By Lucy Collins,
October 20th, 2009 at 5:00 am
(Jobs, Uncategorized)
(1. Coordinator Costume Shop & Dance, Emory College
JOB DESCRIPTION: Assists with the production needs of the Dance and Theater Departments. Oversees the maintenance of costume stock and construction of stock garments. Serves as a resource to student groups with their costume needs and mentors students in costume construction and design. Hires, trains and supervises students. Performs related responsibilities as required.
MINIMUM QUALIFICATIONS: A bachelor’s degree in Fine Arts or a related field and one year of construction and design experience or an equivalent combination of education, training and experience. A master’s degree is preferred.
PREFERRED QUALIFICATIONS:
This is a full-time, non-exempt position that entails part-time responsibilities in both the Dance Program and Theater Emory Costume Shops. Candidates must have very strong organizational skills and the ability to work in both dance and theater genres flexibly. Design training and experience is preferred as position involves designing and/or coordinating costumes for Dance productions. Must be able to work with many different people in a variety of settings and locations. The successful candidate would understand that equal attention would be devoted to Theater Emory and the Dance Program with the understanding that the candidate’s emphasis would be guided by the fluctuating production schedule of each area. Schedules will be determined in consultation with the Theater Emory Costume Shop Manager and the Dance Program Director and/or designated member of the Dance faculty.The above statements are intended to describe the work being performed by people assigned to this job. They are not intended to be an exhaustive list of all responsibilities, duties, and skills required of the personnel so classified.
As Costume Shop Manager for the Dance Program:• Serves as head of the costume shop for the Dance Program. • Works with choreographers to develop costume designs for dance productions.• Performs costume construction, patterning, alterations, and maintenance of costume shop and laundry room. • Supervises dress rehearsals, show wardrobe, and laundry. • Establishes and maintains show budgets, outside staffing, scheduling, and supervision of student labor.As First Hand for Theater Emory assists Theater Emory Costume Shop Manager in the following:• Executes designer drawings into muslins.• Performs costume construction, patterning, alterations, and maintenance of costume shop and laundry room. • Supervises dress rehearsals
(2. Costume Designer/Lecturer/Instructor, University of (Southern) Maine
Active undergraduate theatre department at the University of Maine seeks Costume Designer for a full time non-tenure one year appointment beginning September 2010. Reappointment is possible.
QUALIFICATIONS: MFA in Costume Design in hand at time of appointment. Teaching experience is required. Professional costume design and/or professional costume construction experience is strongly preferred. Also required is the ability to collaborate with faculty and staff colleagues and contribute to departmental endeavors. Knowledge or experience with non-western costuming is desirable.
RESPONSIBILITIES: The Costume Designer will teach up to three courses per semester including Makeup, Costume Construction, Stage Management or other courses in area of specialization. She/he will also design or supervise the design of costumes for 3-6 departmental productions. The Costume Designer will be expected to work closely with the staff Costume Shop Supervisor. It is also expected that the Costume Designer will actively participate in the construction of costumes. She/he will also work with colleagues to supervise and mentor student designers. The university has an institution-wide commitment to inclusion, diversity, multiculturalism and community.
Review commences November 16, 2009.
Send letter of application, resume/vitae, and three references to:
Chair of Costume Designer Search Committee
University of Southern Maine
Department of Theatre, 37 College Avenue
Gorham, ME 04038
email to lillianc@usm.maine.edu .
(3. Costume Assistant, Tulane University
Assist in the construction of costumes for the department’s productions, Tulane University
REQUIREMENTS:
High School diploma or equivalent
Experience in theatrical costume construction
Experience with sewing machines and equipment
Draping and patternmaking skills
Experience in building dance costumes and working with stretch fabrics
Experience in constructing period and novelty costumes
Ability to do alterations on pre-existing clothing and costumes
Experience in fabric dyeing, millinery and/or costume crafts
CLOSE DATE: 10/23/09
APPLY here, posting #3151
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By Monica Sklar,
October 19th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
The Body on Display, from Renaissance to Enlightenment
Durham University
July 6-7, 2010
An interdisciplinary symposium for early career researchers, supported by the Society for the Social History of Medicine
Keynote speaker: Dr. Peter Mitchell (University of Wales, Lampeter)
Call for papers deadline: January 30, 2010
This symposium will look at the human and human-like body on, and as, display, between c.1400 and c.1800. We will explore the notion, and reality, of the exposure of the inner and outer human form, and the representational, visual and material cultures of the body. This was a formative (and even transformative) period for the visual and representational culture of human corporeality, witnessing the watersheds of Renaissance and Enlightenment, challenges to long-held understandings of the body and, allegedly, both the creation of the modern ‘self’ and the eventual secularization of Western society.
