/home/review-devotion-clothing monthly 0.5 2024-08-27 https://www.thejugaadproject.pub/home/karenni-refugee monthly 0.5 2024-08-25 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/6fe4c57f-efdb-4cc0-930a-5615a2903017/SR+Fig1.jpg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 1. Tu Meh’s rose-colored table runner. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/9566db44-82fb-47f8-8063-d323f4809823/SRfig6.jpg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 2. Close up of Tu Meh’s rose-colored textile. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/118a2eea-7b56-4847-82a9-b878c4394063/SRfig3.jpeg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 3. 2023, Tu Meh in Karenni heritage costume, for a posed photograph for the Digital Archive: Refugee Artisans of Worcester. Photograph by Troy Thompson. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/5a7d83e2-13cc-4846-8e91-34aa7faa4ad6/SR+Fig4.jpeg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 4. Tu Meh in everyday dress, doing a weaving demonstration at a Worcester craft fair, circa 2017. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/abd548dd-d2bc-46cf-9a9a-7afba3c9cd1c/SR+Fig5a.jpg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 5. Tu Meh has made a plethora of different styles of woven scarves, a few shown here. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/dd07febd-d2bd-47df-a425-bebffaf0359b/SRfig6.jpg Home - A Handwoven Textile Narrates a Karenni Refugee Woman’s Journeys to Resettlement in Massachusetts - Make it stand out Figure 6. Close up of Tu Meh’s rose-colored textile. Image courtesy of author. https://www.thejugaadproject.pub/home/beadwork-saurashtra monthly 0.5 2024-08-27 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b8b624f9-94f9-46b4-9c9d-85e8d0fcc6c9/Fig+1.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 1: Image of sample book of Venetian beads. Pitt Rivers Museum, Oxford, UK. 2012. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e11a7655-c5ed-4be3-a83f-adc40f2c338c/Fig+2.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 2: The mono-bead system of beadwork. 2017. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/9b2ce685-49f5-42f4-a080-c898a7fb5129/Fig+3_crop.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 3: The tri-bead system in beadwork. 2017. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d624dc75-f186-4739-91c0-62b74538701f/Fig+4_hi-res.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 4: Jadiba in a photograph from 1958 (detail from a photo by Shri Natwarlal Pandya). Image courtesy of the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/95b1a95f-28ab-4c29-9d9e-e594e274dac0/Fig+5.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 5: Jadiba's marital home where she resided after 1907. Her grand-daughter, Bhavna Bhatt, my mother stands in front, Sihor, Bhavnagar; 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/aeafe4f2-4821-4cbe-aa83-531d123d74dc/Fig+6.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 6: Jadiba's beaded bag, probably knitted in 1906-07. Dimensions 22.5cm x 8cm. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/4723d6ab-e5b0-4216-9cf3-628afd6d599e/Fig+7.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 7: Geetaben holding her beadworked vinjhano or hand fan. Motasurka village, Bhavnagar district Gujarat. 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/900b708d-fe0a-4c4c-8e99-6a554865433c/Fig+8.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 8: Raas-lila motif depicting Krishna and Radha, embroidered by Geetaben on her wedding chandarvo in the year 1980. Photo by author. 2020. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/96c90531-904f-4650-85f5-85645a1329d2/Fig+9.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 9: Section of a pachhitpatti that begins with the wedding ritual followed by invoking the Goddess Randalma as part of the celebrations. Barton Museum, Bhavnagar. 2012. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3ab74a66-f05b-4d30-8f1f-2e274b5acbdf/Fig+10.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 10: A section of the pachhitpatti showing Lord Krishna playing the raas-lila with two gopis on either side. Saurashtra Handicrafts, Ahmedabad. 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b8a55cd8-50e2-4a70-85df-6aaac1786664/Fig+11.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 11: Manuba, Pacchegam village, Bhavnagar district, Gujarat. 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/fd44b216-444e-4033-a55c-85ff831c936e/Fig+12.jpg Home - Decoding Women's Narratives of Gender and Creativity in 19th-20th century Beadwork of Saurashtra - Make it stand out Figure 12: A section of the pachhitpatti showing a horse chariot, a herd of cows along with their calves and flocks of birds scattered around the tree motif. Saurashtra Handicrafts, Ahmedabad. Photo by author. https://www.thejugaadproject.pub/home/editorial-textiles monthly 0.5 2024-09-23 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/7fb65fbf-6101-4144-841e-82cfb87665ef/IMG_0015_Levick_sm.png Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 1 The Museum of London’s Votes for Women display highlighted the powerful way in which unenfranchised women in early 20th-century Britain utilised textiles as political tools, combining the ‘feminine’ skills of embroidery with the ‘masculine’ domain of politics. 2022 Photo by Emily Levick. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/80e12069-bc1a-493d-b0f9-5e09506fe6c4/image2_barbican.png Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 2 A view of Ibrahim Mahama’s cloth exhibit. Barbican, London, UK. 2024. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e93d3b1a-3ad1-4cc3-a8c0-f62f634750bc/image0_barbican.png Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 3 A view of the process video and a plinth covered with kente cloth at Ibrahim Mahama’s exhibit. Barbican, London, UK. 2024. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ee43733a-4f4c-43ff-b0ed-3a53e9f7582d/IMG_5562_reed.jpg Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 4 The weekly shopping includes loom parts. Geliting, Flores, Indonesia, 2018. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e6450159-8630-4fcb-80bb-3ab1153dbeb4/IMG_5582.jpeg Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 5 Portuguese Catholic influence evident in woven cloth wrappers. Geliting, Flores, Indonesia, 2018. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d94c46ab-41d8-4607-843b-616ef654cc18/IMG_4687_EL_V%26A.png Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 6 A display of seventeenth-century British embroidery representing “Textiles in the Home”, British Galleries, V&A, London. 2024. Photo by Emily Levick. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8adacdba-947a-4368-824e-7fb1a82e1ac0/Dudley_image_weaver_sm.jpg Home - 2024 Fall Editorial: What Matters in Textiles? Comparative Perspectives on Materials and Community - Make it stand out Figure 7 Weaving a Kayan skirt-cloth on a continuous warp backstrap loom under the house, Karenni refugee camp at Mae Surin, Thailand, 1997. Photo by Sandra H. Dudley. https://www.thejugaadproject.pub/home/knowledge-weaving monthly 0.5 2024-08-02 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/0bc8eaf5-4d60-45c6-bc3c-18d70b75f204/IG_podcast_announcement_Kevin.png Home - Knowledge Weaving: A global tapestry of human sense-making - Make it stand out Listen to our podcast interview with Dr. Murray here. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3f4dd237-1002-42e6-a40e-0852edf77a57/2006-04-15_KMCNY_misc_Anon_DSC-7870-1540x1024.jpg Home - Knowledge Weaving: A global tapestry of human sense-making - Make it stand out Buddhist dharma wheel, Manjushri Kadampa Meditation Centre, Ulverston in Cambria, England. Image credit. https://www.thejugaadproject.pub/home/embodied-worlds-podcast monthly 0.5 2024-05-08 https://www.thejugaadproject.pub/home/brewing monthly 0.5 2024-01-24 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/796f085c-e480-4fc9-bf99-d5540a6b0430/IMG-1.jpg Home - Women, Work, and Wine: Shifting Cultures of Brewing in Northeast India - Make it stand out Image 1: Rice wine being brewed and distilled in a whisky bottle in West Karbi Anglong, Assam. Photo by Upasana Goswami, 2021. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ebf2b4f2-a393-42c7-a987-c8215b35d036/IMG-2.jpeg Home - Women, Work, and Wine: Shifting Cultures of Brewing in Northeast India - Make it stand out Image 2: Rice wine sold at the harvest festival of the Aka tribe in Buragaon, West Kameng, Arunachal Pradesh. Photo by Abhishruti Sarma, 2022. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1c3f3c48-64d4-4e72-b47b-4eae5dbe858b/IMG-3.jpeg Home - Women, Work, and Wine: Shifting Cultures of Brewing in Northeast India - Make it stand out Image 3: Home-brewed fruit wine, Zhurkhi, from Shergaon, Arunachal Pradesh. Photo by Abhishruti Sarma, 2022. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/23d9bf93-f4cf-4118-a783-fe7b08e06f46/IMG_4.png Home - Women, Work, and Wine: Shifting Cultures of Brewing in Northeast India - Make it stand out Image 4: Xaj rice wine with Ahom motif. Credit: Xaj Heritage Rice Wine’s Instagram page (link here) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b2883bff-5015-48fa-908a-f9a6de8ac1fb/IMG_5.png Home - Women, Work, and Wine: Shifting Cultures of Brewing in Northeast India - Make it stand out Image 5: Naara Aaba’s organic kiwi wine. Photo by Abhishruti Sarma, 2024 https://www.thejugaadproject.pub/home/green-thumbs monthly 0.5 2024-01-08 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/6de3403d-beb9-424c-9ac3-10566e0779da/image+1.png Home - Green Thumbs: The Politics and Precarity of Land Care Labors - Make it stand out Image 1: The work of landscape maintenance is skilled and ongoing. image credit: author https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/24534eb3-1f1d-4944-84bc-5124dcb08a17/image+2_v1.jpg Home - Green Thumbs: The Politics and Precarity of Land Care Labors - Make it stand out Image 2: Landscape maintenance is social. Even a solo gardener is in conversation with the plants she tends. Image: author and Loren Almendarez https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c34503a2-dcbc-4d64-8698-a6399a6cac81/image+3.png Home - Green Thumbs: The Politics and Precarity of Land Care Labors - Make it stand out Image 3: Test Plot celebrates a shared, open, and reciprocal land care ethic. Image: Loren Almendarez and author https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/75cb621a-8657-4507-b6b5-c1f2827e724c/image+4.png Home - Green Thumbs: The Politics and Precarity of Land Care Labors - Make it stand out Image 4: The Gowanus Canal Conservancy demonstrates that an industrial neighborhood is an environment worthy of sustained care. Image: author and Loren Almendarez https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d723f433-78fd-45c0-9cdf-d22ddaad9d6d/image+5.jpg Home - Green Thumbs: The Politics and Precarity of Land Care Labors - Make it stand out Image 5: Land care can be in service to social and ecological change if we accept political work as an essential task. Image: Loren Almendarez and author https://www.thejugaadproject.pub/home/writing-aesthetic-judgment monthly 0.5 2023-12-05 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3df430d9-7782-42a0-b84f-d00a5942876d/Screen+Shot+2023-11-27+at+10.47.01.png Home - Writing, Aesthetic Judgment, and the Spectre of ChatGPT - Make it stand out Cinderella, according to ChatGPT. A screenshot from OpenAI's webpage: openai.com/gpt-4 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a9fe7312-aeb5-490d-839d-796a680d3b09/robot+writing.png Home - Writing, Aesthetic Judgment, and the Spectre of ChatGPT - Make it stand out A robot, writing. AI generated: hotpot.ai/art-generator https://www.thejugaadproject.pub/home/artisans-by-trade monthly 0.5 2023-11-30 https://www.thejugaadproject.pub/home/disrupting-individualism monthly 0.5 2024-01-22 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/4bb80def-0684-4fdc-ba70-0c9815c70ab8/Mycelium.png Home - Disrupting Individualism through the Intimate: A Review of 'The Efficacy of Intimacy and Belief in Worldmaking Practices' (Routledge, 2024) - Make it stand out Mycelium of arbuscular mycorrhizal fungi with false color. Credit: Oyarte-Galvez, published by AAAS and UrekAlert! https://www.eurekalert.org/multimedia/986302 https://www.thejugaadproject.pub/home/pathologies-of-labour monthly 0.5 2023-11-29 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/9d6f667e-300d-4df9-999d-e99aa99faf16/image1.png Home - Pathologies of Labour: How Work Destroys Health in Urban India - Make it stand out Figure 1. IHPs’ shelves are stocked with affordable antibiotics, painkillers, tonics, and other medicaments. As seen in the image, a boy is being treated for a knee injury. (source: author: 2023) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/033a08eb-1a57-4aaf-a763-584032f13f12/IMG20230623180418+%281%29.jpg Home - Pathologies of Labour: How Work Destroys Health in Urban India - Make it stand out Figure 2. A helpline for distressed residents of Unity Colony, posted at an IHP clinic during COVID-19. According to the IHP, a few of his patients tried calling it, but to no avail. (source: author: 2023) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/6beee7b6-8639-4fc7-831b-6ffe9a436e66/image3.png Home - Pathologies of Labour: How Work Destroys Health in Urban India - Make it stand out Figure 3. Screengrab of image results for a Yahoo search for “stress in India”. September 18, 2023. https://www.thejugaadproject.pub/home/stoneworks monthly 0.5 2023-11-27 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/2919d634-dfe4-44cb-8365-e2d9d6d9bd6c/Figure+1_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 1. Water offering at the O Thmâ Dap quarry. Siem Reap Province, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e42cbb98-6363-4bd7-926b-d5879d0f67b1/Figure+2.jpeg Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 2. Shrine and offerings at Prasat Kôk Pô. Siem Reap Province, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/7ee5b87f-29a5-4e2b-8ea8-0463f9fe122d/Figure+3.JPG Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 3. Angkorian period image pedestal used for divination at Prasat Prei Monti. Siem Reap Province, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/bbb89f16-d658-4a5c-8e11-23ef78142fdd/Figure+4_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 4. Angkorian period image pedestal used for worship and divination at Poeng Tbal. Phnom Kulen, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ddcf58fd-fc92-4dc0-9d23-53f4b0e75ea2/Figure_5_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 5. Pedestal from Prasat Koh Hô used as neak ta Shrine. Siem Reap Province, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/848c2a0d-f711-415b-b39c-3bdf61f0002c/Figure+6_sm.jpg Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 6. Images of the Hindu deity Śiva and ascetics beneath a rock shelter at Poeng Tbal. Phnom Kulen, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/dba67fb2-6e15-4200-9737-9fb5a050c6ec/Figure+7_sm.jpg Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 7. Riverbed carved with liṅgas at Kbal Spean. Cambodia, 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8d4d4b1a-f904-485c-abf2-62ffb5baed35/Figure+8_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 8. Inscription beneath rock overhang at Poeng Ta Roet. Phnom Kulen, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/f45d6d10-ba8e-441a-88fc-83f7b0fcaa49/Figure+9.JPG Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 9. Relief carving beside inscription of Śivasoma at Poeng Komnu. Phnom Kulen, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8c9890c5-27bb-4814-b8b9-724f4fc363d4/Figure+10_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 10. Ritual space and residence of Kru Khmer healer at Poeng Komnu. Phnom Kulen Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/10e13826-b949-46b3-950a-d7dc61dc56a8/Figure+11a_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 11a. Relief carvings of Gaṇeśa and Viṣṇu on rock formation at Poeng Komnu. Phnom Kulen Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3859cfc7-2c3b-495c-afdf-e868ffaff0ee/Figure+11b_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 11b. Close view of Gaṇeśa with offering table. Phnom Kulen, Cambodia, 2023. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/957af303-252d-4412-aec6-1c477b37f8bd/Figure+12_sm.png Home - Stone Works: The Religious Power of Lithic Media in Contemporary Cambodia - Make it stand out Figure 12. Contemporary ritual space for Kru Khmer at Poeng Komnu. Phnom Kulen, Cambodia, 2023. Photo by author. https://www.thejugaadproject.pub/home/amateur-or-professional monthly 0.5 2023-12-15 https://www.thejugaadproject.pub/home/editorial-winter-2023 monthly 0.5 2025-05-07 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/34d521a0-6132-4959-903a-f47580475eed/Screen+Shot+2023-12-04+at+4.43.34+PM.png Home - 2023 Winter Editorial: What Matters in Work? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/93f9c452-4aec-4c08-b986-581ef17a9e25/Figure+11a_sm.png Home - 2023 Winter Editorial: What Matters in Work? - Make it stand out Relief carvings of Gaṇeśa and Viṣṇu on rock formation at Poeng Komnu. Phnom Kulen Cambodia, 2023. Photo by Elizabeth A. Cecil. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e6ab9aa5-7aa7-415a-8a73-2ffad4ef0775/image+4.png Home - 2023 Winter Editorial: What Matters in Work? - Make it stand out The Gowanus Canal Conservancy demonstrates that an industrial neighborhood is an environment worthy of sustained care. Image: Maggie Hansen and Loren Almendarez. https://www.thejugaadproject.pub/home/islamic-coins monthly 0.5 2023-06-18 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/09d1764f-1c80-43ab-bb63-22b71d71cd18/Figure+1.JPG Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 1: The “Babylon Hoard of Arabic Coins” display at the Bode-Museum, Berlin, Germany; Photo by Sara Ann Knutson, October 2021 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/56514cf1-a93b-4849-b924-d22aea36ab77/Figure+2.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 2: “The Collections of the Numismatic Collection” plaques (in German and English) at the Bode-Museum, Berlin, Germany; Photos by Sara Ann Knutson, October 2021 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/0581e6a3-d584-44b9-8766-5dc6e6bf072c/Figure+3.JPG Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 3: Close-up of the “Babylon Hoard of Arabic Coins” display at the Bode-Museum, Berlin, Germany; Photo by Sara Ann Knutson, October 2021 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ecd1cedf-fd8a-4f52-94c8-28e29a339cb7/Figure+4.JPG Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 4: The “Babylon Hoard of Arabic Coins” (close-up) at the Bode-Museum, Berlin, Germany; Photo by Sara Ann Knutson, October 2021 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3f1e4ea6-9f45-4d23-b358-1aced0f7c1e3/Figure+5.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 5: Reported Demographics of the (2021) Survey Respondents; Image by Sara Ann Knutson https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/66325794-2ada-4823-b475-c9d6ef3659fb/Figure+6.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 6: Reported Religious Identity of the (2021) Survey Respondents; Image by Sara Ann Knutson https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/51182e3b-38f5-4d01-9730-6ada9e97874c/Figure+7.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 7: Reported Highest Educational Level of the (2021) Survey Respondents; Image by Sara Ann Knutson https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/17b21754-aa7b-45ca-a320-6722b315e894/Figure+8.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 8: Survey response among respondents who claimed Middle Eastern- and North African descent/ who culturally identify and have family living in the MENA region; Image by Sara Ann Knutson https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/bf401c1a-b187-481a-b654-359835484afc/Figure+9.png Home - Re-Engaging Islamic Materials and their Heritage Values - Make it stand out Figure 9: Survey response among respondents who identify growing up and/or living in the MENA region; Image by Sara Ann Knutson https://www.thejugaadproject.pub/home/museum-yoga monthly 0.5 2024-06-05 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ced83dc6-b505-474f-88f3-2b8066c640ac/modi-yoga_day.jpg Home - White Womanhood, Hindutva and Spiritual Bypass: Museum Yoga and the Mass-Participation Spectacle - Make it stand out Figure 1. Indian Prime Minister, Narendra Modi. International Yoga Day. 2018. Source: Feminism in India, Photographer: Unknown. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/6d9aa92a-6270-416d-9e55-74c3625b6e2e/Screenshot+2023-05-14+at+15.34.15.jpg Home - White Womanhood, Hindutva and Spiritual Bypass: Museum Yoga and the Mass-Participation Spectacle - Make it stand out Figure 2: The White Tour. Grand Palais; 2013. Source: YouTube. https://www.thejugaadproject.pub/home/highwire-acts monthly 0.5 2023-06-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c48d0552-b487-40b1-9385-23cf678676d9/Frontal_Page155_4x5_300ppi.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 1. The spectacular gold crown, from the Nage area, Central Flores, Indonesia. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/65830062-32a4-4848-b50e-7cc670abfebe/Photo2_Page71_300ppi.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 2. 1920s photograph, Nage aristocrat attired for a ceremony with gold crown similar to the one in the “Power and Gold” collection. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/4404e188-67b2-43ba-9cf8-2899d0242011/Photo1_Page71_300ppi.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 3: The same man (from Figure 2), now elderly, looking at the archive photograph in 1984 during the field research for the 1985 exhibition. Nage, Central Flores, Indonesia. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/09affef8-716f-4fe3-bd50-40fe23384087/GoldCloths_Install1.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 4: Installation photograph, Cantor Art Gallery, Holy Cross, showing the entryway to “Gold Cloths of Sumatra,.” 2007. My field photo of songkets being sold, Pusako Weaving House, Pandai Siket, West Sumatra, farmed the exhibition. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c2b453d6-4419-4237-a3ad-00f57a4787fb/WovenPower_Install1.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 5: The first section of “Woven Power,” Cantor Art Gallery, 2016, showing our only large wall text. To right: our only ritual skirt shown on a mannequin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/76cc2fbc-8fb4-450f-a717-fdf44f048971/WovenPower_Install2.jpg Home - Curating Ornament and Textile Exhibitions as Highwire Acts: On Guest Curator Negotiations with Lenders and Museum Director - Make it stand out Figure 6: Ritual skirts were all mounted on slant boards, with small labels. Other wall texts were also diminutive and the exhibition had very few photos, so as to accommodate a large number of textiles on the walls. Context had to be provided through gallery walk-throughs. https://www.thejugaadproject.pub/home/museum-conversation monthly 0.5 2023-06-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a4367bca-b812-4a86-b734-f61b76608c62/Communities+and+museums.jpg Home - A conversation on difference, Otherness and possibilities in museums - Make it stand out Figure 1. Making museums and communities: What would inclusion and collaboration with communities in museums look like? Photo by Shivangi Pareek, Tribal Museum, Bhopal, Madhya Pradesh, 2022. https://www.thejugaadproject.pub/home/whitewash monthly 0.5 2023-06-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/14ce1c94-31d5-4b54-a256-e6a6889ccaef/SkrillJugaadImage1.png Home - Whitewash: Robert E. Lee and the New Iconoclasm - Make it stand out Image 1: Lee Richmond Graffiti 29" x 21", ink, gesso, graphite and colored pencil, pastel on watercolor paper, 2020. Image courtesy of Howard Skrill. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ef91f534-fac8-4214-a0c8-c48c21276650/SkrillJugaadImage2.png Home - Whitewash: Robert E. Lee and the New Iconoclasm - Make it stand out Image 2: Absence of the Portrait Bust of Robert E. Lee from Bronx Community College, 20” x 17” oil stick, oil pastel, chalk pastel, graphite and colored pencil on linen board, ©2017 [plein-air]. Image courtesy of Howard Skrill. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d8f4c9ff-2eab-473d-95b3-8b8466f15b4b/SkrillJugaadImage3.png Home - Whitewash: Robert E. Lee and the New Iconoclasm - Make it stand out Image 3: Portrait Bust of Robert E. Lee from Bronx Community College, 14” x 17” oil pastel on paper, ©2014 [plein-air]. Image courtesy of Howard Skrill. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/f8ffe97f-e12d-40d2-8744-d81121f53b96/SkrillJugaadImage8.png Home - Whitewash: Robert E. Lee and the New Iconoclasm - Make it stand out Image 4: Lee Floating (Traveler), 29 ½” x 22 ½”, ink, gesso, graphite and colored pencil, pastel on watercolor paper, 2022 (Midway Journal, July 2022). Image courtesy of Howard Skrill. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/011035d4-4a17-4587-8e3b-6dc6c0d82014/SkrillJugaadImage4.png Home - Whitewash: Robert E. Lee and the New Iconoclasm - Make it stand out Image 5: Lee (AmeriKKKa), 30” x 22 ½”, ink, gesso, graphite and colored pencil, pastel on watercolor paper, 2022. Image courtesy of Howard Skrill. https://www.thejugaadproject.pub/home/indigenous-readings monthly 0.5 2023-06-04 https://www.thejugaadproject.pub/home/caring-for-altars monthly 0.5 2023-06-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/f3775ceb-1149-4eaf-93bb-e39dbbd150a9/333142329_1853151848383999_6479579668594280550_n.png Home - Caring for the Body and Spirit of Altars: An Ethical Exploration - Make it stand out Figure 1. One of two altars created by Kumara Kassapa, an individual living within the Buddhist monastic Theravada tradition, currently living in Thailand who runs the account @accanta_santi. Like many Buddhist altars found in the home, this altar contains a Buddha statue in sitting posture, flower arrangements, cups for offering water, an incense holder, and candles. Photo credit: Kumara Kassapa, photo taken in 2023. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/568ad7d9-cb24-481b-9452-daabfa89c740/Screen+Shot+2023-03-12+at+5.55.53+PM.png Home - Caring for the Body and Spirit of Altars: An Ethical Exploration - Make it stand out Figure 2. One of Teth Dumuzid’s (@lashtal156) altars. As Dumuzid describes, “my altar has become an altar in and of itself. I live in a studio and I keep little ones in different places throughout with one main set up where I do most of my practice in the eastern corner of the room.” There are statues, holy texts, and symbolic items, like those shown above. Photo credit: Teth Dumuzid, photo taken in 2023. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/07678c75-256e-481b-bfc7-731943a6fee2/Screen+Shot+2023-03-12+at+5.52.02+PM.png Home - Caring for the Body and Spirit of Altars: An Ethical Exploration - Make it stand out Figure 3. One of @alienscty’s most recent altars, featuring an image of Aphrodite, seashells, candles, and branches covered with leaves. Photo credit: Michèle Laverrière, photo taken in 2023. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d560e384-f328-4289-b157-8f6bfd831f6b/Screen+Shot+2023-03-12+at+5.56.35+PM.png Home - Caring for the Body and Spirit of Altars: An Ethical Exploration - Make it stand out Figure 4. An altar created by Corregan (@corregan_moon_leopard), a Celtic pagan witch residing in Kaura Country. Corregan’s matron deity is The Cailleach and she has a large altar or shrine in her living room, but Corregan also has smaller shrines to Brigid, the green Man/Cernunnos/Branwen/Cerridwen. Corregan’s main working altar, which is changed on a seasonal basis, has various symbols of gods. Photo credit: Corregan the Crone, photo taken in 2023. https://www.thejugaadproject.pub/home/editorial-spring-2023 monthly 0.5 2023-06-18 https://www.thejugaadproject.pub/home/sedekah-benih monthly 0.5 2022-10-12 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ee2a89e4-3688-45dc-8395-d583e4d70998/Screen+Shot+2022-09-30+at+12.03.29+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 1. “Do you know about Sedekah Benih?” Sedekah Benih Instagram post introducing the beginning of the community-based art and environmental project. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/0e20b6aa-3841-4f4f-ac94-77f94deb24e3/Screen+Shot+2022-09-30+at+12.05.31+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 2. Sedekah Benih Instagram posts on Mang Dian’s project of planting the chili pepper. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ff7ef540-2945-4e2e-8790-4662be57c1e6/figure+3.jpg Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 3. Vincent Rumahloine’s documentation of his previous work, Kuncen Leuwi (2014-2015), Bandung. Image courtesy of the artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/7fdfd877-cdd6-4cc6-b9e6-ecc12dfb4e5f/Screen+Shot+2022-09-25+at+12.15.16+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 4. Open Call for Tiis Leungen. The call for open participation for people to get their share of chili pepper seeds, organized by the Goethe Institut in Bandung. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ed486bbb-46a4-43b6-bf79-0679089e4425/Screen+Shot+2022-09-25+at+12.16.52+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 5. Community of ibu-ibu (women) in Cibogo making little pots from banana leaves to plant seeds of kangkong (water spinach) and chili peppers, June 2022, photographed by Djuli Pamungkas. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/946fef21-3659-4570-82ca-371ae9e80543/Screen+Shot+2022-09-25+at+12.18.19+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 6. Community of ibu-ibu (women) in Cibogo building their own greenhouse using bamboo, June 2022, photographed by Djuli Pamungkas. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a28b88c9-afd8-48a1-bb2e-d0fb736057cc/Screen+Shot+2022-09-30+at+12.08.38+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 7. Activities of ibu ibu in the Masagi community in Cibogo, Bandung, from cleaning the neighborhood to communicating their needs and aspirations to government officials in Sedekah Benih’s discussion program called Sabulang Bentor. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8b99eab9-934b-476e-a0f2-359e2deaf408/Screen+Shot+2022-09-25+at+12.20.50+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 8. Karinding concert by members of Karinding Keos during the mitembeuyan ritual at the start of the planting phase at the local community farm in Cibogo on 19 April 2022, photographed by Choirul Nurahman. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/83d8facc-93af-44b7-ac0e-4b8af2edecec/Screen+Shot+2022-09-30+at+12.10.53+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a4ecfec9-727c-48a2-9688-7eb489449f7f/Screen+Shot+2022-09-30+at+12.12.17+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 9. Sedekah Benih’s Instagram posts introducing and circulating information on the philosophy of karinding through social media. Images courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/cc5151ce-a36e-49a4-8ee2-3e481541b056/Screen+Shot+2022-09-25+at+12.27.23+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 10. Screenshot from the Driving the Human project page showing Sedekah Benih as one of the selected concepts. Sedekah Benih proceeded to become one of the seven prototypes for “… shaping sustainable and collective futures that combine science, technology, and the arts in a transdisciplinary and collaborative approach. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8b810e0e-dd34-46aa-b708-cade293ccd65/Screen+Shot+2022-09-30+at+12.15.20+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 11. Sedekah Benih’s open call for a sambal competition that attracted 135 sambal entries. The final judging period is now underway. Image courtesy of Sedekah Benih. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/806d0ab3-9121-4a11-8dff-dd6dc4a32758/Screen+Shot+2022-09-25+at+12.30.35+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 12. Mang Dian sharing the seeds of cengek (Sundanese for chili peppers) with the students of Qur’anic schools in Bandung. Image courtesy of Mang Dian. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b261bf66-ec27-42db-8656-b52ea8e56459/Screen+Shot+2022-09-30+at+12.18.02+AM.png Home - Interview with Sedekah Benih – Urban Ecology and Community-based Art Activism - Make it stand out Figure 13. Sedekah Benih Instagram page sharing tips and techniques for growing staple plants in limited urban space, such as hydroponic, using recycled plastic pots, verticulture, and aeroponic. Images courtesy of Sedekah Benih. https://www.thejugaadproject.pub/home/activating-handmade monthly 0.5 2022-09-16 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b2f4ea5a-fb4e-473d-9050-f5c15741add7/Image+courtesy+Flourish+3.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Flourish. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/34181b20-ac7c-473a-9894-dccb462ee92a/Image+courtesy+Olee+Maatee.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Olee Matee. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/39d61424-dcfa-406d-b7d0-21b43967fc8d/Image+courtesy+Sirohi+by+Skilled+Samaritan+Foundation+3.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Skilled Samaritan Foundation. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/9ab3ba1a-444a-4c2e-854a-af0a4beeac48/Formal_graphic.png Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out The New Formal as a framework to understand entrepreneurial action / formal-informal interplay in the artisan economy (Original: Krishnamoorthy & Kapur, 2021) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e74868e5-8325-4363-9e0f-2f0176fe00b0/Image+courtesy+Flourish+1.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Flourish. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/bcde3641-25d2-49b7-be79-c49608480a13/Image+courtesy+Varso+4.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Varso. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1c352855-3dc6-4424-adef-5eaa5a5a09fe/Image+courtesy+Vimor+Handloom+Foundation.jpg Home - Activating the Value of Handmade: The Role of Social Enterprises in Transforming India’s Artisan Economy - Make it stand out Image courtesy of Vimor Handloom Foundation. https://www.thejugaadproject.pub/home/timur-merah monthly 0.5 2022-09-05 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/762f70a2-62b1-4b3c-a157-ee0a6aee4d9e/PIC+1.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 1. Anonymous, Kamasan, Bali, 23.5 X 397cm, 1961. A historical depiction of Panji Malat, the kings of Kahuripan and Kediri arrived at Gegelang and entered the abode of the princes with the king of Gegelang. Permanent link to this image. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/de7ea41d-1f87-4e0d-8fc3-fa9b00788a4e/PIC+2.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 2. Anonymous, Kamasan, Bali, 84.3 X 84,3cm, 1984. Erotic illustration from the Panji epic. Permanent link to this image. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/83c50c59-3c26-4d1e-951e-cf0ff268d33d/PIC+3.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 3. Anonymous, Kamasan, Bali, 925 x 28 cm, 1940, Ider-ider (long painting) depicting mythological and erotic scenes. This painting is usually installed around the ceiling of Balinese architectural buildings/pavilions. It consists of several sequential scenes which are separated from each other by a diagonal line of mountains and visuals of clouds. The left half of the canvas illustrates male and female figures who seem to be talking to each other. At the end of the story, one of the women is taking revenge by conquering demons with her genitals. Collected by Georg Tillmann. Permanent link to this image . https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/84b0e790-4d42-48b7-b305-05759951742e/PIC+4.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 4. Anonymous, Kamasan, Bali, 136 x 171 cm, 1915. A scene of Calonarang and her followers transformed into cruel figures with her magical force. Permanent link to this image . https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/6e1f2ab5-4544-456f-ae34-33850c9eeb61/PIC+5.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 5. Timur Merah Project I; The Embrace of My Motherland, 5 panel traditional Kamasan canvas, 90 x 400 cm, the text on the floor was painted using turmeric powder. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c12467f7-0f2a-4b6b-8a7a-2b283cdb28dd/PIC+6.JPG Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 6. Timur Merah Project V; The Verge of Mortal Ground, 60 x 580 cm, traditional Kamasan canvas, 2021 ARTJOG Resilience 2020, Yogyakarta. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/390fc192-12e4-4986-a6be-04f9337c2369/PIC+7.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 7. Timur Merah Project VII; Divine Comedia, 90 x 600 cm, traditional Kamasan canvas, 2 antique pillars, 2021, ARTJOG Time To Wonder, Yogyakarta. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/dfb1341b-7d01-4cb7-aa84-b78391806307/PIC+8.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 8. Ceiling of the Kertha Gosa (Hall of Justice) in Klungkung, Bali. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/f1779f14-dffe-4069-8753-75b2ed18ba2c/PIC+9+%282%29.JPG Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 9. Photo of Balinese and Papuan Slaves from the rulers of the Buleleng kingdom, source probably by I van Kinsbergen, 1865. Permanent link to image. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a5b9e572-5260-459f-9408-c885ae227e97/image10.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 9. Bali Tourism Brochure Cover 1929-1930. Permanent link to this object. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/666d76a1-5f16-4d18-9487-7a805708ada0/PIC+11.jpg Home - Timur Merah Project: A Pilgrimage of Narrative, Memory, and Historical Legacy - Make it stand out Image 10. Timur Merah Project I fragments; The Embrace of My Motherland. https://www.thejugaadproject.pub/home/drawing-out monthly 0.5 2022-08-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8f4aca8f-c20c-4103-a462-af8b8133a13b/01-ADO_Animationstill.jpg Home - A Drawing Out: Visibilizing the Labor of Care, Enacting Mutual Aid - Make it stand out Angela Beallor and Elizabeth Press, Still from Cell(ular) Formation, Animation of microscopic video of breastmilk gradually revealing the Soviet photograph, 2018, part of the performance work A Drawing Out :: Lactic Orchestration. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/80607658-0721-4ab7-bcd0-bdb7c99f361b/02-IMG_8726.jpg Home - A Drawing Out: Visibilizing the Labor of Care, Enacting Mutual Aid - Make it stand out “In the Mothers’ Milk Center,” reprinted in Dr. Fannina Halle’s Die Frau in Sowjetrußland (Woman in Soviet Russia). Captioned in Der Staat ohne Arbeitslose (1931) as “At the collecting station for mothers’ milk” and continues with the captioned series “such stations have been organized in all industrial centers, in the village, in the newly-built towns, in the old industrial centers . . . everywhere, the State, the Commune, the Factory, looks after the children of the working masses.” https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a1163fd0-5254-40ec-ad79-87b2fee8ddb0/03-Performance_still.jpg Home - A Drawing Out: Visibilizing the Labor of Care, Enacting Mutual Aid - Make it stand out Angela Beallor with Michelle Temple, A Drawing Out :: Lactic Orchestration, Troy, NY 2018. Performed by Victoria Kereszi, Heather Marsh, and Chanda Lindsey. Photo by Elizabeth Press (EP). https://www.thejugaadproject.pub/home/artivism monthly 0.5 2022-08-20 https://www.thejugaadproject.pub/home/just-images monthly 0.5 2022-08-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/26bf949e-a6c5-465c-a3c6-5027a012894d/Fig1.png Home - Just Images - Make it stand out Fig. 1. Supreme Court of India, Review Petition No. 635 of 2015 in SLP (criminal) No. 802 of 2015. https://www.thejugaadproject.pub/home/editorial-material-activism monthly 0.5 2025-05-07 https://www.thejugaadproject.pub/home/material-culture-subjects monthly 0.5 2023-12-20 https://www.thejugaadproject.pub/home/bamboo-crafts-indonesia monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a5a516ec-1ac8-4546-9b1d-ad2c1bfe9272/Figure+1-left.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/312e89c3-def2-440b-803d-a789434c0679/Figure+1-right.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 1 Access to the Cikiray One and Cikiray Two hamlets respectively through Salawu-Cikiray Alley from the main street, Garut-Tasikmalaya. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c6027780-042b-4123-83fe-bd62f7fc7a87/Figure+2-left.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8a2dc5ab-ab8a-4399-82d5-4d556b56b000/Figure+2-right.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 2 Producing daily utensils made of bamboo, the main occupation of the Cikiray hamlets’ inhabitants (upper image); the use of craftspeople’s own products in their kitchens (lowerimage). Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/ecbc2706-1101-448b-aaae-b67db3b66801/Figure+3.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 3 Agricultural activities in the paddy fields of Cikiray One. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/96de7eb3-4f18-4d71-b0c8-58a67d4cb0f1/Figure+4-left.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/9c294ff5-7bf0-49a8-8c2e-f9811483c016/Figure+4-right.jpg Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 4 Daily utensils producers engaging in crafting and farming activities in the harvesting week. Safeguarding the rice yields (upper); gathering for lunch after collecting the dried bamboo slices in between gacong activities (below). Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3612e992-7e7c-4279-af23-ea68218b182e/Figure+5.png Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 5 Ten types of bamboo daily utensils made by the Cikiray hamlets (left to right, first to third row): boboko, ayakan complong, tolombong, aseupan, dudukuy, nyiru, ayakan, hihid, cecempeh, and tampir. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/06d8acd0-d9b4-4e61-b308-cf257d4d0bce/Figure+6-left.png Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/87827e11-235f-46a7-9049-84e2fe146f4e/Figure+6-right.png Home - Bamboo Crafts Development Projects in Indonesia: Who to Develop? What is to be Developed? - Make it stand out Figure 6 Top to bottom: Square-base diagonal pattern weaving technique; post-strengthened rim (framing; wengku in Sundanese). Source: Mulyadi (2009) https://www.thejugaadproject.pub/home/likhai-wood-carving monthly 0.5 2024-08-29 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3b01265f-f208-4af9-9182-1e37e6891e52/Figure1.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 1. Bakhlee, vernacular architecture of Kumaon. Thal, 2021. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1fc18659-9c65-494d-bbcb-84d13667c729/Figure2.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 2. Dodyari tyapari, a two panel window. Munsiari, 2020. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/c3a2f066-09f8-4b55-b322-59d15f5f0992/Figure3.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 3. Lord Ganesha on the frame of main door. Munsiari, 2019. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e63c6d2a-b512-4acf-8e92-2620bf25645a/Figure4.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 4. Sharmaji carving a door frame. Munsiari, 2019. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b25ef07b-8c78-40db-a4f7-f193e8e60d9c/Figure5.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 5. Abandoned house. Munsiari, 2021. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/23e7badc-474a-46b2-9ead-5533d7e577d6/Figure6.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 6. Renovated traditional house with addition of fan lights, flat roof and cemented façade. Munsiari, 2021. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a957206f-cf32-411d-a199-e504a0e88e6a/Figure7.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 7. Attempts to carve on cemented wall. Munsiari, 2021. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/4673e0fb-0898-4066-805d-c024cdf75042/Figure8.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 8. Relocation of old frames in new houses. Munsiari, 2021. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1ec7dd46-08d0-4e07-9232-9bf71b38e511/Figure9.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 9. Likhai on a modern house. Munsiari, 2021. Photo by Rekha Rautela. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b3913178-4d41-4766-8e0b-15ed0b1748a2/Figure10.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 10. Craft studio workshop. Munsiari, 2020. Photo by Rekha Rautela. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3b2b308e-bb3c-47b2-be62-90c4dc97e480/Figure11-12.jpg Home - Likhai: A journey through the craft of wood carving - Make it stand out Figure 11. [L]. The author's participation in a workshop. Photo by Trilok Rana [R] Object carved by the author. Munsiari, 2020. Photo by Author. https://www.thejugaadproject.pub/home/spaces-of-idol-crafting monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/f0ddc639-fb7f-406d-8f25-e60237be5e77/Figure1.jpg Home - Sustaining Spaces of idol-crafting and communities of practice: Seasonality, adaptability, and cultural identities in Kumartuli, Kolkata - Make it stand out Figure 1: Photographs of different stages of idol crafting: (a) straw binding phase, (b) after clay application, (c) after first layer of colour, (d) finished idol in pandal (Kolkata, 2017, Photo by author). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/40b059de-43c2-46d7-869b-931ceaab647b/Figure+2.jpg Home - Sustaining Spaces of idol-crafting and communities of practice: Seasonality, adaptability, and cultural identities in Kumartuli, Kolkata - Make it stand out Figure 2: Photograph of finished idol being pulled by seasonal migrant workers on the streets of Kumartuli (Kolkata, 2017, Photo by author). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/05eac18e-6c48-4f23-b590-11616612ccf6/Figure+3.jpg Home - Sustaining Spaces of idol-crafting and communities of practice: Seasonality, adaptability, and cultural identities in Kumartuli, Kolkata - Make it stand out Figure 3: Image of a street, (a) during monsoon, with awnings above the public space, (b) during distribution of idols (Kolkata, 2017, Photo by author). https://www.thejugaadproject.pub/home/gringsing-fabric monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/331bafb7-f8ff-4cd3-85f5-63932abda587/DSCF5416.