Possible topics might include (but are not limited to):
Dissection, the medical ‘gaze’ and medical illustration
Corporeality and the flesh in the visual, written and performing arts
The body in religious iconography, hagiography and religious performance
Gesture, kinesics and the expression of emotions
Corporal punishment and bodily shaming
Clothing, garments and cosmetics and their significance
Papers of 20 minutes are invited from postgraduates and postdoctoral researchers working on any part of the period. Studies looking at non-European countries are especially encouraged, as is flexibility in approaching the body as a visual, performative, aesthetic and representational entity.
Click here for the website
Email for more information and to send abstracts
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By Lauren Michel,
October 16th, 2009 at 5:00 am
(International Fashion, Teaching)
This week I am pleased to tell you that the first part of Project Sartorialist went swimmingly when put into action with my Introduction to Fashion class.
The class’s assignment went like this:
Project Sartorialist
Street fashion photography combined with trendspotting and stylehunting.
• Students were to choose to work in the team of their choosing or work solo.
• At least one student in the group had to have a digital camera or a camera phone.
• The students had exactly 45 minutes to find people to photograph, either on the street or on campus.
Teams’ photographs were to demonstrate either:
1. a definable style trend that can be seen on three or more individuals, or
2. two or more individuals who exude a particular je ne sais quoi, evocative of The Sartorialist’s style.
After the 45 minutes were up, the class had to return to the classroom to check in. Then, they emailed me their final photos to document that they were completed on time.
Several groups were able to complete both project options, giving us a wealth of photos to examine next week. During the next class meeting, the teams will present their photos to the class as a whole. I’m considering inviting some guest judges to select the best photos from each category, however I haven’t yet determined the potential point-value of winning towards the students’ grades or potential prizes for the winners. Any thoughts on this, my fellow instructors?
If, like me, you can’t get enough street fashion, and are looking for more sources for style inspiration, without the cost of a plane or train ticket, here are a few blogs to sate your appetite.
For London street fashion, The Style Scout
Los Angeles, HiStyley!
Copenhagen, CopenhagenStreetStyle
Lastly, Feedshion indexes photos from many international street style blogs and you can sort them by date, city (London, Vancouver, Bucharest, Sydney), or apparel key word (dress, hat, bag, jeans).
Happy style hunting!
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By Lucy Collins,
October 15th, 2009 at 5:00 am
(Conferences and Calls for Papers, International Fashion, Uncategorized)
Erica De Greef, Helena Beks, Karen Heard, Sölen Kipöz, Kim Cunningham, and Ericka Basile
Trying to summarize three solid days of back-to-back papers from some of the finest fashion researchers out there is no small task… but I will make an attempt. Please note, the following represents a few highlights from the 1st Global Conference on Fashion, aka Fashion: Exploring Critical Issues, held in Oxford, England, September 25th to September 27th. Unfortunately, although there were many wonderful papers at the conference, there were a few opposing panels scheduled, so I simply couldn’t attend everything or report on everything. And I’m going to just pick a few of my favorites…
First, I must preface this synopsis by saying that arriving at Mansfield College in Oxford, on the heels of Fashion Week in London, just as the ivy on all of the ancient buildings was beginning to turn red was nothing short of delightful. And then realizing that the location where I was to sit and listen to papers on my favorite subject was an old school British college that would’ve made even Harry Potter proud was just the cherry on my ice cream sundae. But on to the papers…
This international conference, sponsored by www.inter-disciplinary.net, really did represent such an admirable breadth and depth of fashion research. The conference opened with three exceptionally strong papers. Kim Cunningham, a PhD student at CUNY delivered a paper entitled: “Caught/Appearing: Towards a Haptic Visual Methodology in Fashion Studies” in which she used her own conductor’s hat as an illustration of the manner in which we literally feel the clothing of others – demonstrating the embodied and affective dimension of understanding dress.