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 1. The sacred swinging ceremony and girls adorned in their best Gringsing (within ritual processions of the 5th month, Usaba Sambah) symbolizing the cyclical rhythm of life and sacred duty. Tenganan Pagringsingan, 2018. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/39ec0020-1d80-4db9-a005-eac850a34278/DSC07172.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 2. Tapak dara symbol on an offering. Tenganan Pagringsingan, 2015. Photo by Aoki Hironobu. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/b0abf7a4-8ce5-4368-9045-5b3e48ca7a4c/Fig3.png Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 3. Manifestation of Tapak Dara cosmology as symmetrical layout, as decorative motifs within both pattern designs (Gringsing Wayang Putri and Gringsing Cemplong) and on the edge called 'motifs of ritual use'. Tenganan Pagringsingan, 2014. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/8ad90053-de0d-4b99-a7ee-3b0ca234ac0a/DSC06857.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 4. The seating position of male members of Kerama Desa (Married Citizen Association) during ritual coordination meeting (facing mountainward and the elders on the top). Tenganan Pagringsingan, 2015. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/d9cfa217-64a4-4463-adc6-30604691f45b/Fig5.png Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 5. A map/diagram of the residential compound. Diagram by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1bf867cd-6c16-47ff-95c0-049f8d756bc0/IMG_2093.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 6. A Gringsing artisan processes cotton yarns after being incubated in the yellow dye-bath at the backside of the house (near kitchen area). Tenganan Pagringsingan, 2014. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/69f633a2-3fd4-445f-a07f-9ff104550442/IMG_2525.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 7. A Gringsing artisan warps thread at a space in the central zone of the house (on Bale Tengah). Tenganan Pagringsingan, 2015. Photo by Author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/fb563c87-2816-4639-a7e2-60a8306d20f3/IMG_5589.jpg Home - Gringsing Fabric as Spatial Cosmology and Relation-making - Make it stand out Figure 8. Gringsing Tali Dandan (the guide thread) projecting the responsibility of elders to guide the younger generation. Motifs generated from the cross sign also decorate the cloth. Tenganan Pagringsingan, 2015. Photo by Author. https://www.thejugaadproject.pub/home/craft monthly 0.5 2025-05-07 https://www.thejugaadproject.pub/home/all-being-well monthly 0.5 2023-12-20 https://www.thejugaadproject.pub/home/relational-affliction monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672440957-NB9D0ATQLCC4BYL5PEAX/Figure+1.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 1 – Tote bag for sale in a Greek tourist market. (Photo by D. Kavadias) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672461121-YBAEV3XTKLFQZ541RH31/Figure+2.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 2 – Galen (left), Ibn Sina (center), and Hippocrates (right), architects of humoral medicine depicted as contemporaries in European dress. ("Galenus Avicenna Hippocrates" by orionpozo is licensed under CC BY 2.0) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672513831-F8Q1RRL0F8HGE1GIO591/Figure+3.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 3 – Arabic theories of humoral medicine travelled along with the spread of Islamic imperialism from the 14-15th c. onwards. (Pinupbettu, CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0, via Wikimedia Commons) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629931801317-VLQ3K2VSRCQI222LDF8D/Figure+4.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 4 – Parvin drawing circles on an egg in her Ekbatan apartment. (Photo by R. Wellman) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629931815216-6EO7IQUKFM9EHBKKOIF5/Figure+5.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 5 – The egg after it had cracked. (Photo by R. Wellman) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672604901-BGLEVV68I3QB389V1QWL/Figure+6.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 6: Olive oil for conducting the xemátiasma is taken from the family shrine. (Photo by D. Kavadias) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672640036-OXEFVICK2IA4BEROL9Z4/Figure+7.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 7 – Hanging from a rear-view mirror, a máti charm, featuring a horse shoe, is attached to a strand of eye beads. (Photo by D. Kavadias) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1629672659480-Z6D5OPRN0QSGKNF69Q8R/Figure+8.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 8 – A máti charm located in a shrine above the door of a Greek bus underscores the double-danger of both entryways and transit. (Photo by D. Kavadias) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1630032309475-PCNLN3M58AY41GHA576D/Figure+9+alt.jpg Home - A Theory of Relational Affliction and Healing: Evil Eye in Iran and Greece - Make it stand out Figure 9 – This phylaktó, bearing both a máti and an engraving of the Theotókos with Godchild, will be presented by an aunt to her newborn nephew for protection. (Photo by D. Kavadias) https://www.thejugaadproject.pub/home/body-goddess monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/a35d001e-6f7c-44d1-8caf-a5ed4ea059e6/Screen+Shot+2021-10-28+at+2.45.10+PM.png Home - Body, Goddess and Healing: The Tattoos of a Goddess - Make it stand out Screengrab image courtesy of Shri Mariammen Temple Society, Mount Edgecombe, Durban, South Africa. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633289835331-7AVE5ZC1F9Z1C452H35I/Mahesh_Grandma_sm.jpg Home - Body, Goddess and Healing: The Tattoos of a Goddess - Make it stand out The author with her paternal grandmother. Image courtesy of Maheshvari Naidu. https://www.thejugaadproject.pub/home/mother-corn monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241289533-RC5SOWAN3RUJV8HONVT8/Image+1+.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 1. Our Mother Corn. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241274496-R1OV0VM1SO4OUEOXYW88/Image+2.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 2. “Co-parents: kinship outside colonial boundaries” October 2015. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241305212-4K1HD1GVAU2IJXQH3C0X/Image+3.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 3. “Yuimakwaxa Ceremony” October 2016. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241319407-NWWMY69796N9Y3WXV9NV/Image+4.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 4. “Offerings during Yuimakwaxa Ceremony” October 2016. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241333052-M9A86ZBIFTN70JVO34SQ/Image+5.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 5. “Land and Body” August 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241347234-AF8XZWH8IAKYP5RWQL8I/Image+6.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 6. “Consent in the Coamil” October 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241359103-VEQ3WYXC20LAIYUYLHK4/Image+7.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 7. “Cultivating in La Labor with Taniuki students” July 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241372322-D5OLM8UZSKLOOWT6TA8F/Image+8.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 8. “Our Mother Corn” October 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241384377-3V2GF4K3ADCB2G6KDHNA/Image+9.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 9. “Felipa Rivera in Y+rata during the Yuimakwaxa Ceremony” October 2015. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241396873-Y4D77NC344VVMD4KT1RD/Image+10.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 10. “Harvesting of Our Mother Corn” October 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241411107-TW7UKT8Z3CMKZK8FIY0O/Image+11.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 11. “Altar at Y+rata” October 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241428470-7MVI2W8E20NORW5OEETP/Image+12.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 12. “Preparing Corn-based meals” January 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1634162911686-0Y51S8TQCIAS2VEDKRDJ/Image+13.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 13. “Preparing Corn-based meals” October 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241455628-ZFM9Q0GO1FUNF61XW39J/Image+14.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 14. “Preparing Corn-based meals” January 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241471890-0I9GOAIADE3COEH54N85/Image+15.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 15. “Making tortillas in the metate” March 2016. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1633241486790-QHG37KKTMDSWAEEWIBCT/Image+17.jpg Home - Curing with Our Mother Corn - Make it stand out Fig. 17. “K+puli holding Yuawima” May 2019. Photo by author. https://www.thejugaadproject.pub/home/editorial-healing-fall-2021 monthly 0.5 2025-05-07 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/e6894e92-6c22-4259-8cad-4450e037946f/Image+9.jpg Home - 2021 Fall Issue - What Matters in Healing? - Make it stand out “Felipa Rivera in Y+rata during the Yuimakwaxa Ceremony” October 2015. Photo by Cyndy Margarita Garcia-Weyandt. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/7af7edcb-8be3-406b-9cf4-d40057e27870/Figure+8.jpg Home - 2021 Fall Issue - What Matters in Healing? - Make it stand out A máti charm located in a shrine above the door of a Greek bus underscores the double-danger of both entryways and transit. (Photo by D. Kavadias) https://www.thejugaadproject.pub/home/wounded-landscapes monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694486515-UQN3LFZURGSHJ1IZKK5X/1.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Fig. 1: Explosive bliss (Tada Hengsapkul’s Under the Same Sky, 2016). Courtesy of the artist and Nova Contemporary. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694519000-V1Y6CB2H2KSP7NSFFIMV/2.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Fig. 2: Nakedness and the injurious landscape (Tada Hengsapkul’s Under the Same Sky, 2016). Courtesy of the artist and Nova Contemporary. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694554875-U6M8TSWMVP8O6ZKVFW00/3.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694588103-ZQ5FF784CIN1BRT15I39/4.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Fig. 3-4: Female emotional/embodied labor and the landscape of sorrow (Xaisongkham Induangchanthy’s Those Below, 2016). Courtesy of the filmmaker. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694637453-WGK3CEIK0PR74Y4LSHR3/5.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Fig. 5: A Lao teenager in diaspora pays respect to his father’s remains enshrined in a Buddhist stupa (Xaisongkham Induangchanthy’s A Long Way Home, 2018). Courtesy of the filmmaker. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622694699501-7U8IKXJ0TAPLSVZD4DTC/6.png Home - Wounded Landscapes: Debris of War, Residual Vulnerability, and (Toxic) Intimacy in Post-Cold War Southeast Asia - Make it stand out Fig. 6: A serene yet haunting landscape created by bomb craters (Vandy Rattana, Bomb Ponds, 2009). Courtesy of the artist. https://www.thejugaadproject.pub/home/jack-smith monthly 0.5 2021-06-03 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622481196586-FH5639E5YPXH207XU3TM/Flaming+Creatures+2.png Home - Transformations on the Margin: Jack Smith’s Vital and Difficult Art - Make it stand out Still from Flaming Creatures, 1962-63. Film by Jack Smith. 16 mm film, black and white, sound. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622481351538-F6XQ3HOR02JPWNWUMG3P/Flaming+Creatures.png Home - Transformations on the Margin: Jack Smith’s Vital and Difficult Art - Make it stand out Still from Flaming Creatures, 1962-63. Film by Jack Smith. 16 mm film, black and white, sound. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622481462203-HXLX9Q0B9R4WEWDUK46P/Normal+Love.png Home - Transformations on the Margin: Jack Smith’s Vital and Difficult Art - Make it stand out Still from Normal Love, film by Jack Smith, 1963-65, 16 mm film, color and sound. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622481384859-ECYLI2574LUW28CAPC8A/No+President.png Home - Transformations on the Margin: Jack Smith’s Vital and Difficult Art - Make it stand out Still from No President, 1967-70. Film by Jack Smith. 16 mm film, black and white, sound. https://www.thejugaadproject.pub/home/2021-summer-issue-rebuilding-2 monthly 0.5 2025-05-07 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622621283787-0XT8SFMAYKK0DBW0FYZ8/photo2.jpg Home - 2021 Summer Issue - What Matters in ReBuilding (Part 2) ? - Make it stand out Tubs used to wash pottery. Olynthos, Greece, 2019. Photo by Nadhira Hill. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622621492405-LRJZ0UH6AERB16ODOX2E/Divine.jpg Home - 2021 Summer Issue - What Matters in ReBuilding (Part 2) ? - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622621388335-A43HSUVL97QY5M74T47F/Fig+5+Kantha+display+%5BELEVICK%5D.jpg Home - 2021 Summer Issue - What Matters in ReBuilding (Part 2) ? - Make it stand out Kantha cloths of Bengal, historically used as coverlets for babies and children, were deliberately soft, warm, and comforting against the skin. In the museum environment, such textiles are protected by glass, forbidding touch. Reproductions could help visitors better appreciate the meaning and associations these cloths had in their former ‘lives’. Victoria and Albert Museum, London, UK. Photo by Emily Levick. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622621730320-I2AVOUGH2ETS1ECKJJWZ/6.jpg Home - 2021 Summer Issue - What Matters in ReBuilding (Part 2) ? - Make it stand out Hanging on by a Thread/Coming Apart at the Seams. Dissolved flag. Artist: Winnie van der Rijn. 2020. https://www.thejugaadproject.pub/home/winnie-van-der-rijn monthly 0.5 2021-06-03 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622614942199-IUNSIM6SUXZX6Z4QQ65W/1.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622614957135-RYR5WTKAIZ5QD9B1EKXV/2.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622614972489-XWL30XAN37EDSG330PWZ/3.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622614987711-ZXSGPTZAP8CJ7S1AONID/4.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622615004602-G8VOV4IPH59Z085EC7AD/5.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622615017797-DDWTQ01ECK3LSPDOQMVL/6.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622660413117-TYL8S5EHRMH0K1YJBOF9/vanderRijn_WashedBoy.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Washed Boy activated by Elijah van der Rijn (@ejilahvdr), photo taken by Sam Sanon (@samcsanon), shirt made in collaboration with Noah Pica (@no___duh) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622615046716-662MAARR7YCOYC3RVMEQ/8.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622755323975-7EKE15SMB1ATM98TLSAP/IMG_2634_venn-diagram.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622615062630-R1MWJKD88NOXDBDN3M3D/9.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622615082800-MG2OUAL6AVEXEH9UBO28/Fig10.jpg Home - Damage as Opportunity: The Art of Winnie Van Der Rijn - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.thejugaadproject.pub/home/sophie-interview monthly 0.5 2021-06-02 https://www.thejugaadproject.pub/home/archaeologys-destructive-legacy monthly 0.5 2022-08-02 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622519550307-YZ4QCAC31V03UHHAZE3T/photo1.JPG Home - Archaeology’s Destructive Legacy: Burning it All Down to Better Support Scholars of Color - Make it stand out Image 1: Some of the tools that are used on an archaeological field project, including ones meant to aid in the removal of soil and artifacts, such as trowels and dustpans. Olynthos, Greece, 2017. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622519628971-YP1W0CB2741RM7JRZVIX/photo2.jpg Home - Archaeology’s Destructive Legacy: Burning it All Down to Better Support Scholars of Color - Make it stand out Image 2: Tubs used to wash pottery. Olynthos, Greece, 2019. Photo by: author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622519682903-2V7VBY3GM19SLBWDG00I/photo3.jpg Home - Archaeology’s Destructive Legacy: Burning it All Down to Better Support Scholars of Color - Make it stand out Image 3: The storage-room at the archaeological site of Olynthos, Greece. Olynthos, Greece, 2019. Photo by author. https://www.thejugaadproject.pub/home/handling-textiles monthly 0.5 2022-08-02 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622446160594-O79CNB1HJDOXDK2K5CHD/Fig+1+Talismanic+tunic+%5BELEVICK%5D.jpg Home - Handling Textiles: Rebuilding Object Lives in Museums - Make it stand out Fig. 1. Talismanic tunics were worn by high-ranking Muslim warriors. The Q’uranic script covering this textile provided protection. British Museum, London, UK. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622446311486-FLZY1J2L3HFB9867P9DJ/Fig+2+Repurposed+tapestry+%5BELEVICK%5D.jpg Home - Handling Textiles: Rebuilding Object Lives in Museums - Make it stand out Fig. 2: Immensely expensive tapestries in the early modern era were frequently remade to fit new purposes, thus extending their lifespan and demonstrating their value. Ham House, Surrey, UK. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622446458545-MA214IF9PEN0A9RPW225/Fig+3+Visual-only+textile+display+%5BELEVICK%5D.jpg Home - Handling Textiles: Rebuilding Object Lives in Museums - Make it stand out Fig. 3: African kanga textile wrappers often contain phrases in Swahili, which have meaning in specific contexts, and are made to be worn on the body. How does their display as visually attractive but ultimately static fabrics impact on visitors’ understanding of these textiles’ uses and meanings? British Museum, London, UK. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622446490226-DNNRR02J6F7P156LFTR0/Fig+4+Implements+used+in+making+barkcloth+%5BELEVICK%5D.jpg Home - Handling Textiles: Rebuilding Object Lives in Museums - Make it stand out Fig. 4: Implements for the production of bark cloth. How might this display be transformed through demonstrations of such tools in action? Pitt Rivers Museum, Oxford, UK. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1622446520197-XZYXWF0FTLSKOLSKOXLB/Fig+5+Kantha+display+%5BELEVICK%5D.jpg Home - Handling Textiles: Rebuilding Object Lives in Museums - Make it stand out Fig.5. Kantha cloths of Bengal, historically used as coverlets for babies and children, were deliberately soft, warm, and comforting against the skin. In the museum environment, such textiles are protected by glass, forbidding touch. Reproductions could help visitors better appreciate the meaning and associations these cloths had in their former ‘lives’. Victoria and Albert Museum, London, UK. Photo by the author. https://www.thejugaadproject.pub/home/breaking-down-colston monthly 0.5 2021-03-15 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1615609711987-I1EYKGAAAXB2GY5P3T23/Fig.1+Statue+of+Edward+Colston+in+storage%2C+Bristol%2C+2020.jpg Home - Breaking Down Colston: Destruction and Transformation in London and Bristol Fig. 1: Statue of Edward Colston in storage, Bristol, 2020. Photograph by Avon and Somerset Police. Source. WP:NFCC#3 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1615610159074-5RQX3F4B7W62FV873VEG/Fig.4+%E2%80%98Colston%E2%80%99%2C+Bristol%2C+2009.jpg Home - Breaking Down Colston: Destruction and Transformation in London and Bristol Fig. 4: ‘Colston’, Bristol, 2009. Photograph by three-dee-head, flickr.com (CC BY-NC-ND 2.0). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1615611041598-84MYG6C2O5BEG5Q8Q6E6/Fig6.jpg Home - Breaking Down Colston: Destruction and Transformation in London and Bristol Fig. 6: ‘Black Lives Matter Protest’: image of Colston statue being dropped into the harbor, Bristol, 2020. Photograph by Keir Gravil, flickr.com (CC BY-NC-SA 2.0). https://www.thejugaadproject.pub/home/monument-lab-town-hall-shaping-the-past monthly 0.5 2021-03-10 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1615346279345-OCVTKU14STJ3NUOOPSYK/Figure+1.png Home - Monument Lab Town Hall: Shaping the Past Monument Lab Town Hall Event Banner, 2020, screenshot courtesy of the author. https://www.thejugaadproject.pub/home/lost-mural monthly 0.5 2021-03-10 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836185178-7C8PTJEB4GYLZPJI4N74/Figure+1.jpg Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 1: A 2016 photograph of the mural hanging in the lobby of Ohavi Zedek Synagogue. Photograph by Paul Gittlesohn. Courtesy of the Lost Mural Project & Ohavi Zedek Synagogue Archives. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836256825-VMUHUNYPZ5VBQEYM5UU8/Figure+2.JPG Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 2: The former Chai Adam Synagogue at 105 Hyde Street, Burlington, Vermont. The photo shows the projecting apse which once housed the mural. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836314134-Z5J0AE32DPINYES9TDYI/Figure+3.png Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 3: Archival slide of the mural, taken in 1986, prior to the conversion of 105 Hyde Street into apartments. Courtesy of Ohavi Zedek Synagogue Archives & the Lost Mural Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836377838-RSW15BSGFUPB8KM7JCR6/Figure+4.JPG Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 4: The left side of the mural, photographed in 2020, showing a number of areas cleaned to different degrees. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836438524-4CLK5VKVXCSCYDCOJJOM/figure+5.JPG Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 5: Conservator Emily Phillips cleaning the Lost Mural, August, 2020. Photo by the author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836523429-O5J7OS70EPVVBG3DVSCO/figure+6.JPG Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figure 6: After being cleaned by Phillips, the colors of right-hand lion are more vibrant and the work appears to be more technically advanced the left-hand lion, which has yet to be cleaned. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836576462-5S09J3BKPTK5XB6Y90ZL/Figure+7.jpg Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614836659019-ONY7RZNF4QRS0KX39O4Z/Figure+8.jpg Home - Seeing the Lost Mural: How Damage and Restoration Inform Close Looking Figures 7 and 8: These before and after images illustrate the restoration carried out by Phillips on a small section of the mural. The second image shows both how cleaning reveals the mural’s original bright colors, and how Phillips’ inpainting work allows the viewer to once again see the mural as whole. Photos by the author. https://www.thejugaadproject.pub/home/2021-spring monthly 0.5 2025-05-07 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614841353165-6J006MQK0RA12XD0JXY1/Figure+1.jpg Home - 2021 Spring Issue - What Matters in Rebuilding? Mural hanging in the lobby of Ohavi Zedek Synagogue, 2016. Photo by Paul Gittlesohn. Courtesy of the Lost Mural Project & Ohavi Zedek Synagogue Archives. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614324169614-UTH74IWEGNBPHB63PHE5/Kasibe_Rhodes-Fall1.jpg Home - 2021 Spring Issue - What Matters in Rebuilding? Statue being taken down. Cape Town, 2015. Photo by Wandile Goozen Kasibe. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614324256715-DVIK3Y4GYLNHBSHDURZR/Figure+4.jpg Home - 2021 Spring Issue - What Matters in Rebuilding? A close up of Lily Hope at her loom with her latest Chilkat blanket design, Between Worlds (2020). Photo by Sydney Akagi. https://www.thejugaadproject.pub/home/colorism-bollywood monthly 0.5 2024-05-19 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211516954-4JVEUMQW6NT6E5V486AV/Figure+1.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 1: Screenshot of ritual on set in Bollywood: The World's Biggest Film Industry documentary. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211556849-NJSXG1DRE19RODV5JSEF/Figure+2.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 2: Nandita Das, Photo by Nandita Das - Own work, CC BY-SA 3.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211576483-SFUPZ44P5764V2SF5FVO/Figure+3.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 3: Priyanka Chopra, before Hollywood work, at the Launch of Dabboo Ratnani's Calendar 2012. By Bollywood Hungama, CC BY 3.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211599963-XGHSDR53Q65XSIZAQ1O7/Figure+4.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 4: Priyanka Chopra at a promotion event of the film Umang in 2020. Photo By Bollywood Hungama, CC BY 3.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211615417-GGZ8KOFZCZ51VOB1H6YT/Figure+5.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 5: Nawazuddin Siddiqui. International Indian Film Academy awards Green Carpet (MetLife Stadium) in East Rutherford, New Jersey, 2017. Photo by By Laura Lee Dooley from Arlington, VA, USA - IIFA 2017 Green Carpet, CC BY 2.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211750512-9X6TX43FJUS2Q2ODY4XK/Figure+8+cropped.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 6: Hrithik Roshan in Super 30, 2019. Screengrab of trailer on YouTube by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211771786-HBLXTEWDW11PTZDUJNGV/Figure+9+.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 7: Priyanka Chopra and Mary Kom at a release of the film Mary Kom. Photo by Bollywood Hungama, CC BY 3.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211648142-QWL4P8MQ49TP8V1RHVPO/Figure+6.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 8: Ajay Devgn and Kajol at an event for Raju Chacha in 2001. Photo By Bollywood Hungama, CC BY 3.0. Image source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614211703429-P7CPMNCY8LB0W5R066ZG/Figure+7+%28cropped%29.jpg Home - Colorism, Castism, and Gentrification in Bollywood Figure 9: Kajol promoting Tanhaji in 2019 (cropped). By Bollywood Hungama, CC BY 3.0. Image source. https://www.thejugaadproject.pub/home/lily-hope monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614192849507-X5W195849ED687K24GL4/Figure+1.jpg Home - “We’re Still Here”: An Interview with Lily Hope Lily Hope modeling her work, Chilkat Protector (2020). Photo by Sydney Akagi. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614192883224-OXO9PVNKFIGSDZ26PC1T/Figure+2.png Home - “We’re Still Here”: An Interview with Lily Hope Screenshot from the artist’s Instagram showing Chilkat weaving materials: cedar bark, mountain goat (or merino wool), and a strand of thigh-spun warp. Photo courtesy of the artist. Original image posted by Sydney Akagi. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614192905190-DMK5031FUOIH8P0KNN1W/Figure+3.png Home - “We’re Still Here”: An Interview with Lily Hope Screenshot from the artist’s Instagram promoting the Mask Up Project. Photo courtesy of the artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614192925969-40UHWPPD6PM9F2Q1PBAL/Figure+4.jpg Home - “We’re Still Here”: An Interview with Lily Hope A close up of Lily Hope at her loom with her latest Chilkat blanket design, Between Worlds (2020). Photo by Sydney Akagi. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614192982946-9GRVN18ALTS003S11UOD/Figure+5_2B3A4702.jpg Home - “We’re Still Here”: An Interview with Lily Hope Lily Hope, Ancestral Indigenous Protectors (2020). Photo by Sydney Akagi. https://www.thejugaadproject.pub/home/civil-religion-turkey monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158786324-LZWTSZ6RZE7T3MNG6MTP/Figure+1.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 1: Turkish Flag. Source: photo by Tarik Haiga on Unsplash. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157282674-GP2YV4XBXO4GBDGBX21T/Figure+2.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 2: Turkish flag on Ankara University Campus. Source: photo by Ankara University on Unsplash. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158458689-7PTQFJKELXI8S2IBB15P/Image+1.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 3. Atatürk monuments in Istanbul, Ankara, Izmir, Bursa, Samsun. (Source: Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158488582-8SROEOZB6AZ1BPARV64S/Image+2.JPG Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 4. Atatürk monument in İzmir, Turkey, dedicated to the Turkish War of Independence. (Photo by: Gözde Yılmaz). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157604137-E268KZLKQOPRMFI6KB7Z/Figure+5.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 5: 10 November 1953, the transfer of Atatürk's body from Dolmabahçe Palace to Anıtkabir. (Source: Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157617727-SVC9W0Z18ODC9PNE71ZB/Figure+6.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 6: 10 November 1953, the transfer of Atatürk's body from Dolmabahçe Palace to Anıtkabir. (Source: Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157631474-U04SMCW0F7QPZY4JEDM9/Figure+7.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 7: 10 November 1953, the transfer of Atatürk's body from Dolmabahçe Palace to Anıtkabir. (Source: Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157649921-K4U8NJLMRTM08F1TB2EO/Figure+8.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 8: Atatürk Bust (Atatürk Maskı) in Izmir. Source: photo by Mert Kahveci on Unsplash. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157575852-H64FBH4HVLKWH0LAWZ0V/Image+4.JPG Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 9. Atatürk and Izmir Exhibition in the garden of Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). (Photo by: Gözde Yılmaz). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614157559242-WKSN809W081XQO73OMK0/Image+3.JPG Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 10. Atatürk and Izmir Exhibition in the garden of Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). (Photo by: Gözde Yılmaz). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158157310-QYUQLSJ3O0NPBP30LRVE/Image+5.JPG Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 11. Atatürk and Izmir Exhibition in the garden of Ahmet Piriştina City Archives and Museum City (Ahmet Piriştina Kent Arşivi ve Müzesi). (Photo by: Gözde Yılmaz). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158176811-0KSQU91RW4Y1PPWAPML1/Image+6.jpg Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 12. A calendar published by Izmir Metropolitan Municipality (İzmir Büyükşehir Belediyesi) in a public office. (Photo by: Gözde Yılmaz). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614158194214-8J79JO8OLLVOUSG5JXBB/Image+7.JPG Home - Civil Religion in Turkey: The Unifying and Divisive Potential of Material Symbols Figure 13. Turkish flag and images of Atatürk and Erdoğan on the City Hall in Izmir (İzmir Hükûmet Konağı). (Photo by: Gözde Yılmaz). https://www.thejugaadproject.pub/home/rhodes-the-complete-gentleman monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133478513-3L0D697DQBT8530MSK01/Rhodes+Memorial_Photo+by+FB+Nyamnjoh.JPG Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Photo of author on the left, visiting the Rhodes Memorial, with friends from the USA. Cape Town, 2020. Image by author https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133098630-RSBXVDQON07B8PV4A88J/Rhodes+beheaded_photo+by+FB+Nyamnjoh.JPEG Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance De-headed statue of Rhodes at the memorial. Cape Town, 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614154223294-XYAQMMAAJUPB4DYAOTNC/Rhodes+Grave2.jpg Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Rhodes Grave at the Matopos Hills. Photo by Janet Mate. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133026534-8BJMI274A94AREDLYZDF/Rhodes-Must-Fall_FU+to+Empire.jpg Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614153882807-WCCPBTICFUZHQCM53X7I/Kasibe_Rhodes-Fall1.jpg Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Statue being taken down. Cape Town, 2015. Photo by Wandile Goozen Kasibe. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133052089-LUSFUREH2M94X03XW11V/Rhodes+denosed+1_photo+by+FB+Nyamnjoh.JPG Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance De-nosed statue of Rhodes. Cape Town, 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133121160-FD6K6EDA0R5JSY6F778A/Rhodes+reheaded+1_photo+by+FB+Nyamnjoh.JPG Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Statue freshly re-headed. Cape Town, 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614133161046-2LIK2IRYRD1JCD8YVE11/Rhodes+reheaded+2_photo+by+FB+Nyamnjoh.JPG Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Statue weathered green after re-heading. Cape Town, 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614154089478-6PU4QNSCXV3JCUJF3HL7/Rhodes_Grave.jpg Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance Rhodes Grave at the Matopos Hills. Photo by Janet Mate. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1614537001063-ESPZWI82O6ODXPB6EJNT/Montage.jpg Home - Cecil John Rhodes: ‘The Complete Gentleman’ of Imperial Dominance L (top and bottom) - The vacant seat of the Kirghiz Communist Party, handed over to the American University in Central Asia (AUCA) around 2000. The AUCA has added its name to all the emblems and paraphernalia of the Communist Party. R (top) - Lenin faces the University, to the other side of the street. R (bottom) - A tall column at the centre of the large plazza, with Chuy Prospect avenue in the foreground and the national flag in the background to the left, two soldiers mounting guard by the mast. On top of the column there is a statue of freedom (or Liberty) that replaced a statue of Lenin, removed after the fall of the Soviet Union in the early 1990s. The column stands in front of the National Museum, a white cubic building at the background. Bichkek, Kirghizstan, October 2005. Photos by Jean-Pierre Warnier. https://www.thejugaadproject.pub/home/the-color-of-memory monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1608095121237-51ZSJT2T9V8FOIQ9J5DL/Screen+Shot+2020-12-16+at+12.00.45+AM.png Home - The Color of Memory – Claire Le Pape’s Giottoesque ‘Giottoesques’ series of weavings and paintings by Claire Le Pape. Image courtesy of the artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1607990662808-164YB9RQWVY9GL6YCG2W/studio+1.JPG Home - The Color of Memory – Claire Le Pape’s Giottoesque Claire Le Pape’s studio. Works which ‘decompose’ colors into gradient patterns are displayed in the background, behind the artist’s loom. Photo by artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1607991011872-TGTJIK4P0SPC53AYP2NW/2.jpg Home - The Color of Memory – Claire Le Pape’s Giottoesque From the artist’s Instagram post. @clairelepapeplasticienne Image courtesy of artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1607991219069-I9EUHDI0B0KAS0NNUYR9/Giotto_-_Legend_of_St_Francis_-_-05-_-_Renunciation_of_Wordly_Goods.jpg Home - The Color of Memory – Claire Le Pape’s Giottoesque ‘The Renunciation of Wordly Goods’ by St Francis. Image Source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1607991402276-NBV2IIAQMEZ4NV6OHRC0/the+giotto+project+3.jpg Home - The Color of Memory – Claire Le Pape’s Giottoesque A study of color interaction by the artist. Photo courtesy of Claire Le Pape. https://www.thejugaadproject.pub/home/the-prismatics-of-silk monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606546816151-A5SX63OF52G6JDEYO1A8/Screen+Shot+2020-11-28+at+1.59.57+AM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606632718435-APA1CVE4HNSNT3E2NWGH/IMG_1362.JPG Home - The Prismatics of Silk Figure 1. A piece of matmi/ikat silk woven in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606629942144-D53PHWW9R9U0YXUBRV6X/IMG_3677.JPG Home - The Prismatics of Silk Figure 2. Shirts for sale in Surin to commemorate the former king (yellow) and queen mother (blue). (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606629996964-2TB99HLY82P5FYQANQRB/IMG_7827.jpg Home - The Prismatics of Silk Figure 3. Matmi skeins drying. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606629906674-ES506SZVCSX47NHJGKDG/IMG_0281.JPG Home - The Prismatics of Silk Figure 4. A Piece of hol woven in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548665300-3V80XV93K4YVX40UT29E/IMG_8260.jpeg Home - The Prismatics of Silk Figure 5. A piece of hol woven in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606630077308-TFVW1ZLMF9J59U63B5JW/5f14aca4f5ee227fee0688f73bd411fd.jpg Home - The Prismatics of Silk Figure 6. Hol srei (left) and hol phroh (right) at Khru Gop’s workshop. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606546918627-JG6TKIZ7ET3ALGBW15WD/Screen+Shot+2020-11-28+at+2.01.32+AM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606629871242-HOR534BQO9272L1UT7NS/IMG_6781.JPG Home - The Prismatics of Silk Figure 7. The surface of a chemical yellow dye bath. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547966629-NZTR3NNY2BBZ2JTUIH0J/IMG_6959.JPG Home - The Prismatics of Silk Figure 8. A natural yellow dye bath made with khe wood. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547948094-XP5894AS64QGK51NBDJ0/IMG_2652.JPG Home - The Prismatics of Silk Figure 9. Detail of a matmi silk woven in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548717489-BKM8VYW5JNYIV642XESD/IMG_7050.JPG Home - The Prismatics of Silk Figure 10. A natural dye training in Surin where dyeing with mud is being demonstrated. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547845746-O0HJBB2NYZFMJTS4Z355/IMG_0296.JPG Home - The Prismatics of Silk Figure 11. Hol Prathep. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548694154-LNYWHLX6XN7DG31KPR4Y/IMG_3884.JPG Home - The Prismatics of Silk Figure 12. A rainbow array of hol-patterned silks woven by members of Mae Nid’s weaving group. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606546983267-2WO2JU34HGMQYPBXIGBG/Screen+Shot+2020-11-28+at+2.02.47+AM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606790016813-QTI9SILQRLGR6BSXFUXB/bfb3fe931d022bcbc1c216b2c8c57ae7.jpg Home - The Prismatics of Silk Figure 13. Detail of a matmi pattern in progress; yellow and red have already been dyed. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547821991-9CWXPR83B4PLWZAFXR7W/IMG_0087.JPG Home - The Prismatics of Silk Figure 14. Khrang for sale outside of a weaving supply shop in Surin town. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548010537-FPG3FE1U6JLGMTK87NGN/IMG_8036.JPG Home - The Prismatics of Silk Figure 15. Straining color from pounded khrang. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547882805-LQDEGR2EXXHDCIR5GEBS/IMG_2556.JPG Home - The Prismatics of Silk Figure 16. Taking off from Buriram. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1607469198131-A2F6LEALNP5Q5U5TM0VM/Screen+Shot+2020-12-08+at+6.12.13+PM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547904741-O8JOP43T1FKDMR3EJZN4/IMG_2565.JPG Home - The Prismatics of Silk Figure 17. On the Chao Phraya River Taxi. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606789145739-3UC5KMH72M61F251RJOL/Screen+Shot+2020-11-30+at+9.16.13+PM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547927792-TFQVCKD08Y14YY2VJUSI/IMG_2590.JPG Home - The Prismatics of Silk Figure 18. Posing at the Grand Palace and Temple of the Emerald Buddha in Bangkok. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548074283-RUOYNFX5FQVVUB0ZFZ54/Screen+Shot+2563-11-05+at+13.29.49.png Home - The Prismatics of Silk Figure 19. Yingluck in Surin in 2012. (Source) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547671666-GW5310FEOQJELZK3BI9K/Screen+Shot+2020-11-28+at+2.14.20+AM.png Home - The Prismatics of Silk https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548054147-R84OK8NXRE1IVMR5BMSC/IMG_41869.jpg Home - The Prismatics of Silk Figure 20. An indigo vat bubbling in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548031311-DTO1YZB55S8U0HWB7A7S/IMG_8148.JPG Home - The Prismatics of Silk Figure 21. Wringing out mud from a skein of silk. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606548364738-P4AHNUHLSX3JP4ORD1RF/76212a618235346afa8e926c1ff8334a.jpg Home - The Prismatics of Silk Figure 22. An indigo vat in Surin. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547989357-806PYC9FJ4I4W5TS04CT/IMG_7417.JPG Home - The Prismatics of Silk Figure 23. Hands working together to remove knots from a skein of hol. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606547863853-YKBLRJSCO11GWW1OPF9D/IMG_2494.JPG Home - The Prismatics of Silk Figure 24. Wearing hol at the ordination of a young monk. (Source: Author’s documentation) https://www.thejugaadproject.pub/home/color-graffiti-and-the-senses monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280478638-23XFEUFD52KP97ZS8SBV/Fig+1.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 1: ASI signage outside Cave 7, Aurangabad. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280515340-C8KOO390FOTIM70FADKS/Fig.+2.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 2: Sign requiring the removal of footwear at the Aurangabad caves. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280535410-R352DJ1SMA2VAYO84CB5/Fig.+3.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 3: Buddhist monks at Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280554186-GTMOZX8DIBLX56B3VBT7/Fig.+4.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 4: Larger than life-size Buddha statue in Aurangabad (Cave 7). Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280575637-N077XVM2CPQLMMYQ7232/Fig.+5.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 5: Traces of blue pigment and gold leaf on the sculpture. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280593168-PE6WRVDNPYNFV3T8MM3H/Fig.+6.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 6: Closeup of gold leaf. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280612506-F0LED0859BXT01TRIKOO/Fig.+7.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 7: Gold leaf on the face of the Buddha sculpture. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280634007-N7VAEQSWBA6PTHLEE359/Fig.+8.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 8: Gold leaf in Cave 3, Aurangabad. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280662409-HFLG5X101JR7RVFJGSCW/Fig.+9.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 9: ASI signage outside Bibi ka Maqbara. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280694046-AEAX56YNHHAPGA0W23ZW/Fig.+10.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 10: Offerings of money and flowers on the tomb. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280713887-4Q8DVI7HX8JY48QDQF47/Fig.+11.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 11: Closeup of the tomb at Bibi ka Maqbara. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280732159-O736EOL3M4XJEIIILW17/Fig.+12.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 12: Buddhist monk and followers praying in Cave 10, Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280748972-OZRL4LGDE2VRCLAN5PH8/Fig.+13.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 13: Reflective illumination, Cave 10, Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280767881-J85VTUUO8Y0XQUW2VD32/Fig.+14.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 14: Reflective illumination, Cave 10, Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280786209-L9CBO15OE6FEKDOZQ8CK/Fig.+15.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 15: Traces of natural pigment in the walls. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280808419-EP0VQAMJFO9H53CT18EL/Fig.+16.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 16: Grinding areas, Cave 15, Ajanta. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280827948-0AZ0AFQCNOEKEWG1KRIP/Fig.+17.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 17: Depressions possibly used for the mixing of pigment, Cave 10, Ajanta. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280847231-XYSKAI7FVYIT91PDYWZQ/Fig.+18.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 18: The carpet-like ceiling of Cave 2, Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280864110-80GB25UTZ7CU1CWJBP7V/Fig.+19.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 19: Textured jewelry, Cave 21, Ajanta. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280880796-713LKVD8ZPL4WY4WFVZU/Fig.+20.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 20: Architectural elements for possible scaffolding, Cave 12, Elora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280899673-WYD5FE4AYQWX9Y8PUGUS/Fig.+21.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 21: Drainage channels, Cave 12, Ellora. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280920375-L4ODKTFM3W5N1VB6Q7U0/Fig.+22.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 22: John Smith’s signature, Cave 10, Ajanta. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606280942360-XLX4I6QYZJ9R2JCGTJZK/Fig.+23.jpg Home - Color, Graffiti and the Senses: Visitors and Worshippers at Indian Archaeological Sites Figure 23: Modern graffiti, Cave 17, Ajanta. Photo by author. https://www.thejugaadproject.pub/home/kiwi-fruit-and-kewpie-dolls monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021050488-D0NDO19WVB14L9WQF5GT/Fig+1+Betel+Leaf+Bauble.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Banashankari Devi shrine decorated with betel leaves and Christmas baubles. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 18th October 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021184173-GBKIU806MADPK2PV6K2B/Fig+2+Ganesha+Poster.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Poster of Ganesha shrine decorated with sandalwood and traditional flower garlands. Kashi Shastri in the act of alankara. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 20th April 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021339000-5Y82DGE5FR5O1N2P94AF/Fig+3+ganesha+engineer.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Ganesha shrine with deity as Vidya “knowledge” Ganesha, dressed as a software engineer with security identification tags. Alankara to mark a free book distribution for school children. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 26th may 2016. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606801534712-C83KVNKDR0YB4SYH7Y5T/Fig+6+Indian+flag+Ganesha+1.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Ganesha deity wrapped in the Indian flag for Indian Independence day. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 14th August 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606801751099-CSD8T70ULW93445ICAX1/Fig+7+Blood+Red+Ganesha.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Raktha (blood) Ganesha alankara. The blood is supposed to be of evil demons offered to the deity. It marked a blood donation camp. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 7th April 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021439975-1UPR3ET4C4R30TU7YJJ7/image-asset.jpeg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Banashankari Devi deity in a fruit alankara. Notice her hair studded with pomegranate seeds and kiwi slices. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 23rd October 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021482951-56NMW3MZ6524MM4JSL2X/Fig+5+Pavilion.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Banashankari Devi shrine with fruit pavilion of imported grapes, peaches and apples. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 23rd October 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021592590-BG4FBH10RVIUZBWGGGIY/Fig+9+Bananthe.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Banashankari Devi in Bananthe (new mother) alankara. Notice the Kewpie doll as the divine baby. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 16th October 2020. Photo by Sri Kashi Vishwanatha Shastri. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606021635045-AFLXCY3CV21KBM1B4I04/Fig+10+Bombe.jpg Home - Of Kiwi Fruit and Kewpie Dolls: The Wonder of Modern Alankara in Bangalore Banashankari Devi shrine decorated with Disney toys for the ‘bombe” alankara of toys. Sri Maha Ganapathi temples, Malleshwaram, Bangalore, 2020. Photo by Sri Kashi Vishwanatha Shastri. https://www.thejugaadproject.pub/home/editorial-color-and-religion monthly 0.5 2022-08-03 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606805747887-CCSMEJZW9KGFLM8CF6OJ/IMG_E5720.JPG Home - 2020 Winter Issue, Color and Material Religion - Editorial Color swatches to help identify pipes laid underground. Spotted during a walk in Brooklyn. 2020. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606805973562-NQWAGDM7A3C8EXHN3H5F/IMG_4431.jpg Home - 2020 Winter Issue, Color and Material Religion - Editorial Evil eye symbol on a mailbox. Istanbul, Turkey, 2013. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606805875545-13LXZV9W8XLM9U0L1ILQ/IMG_5960.JPG Home - 2020 Winter Issue, Color and Material Religion - Editorial ‘Pandemic meal’. Light refracted through polarized glasses, 2020. Photo by Urmila Mohan. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606805687936-HD9UCJO9BUQNHV8P1IEP/flowers.jpg Home - 2020 Winter Issue, Color and Material Religion - Editorial Dahlias growing in Wrest Park in Bedfordshire, U.K. Enjoyed on an August walk during lockdown. Photo by Jessica Hughes. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1606805644164-H5SZOXINQ597MHSQQ1LP/the+giotto+project+3.jpg Home - 2020 Winter Issue, Color and Material Religion - Editorial A study of color interaction by artist Claire Le Pape. Photo by artist. https://www.thejugaadproject.pub/home/manuscripts-in-ethiopia monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541649262-8F5803VB5GSRN3XLKQPS/Figure+1.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 1. Church of Libānos in Lālibalā city, one of the renowned rock-hewn churches. ‘The Life of Lālibalā’ counts this church among those built by King Lālibalā, while a parallel tradition ascribes its construction to his wife, Queen Masqal Kəbrā. Her monastery, second main place of her veneration after the church of Libānos in Lālibalā, is situated in Tabor Madabay, several hundred kilometers to the north from Lālibalā city, passing Šəre (Təgrāy). Photo by the author, Lālibalā city, 2017. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541715653-7VWJN47FIGHXTBBELMS9/Figure+2.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 2. Afa mamhǝr (title of the spokesman) Allabbāččaw Ǝratta, local scholar and lifelong student of the history of King Lālibalā and Lālibalā city, who, however, was not familiar with the ‘end’ story of Queen Masqal Kəbrā’s life as chronicled by Gabra Masqal Tasfāyye. Photo by Getu Sisay Alebie. Lālibalā city, 2014. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541756501-P3ZZFWMIBB4VEOH4NQLG/Figure+3.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 3. Monastery of Masqal Kəbrā hidden behind the rocks. Queen Masqal Kəbrā is said to pray on the top of this rock. This is a place of Masqal Kəbrā’s tomb, according to the locals. Photo by the author. Tabor Madabay, 2016. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541798295-XC0H86EO0ICTBOIUR21J/Figure+4.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 4. The priests and deacons themselves went inside the church and brought out the manuscripts they had. Here is a medieval manuscript that has become rounder, affected by the humidity. Photo by Antonella Brita. Tabor Madabay, 2016. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541845572-QN79WASXZ7YGO3J1FNUP/Figure+5.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 5. The agents of Ethiopian Christian culture: interviewing clergy in Masqal Kəbrā monastery. They repeat the same passage recorded in the ‘History of Lāsta Kings’: at a certain moment, Queen Masqal Kəbrā left her husband King Lālibalā, came to Tabor Madabay and founded here a monastery. As I could see later, the same passage about the queen, this time recorded in Gǝʿǝz, is contained in one of the manuscripts we could photograph, dated to the beginning of the twentieth century. Consequently I conclude that either this is a copy from an older manuscript or it comes from oral tradition that was then recorded. Until further material emerges, this passage about the queen and foundation of the monastery can be traced back to the beginning of the twentieth century, not earlier. Photo by Antonella Brita. Tabor Madabay, Ethiopia, 2016. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599541885762-CMD2UUZLK4TPVRXKEOCQ/Figure+6.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 6. Men ate raw meat from a common plate. We sat in front and waited for food to be cooked and made a circle. Photo by Antonella Brita. Tabor Madabay, 2016. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599542281215-PEBUO6YHF4V8R16FPEYR/Figure+8.jpg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 8. ‘The ‘Life of Lālibalā’ from the Church of Golgotā. The book covered with cloth is a manuscript, but nothing can prove it, unless one opens it. Upon my question whether a church has a manuscript containing the ‘Life of Lālibalā’, I was sometimes given a mistaken answer ‘yes’, while what they were referring to was a printed edition. Photo by the author. Lālibalā city, 2017. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599542353088-3UNS9VXE0GVP5MOTSXDL/Figrue+9.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 9. Morning service of Kidān in front of the church of ʾEmmanuʾel in the city of Lālibalā, church school pupils coming to their Gǝʿǝz reading class. In this case, with the liturgical text covered by cloth and resting on a stand, it is unclear whether pupils are reading from a printed book or a manuscript. Photo by the author. Lālibalā city, 2017. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599542388736-2U6K6S75KSB7KE8U2R3O/Figure+10.jpeg Home - Gǝʿǝz manuscripts in Ethiopia: What a trained outsider can see today Figure 10. Storehouse of the church of Nāzret Māriyām. Liturgical objects (a hand cross is visible) and manuscripts are arranged on alga (bed). Photo by the author. Nāzret Māriyām, Təgrāy, 2017. https://www.thejugaadproject.pub/home/cinema-as-metaxu monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599533371756-EJ7GOMG5CYMCFR00OWJ1/Figure+1+Dear+virus.jpg Home - Cinema as Metaxu Figure 1. The Rio cinema, London, April 2020. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599533489478-URQIWLI2HHTHY3FNW5W8/Figure+2+Repas+de+bebe.png Home - Cinema as Metaxu Figure 2. Baby Andrée’s generosity breaks the fourth wall in Louis Lumière’s Repas de bébé (Baby’s Lunch, 1895). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599533669623-JGOY57GUGZ4FEXSX3C3I/image-asset.png Home - Cinema as Metaxu Figure 4. Discussing the optical phenomenon of the green ray. Eric Rohmer’s Le Rayon vert (The Green Ray, 1986). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599533713451-W2FT9HU9L0RPXKPU4PSB/Figure+5+wait+for+what.png Home - Cinema as Metaxu Figure 5. Waiting. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599535283568-CYGASZR8EECG554NIQ9W/Figure+6+Oui%21.png Home - Cinema as Metaxu Figure 6. Waiting, rewarded. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599535344828-NWOCVW62GW7AG176DCVU/Figure+7+al+fresco+leaves+3.1.png Home - Cinema as Metaxu Figure 7. Rohmer’s reverential realism: leaves in the wind in The Green Ray. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599535450347-7TVE50M42WOMZAOWBB99/Figure+8+al+fresco+never+meat+3.3.png Home - Cinema as Metaxu Figures 8-9. Debating the ethics of eating in Le Rayon vert. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599535507633-WYDVESAQZLOCZ8CWLNTV/Figure+9+al+fresco+lettuce+3.5.png Home - Cinema as Metaxu Figure 9. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599536794586-S38F98EOGBY04WFE95PI/Figure+10+amidst+the+green.png Home - Cinema as Metaxu Figures 10-12. Delphine amidst the windy green. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599536847716-MCF1Z705WTESVYXH4DNI/Figure+11+amidst+the+green+2.png Home - Cinema as Metaxu Figure 11. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599536896845-AV8QSYZQNHWCZTAWS46V/Figure+12+amidst+green+and+wind+5.png Home - Cinema as Metaxu Figure 12. https://www.thejugaadproject.pub/home/gazing-to-africa monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599528854466-A554HGKISEQ1JJO42O0B/Figure+1.jpg Home - Gazing to Africa: A Conversation with Art and Ethnology at the Museum Figure 1. Putto with Tambourine, Donatello, Tuscany (Italy), 1428-29, bronze; Statue of the Goddess Irhevbu or of Princess Edeleyo, Kingdom of Benin (Nigeria), 16th or 17th century, copper (l-r). Photo by author. Berlin, Germany 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599528890254-75WTSTEX61JBXY0LXRYH/image-asset.jpeg Home - Gazing to Africa: A Conversation with Art and Ethnology at the Museum Figure 2. Head of John the Baptist on a Charger (Belgium), ca. 1430, oak; Head of an oba (deceased king), Kingdom of Benin (Nigeria), 16th century, bronze (l-r). Photo by author. Berlin, Germany 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599528918798-096PS4Z7WWXWCNTDQAN6/Figure+3.jpg Home - Gazing to Africa: A Conversation with Art and Ethnology at the Museum Figure 3. Captions for “Head of an oba” and “Head of John the Baptist on a Charger” (l-r). Photo by author. Berlin, Germany 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599528944006-YPJQZMF2V2RWEQ9JI39Y/Figure+4.png Home - Gazing to Africa: A Conversation with Art and Ethnology at the Museum Figure 4. In August 2020, the Museum of Man, one of the largest ethnographic collections in the United States, was renamed the Museum of Us. The two year renaming process reflects broader ‘decolonization of institutions’ initiatives that are impacting the arts and culture sector and greater calls for accountability to ethical curatorship and to the publics they serve. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1599528971305-YJHVKK3BWMQ91KAS17QB/Figure+5.jpg Home - Gazing to Africa: A Conversation with Art and Ethnology at the Museum Figure 5. Nomusa Makhubu, Imvunulo (Traditional Dress), 2013, Digital Print, Berlin, Bode Museum. This artist’s self-portrait is overlaid with a photo of an ethnographic display of Zulu wedding attire. Arranged under the catalogue’s theme “The ‘Others”, the clash of contexts interrogates how displays devoid of agency operated as the primary lens of perspective. https://www.thejugaadproject.pub/home/fieldnotes-public-sculpture-singapore monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596492735029-O5X9JGS7101XF1XC9FAC/Figure+1.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 1. Photo by James Mah. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596492758964-9LC76G86ZP66HNE1QUKW/Figure+2.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 2. Photo by James Mah. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596490969406-P36KKUV5MZTABEOYJMY7/Figure+3.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 3. Photo by James Mah. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596490991284-61SW7C1OQ2YBSIHY520S/Figure+4.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 4. Photo by James Mah. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596492784727-DI9INGHXHMM55H7PG5RG/Figure+5.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 5. Photo by James Mah. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1596505892713-37TGPABOAIEM75UHTXDX/Figure+6.jpg Home - (Dis)locating the Founding Myth: Public Sculpture and the Singapore Story Figure 6. Photo by James Mah. https://www.thejugaadproject.pub/home/cosmopolitanism-textiles monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595757556474-QWL1OT8465LUGWAUXWA6/Eleonora+di+Toledo+.png Home - The Fruits of the Loom: Cosmopolitanism Through the Eyes of the Commissioner Figure 1. Title: Portrait of Eleonora di Toledo with her son Giovanni. Creator: Bronzino (Agnolo di Cosimo Tori). Date Created: 1544 – 1545. Physical Dimensions: w960 x h1150 mm. Location: The Uffizi, Florence, Italy. Catalog. No. 09 00021910. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595757712160-HT2NQ62NJ1ID1V36TTHA/Coverlet%2C+China.jpg Home - The Fruits of the Loom: Cosmopolitanism Through the Eyes of the Commissioner Figure 2. Title: Coverlet. Creator: China, for the European Market (location not known). Date Created: 17th Century (exact date not known). Physical Dimensions: w960 x h1150 mm. Accession No. 1975.208d. Location: The Metropolitan Museum of Art, New York, USA. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595757898330-CMB40P9T3C7JK39D9J3F/1427206734-414_Kalamkari-Rumal.jpg Home - The Fruits of the Loom: Cosmopolitanism Through the Eyes of the Commissioner Figure 3. Title: Coverlet. Creator: Golconda Region (possibly Petaboli). Date Created: 17th Century (exact date not known). Physical Dimensions: 89 x 74 cm (with lining). Location: The National Museum, New Delhi. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595758065237-81L0V8EKXEIR2NM7ZEXO/14.719.2_SL1.jpg Home - The Fruits of the Loom: Cosmopolitanism Through the Eyes of the Commissioner Figure 4. Hanging, 1 of 7 Pieces, ca. 1610-1620. Painted resist and mordants, dyed cotton, 108 1/4 x 37 3/4 in. (275 x 95.9 cm). Brooklyn Museum, Museum Expedition 1913-1914, Museum Collection Fund, 14.719.2. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595758801699-FVTEQRGX4XOQOB2CRI07/Full+Length+%282%29.jpg Home - The Fruits of the Loom: Cosmopolitanism Through the Eyes of the Commissioner Figure 5. Hanging, 1 of 7 Pieces, 1610-1640. Cotton, drawn and painted resist and mordants, dyed, Other: 109 1/4 x 38 1/4 in. (277.5 x 97.2 cm). Brooklyn Museum, Museum Expedition 1913-1914, Museum Collection Fund, 14.719.7. https://www.thejugaadproject.pub/home/buraq-and-landscapes monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595313982557-S91OZKXS17TLIFLVHQC1/Fig1.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 1. A.D. Pirous. Sura Isra II: Homage to My Mother. 1982. Screenprint on paper. 82 x 56 cm. (Source: Author’s documentation at Serambi Pirous, Bandung) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595371979365-NJG1DDPM0OF87D72LDOL/Fig2.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 2. Haryadi Suadi. Buroq. 1986. Enamel paint on glass. 83.5 x 79.5 cm. (Source: Photographed by Michael Binuko and Kemas Indra Bisma, author’s documentation). https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595315971003-6RT2SECD38YM0YY0E9LN/Fig3.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 3. A.D. Pirous (left) in his studio holding a thank you card that I made for him, appropriating his print Sura Isra II; and old photo of Haryadi Suadi (right) posing with his woodcuts and print works. (Source: Author's documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316031406-AX9LO4ZBZI2UT7UKPLCN/image-asset.jpeg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 4. Catalog of A.D. Pirous's retrospective exhibition in 1985. (Source: Author's documentation taken with permission from A.D. Pirous) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316075382-9Z0EYPDLEV9DUU9ENYJN/Fig5.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 5. The modern Islamic art section at the 1991 Festival Istiqlal in Jakarta. One can see the dominance of lukisan kaligrafi in the selection of artworks. (Source: Author's documentation of A.D. Pirous’s archives on Festival Istiqlal, reproduced with permission from A.D. Pirous) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316133866-YTB0VALOLF3YPUNAKCPW/Fig6.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 6. Details of A.D. Pirous's Sura Isra II and Haryadi Suadi's Buroq. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316182313-99HT3DS3WMQBOUZD824K/image-asset.jpeg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 7. Another example of Haryadi Suadi's glass painting that incorporates isim and rajah titled Harimau dan Isim (Tiger and Isim), 1979. (Source: Author's documentation, photographed by Michael Binuko and Kemas Indra Bisma) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316249759-5WU589VGDNQ1NQQ65P24/Fig8.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 8. Example of a cloth with isim and talismanic diagrams in Haryadi Suadi’s family collection. (Source: Author’s documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316355712-XO9PVMSJ77NAWDAWSNQW/Fig9.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 9. Acehnese ceremonial hanging, early 20th century, cotton, wool, silk, gold thread, sequins, glass beads, mica, applique, couching, embroidery, NGA 1984.1986. (Source: National Gallery of Australia.) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316429247-MODUZXM1R0DJ1KTI8ZM1/Fig10.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 10. Buraq stencil design for Cirebonese glass painting. Collection of Haryadi Suadi. (Source: Author's documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595316475630-3OZ09W11NXR6RVRJ202X/Fig11.jpg Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 11. Stencils of Cirebonese hybrid figures for glass painting that display the acceptance of Islam in Cirebon. Collection of Haryadi Suadi. (Source: Author's documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595373627729-CP8TB7Z1U1LZC4LEUOAW/IMG_0696.JPG Home - Buraq and Landscapes: Anchoring Islamic Identities and Images in Works of Modern Indonesian Art Figure 12. Sunyaragi Cave in Cirebon. (Source: Author's documentation) https://www.thejugaadproject.pub/home/meekyoung-shin monthly 0.5 2020-08-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388345980-FNQYBGMP4CFT9A6GRAUF/Fig1.png Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 1. Screencapture from the artist’s Instagram of her 2014 show at the National Centre for Craft and Design. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388398433-JD101QLKF2JSPALZ8HQA/Fig2.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 2. Meekyoung Shin’s ‘Kouros series’ (2009), part of her ongoing ‘Translations’ project. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388453293-UAHJSE0C0WBD959U070P/Fig3.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 3. Photographs of an early work from Meekyoung Shin’s first year at the Slade (1996). Materials: wax, concrete, human hair, heating element. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388480552-IGINXU630B4BD6X8ND67/Fig4.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 4. Photographs of an early work from Meekyoung Shin’s first year at the Slade (1996). Materials: wax, fabric, tinted water. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388630252-PH52PLVGH50P00KD2V73/Fig5.png Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 5. Screenshot from the artist’s Instagram showing her performance in 2003 at the British Museum. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595389209498-679PXWUAG2K45PBLNRO7/Fig6.png Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 6. Meekyoung Shin, Translation – L’Innocenza Perduta by Emilio Santarelli (1962) (1998, restored 2009). 80 x 60 x 227cm. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388730828-LC28HQ4SX5P5CHPQY4V6/Fig7.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 7. L’Innocenza Perduta, work in progress. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388783140-O3SV35RCLOIGD1WPSMJT/Fig8.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 8. An early work by the artist. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388821297-SUJFAJZ5KJHT2Z6UOZAA/Fig9.png Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 9. Screenshot from the artist’s Instagram of the Toilet Project (2004-on going). Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388864927-T4RJE5N6OBTHM5SBIPL0/image-asset.jpeg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 10. Photograph of bookplate used by Meekyoung Shin during the creation of her ‘Crouching Venus’. Photograph courtesy of the artist. ©Meekyoung Shin. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1595388919753-IWAHEKEOGK2I6QOJ5C2F/Fig11.jpg Home - The Classics in Soap: An Interview with Meekyoung Shin Figure 11. Making the ‘Crouching Venus’. Photographs courtesy of the artist. ©Meekyoung Shin. https://www.thejugaadproject.pub/home/interview-jason-de-leon monthly 0.5 2020-08-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591239953644-XTC7L78X85O63HSYHSRQ/Figure+3a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Photograph by Michael Wells for the Undocumented Migration Project. Image courtesy of Jason de León and the Undocumented Migration Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591239996403-WIFORLJWYTSVJXXZACZI/Figure+5a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Photograph by Michael Wells for the Undocumented Migration Project. Image courtesy of Jason de León and the Undocumented Migration Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591240044527-49HR6ED9CH0EOIR1DLQQ/Figure+7a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Photograph by Michael Wells for the Undocumented Migration Project. Image courtesy of Jason de León and the Undocumented Migration Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591239920057-DE475UNX6OI80UJ1KR2S/Figure+1a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Toe Tag Wall Prototype, Phillips Museum of Art, Franklin & Marshall College. Image courtesy of Jason de León and the Undocumented Migration Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591240022521-E6CXFI8X3UD4LVMW1K1E/Figure+6a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Photograph by Michael Wells for the Undocumented Migration Project. Image courtesy of Jason de León and the Undocumented Migration Project. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591239937227-JDA37PORCFWF0ILC2FZN/Figure+2a.jpeg Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León The Land of Open Graves. Image courtesy of Jason de León. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591239971541-58TK002IE6JDVFQNFB2N/Figure+4a.png Home - “If You’re Looking to Radicalize an Archaeologist, Force Them to do Something Traditional:” An Interview with Dr. Jason de León Photograph by Michael Wells for the Undocumented Migration Project. Image courtesy of Jason de León and the Undocumented Migration Project. https://www.thejugaadproject.pub/home/not-writing-as-not-seeing monthly 0.5 2020-08-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593150606945-45IA7WYJY849OJMF0KJC/flores_crown.jpg Home - Not Writing as Not Seeing, Not Recording: Embodied Racism in Indonesia -- Reflections on Fieldwork since 1974 Lado wea or gold frontal, Nage area, Central Flores, Indonesia. 