In the second session, Alisa Braithwaite from MIT spoke on Michelle Obama and how her role as the archetypical African-American women, in both positive and negative senses, has influenced her standing as a First Lady of Fashion.
Early Saturday morning, the conference continued with a panel on “Fashion, Fantasy, and Representation: Fashion as a Stylized Form of Artistic Expression” with Jacque Lynn Foltyn, one of the conference chairs, concluding the panel with a paper discussing “Corpse Chic: ‘Dead’ Models and ‘Living’ Corpses in Fashion Photography.” In her presentation she reminded us of Wallace Stevens’ quote that “death is the mother of beauty,” but she also prompted us all to ask if death is perhaps also beauty’s offspring.
communal dinner in the "Great Hall"
Session 4a was more historically-based, with Kristen Stewart and Rebecca Perry, both affiliated with The Costume Institute at The Metropolitan Museum of Art, presenting papers related to children’s clothing. And Michael Langkjaer from the University of Copenhagen took us on a photographic journey through rock-n-roll’s love affair with the military jacket.
In Session 5b we discussed designers well-known in the world of fashion studies and criticism, Yohji Yamamoto and Hussein Chalayan, with the help of papers by Alexis Romano, Solen Kipoz, and Deniz Guner.
Then after tea on Saturday afternoon Ericka Basile of New York University presented a paper on the transforming power of spandex and the ways in which the introduction of disco pants created a modern, empowered woman.
Sunday morning was crisp and brisk, no better time to discuss philosophy! Following my paper on fashion and confession, Anneke Smelik of Radboud University of Nijmegen, Netherlands continued the discussion of authenticity in dress. The panel concluded with Connie Etengoff’s (CUNY, Graduate Center) paper on fashion in Second Life and other virtual spaces.
Nathaniel Dafydd Beard, a freelance writer from London, questioned the role of the fashion city in his paper “Defining the Fashion City: Fashion Capital or Style Centre?” What defines a city of a mecca of style – commerce or “cool”? Beard’s continuing project concerning fashion centers involves collecting images of individuals with infamous “fashion souvenirs.” Check it out here.
The final session of the conference was surely one of the most interesting. Aurelie Van de Peer of Ghent University, Belgium (another philosophy student!) spoke concerning the concept of the “new” and how this notion is connected to the development of fashion magazines. Ane Lynge-Jorlen of the London College of Fashion also delivered a paper related to fashion magazines, specifically addressing niche magazines and their audience. Claire Allen from University of Huddersfield, United Kingdom spoke on the changing face of fashion journalism, referencing all variety of internet style sources such as blogs, youtube, and facebook.
(from left to right) Aurelie Van de Peer, Ane Lynge-Jorlen, Claire Allen, and Johannes Reponen
Johannes Reponen concluded the entire conference on a slightly negative, yet challenging note, reminding us that the road to genuine fashion criticism is a tough one indeed. Designers frequently hold the key to their own critics, creating an environment with very little true accountability. But it is indeed a challenge to these scholars and others to take all these avenues of research and continually find ways to plug into concerns of the real world.
To find the full conference programme with abstracts and links to full papers please go here.
4 Comments
By Monica Sklar,
October 15th, 2009 at 5:00 am
(Exhibitions)
1.)
“RECENT ACQUISITIONS”
Through January 3
Textile Museum
Washington DC
This exhibit will celebrate the Museum’s rich collection and share with the public a selection of 19 of the most artistically and culturally compelling objects The Textile Museum has acquired within the last five years. Exhibited pieces will include hats from Peru and Cameroon and a turban from India, a contemporary batik from Java, Indonesia, a Turkish prayer rug, and a grass raincoat from China, among others.
Click here for more details.
2.)