1983, Photograph by Musee Barbier-Mueller, from S. Rodgers, Power and Gold, 1985. Image credit: Susan Rodgers. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593150631345-SEA2ATLU18GLHAK3T6LK/image-asset.jpeg Home - Not Writing as Not Seeing, Not Recording: Embodied Racism in Indonesia -- Reflections on Fieldwork since 1974 The author doing a tortor dance at a Sipirok-area horja ceremonial feast, 1976. Image credit: Susan Rodgers. https://www.thejugaadproject.pub/home/deconstructing-essentialism monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593071048567-OM6KPKDI8854KTSM6Z69/Figure+1.jpg Home - Deconstructing Essentialism: Translocality as a Conceptual Tool in the Study of Eclectic Material Cultures Figure 1: Fragment of a panel showing Vajrapāni (bottom left) and other attendant figures. The club, usually held by Heracles in ancient Greek iconography, has been substituted with a sword. 2nd -3rd century AD. Gandhara (Pakistan). British Museum, London. © The Trustees of the British Museum. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593070165913-HPHPMTNWPF5RSBZOX1Y3/Figure+2.jpg Home - Deconstructing Essentialism: Translocality as a Conceptual Tool in the Study of Eclectic Material Cultures Figure 2: Scene from the life of Buddha, the conversion of the Kasyapas. Vajrapāni, with bearded face and defined musculature, is standing on the Buddha’s left, holding a vajra in his left hand. 2nd -3rd century AD. Gandhara (Pakistan). British Museum, London. © The Trustees of the British Museum. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593070232478-PWX0QRZOW4AE1PAARZR0/Figure+3.jpg Home - Deconstructing Essentialism: Translocality as a Conceptual Tool in the Study of Eclectic Material Cultures Figure 3: A detail of the image of Heracles driving a bull to sacrifice on a two-handled jar (amphora). Ca. 525-520 BC. Attica, Greece. Museum of Fine Arts Boston, Boston. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1593070505196-Q2M7H1YP9RDFOXRVQOUU/Figure+4.jpg Home - Deconstructing Essentialism: Translocality as a Conceptual Tool in the Study of Eclectic Material Cultures Figure 4: Heracles at rest, early 3rd century AD. This statue, known as ‘the Farnese Hercules’, is an enlarged copy of a lost bronze sculpture which was created by the Greek sculpture Lysippos in the fourth century BC. Now in the National Archaeological Museum of Naples. Photo by Marie-Lan Nguyen. CC BY 2.5 https://www.thejugaadproject.pub/home/translocality-as-connections monthly 0.5 2020-08-04 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1594783149678-W08GXHXT3T225NKPIOC7/Figure+2.jpg Home - 2020 Special Issue: Translocality as Connections that Disrupt Scene from the life of Buddha, the conversion of the Kasyapas. 2nd -3rd century AD. Gandhara (Pakistan). British Museum, London. © The Trustees of the British Museum. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1594783503359-BC7G5H8VO05RK11P9YNZ/Susan_dance.jpg Home - 2020 Special Issue: Translocality as Connections that Disrupt Susan Rodgers doing a tortor dance at a Sipirok-area horja ceremonial feast, 1976. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1594783609362-POA0B7EMUGCFM5MHOZ8X/Haryadi+Suadi-7589_1.jpg Home - 2020 Special Issue: Translocality as Connections that Disrupt Haryadi Suadi. Buroq. 1986. Enamel paint on glass. 83.5 x 79.5 cm. Photographed by Michael Binuko and Kemas Indra Bisma. Image courtesy of author. https://www.thejugaadproject.pub/home/hercules-in-white-classical-reception-art-and-myth monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1592944363868-OQHO0OEESTM5F1K2UHP7/fig+1.+Peplos+Kore.jpg Home - Hercules in White: Classical Reception, Art and Myth Figure 1: The Peplos Kore (ca 530 BC, now stands in the Akropolis Museum in Athens). Plaster cast and reconstruction. Cambridge Museum of Classical Archaeology. Photo by Zde. CC BY-SA 4. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1592944173379-UNH0W2NKO7A8LMLJOMD0/fig+1.+Farnese+Hercules.jpg Home - Hercules in White: Classical Reception, Art and Myth Figure 2: Farnese Hercules (National Archaeological Museum of Naples). Photo by Marie-Lan Nguyen. CC BY 2.5 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1592943783062-QQX1XJC0AF36IGURXZ3O/fig.+2.+Matthew+Darbyshire+Hercules.jpeg Home - Hercules in White: Classical Reception, Art and Myth Figure 3: Matthew Darbyshire, Hercules, 2014, Polystyrene, 124 x 51.1 x 41.7 inches, 315 x 130 x 106 cm. Courtesy Matthew Darbyshire and Herald St, London. Photo by Andy Keate. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1592943799461-UCMF5QRQ66X7LI741918/GazingBall_FarneseHercules.jpg Home - Hercules in White: Classical Reception, Art and Myth Figure 4: Jeff Koons, Gazing Ball (Farnese Hercules), 2013, plaster and glass, 128 1/2 x 67 x 48 5/8 inches, 326.4 x 170.2 x 123.5 cm, © Jeff Koons. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1592965143677-98EFSZ9PEZYEUDK8EZJS/Fig5_Mapplethorpe.jpg Home - Hercules in White: Classical Reception, Art and Myth Figure 5: Robert Mapplethorpe, Derrick Cross, 1983, Gelatin silver print, 20 x 16 inches, 50.8 x 40.7 cm. Image courtesy The Robert Mapplethorpe Foundation. https://www.thejugaadproject.pub/home/spectres-of-obligation-care-across-realms-in-northern-thailand monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715581639-R42N3K28M8J9EE8DIE2I/image+1.png Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 1: Hair Wash, Chiang Mai, Thailand, 2009. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715664021-7P5KNGPDXAE0XSQ4VNU4/image+2.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 2: Daily Routine, Chiang Mai, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715725183-75YRL73AJRHPQIXCMWF8/image+3.png Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 3: Grinding Meds, Chiang Mai, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715796067-IXDPWKYI1OLZ8GK9LURK/image+4.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 4: Entrance. Chiang Mai, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715850008-0EY46LWVQ52JU8PZ4U65/image+5.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 5: Longevity Ceremony (สืบชาตา, Seup Chadta) at Suan Dok Temple, Chiang Mai, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715908163-CHBBIZOJH3EFBS4GGJQ8/image+6.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 6: Praying for Longevity, Chiang Mai, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590715999864-5JE2IP2QGO1MUY3TUDSK/image+7.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 7: Sai Sin (สายสิญจน์), Blessed String, Chiang Mai, Thailand, 2008. This string is tied between the Buddha statues and across all the people in attendance, a vehicle for the transfer of merit. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716071081-XE6C80PS50B1JGSQWHQ3/image+8.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 8: String and Oil, Chiang Mai, Thailand, 2008. These are objects that are utilized in ceremonies, like the “longevity” ceremony depicted above, mobilized with the sacred capacity to transfer merit. People will also grasp the elbow of others, forming a chain of connection from the pourer of sacred waters or other ritual acts, allowing the merit to transfer between participants. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716131923-IIY0027CJSBWDLMU0M0Z/image+9.png Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 9: Evening Roadside Dining. Bangkok, Thailand, 2009. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716202979-RV98EBU1IX28LHKQIO10/image+10.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 10: Making Merit. Lamphun, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716241098-3JKVS7G42LBLRHFEG0U9/image+11.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 11: Offerings. Wat Umong, Chiang Mai, Thailand, 2017. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716274790-SXKEHE6EX0A757J8MFVK/image+12.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 12: On the Road. Chiang Dao, Thailand, 2017. Photo by author. Spirit shrines line a patch of road along a mountainside pocked with sacred caves. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716294200-KH5IITBFY30E4QZM93G8/image+13.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 13: Abandoned? Bangkok, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716311599-XE3WFBMR8YN86X305KF5/image+14.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 14: Spirit House. Chiang Mai, Thailand, 2008. Photo by author. This shrine is situated and tended to along the side of the main road of an urban “slum” outside the main municipal area. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716330704-9RZJHTSRYOE7PPSNZE7W/image+15.jpg Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 15: Day of the Dead (สลากภัต). Lamphun, Thailand, 2008. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716370708-IJSDIWBRITP5H882F0GI/image+16.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 16: Spirit Medium’s Shrine. Chiang Mai, Thailand, 2017. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716418132-OK73BBCJB77798LXG8BM/image+17.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 17: Shrine Skull. Chiang Mai, Thailand, 2017. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590716442412-Q1F5EZILCVLWNU5QM2I9/image+18_end.JPG Home - Spectres of Obligation: Care Across Realms in Northern Thailand Image 18: Offerings. Lampang, Thailand, 2017. Photo by Sangwan Palee. https://www.thejugaadproject.pub/home/garlands-for-gods-in-southeast-india monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590896904768-CGOO8IP42GSOEMQ0UZU7/ComeauImage1.JPG Home - Garlands for Gods in Southeast India New Year display inside Arulmigu Manakula Vinayagar Temple in White Town, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590896933198-8L4CSBBY3GUBUDWNHM29/ComeauImage2.JPG Home - Garlands for Gods in Southeast India Large garlands displayed in front of stalls where men sit tying special orders and basic garland designs for daily sales, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590896957225-5RUFY4H1AJ1NOCD4TRM8/ComeauImage3.JPG Home - Garlands for Gods in Southeast India Small garlands for sale near the Barathi Street entrance of Goubert Market, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590896975347-0OL6YM2BIEHLSWD013J6/ComeauImage4.JPG Home - Garlands for Gods in Southeast India Detail of a wilting marigold garland that will either be trimmed or discarded when the shop opens, Pondicherry 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897001296-BY9LQAC7DB7JI6RWTH8W/ComeauImage5.JPG Home - Garlands for Gods in Southeast India Stalls where loose flowers are sold in bulk. A large basket of flowers rests on the ground in the nook of a column at the corner of the small market temple visible on the left, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897022338-D0Q4UR9KZG0A53K9EDSK/ComeauImage6.JPG Home - Garlands for Gods in Southeast India Temple priest changing the garlands of the market temple shrine, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897054484-LPWTCK5HHD4L1C60A3B2/ComeauImage7.JPG Home - Garlands for Gods in Southeast India View of the refreshed market temple flowers, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897075478-ZDAQ1J909CXR519D7196/ComeauImage8.jpg Home - Garlands for Gods in Southeast India Another small Ganesha shrine at the corner of the houseware and vegetable stalls, Pondicherry 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897096173-ZDA4JXAUW3IQOTHVGI3V/ComeauImage9.JPG Home - Garlands for Gods in Southeast India A small tile installed on a stall frame depicts Ganesha and was recently draped with white and pink flowers, Pondicherry 2019. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897122071-NWY1MD28RZFK7VOCVMFR/ComeauImage10.jpg Home - Garlands for Gods in Southeast India Detail of garland colors: creamy yellow chrysanthemums, dark green leaves, local pink roses, and white tuberose, Pondicherry 2020. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1590897140867-JALVXOEB39C6NG8HP1IN/ComeauImage11.JPG Home - Garlands for Gods in Southeast India Women selling strings of flowers; some meant for religious use and others for women’s hair, Pondicherry 2019. Photo by author. https://www.thejugaadproject.pub/home/costume-artisans-of-the-indian-film-industry-the-embodiment-of-jugaad-productivity-and-rituality monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591071045801-9MZV3Q0OQOGDJUWZX0I8/Vasek+image+1.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality This shrine is outside the studio of preeminent Oscar-winning costume designer Bhanu Athaiya, in Mumbai, Maharashtra, India. Recently the shrine has been adorned with fresh flowers and fresh coconut. Athaiya’s long and successful career in design is an example of the combination of creativity, ambition, and collaborations that young designers aspire to. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591072646405-VSY12TD809WI5PVIFIQ3/Vasek+image+2.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Film production support vehicles at a location shoot in Chennai, Tamil Nadu, India. An image of Lord Ganesha, the Remover of Obstacles, can be seen on the vehicle on the left. Work vehicles in India often have religious imagery painted on them, as a way of blessing the enterprise that the vehicle will be engaged in, and for seeking protection. The use of religious icons provides a divine scaffolding to support giant ambitions and successful endeavors. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591072747520-U0UK5JM6VTZVDTF6S77A/Vasek+image+3.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality DJS Kumar, a highly skilled craftsman with many film credits to his name, examines leather hides in preparation for creating a breastplate. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591072820883-RY6C7C3YIE4DHO0JVQ0I/Vasek+image+4.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality DJS Kumar created this leather breastplate and belt, with detailed dimensional ornamentation and metallic surface treatment. Artisans such as DJS Kumar apply their prodigious technical finesse and aesthetic judgment in the creation of pieces such as this one. Photo Credit: Satish Kumar. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591072920546-OV9LMTXDWM85VKUCA6ON/Vasek+image+5.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Sample design drawing for a leather breastplate, from the Kumar archives. Archival sketches such as this one may become research source material for future creations. Photo credit: Satish Kumar. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073021034-FXSU7AKXXO5TAMT5EGBS/Vasek+image+6.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality R Murugan swiftly applied makeup to an actor during a location shoot in a small rural village, Tamil Nadu, India. Photo Credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073116010-7WCD8NGZE0GXL91SE3RM/Vasek+image+7.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality G Vanaja sectioning the hair, prior to applying hair extensions. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073299551-W7KHKYXUA0VI8JN5EYKR/Vasek+image+8.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality A tray with hand made rice dough vessel, coconut oil and wick, adorned with fresh leaves. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073699158-H9YCFV48PEMUNL8HK68W/Vasek+image+9.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Each woman was preparing her doorway with a rice flour motif, or Kolam, which would be part of the film’s festival decoration in the village. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073349697-FN651NPGKG8XHCIJVIME/Vasek+image+10.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Preparations are underway to decorate the village temple for an evening scene that will be shot later in the day. While daylight scenes are being shot elsewhere in the village, the team creates decorations with vegetation sourced from the local environment. This method of working creatively in multiple areas of the village simultaneously, is another example of jugaad on the part of film makers and villagers who are joined together in achieving a shared goal. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073374282-CT3VAMJEAODEZTKSE5J2/Vasek+image+11.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality After several hours of preparation, the temple is ready for the evening shoot. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073397365-39ZD7QAQ3L4GP1765GUU/Vasek+image+12.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Proprietor and embroidery designer Kalavathy Balraju inspects the detailed embroidery and beadwork of her company’s highly skilled senior embroidery artisan. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073420578-61UHIL0Z4DEO5Z53J08O/Vasek+image+13.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Embroidered and jeweled panels for a silk chiffon choli blouse, created by Shrishty Embroiderers, Chennai. Embroidery on sheer fabrics is particularly challenging and requires the expertise of highly skilled artisans. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073445890-2MFV5HDGY3FWB1DQ5Z86/Vasek+image+14.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality The Shrishty Embroidery supply area features a plentiful and well-organized stock of beads and embroidery threads. On the left wall is a shelf with images and representations of Hindu deities, including Ganesha. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073470574-WGH8C6EEMKVA91S0R94Z/Vasek+image+15.JPG Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Custom embroidery for the upper sleeve of a costume. Manoj Kumar Studios, Hyderabad, Telangana, India. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073491327-O2TDXAIWIIXX7HAJ746V/Vasek+image+16.JPG Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Paper pattern showing the intended placement of embroidery motifs for the front of the same costume. Manoj Kumar quickly roughs out the general distribution and shape of motifs on one half of the pattern, expecting the embroiderer to mirror that design distribution on the rest of the garment. The final decisions about scale and density of the motifs are left up to the master embroiderer. Costumer Kumar quickly indicates his design intentions for embroidery embellishment using rough drawing techniques, while relying on the skill and expertise of a trusted craft specialist to realize his vision. Thus the assemblage of the designer, the crafter, the brief from the director and producers all come together to create the final picture. Manoj Kumar Studios, Hyderabad, Telangana, India. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073515839-4Q69SDOK782LDI3D4Z0S/Vasek+image+17.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality Cutter D. Sachinaran (left) and costume designer Lokesh (right) discuss the preparations for an upcoming shoot for the film Rajanna at Annapurna Studios in Hyderabad, Telangana, India. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073544769-7LZ30LII26B91YC3KXJS/Vasek+image+18.JPG Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality An artisan building puttees for the next day’s shoot of a battle scene for the film Rajanna at Annapurna Studios, Hyderabad. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591073575535-QCLMRIP5WL034H85UR59/Vasek+image+19.jpg Home - Costume Artisans of the Indian Film Industry: The embodiment of jugaad, productivity, and rituality An actively used shrine outside of the Production Offices at Annapurna Studios in Hyderabad, Telengana, India. Fresh flowers and garlands are in evidence. Water on the platform suggests that the shrine was recently cared for. During multiple visits to the Production Offices, several production assistants brought us to this shrine, to emphasize its importance. Photo credit: Cheri Vasek. https://www.thejugaadproject.pub/home/2020-summer-issue-part-2-innovation-and-material-religion-editorial monthly 0.5 2020-07-11 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591084930752-XRJP0CZR5LDRTYSAOOVJ/Vasek+image+3.jpg Home - 2020 Summer Issue, Part 2, Innovation and Material Religion - Editorial DJS Kumar, a highly skilled craftsman with many film credits to his name, examines leather hides in preparation for creating a breastplate. Photo credit: Cheri Vasek. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591085047921-H5GV49Q017H2060VKAFQ/ComeauImage1.JPG Home - 2020 Summer Issue, Part 2, Innovation and Material Religion - Editorial New Year display inside Arulmigu Manakula Vinayagar Temple in White town, Pondicherry 2019. Photo by Leah Comeau. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1591085144657-L46ENJKFHLV51D8A90TU/image+10.jpg Home - 2020 Summer Issue, Part 2, Innovation and Material Religion - Editorial Making Merit. Lamphun, Thailand, 2008. Photo by Felicity Aulino. https://www.thejugaadproject.pub/home/the-silk-worm-festival-fashion-show-an-innovation-by-kikuo-morimoto monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578117682369-LLYS0P9K4FMQ1TP9P1ZN/Image+1.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 1. IKTT artisans dressed for Silk Worm Festival fashion show hold portrait of founder Kikuo Morimoto. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578117880811-JRW584ANQLXP959TUDP6/Image+3.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 2. Artisan ties banana fibers around weft threads to create ikat pattern. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118171141-9IEIJKK2LSNL2U9WLB8B/Image+2.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 3. Skeins of golden silk hang in IKTT's weaving center. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118268356-X44M8N1IX2720BR5EUEL/Image+4.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 4. IKTT's master artisans model their ikats as traditional sampot hol. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118301406-LAQ47U03NZKIF3WTSM37/Image+5.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 5. Non-traditional dress created from IKTT's ikat. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118545925-W2UJHBHNAJ38ZSKMB5QL/Image+6.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 6. Daughters of IKTT’s artisans model IKTT silk in innovative styles. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118761836-WGWJE7UNW9HJ10S91EJY/Image+7.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 7. IKTT staff and guests pray with monks at the Silk Worm Ceremony. Photo by Cheryl Nemazie. Siem Reap, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578118845963-Q5U2J7UI96NVM102ADZH/Image+8.jpg Home - The Silk Worm Festival Fashion Show: An Innovation by Kikuo Morimoto Image 8. Offerings of rice and fruit being passed to monks at the Silk Worm Ceremony. Photo by Cheryl Nemazie. Siem Reap, 2019. https://www.thejugaadproject.pub/home/discussions-chandan-boses-study-of-craft-in-telangana monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578041640005-0ILAVPWHJK8FIXLAO1Z5/Fig1.JPG Home - Interview: Chandan Bose's study of Craft in Telangana Figure 1. Scroll artist Danalakota Vaikuntam Nakash in his studio in Cheriyal. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578040769193-XC0B3BJ1J73VTB25ILB3/image-asset.jpeg Home - Interview: Chandan Bose's study of Craft in Telangana Figure 2. Digitally-printed flex scroll. Jambavantaru Purana performance. Nashkal village, Telangana, 2013. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578041480526-4DEI3E2RG79HLVF1Z67J/Fig.+1.1_sm.jpg Home - Interview: Chandan Bose's study of Craft in Telangana Figure 3. Danalakota Vaikuntam Nakash in his studio in Cheriyal. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1578041542480-U4GR0KJJVQMBDMR79YOW/image-asset.jpeg Home - Interview: Chandan Bose's study of Craft in Telangana Figure 4. Odupu refers to the ability of the artist to achieve a level of perfection. Photo by author. https://www.thejugaadproject.pub/home/sri-krishnan-temple-doing-and-making-sense-of-a-shared-multi-sensorial-multi-religious-space-in-singapore monthly 0.5 2020-06-07 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1574296297515-8C79KO0P68EVTJ7WM0XX/Figure+1.jpg Home - Sri Krishnan Temple: Doing and Making Sense of a Shared Multi-sensorial, Multi-religious Space in Singapore Figure 1: Hanuman and Garuda standing guard at the entrance of the Sri Krishnan Temple. Photo by author, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1574296335863-2LFISCBVE936UNB269UI/Figure+2.jpg Home - Sri Krishnan Temple: Doing and Making Sense of a Shared Multi-sensorial, Multi-religious Space in Singapore Figure 2: An unveiled avatar of Lakshmi in the Sri Krishnan Temple. Photo by author, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1574296366129-QWDBRF8VABQM40MHICUI/Figure+3.jpg Home - Sri Krishnan Temple: Doing and Making Sense of a Shared Multi-sensorial, Multi-religious Space in Singapore Figure 3: Buddhist worshippers offering joss sticks in a special zone within sight of the Sri Krishnan Temple. The man in the grey top is the Chinese sentinel in charge of affairs “outside” the temple. Photo by author, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1574296400797-7ZWY66HC2Z27P0R5JRK0/Figure+4.jpg Home - Sri Krishnan Temple: Doing and Making Sense of a Shared Multi-sensorial, Multi-religious Space in Singapore Figure 4: A non-Hindu worshipper with his hands pressed together and head bowed, to receive blessings from the Hindu gods. Photo by author, 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1574296436348-4YZQ5O5O9N98VJETC6YH/Figure+5.jpg Home - Sri Krishnan Temple: Doing and Making Sense of a Shared Multi-sensorial, Multi-religious Space in Singapore Figure 5: A miniature of Guan Yin, sitting among the Hindu gods, in the Sri Krishnan Temple. Photo by author, 2019. https://www.thejugaadproject.pub/home/innovation monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1575442417486-OE2HRFKXGR5CO8T8V3OI/IMG_9655_sm.jpg Home - On Innovation A panoramic scene from the Ave Maria Grotto (Cullman, Alabama), 2018. Photo by: Claire Vaughn) https://www.thejugaadproject.pub/home/2019-20-winter-issue-innovation-and-material-religion-editorial monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1575524096605-G5W5AYNNDMA04QEDCSNT/Figure+3.jpg Home - 2019-20 Winter Issue, Part 1, Innovation and Material Religion - Editorial https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1575524138547-LOK165JFN4BJVEY1V08A/image-asset.jpeg Home - 2019-20 Winter Issue, Part 1, Innovation and Material Religion - Editorial https://www.thejugaadproject.pub/home/anchoring-devotion-in-a-layered-terrain-bartolo-longo-and-the-sanctuary-of-the-blessed-virgin-of-the-rosary-in-pompeii monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570846381300-TCN0BOIKCZ074VUBGHZQ/Figure_1.jpg Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 1: Front cover of a devotional leaflet containing the Italian text of the Supplica (‘Petition’) prayer to the Blessed Virgin of the Rosary of Pompeii (Our Lady of Pompeii). The image is a close copy of the painting in the Pompeii sanctuary. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570846456458-GKRBFBENRE2VTX6CAZVB/Figure_2.jpg Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 2. Photo taken from a window of the archives in the Pompeii sanctuary, looking over the ‘Piazza Bartolo Longo’ towards the Monte Lattari. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570846670388-9B4XJO0NJ5B76G7BLTVE/Figure_3.JPG Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 3. ‘Pompei sintesi di antico e moderno’ by Claudius R. Karl, currently on display in the entrance hall of the archives (the ‘Archivio Bartolo Longo’). This is a reconfiguration of the famous Roman painting from Pompei, the so-called ‘portrait of Terentius Nero’. Behind the sanctuary dome is the monumental bell-tower, which was dedicated by Bartolo Longo in 1925, the year before his death. This painting is one of many reminders of Pompeii’s antiquity which can be found around the Catholic sanctuary. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570865236296-IR8COYS87B5X71RZQN2C/Figure_4.jpg Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 4. Devotional image based on the painting of the Blessed Virgin of the Rosary in the Pompeii sanctuary. Note the addition of Vesuvius and the archaeological excavations in the background – features which situate as well as shape Catholic veneration in Pompeii. Image Credit. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570865318239-XVIK5PAPS5I2E1XNMQD2/Figure_5.png Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 5. Screenshot from the sanctuary’s website: a portal leading to different translations of the Supplica (‘Petition’) prayer authored by Bartolo Longo in 1883. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570865356912-R1WV0ZYE1JTIWYJF2EWE/image-asset.jpeg Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 6. The typed envelope reads ‘Rose petals: gathered in the Rose garden of Our Lady in the Valley of Pompeii, placed as adornment on the Altar and Throne of the Queen of the Rosary in the month of May 1911, and blessed on the feast of Pentecost on that same Altar of the Most Holy Virgin. N.B. these are given out free of charge for the benefit of the sick.’ From Caggiano, Rak and Turchini (1990) p. 34. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570865398464-H2313NL7GM32NQ62EDEN/Figures_7_and_8.png Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 7. (left) Screenshot from the Facebook page of the church of Our Lady of Pompei in Gurpura, Kaikamba, India. Figure 8. (right) A photograph of the statue on the outer wall and near the entrance to the church. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1570865449448-2CWE4S6MHORHNODFA75H/Figure_9.JPG Home - Anchoring Devotion in a Layered Terrain - Bartolo Longo and the Sanctuary of the Blessed Virgin of the Rosary in Pompeii Figure 9. A detail from a canvas by Maestro Franco Gracco displayed in one of the corridors of the Pompeii sanctuary. This panel is 1 x 1.20m. This image represents the episode in Longo’s biography where he describes receiving his mission: “All Nature lay wrapt in the deepest silence. I looked around me; not even the shadow of a living soul. Suddenly I came to a dead stop; my heart was bursting within me. In such darkness of being it seemed to me as though a friendly voice were whispering to me those same words that I had read, and that a true and holy friend of mine, now gone to his rest, was wont to repeat to me: “If you seek to be saved promulgate the Rosary. This is dear Mary's own promise.” (History of the Shrine of Pompeii p. 87). Photo by author. https://www.thejugaadproject.pub/home/the-cultural-hybrid-in-colonial-java-and-pekalongan-buketan-bouquet-batik monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568955545892-818NWFN2Y2VMUDTUX8OQ/image-asset.jpeg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure I: Buketan batik motif made by local entrepreneur in Pekalongan (Source: Private documentation) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568955648222-JI0KL0TFSZ0B4SWJJVIB/Jugaad+figure+II.jpg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure II: Batik Belanda motif (Source: Harmen Veldhuisen “Batik Belanda 1840-1940 Pengaruh Belanda pada Batik dari Jawa Sejarah dan Kisah-kisah di Sekitarnya”) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568955719663-2I28371TNSZQ5ZCJDOIR/image-asset.jpeg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure III: Nyonya Saroong with buketan batik motif with encim kebaya (Source: private documentation from Peranakan Museum, Singapore) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568955915760-DJAUZQTW5V2EJ57T4VJW/Jugaad+figure+IV.jpeg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure IV: Nyonya Saroong with buketan batik motif with encim kebaya (Source: private documentation from Museum Textile, Jakarta) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568955969673-D26LZ0VVUQFHJ3WAZ31A/Jugaad+figure+Va.jpg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568956298178-A2VDPYHDADEJHFA9B8RL/Jugaad+figure+Vb.png Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure V: Buketan batik motif in sarong (above) and long cloth or kain panjang ‘pagi-sore’ arrangement (Source: private documentation Oei Soe Tjoen Batik, Kedungwuni, Pekalongan, Central Java) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1568956031334-EAMY0BK4ZBZVY3GY8P30/image-asset.jpeg Home - The Cultural Hybrid in Colonial Java and Pekalongan Buketan (Bouquet) Batik Figure VI: The batik producers put signatures bearing the name of the city of Pekalongan as a form of authentication that catapulted the name of Pekalongan (Source: private documentation from Batik Museum, Jakarta, and Oei Soe Tjoen Batik, Kedungwuni, Pekalongan, Central Java) https://www.thejugaadproject.pub/home/on-context monthly 0.5 2023-12-20 https://www.thejugaadproject.pub/home/heavenly-garden-creating-intimacy-developing-empathy monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567232128178-OMFLZ9BHD6U3WZS86JM9/image-asset.jpeg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 1 Raden Saleh, Six Horsemen Chasing Deer, 1860, oil on canvas mounted on fiber board, Smithsonian American Art Museum, Gift of Mrs. Sally Burbank Swart, 1985. (Image source: Smithsonian American Art Museum) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567232159190-314UMHXPRSWA0E04OTWO/TM-5492-2_suriosubroto.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 2 Abdullah Soerjo Soebroto, Mountain Landscape in Preanger (Java), 1920-1930, oil on canvas, Tropenmuseum, The Netherlands (Image source: Wikimedia) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231829838-XN3MLLULYUDCSX89RBAF/1_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 3 The panorama of Buperta Cibubur Lake, East Jakarta, 2019. (Photo: Author) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231844368-ZWSAE6O5X8RYFI6711FF/2_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 4 A dead fish in Buperta Cibubur Lake, East Jakarta, 2019. (Photo: Author) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231858406-W0G0FXGS3L0HOP0PN1DK/3_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 5 Portrait of neglected facility in Buperta Cibubur Lake, East Jakarta, 2019. (Photo: Author) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231871301-BTG2VMPUWQVPP24S5416/4_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 6 Portrait of the author/artist collecting dew in Rumah Tangga, Leuwinanggung, Depok. 2019. (Photo: Rumah Tangga) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231885835-L5007R8USCHVR41LVMM9/5_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 7 ‘Optik-Optik Kecil’ (Tiny Optics), artist with children, participatory gathering of collecting the morning dew on the holy month of Ramadan. Rumah Tangga, Leuwinanggung, Depok, 5 AM-8 AM, 12 May 2019. (Photo: Patar Pribadi.) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231901071-KMW3K2ATT1KNNTSZVL3O/6_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 8 ‘Optik-Optik Kecil’ (Tiny Optics), participatory gathering of collecting the morning dew on the holy month of Ramadan. Rumah Tangga, Leuwinanggung, Depok, 5 AM-8 AM, 19 May 2019 (Photo: Rumah Tangga) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231916036-Q4H8C8SVKX9UVPF8N5BB/7_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 9 ‘Optik-Optik Kecil’ (Tiny Optics), participatory gathering of collecting the morning dew on the holy month of Ramadan. Rumah Tangga, Leuwinanggung, Depok, 5 AM-8 AM, 25 May 2019 (Photo: Patar Pribadi) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567231930674-X49IILM9IP9C9QL1DER5/8_sm.jpg Home - Heavenly Garden: Creating Intimacy, Developing Empathy Figure 10 Dew in a jar from ‘Optik-Optik Kecil’ (Tiny Optics) (Photo: Rumah Tangga) https://www.thejugaadproject.pub/home/editorial-fall-2019 monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567315057134-3DOZUPHCGCCYVL67MBZC/Buketan+batik_editorial.jpg Home - 2019 Fall Issue, Landscapes and Material Religion - Editorial Scene at Liem Ping Wie's batik production. Kedungwuni, Pekalongan, Central Java. 2010. Photo by Karina Melati. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1567842844085-ZY8GUJ1BK7XO17H9BX0U/Hughes_Maria.jpeg Home - 2019 Fall Issue, Landscapes and Material Religion - Editorial Our Lady of Pompeii https://www.thejugaadproject.pub/home/religion-and-radiation-culture monthly 0.5 2023-12-20 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565592962542-DKWDWWRV8SG57Y832ND7/image-asset.png Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 1. Chernobyl radiation map 1996. CC BY-SA 2.5 via Wikimedia Commons https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565593283898-J2F5K8SYTCDECN4P6BIP/image-asset.jpeg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 2. Checkpoint "Dityatki", entrance to the Chernobyl Zone of Exclusion. CC BY-SA 3.0 via Wikimedia Commons. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565671455317-1TH7EFMWV1CKYOZFT8EI/26854384143_7c1af39fe1_o.jpg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 3. Chernobyl nuclear power plant and monument. 2016. Image credit. CC BY-NC-ND 2.0 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672015014-1G2ST419G77UHC1RFZ2P/image-asset.jpeg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 4. The cover of the magazine “We Build” (1929). Source. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672026393-51OSYVJVLNS73673MPUS/image-asset.jpeg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 5. Soviet poster “Electrification and Counterrevolution” (1921). Source. “Bolshevik propaganda argued that electricity would defeat capitalism, religion, hierarchy and exploitation. In the 1923 poster “Electrification and Counter-revolution” an enormous hand holds up one of Lenin’s lamps, and a group of stereotypical counterrevolutionaries representing the evils of the class system try to extinguish its light.” [16] https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672067634-1PL0MC1N551L66D2HHQH/image-asset.jpeg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 6. Iryna and Alexander in 1986. Photo from their family album. Image courtesy of author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672191369-HCAL5U8R9WN2GG1KSPIN/47099426712_e2a7a287a0_o.jpg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 7. Pripyat Apartments. 2019. Image credit. CC BY-NC 2.0 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672649037-IIOVBF5O4DR0T81VOV5U/image8.jpg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 8. Soviet poster, 1980 artist V.V. Syrianinov. Source. Soviet symbols of sickle and hammer in the core of an atom with the headline: “Praise to the Soviet science!” and a poem “Shine as a guiding star, a living union of science and labor!” https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565672334567-TN3IYGWP6N65QZYM5849/45932314091_e218f3b2f9_o_sm.jpg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 9. Chernobyl Disaster Monument in Orhei. Public domain. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565745380862-MX07CJZTA4EW2WRRA8FE/15306795625_ab5632dbc0_k.jpg Home - Religion and ‘Radiation Culture’: Spirituality in a Post-Chernobyl World Figure 10. Angel Gabriel statue in Wormwood Star Memorial Complex, Chernobyl. Image credit. CC BY-NC 2.0 https://www.thejugaadproject.pub/home/clothed-with-strength-meaningful-material-practices-in-the-sport-of-crossfit monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079373609-QBE1SDI4HJPIPN4RPFUB/Fig1.png Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 1: Reebok CrossFit shirt with "74" inscription. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079386562-PVD0KWY2SJ6VZBBGUANX/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 2: CrossFit t-shirts at CrossFit Hull, image taken with kind permission of CrossFit Hull. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079398502-H6DE752ONFZXG1LJRCO6/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 3: T-short of the CrossFit Invictus box in San Diego with the inscription "I am the master of my fate; I am the captain of my soul." Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079409979-N44GS6U3IS2F12J6G226/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 4: Another CrossFit Invictus t-shirt. Green is also their lead color. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079419397-DK8ZOQRRR03ZSPGL70N2/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 5: T-shirt with the inscription "Be strong when you feel weak, brave when you are scared, and humble when you are victorious." Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079429809-OPBJVP8KX8AJ3S9LHB02/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 6: A CrossFit Invictus t-shirt for women with the slogan "Building Strong women." The female athlete is shown in a snatch position. Image courtesy of a fellow CrossFit athlete. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1565079439632-WUFTXYY5O5MF7A9GMEY1/image-asset.jpeg Home - Clothed with Strength: Meaningful Material Practices in the Sport of CrossFit Figure 6: The Heavy Rep Gear "All Girl Lifting Team" t-shirt for women. Heavy Rep Gear offers an entire range of clothing under the "All Girl Lifting Team" theme. Image courtesy of a fellow CrossFitter. https://www.thejugaadproject.pub/home/on-blood-and-words-how-certain-objects-become-subjects-among-the-mande-west-africa monthly 0.5 2026-01-16 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564212441138-MN8OILWIF6A0CNE7CS5J/Figure1.jpg Home - On Blood and Words: How Certain Objects Become Subjects Among the Mande (West Africa) Figure 1: Continuous construction of the basiw through blood sacrifices. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564212482707-PCQ0A2MDDPXPUXKJIVK8/Figure2.jpg Home - On Blood and Words: How Certain Objects Become Subjects Among the Mande (West Africa) Figure 2: Speaking to the basiw, engaging in dialogue. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564212514894-Y6P7MJY26PBSK3G9SOO6/Figure3.jpg Home - On Blood and Words: How Certain Objects Become Subjects Among the Mande (West Africa) Figure 3: With Diakaridia, the hunter, Mande Montains, Mali. Photo courtesy of the author. https://www.thejugaadproject.pub/home/the-lions-roar-imagining-conch-shell-trumpets-in-early-modern-japan monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564203538615-21OTQ7TJNW1N6OGP7NID/image-asset.jpeg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 1: Relief of a hora at Ryūsenji in Dorogawa. Photo by author. 2012. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564203548270-LZJJSRFL8OZSHL0H1BRS/Figure2.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 2: Relief of a hora at Ryūsenji in Dorogawa. Photo by author. 2012. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564203556323-RLBQ2AYW0XA30SZBBLOS/image-asset.jpeg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 3: 70.0/3894. Courtesy of the Division of Anthropology, American Museum of Natural History. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564203565540-XR4C7S1B2P9UYW5EN101/Figure4.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 4: Contemporary hora displayed outside a craftsman’s shop on Mt. Yoshino. Photo by author. 2012. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564204302712-S3VLQCY8RVUIX6DUKZK5/Figure5.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 5: 70.3/1413. Courtesy of the Division of Anthropology, American Museum of Natural History. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564204429719-CWH5K7S2HZFRTZC87354/Figure6.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 6. 70.3/1413. Courtesy of the Division of Anthropology, American Museum of Natural History. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564203692924-Q0LOWF86YYH35ROG5VZM/Figure7.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 7. Saikoku Pilgrimage print. Courtesy of D. Max Moerman, Barnard College. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564204593133-VTON3L3PZGFOOPO85UBH/Figure8.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 8. 2014.89, “Helmet in the Form of a Sea Conch Shell.” Worcester Art Museum (MA), The John Woodman Higgins Armory Collection. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564204606544-XXFDRJKL1Z37TUHRDB77/Figure9.jpg Home - The Lion’s Roar: Imagining Conch Shell Trumpets in Early Modern Japan Figure 9. 51.620. The Walters Art Museum. CC0 license. https://www.thejugaadproject.pub/home/the-magritte-effect-in-the-study-of-religion-part-i-and-ii monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564201464894-XQCRDTAFQWPFCDL55BDS/magritte_pipe.jpg Home - The 'Magritte Effect' in the Study of Religion, Part I and II Figure 1: The Treachery of Images (This is Not a Pipe) (La trahison des images [Ceci n'est pas une pipe]) René Magritte (Belgium, 1898-1967), Belgium, 1929, Oil on canvas. The work is now owned by and exhibited at LACMA. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564201428039-O2735ZNVTWIEDUSCWW8A/king.jpg Home - The 'Magritte Effect' in the Study of Religion, Part I and II Figure 2: The sacred king smears camwood on his wives and children right after a sacrifice to his ancestors (Awing, Cameroon, 1973). Image: J. P. Warnier. https://www.thejugaadproject.pub/home/material-embodied-and-lived-religion-basket-divination-in-practice-and-theory monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564110444191-6KET7M7RAXYOOXBFZUQ5/Figure1.jpg Home - Material, Embodied and Lived Religion: Basket Divination in Practice and Theory Figure 1: Sakutemba’s divining basket, 1999 (photo by S. Silva) https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1564110465381-A3DAS0K49JDFKMRMQOYC/Figure2.jpg Home - Material, Embodied and Lived Religion: Basket Divination in Practice and Theory Figure 2: Mutondo doing the invocation, 1996 (photo by S. Silva) https://www.thejugaadproject.pub/home/objects-and-substances-of-funeral-mediation-in-mongolia-coffin-miniature-yurt-and-food-offerings monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563998982197-1Z5LYTYMYC72KWXXIL8I/Fig1.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 1: Decoration of the outside of the coffin. Drawing by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563999017635-211725R29SH8MQ660KVE/Fig2.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 2: Decoration of the inner side of the coffin box. Drawing by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563999046337-WZ50ISSZEN7JCBK48UTB/Fig3.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 3: Decoration on the inner side of the coffin lid. Drawing by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563999087723-BYKBBT2KU94VRGTQV7CR/Fig4.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 4: Stages in the technical operation of making a miniature funerary yurt. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563999160129-O7U85RCLWZPFCZ9D3PZ5/Fig5.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 5: Different forms of miniature yurts placed at graves. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563999189363-VNVZ4SJ45UVF1XT1D6NG/Fig6.jpg Home - Objects and Substances of Funeral Mediation in Mongolia: Coffin, Miniature Yurt and Food Offerings Figure 6: Offerings placed in front of images of the deceased and ancestors. Photos by author. https://www.thejugaadproject.pub/home/between-temples-and-toilets-sanitation-worship-in-india monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563953575671-BDUSHHN7AYCSKWXZLFLH/figure-1.jpeg Home - Between Temples and Toilets: Sanitation Worship in India Figure 1: The prayer hall at the Sulabh International campus. New Delhi, 2012. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563953612482-4WX2CH1CORMAS1R0H4ZT/figure-2.jpg Home - Between Temples and Toilets: Sanitation Worship in India Figure 2: Plaque on toilet indicating Sulabh’s name, the number of the toilet, the name of its owner, and its location in the village. Uttar Pradesh, 2014. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563953650511-683OOG98C6CQPESJWWQV/figure-3.jpg Home - Between Temples and Toilets: Sanitation Worship in India Figure 3: Toilet launch event showing toilets decorated with ribbons and garlands. Uttar Pradesh, 2014. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563953698271-HZ4T1EZWMFPF85SR26QO/figure-4.jpg Home - Between Temples and Toilets: Sanitation Worship in India Figure 4: View of toilet and temple structures painted in the same color. Uttar Pradesh, 2014. Photo by author. https://www.thejugaadproject.pub/home/the-religious-book-as-object-an-interview-with-dorina-miller-parmenter monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770462223-XWKVCM8V2S473VHSFPLJ/image-asset.jpeg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter Dorina Miller Parmenter https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770612711-VIGE2EB126WGC8J2YG12/Figure1.jpg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter Relic of the Inquisition (Diary 85) 1995; paper, leather, sterling sliver, enamel, and stones; 5.5 x 5.5 x 1.25 in. Photo courtesy of Dorina Miller Parmenter. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770692839-YFHOQFR7TT5G5XRODSBI/Figure2.jpg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770692630-EASJDK9GT00RV8X7HDY5/Figure3.jpg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter - Linda's Clan (Diary 90) 1996; paper, leather, brass, fine silver, enamel, and stones; 7 x 7.5 x 1.5 in. Photo courtesy of Dorina Miller Parmenter. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770835647-XKHEVCVYVRX2Q03BCM8O/9253814643_eedb08050d_o.jpg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter - "Bishop High Prayer Book", CC BY-NC-SA 2.0. Click Image for Credit. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563770836180-VRSZGH5PMALF2I87Y3WV/2567494430_f830fc048c_o.jpg Home - The Religious Book as Object: An Interview with Dorina Miller Parmenter - "Southern T-shirt", CC BY-NC 2.0. Click Image for Credit. https://www.thejugaadproject.pub/home/maya-spirituality-a-photographic-exploration-of-contemporary-maya-ritual-in-guatemala monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530095-DQPM2VZ75M3N4B2AI7WV/Altar+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 1. Personal altar of a Kaqchikel ajq'ij (ritual specialist), Xajaxac. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530140-7TYXL54VWCCR12O8F37O/Altar+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 2. Personal altar of a K'iche' ajq'ij (ritual specialist), Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530331-Y5VHFKXI172UIP66SE5X/Altar+3.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 3. Pascual Abaj, Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530447-5IHGLHKXPBUQFJDVIFEX/Altar+4.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 4. Altar near a sacred lake, Chicabal. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530793-BDMSX2J9BMX4Z9P5AY1G/Altar+5.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 5. Chutisabal, Momostenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747530900-V520T0D27LJ4VBHAEL2F/Altar+6.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 6. Cuevas de Candelaria. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747531100-GP7Y15U0RXVWM6R5HD0E/Altar+7.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 7. Tzanjuyu, San Pedro La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747531182-THCN6BOL1TAVZ9CRQG1W/Altar+8.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 8. Iglesia Santo Tomás, Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747810547-7LS7JWJ4P49J2PV3SAFM/Calendar+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 9. Mural on the house of a K'iche' ajq'ij, Zunil. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747810952-RG43L7U6XLTMUCUYDVXF/Calendar+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 10. Sculpture comemorating December 21, 2012, San Juan La Laguna. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747929937-3X3J9WBCUSS7DUSXZPF4/Ceremonia+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 11. K'iche' ajq'ij making offering to a ceremonial fire, Momostenango. Photo by Dimitris Xygalatas. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747930013-8940BDLA9D9O50MIHU11/Ceremonia+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 12. K'iche' ajq'ij beautifully organizing offerings to be burned in the ceremonial fire, Momostenango. Photo by Dimitris Xygalatas. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747930188-DIFQS13XNP0DW6RWRW08/Ceremonia+3.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 13. Ceremonia Maya, Antigua. Photo by Mark Huising. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747930265-1KKZTQL00XUC7WGWLESS/Ceremonia+3b.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 14. Altar in front of a Catholic church, Sololá. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747930516-K2KKNHMHJUXZXKXP7AVP/Ceremonia+3c.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 15. Altar at archaeological site, Q'umarkaj. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563747930573-M17YLJR2KN17CUHK1BM1/Ceremonia+3d.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 16. Music and, in this case, dance are common at rituals San Pedro La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762321871-9MCDESXOEZE7SIKUIZ9O/Ceremonia+4.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 17. A nice arrangement of offerings for the fire, San Juan La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762399206-WUWADHJVE63ZYITF1VWL/Ceremonia+5.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 18. Materials for a ceremonia Maya, San Juan La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762783223-7I6VVT306IVAB5PSNA7D/Ceremonia+6.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 19. Candelaria, Tecpán. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762783231-2B4BO30INXIWMLLPHCQJ/Ceremonia+7.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 20. Candelaria, Momostenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762783529-QHW8AJ87GF85AMYMDG8F/Ceremonia+8.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 21. Aguas floridas and other sweet-smelling items are requirements for the ceremonia Maya, San Pedro La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762783546-OJ0G1AWHQQ83ZH1G9M3G/Ceremonia+9.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 22. Balls of aromatic pine pitch, San Pedro La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563762783750-FS5D3Q2AIINU6B7G59AM/Ceremonia+10.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 23. Multicolored candles, San Pedro La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763403648-WWP67S468CP5G54FHIHI/Dances+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 24. Feria, Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763403821-5IKFQJUVNR3I4A3GE5EF/Dances+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 25. Costumes for Baile del Torito, Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764337799-QX5XAX3D7XQF5OH0W23X/Maximon+1mh_new.jpg Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 26. Maximón, Santiago Atitlán. Photo by Mark Huising. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763901718-YS5XTWTYSNI94F7X5JLQ/Maximon+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 27. Procession of Rilaj Mam, Santiago Atitlán. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763902472-LQ5D02R6W0XLOV4VNPRJ/Maximon+2a.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 28. Rilaj Mam, in court, at the end of his procession, Santiago Atitlán. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763902476-XXXQTTRKXGK1OEY9SVCT/Maximon+3.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 29. Maximón, San Jorge La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763902741-L8GUBZHXF1D6QO4XTPHD/Maximon+4.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 30. Maximón, San Jorge La Laguna. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563763929268-ZVCC230E5CZ2MF2KBJEK/Stones+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 31. Aj Iq', Chichicastenango. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764931206-AQ4B5O2RWR5YU8P2WG6T/Tz%27ite%27+1.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 32. Row of tz'ite' trees serving as fence, Santa Lucía Utatlán. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764930888-DHSJU968G1GV156HZHGW/Tz%27ite%27+2.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 33. Tz'ite' flowers. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764932335-K5VFZQOI2YNA25JHZWZE/Tz%27ite%27+3.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 34. Tz'ite' seed pod. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764933124-T03P35KNDFVESD8IO56X/Tz%27ite%27+4.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 35. Tz'ite' and other items of la vara. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563764932886-4IE2JED6DNQR05SS1RQH/Tz%27ite%27+5dx.JPG Home - Maya Spirituality: A Photographic Exploration of Contemporary Maya Ritual in Guatemala - Figure 36. K'iche' ajq'ij consulting her tz'ite'. Photo by Dimitris Xygalatas. https://www.thejugaadproject.pub/home/aura-and-inversion-in-a-marian-pilgrimage-fatima-and-her-statues monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563078858501-KPRD4KJWD28HXVBDZEGD/fig.+1.jpg Home - Aura and Inversion in a Marian Pilgrimage: Fatima and her Statues Figure 1: Our Lady of Fatima, Munster, Indiana. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563078871776-QE1DHAUK1OXWYG0DHF1Q/fig.+2.jpg Home - Aura and Inversion in a Marian Pilgrimage: Fatima and her Statues Figure 2: Procession in Our Lady of Mount Carmel Monastery, Munster, Indiana. Image by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1563078884622-8MDBKJ2LKBLVJEX66P74/fig.+3.jpg Home - Aura and Inversion in a Marian Pilgrimage: Fatima and her Statues Figure 3: The enthralling gaze of Our Lady of Fatima. https://www.thejugaadproject.pub/home/food-for-thought monthly 0.5 2026-02-03 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562825337396-EA8YTBS97P3PCT9EUK4P/Le+Sujet.jpg Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562825347679-NJ9JSFFAFL5SCE5C8RXR/Roustan.jpg Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562825360146-P3DA0QZ1HYF00AL0583L/Living+in+a+Landscape+of+Scarcity.JPG Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562825370997-UFW8K5XF1Z1GCA2CDOWW/Wrapping+and+Unwrapping+Material+Culture.jpg Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562825383975-K6LR5TH643MTZYLU1185/The+Pot+King.jpg Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1611193038328-EV1E92M1EQD1IVL35VE6/urmila%27s+book+cover+600dpi.jpg Home - Food for Thought: The Contributions of 'Matière à Penser' to the Study of Material Culture https://www.thejugaadproject.pub/home/thinking-with-the-tabot-the-material-dimensions-of-waiting-in-addis-ababa monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562733466012-Y3528YZZ6V8LI7LCYJWO/fig1.jpg Home - Thinking with the Tabot: The Material Dimensions of Waiting in Addis Ababa Figure 1: Posters of architectural renderings at a construction site, a previous house of a nobleman, used as affordable housing. Photos by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562733725996-X13EU0GZFAFPTU60IHI4/fig2.jpg Home - Thinking with the Tabot: The Material Dimensions of Waiting in Addis Ababa Figure 2: (l-r) A flank of tabots brought out for Timqet (Epiphany) celebrations, the position of the tabot in the meqdes in a typical Ethiopian Orthodox church. Diagram of the interior sections of a typical circular church, defined by three ambulatories: 1) Qene Mahelet (lit. chanting of liturgical poetry) where responses to the liturgy is sung by debteras (cantors); 2) Qeddest (lit. holy) were priests are administering to those receiving communion; 3) Meqdes or bete meqdes (lit. house of prostration), the sanctuary where the tabot is kept. Photo and diagram by author. https://www.thejugaadproject.pub/home/tracing-the-many-lives-of-religious-structures monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562570224689-FRJBVD08XQ72O7AUEZAJ/Fig1.jpg Home - Tracing the Many Lives of Religious Structures Figure 1: Site 71, eroded stupa. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562570260805-TKW8HM9TJAS69C68WF7C/Fig2.jpg Home - Tracing the Many Lives of Religious Structures Figure 2: Shrine on top of stupa. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562570293014-GQ98RSJYG9EAQZEP7T5K/Fig3.jpg Home - Tracing the Many Lives of Religious Structures Figure 3: Shrine elements. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562570307751-1V6DB78EGZNZIHR7SNBQ/Fig4.jpg Home - Tracing the Many Lives of Religious Structures Figure 4: Site 207, destroyed stupa. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562570335899-9QD50FGD37YXR095634H/Fig5.jpg Home - Tracing the Many Lives of Religious Structures Figure 5: Linga on dried river bed. Photo by author. https://www.thejugaadproject.pub/home/intimacy-20-guru-disciple-relationship-in-a-networked-world monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562566123205-7LG7CYKS4IPZX4T2AUL7/Lazar1.jpg Home - Intimacy 2.0: Guru-Disciple Relationship in a Networked World Figure 1: Blessings from Sadhguru. Isha USA, email to author, May 2, 2017. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562566211587-UONDC7C0A5YIBIPQ4H2G/Lazar2.jpg Home - Intimacy 2.0: Guru-Disciple Relationship in a Networked World Figure 2: Isha’s Instagram post, promoting their new Alexa skill. Isha Foundation (@isha.foundation), “We are happy to announce the launch of Sadhguru’s official Alexa Skill,” Instagram photo, June 16, 2018. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562566619942-JJYW5ONTGU7WN98K3I0J/Lazar5.png Home - Intimacy 2.0: Guru-Disciple Relationship in a Networked World Isha’s Instagram page. Screen capture. April 2019. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562566229760-6EJPU7SQADPZW3DKICDS/image-asset.jpeg Home - Intimacy 2.0: Guru-Disciple Relationship in a Networked World Figure 3: Wake Up to Wisdom: Mystic Quote. Sadhguru, December 9, 2018. https://www.thejugaadproject.pub/home/the-material-culture-of-lived-religions-visuality-and-embodiment monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562555824392-U1DS5JK8QS9OZ7W9J989/Morgan+1.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 1: Jewish men applying tefillin at Temple Mount, Jerusalem, June 2005. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562555935830-XPPAY5EKPQSDBVT25OD9/Morgan+2.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 2: Orthodox Jewish teacher distributing prayer books among five-year old boys at Temple Mount, Jerusalem, June 2005. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556009256-PLAGIFOW4SKSU0D42WOB/Morgan+3.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 3: Mother & Child, Orthodox icon, Ouspensky Orthodox Church Helsinki, 2005. Photo author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556104633-T355WOQBUZY2KLKBQ107/Morgan+4.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 4: Roadside marker, site of child’s death, Indiana, June 2006. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556167148-JMVY8M74SY2LS5OHGN92/Morgan+5.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 5: Frances Benjamin Johnston, African-American school children before the Horatio Greenough statue of George Washington, US Capitol, ca. 1899. Frances Benjamin Johnston Collection, Library of Congress. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556260288-Q5MEFJOH7HPSFST9XA2G/Morgan+6.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 6: Wooden prayer standards, graveyard at Gokokuji Temple Tokyo, April 2005. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556364578-T7LAR517NHL0J8DVRT4H/Morgan+7.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 7: Sale of items for pilgrims to Univ Monastery, Southwestern Ukraine, 2004. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562556441560-GRA82ATENDFGAPZQWNGX/Morgan+8.jpg Home - The Material Culture of Lived Religions: Visuality and Embodiment Figure 8: Schoolgirls tying paper fortunes to trellis for disposal, Sensoji Temple, Asakusa district, Tokyo, April 2005. Photo by author. https://www.thejugaadproject.pub/home/the-church-museum-context-and-disconnection-in-public-religion monthly 0.5 2020-06-06 https://www.thejugaadproject.pub/home/book-review-bielo-james-ark-encounter-the-making-of-a-creationist-theme-park monthly 0.5 2020-06-06 https://www.thejugaadproject.pub/home/immaterial-religion-yves-kleins-ex-voto-to-st-rita-of-cascia monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562531637533-PB0PK0HQPTABOHZHWZIX/Figure1.jpg Home - Immaterial Religion – Yves Klein’s Ex-voto to St Rita of Cascia Ex-voto dedicated to Santa Rita of Cascia by Yves Klein, 1961 Dry pigment, gold leaves, gold bars and manuscript in a plexiglas box, 14 x 21 x 3.2 cm © Yves Klein / ADAGP, Paris, 2014 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562531710594-KGIFH7K7GVM8W6TD6IPB/Figure2.jpg Home - Immaterial Religion – Yves Klein’s Ex-voto to St Rita of Cascia Transfer of "Zones de sensibilitié picturale immaterielle" to Michael Blankfort, Pont au Double, Paris, February 10, 1962 © Yves Klein / ADAGP, Paris, 2014 © Photo Gian Carlo Botti https://www.thejugaadproject.pub/home/the-stuff-of-everyday-religion monthly 0.5 2020-06-06 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562530477291-CTEIDPM62CQ15HTVVDPB/Liturgical+Engagements.jpg Home - The Stuff of Everyday Religion Figure 1: A scene of liturgical engagement, on the feast day of the Archangel Raguel, Addis Ababa, Ethiopia. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562530654360-7OL5IW5D1GF826Z6WIGM/Girl+with+God.JPG Home - The Stuff of Everyday Religion Figure 2: A young girl reading during a Christmas service, Kechine Medhane Alem Church, Addis Ababa. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562530729413-2YRL546RX0EB5QD71YRZ/Bread+Distribution.JPG Home - The Stuff of Everyday Religion Figure 3: Distributing bread at a 'mahaber' event, at Abune Gebre Menfes Qedus Church, Addis Ababa. Photo by author. https://www.thejugaadproject.pub/home/citra-sasmita monthly 0.5 2021-04-17 https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562391838886-EERCNR4KTX0SVW0YTVHP/Metamorphosis_sm.jpg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 1 Metamorphosis (The Flowers of Carnage), 2018, Oil and acrylic on canvas, 150 x 200 cm. Image courtesy of artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562391920293-LQ0MG44EIWNOMVTDHXV9/Photo_shop_Ubud_sm.jpg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 2 Tourists reflected in the window of a photography shop. Ubud, 2018. Photo by author. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562392615439-2J3RNZ3HLSDR9YJ4TBRP/mayeur_painting.jpg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 3 Balinese Women Surrounded by Flower Blossoms. Painting by Adrien Jean Le Mayeur (1880-1958), Oil on canvas, 55 x 46 cm. Image credit. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562392037956-Y7ZTW5W01GDP1UQEIU74/image-asset.jpeg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 4 Allegory of Desire, 2018, Acrylic on canvas, 120 x 140 cm. Image courtesy of artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562392095035-Y7OFESDBD3Q5S1XZXC29/image-asset.jpeg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 5 The Act of Curiosity, 2018, Oil, acrylic and charcoal on canvas, 140 x 140 cm. Image courtesy of artist. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562392314194-HXURWEBY2000TWBOS0G3/Kerta-gosha1_sm.jpg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 6 Image from ceiling of Kertha Gosa, Klungkung, Bali, 2018. Photo by Citra Sasmita. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/1562392156220-BN1U3V131TJIT2UF6IZ2/IMG_7659_cacti_Ubud_sm.jpg Home - Art Review: Rock, Cloth and Scissors - Archetypal forms by Balinese Artist Citra Sasmita Figure 7 Cacti as protection at the entrance to a house. Ubud, Bali, 2018. 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https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/46262da6-ba21-4398-b7a3-19664c8d6090/JPW+field1.jpeg Bonus_Content_PodcastS1 A young Jean-Pierre Warnier at a gathering of palace notables and others on the occasion of being incorporated by the Fon into the Mankon kingdom, Cameroon, 1974. The Fon gave him the name of Sangto’ (courtyard of the palace) and “made a deal” with him that he would only bring good things into the kingdom. Warnier describes this as part of the paradigm of “the pot king” in his 2007 book where the body of the king/kingdom are boundaries of inclusion/exclusion. Image courtesy: J.-P. Warnier. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/3885f5b9-2229-401f-8a9a-c0c8c6a99777/JPW+field5.jpeg Bonus_Content_PodcastS1 After teaching for three years in Nigeria, Jean-Pierre Warnier was recruited in 1979 to teach at the University of Yaounde in Cameroon till 1985. Here pictured at an informal meeting on the margins of a conference, he found teaching at the university to be a kind of “field inquiry” in itself. He got to know and appreciate his colleagues and new encounters led to new developments in his research. All these encounters ultimately fed into his material culture research. Image courtesy: J.-P. Warnier. https://images.squarespace-cdn.com/content/v1/5d1d89421122210001fec54d/53136b53-30ed-4afd-8ce3-6a8ae315191a/EPV0093_by-Manuela.jpg Bonus_Content_PodcastS1 Jean-Pierre Warnier and a jester at the gate by the Palace of Mankon, Cameroon, December 2009, during the annual festival combined with the Fon’s 50th Jubilee. J.-P. was there at the event as a “fixer” for a documentary film-making team consisting of Werner Zips and Manuela Mairitsch.The jester was imitating him and making fun of him, something that J.-P. was conversant with and so “he played the game”. Image courtesy: Manuela Zips-Mairitsch. Warnier notes that he has very few images of himself in Cameroon because he disliked being photographed. 2009 was also his last visit to the field. He now lives and works in Paris. Learn more here and here about his pioneering contributions to material culture and embodiment studies.