“SKIN & BONES: TATTOOS IN THE LIFE OF THE AMERICAN SAILOR”
Through January 3
Independence Seaport Museum
Philadelphia, PA
This exhibit delves into the beliefs, mysteries, traditions, and power of the tattoo in American maritime culture. It features traditional and modern tattooing tools, flash (tattoo design samples) and other tattoo-related art, historic photographs and artifacts, a recreation of an old-time “tattoo parlor,” and a mini-documentary of the recorded personal stories of tattooed sailors.
Click here for more details.
This material was gathered from the Costume Society of America e-news. Thank you!
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By Heather Vaughan,
October 14th, 2009 at 5:00 am
(Exhibitions, History of Dress, Uncategorized)
While in Hawaii a few weeks ago, I made a visit to an unassuming little museum in Hilo. To my surprise the Lyman museum, contained a pretty interesting exhibition that included dress and adornment. The museum itself was divided into two sections, the Earth Sciences of Hawaii(on the first floor) and Hawaiian Cultural Heritage (on the second floor). There was also a special photography exhibition (Na Pa`i Ki`i `o Brother Bertram).
The Cultural Heritage section on the second floor seemed to focus on traditional and ethnic costume as well as adornment. Not only did this part of the museum explain significant elements of traditional Hawaiian dress, textiles and adornment; but it also included a large section with examples of traditional dress worn by the five main immigrant groups who worked in the sugar industry in the 19th Century.
In the traditional Hawaiian dress section, the exhibit included examples of Kapa cloth, which was used primarily for “men’s loin cloths (mal), women’s skirts (pa’u), and Mantles (kihei). Kapa was made from the mulberry tree, and then decorated by either block print, immersion dye, panting, overlay or cord snapping. “Plants, animals, and even dirt were ground in a stone mortar to get every color imaginable.”
In the section on personal adornment, hairstyles, tattoos and accessories were discussed. Shells, seeds, feathers and bones were all used to by native Hawaiians to adorn themselves for special occasions
Necklaces
Of particular interest here are the ornaments made of human bone, and the stone mirror
These are necklaces made of shells and flowers (lei)
This display showed a large selection of feathers used for adornments (feather lei's are shown strung across the green boards), the birds that provided the feathers, and images of headdresses. "Both Men and women sorted and tied feathers to foundation networks of olona fibers." Often, the feathers were worn as a sign of rank at official political occasions.
By the 1850s, Hawaiian sugar was extremely successful, but there were not enough native Hawaiians to do all the work needed, so planters began to bring in indentured immigrant labor from five main groups: Chinese, Portuguese, Japanese, Korean, and Filipino. The second half of the cultural exhibition was devoted to the costumes of these five groups, who now make up a large part of Hawaii’s non-native population and culture.
Chinese Heritage Display:
Portuguese Heritage Display:
Japanese Heritage Display:
Korean Heritage Display:
Filipino Heritage Display:
While the overall quality of the display cases was lacking (old cases, lighting chords visible, etc); the information provided on each of these groups and their artifacts, traditions and history on the island was solid, informative and interesting. That said, information on the provenance of specific items wasn’t included and I would have been interested to know the dates of the clothing, the materials used, if they were made locally or brought over from the country of origin, etc.
1 Comment
By Tove Hermanson,
October 13th, 2009 at 11:17 am
(History of Dress, International Fashion)
I am embarrassed to say I failed the Huffington Post test on guessing who Yulia Tymoshenko when presented with a collection of photos of her. For all you fellow dunces, she is the Prime Minister of the Ukraine– and the first female Prime Minister the Ukraine has had. (My ignorance was especially embarrassing to me because my sister in-law is from neighboring Moldova and I like to pretend that I know what’s going on in that part of the world). She has made the (some say suspect) switch from millionaire oligarch to revolution leader and has ranked as one of the most powerful women in the world by Forbes twice.
What made the online identification game so challenging is that the accomplished Yulia is an interesting — even daring — dresser. If you scroll through the photo gallery, you’ll see Ms. Tymoshenko accompanying everyone from Vladimir Putin to Viktor Zubkov to a “British heavy metal singer” Sean Carr, and in what clothes! Some choice selections below.
Doesn’t she look like a fierce 16th century warrior princess?? But with sleek 3/4 length skirt (that hugs her curves beautifully, I might add).
Yulia Tomyshenko & Vladimir Putin
"Portrait of a Married Woman" by Anthonis Mor, 1554
And how sporty is she in her NASCAR-esque turtleneck? The distinctly unsubtle word “revolution” running the length of her arms like DO NOT CROSS police tape is, I assume, reference to her leadership of the Orange Revolution during which, Wikipedia tells me, she was dubbed the “Joan of Arc of the Revolution.” Like a racecar driver, she is advertising her “sponsor” the Orange Revolution in her attire.
Yulia Tomyshenko in Kiev on 12/26/04
NASCAR driver Tony Stewart sporting his (coincidentally orange) sponsor's logo
I love this one — the close fitting beige gives the shocking illusion of nudity, her breasts barely contained by the skimpy bustier portion. And yet in cut it’s quite conservative, with every inch of her covered by the turtleneck and pleated skirt. As a side note, I favor a similar style in my own life — both the body hugging-but-covering-naughty-bits-drapery… and also bustiers. 
Yulia Tomyshenko at EU headquarters, 1/28/07
First, I have to comment on how goddamn adorable Yulia looks here. She smiles with abandon, looking sincere and actually happy, a sentiment that is not always carried off by smiling politicians who may look false, strained, or smarmy. Clearly the woman loves rockin’ the uni-color ensemble, which — again — I’m fond of. The poofy bicep bells offer some frivolity in an otherwise austere white sweater-turtleneck combo. The brooch also reminds me of 16th century jewelry — pearls were a favorite gem of both Elizabeth I and Henry VIII, who had many garments with them sewn in the cloth (and even in Elizabeth’s hair).
Yulia Tomyshenko on 9/26/08
Elizabeth I
The woman knows what she likes — and she likes high collars that are simultaneously severe and decorative. Yulia returns to 16th century fashions, very much in the male “Spanish style” — that is, mostly black — like Philip II of Spain (1527 – 1598).
Yulia Tymoshenko c. 2006
Philip II of Spain
She is unquestionably feminine with her up-do and her penchant for figure hugging clothes, but the embellishments Yulia favors are almost always masculine (if dated ideals of masculinity, such as ruffled shirts), externalizing what must be a daily struggle: being a female politician in the male dominated world of politics. The ruffled shirt has most recently been a Victorian trend (big surprise with Yulia!), but has earlier roots in 18th century menswear.
Yulia Tymoshenko during Orange Revolution corruption scandal
"Portrait of a Victorian Woman in White" by William de Leftwich Dodge, 1891
portrait by Alexis N. S. Belle, 18th century
And here again, Yulia plays with conservative, traditional dress motifs. The lace — a fabric with a strong luxury tradition but a current association perhaps more of old ladies — is here turned from a subtle embellishment to grand statement motif. The rest of the outfit tempers the tattoo-like boldness of the lace with its neutral gray 3/4 length suit-like fit, paired with the familiar high, prim neckline, and feminine bubble sleeves. This outfit was aptly deemed “strict but sexy” by the Komsomolska Pravda newspaper.
Yulia Tymoshenko on 2/4/06, when she received the record number of votes as the prime minister
Ms. Tomyshenko proves that you can be taken seriously as a political figure (I write this without intricate knowledge of her policies, but I’m assuming enough took her seriously to get her elected) in creative dress. I love that she incorporates the traditional folksy milkmaid plaited braid, juxtaposed with her otherwise very modern sartorial sensibility, with nods to history. Supposedly her coiffure was an homage to Lesya Ukrainka, one of the Ukraine’s foremost poets from the late 19th, early 20th centuries.
I enjoy the way she embraces the presentation of her femininity too, with her figure hugging clothes and stylized long hair (a far cry from the chopped Hilary Clintons and Nancy Pelosis); one could argue that Yulia’s interest in fashion in and of itself is an unapologetic display of a passion typically associated with women, which she clearly revels in. I am heartened to have my belief confirmed that having fun with one’s wardrobe does not automatically make a woman frivolous, as many still think (none who read this blog, I trust!).
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By Lucy Collins,
October 13th, 2009 at 5:00 am
(Jobs, Uncategorized)
I’ve got three more teaching positions listed below, but I wanted to take a moment to encourage all of you job seekers out there to go back and apply to some of the positions I’ve been listing all summer. I’ve seen several of the jobs I’ve posted previously reposted on various job sites, which leads me to believe that the positions have not yet been filled. So, take a quick look back through our job section to see what you might be able to apply for…
In the meantime, here are some new postings:
(1. Adjunct Fashion Design Instructor, International Academy of Design and Technology, Chicago, Illinois
The International Academy of Design and Technology located in Chicago, IL has an immediate opening for three Adjunct Fashion Design Instructors to instruct:
-Textile Design
-Computer Graphics for Fashion Design
-Fashion Manufacturing and Appraisal
SKILLS/ABILITIES
Documented expertise in academic subject area (Textile Design, Computer Graphics for Fashion Design, Fashion Manufacturing) and expertise in interpersonal and oral presentation/written communication skills.
EXPERIENCE
Minimum of 2 years of industry experience required.
Prior post-secondary teaching experience as a student-centered, retention-focused educator preferred.
Computer Graphics for Fashion Design Course Requires: Expertise in SnapFashun, Adobe Illustrator, Geber Accumark, Photoshop.
EDUCATION
Masters degree required
CONTACT:
Heather Sweet
847-781-3706 for more information
1 North State Street
Suite 400
Chicago, IL 60602
(2. Adjunct Faculty in Fashion, The Art Institute of Raleigh-Durham
The Art Institute of Raleigh-Durham is searching for adjunct instructors to teach courses in our Fashion Marketing and Management program. The Art Institutes are one of the nation’s leaders in postsecondary career-oriented education for the creative arts. Our schools offer Bachelor and Associate degree programs. Professional faculty, industry-focused curriculum and industry related facilities and equipment keep our schools at the forefront of art and technology.
QUALIFICATIONS:
-Master’s degree in Fashion Merchandising/Marketing, Management, or related field.
-3 – 5 years of increasingly responsible experience in industry and /or teaching.
-Genuine interest in helping students.
-Ability to act effectively as the member of a team.
-Proficient in management, merchandising practices, and selected software’s used in the industry.
-College level teaching experience preferred
-Strong problem solving and interpersonal communication skills
-Strong writing and communication skills
Qualified applicants should submit a cover letter, resume and copy of transcripts to:
Human Resources
410 Blackwell Street
Durham , NC 27701
jdemianczyk@aii.edu
(3. Assistant Professor of Merchandising, East Carolina University, Greenville, North Carolina
East Carolina University, a constituent institution of the University of North Carolina, is a doctoral institution with an enrollment of over 27,000 students and approximately 4,500 faculty and staff.
Job Description: A tenure-track assistant or associate professor position in the merchandising program beginning August 16, 2010. We seek an individual with passion for improving undergraduate merchandising education in apparel and interiors and for the development of a new merchandising graduate program. We also aim to add diversity to the faculty composition in our program and institution. Teaching, research, and appropriate service to the university, community and profession are expected. Responsibilities Teaching. Teach undergraduate courses in merchandising math, buying and sourcing, and/or other related merchandising topics as needed and developed. Research. Pursue an active research program; including grant writing, publishing in refereed journals, and presentation of research to professional organizations. General. Provide service to the university and community. Participate in the development of a new merchandising graduate program and the continued development of undergraduate merchandising program. Maintain contacts and activity with professional associations and pursue connections with industries.
QUALIFICATIONS:
Ph.D. from an appropriately accredited institution in merchandising, apparel and textiles and/or interiors, or closely related field. * For the associate rank, need to demonstrate established area of expertise or leadership. * Preferred experiences include: undergraduate and/or graduate teaching, research, and professional service, global collaboration, interiors and/or apparel industry connections.
In addition to submitting a letter of application and curriculum vitae online, please mail three letters of reference and official transcripts to:
Dr. Runying Chen, Search Committee Chair
230 Rivers RW
East Carolina University
Greenville, North Carolina 27858-4353
Phone: 252-328-1329
Email: chenr@ecu.edu
Fax: 252-328-5655
Applications will be accepted until the position is filled. Screening will begin October 26, 2009.
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By Monica Sklar,
October 12th, 2009 at 5:00 am
(Conferences and Calls for Papers, Uncategorized)
Call for Papers
Note-This was sent to me by a reader and may have appeal to some people studying dress as it relates to the theme.
Southeastern Women’s Studies Association Conference
“Cultural Productions, Gender, and Activism”
Due Date for Submissions: December 1, 2009
Date: March 25-27, 2010
Keynote Speakers: Judith Halberstrom, Marjorie J. Spruill, and Bernice Johnson Reagon
Location: University of South Carolina, Columbia, SC
Themes Include:
Culture, Globalization, and Transnational Activism
Art, Culture, and Empowerment
Cultural Work as Intellectual Work
Cultural Work as Political Work
Guerrilla Art and Guerilla Activism
Art and Social Resistance
Activist Art
Grassroots Organizing Through Arts and Culture
Pedagogies of the Oppressed
Theater of the Oppressed
Performance, Slam Poetry, and Politics
Thematic papers are encouraged, but we welcome paper proposals on all women’s studies topics.
SUbmissions can be individual papers or sessions of 3-5 papers.
Click here for more information
*Photo is from the online exhibit at Smith College, Agents of Social Change: New Resources on 20th c. Women’s Activism.
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By Lauren Michel,
October 9th, 2009 at 5:00 am
(Teaching)
Here’s a project I’ve been toying with for over a year now, and this term I’m finally ready to roll it out. I initially received the inspiration for this one during a brief stint doing substitute teaching at my old high school (I advocate that everyone should try this at least once). Note: the teachers’ lounge? Nowhere near as cool as you had thought it would be back when you were still in high school.
Maybe it was divine inspiration. Maybe it was simple common sense. Whatever it was, I felt the need to come up with two alternate activities to have as backups to the regular teacher’s lesson plan. One of those backup plans was a dvd. The other one is what interests us today.
I had been told in advance that a lesson plan would be waiting for me in the classroom. Unfortunately, I couldn’t find it. And I know absolutely nothing about darkrooms (well, OK, I suppose they should be kept dark, but that is the sum of my darkroom expertise). And my charming class tells me they have no projects to work on, whatsoever, nor do they have their cameras with them, because they never bring them to class, so they should just be allowed to go spend the class period outside in the sunshine, because they’re allowed to do that all the time. Right. But, I digress. Now let me tell you what this has to do with a college-level fashion class project.
My backup lesson plan with my high school students was a self-portrait project, where I sent the students outside in teams of three (I decided it was worthless to corral them indoors on the first really warm day of summer) to do three self-portraits. The first had to be a headshot, the second had to include a team member, and the third had to have any part of the student except the face. And all photos had to be appropriate for a facebook profile photo. Almost all of the students had camera-phones, and those who didn’t had team members who did.
If you’ve read my previous posts you may have noticed I’m a Sartorialist fan. This term’s incarnation of a turn-the-students-loose-with-cameras project incorporates Scott Shurman’s street fashion photography with trendspotting and stylehunting, minus the self-portraits.
This project can be extended over several days, but this term I am experimenting with a forty-five minute Project-Runway-challenge type of approach (after all, I do have the show to thank for bringing me new enrollments). First, I break the students into small groups, and making sure that at least one student in the group has a digital camera or a camera phone. Then, they have 45 minutes to find people to photograph, either on the street or on campus.
The teams’ photographs must demonstrate either a definable style trend that can be seen on three or more individuals, or must be of two or more individuals who exude that certain je-ne-sais-quoi, evocative of The Sartorialist’s style.
After the 45 minutes are up, the class must return to the classroom to check in. Then, they email me their final photos to document that they were completed on time. During the next class meeting, they present their photos to the class as a whole. Sound good so far? Stay tuned for the results.
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