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	Search results: 99 item(s) for: "290 Clothing"        Image: Title: Subject: Description: 1. [wa0001] [Bunun woman weaving] 460 Labor; 290 Clothing; 280 Leather, Textiles, and Fabrics; 286 Woven Fabrics; 294 Clothing Manufacture; 462 Division of Labor by Gender Kanetowan village, Taizhong (H. Suzuki 1935, p. 44), usually considered Bunun territory, the Paiwan identification on the back of the photo is probably mistaken. One of many photos in this collection of a woman in seated position with hand-loom. Hand-woven Aborigine (蕃布) cloth was a common export item at the so-called ""Aborigine trading posts"" in Taiwan during the colonial period. To the present day, such cloth has been the object of intense study by anthropologists, as well as a staple of the tourism industry. See (Nihon chiri taikei 1930, p. 332) for a photo of various types of cloth with other mountain trade goods like deer skin, antlers, tongcao [wa0130] in a trading post. Also see images [wa0153] [wa0210] [wa0259] [wa0292] and [wa0294] for similar photos of cloth manufacture. 2. [wa0003] [Four Orchid Island women] 340 Structures; 300 Adornment; 290 Clothing; 301 Ornament; 342 Dwellings; 302 Toilet Four women, two standing and two seated under a thatched roof on pavement of round stones. The skirts in this photo are similar to the classic form described by Chen Ch-lu as being ""made by sewing together three pieces of ramie cloth each 16-17 cm. wide. At both ends there are usually three blue stripes running lengthwise. The cloth is wound around the waist and held by a tightly-tied string. This skirt is worn from the age of five or six onwards....The older generation [Chen wrote in the 1960s] usually wears only a skirt; but the younger generation, probably because of foreign influence, may put on a breast covering"" (Chen 1968, p. 172). See images [wa0318] and [wa0323] for approximate color of these garments. The caption in Riban no tomo [trans.]: ""The young Yami women of Orchid Island; wives [by contrast] are never far from their husband's side."" 3. [wa0005] [Nine Orchid Island women dancing in a circle] 530 Arts; 535 Dance; 290 Clothing Nine women dancing in circle, hands clasped on upper arms, on beach, with canoes in the background. Ethnologist Kano Tadao, in a work first published in 1945, described the Tomoto Dance: ""More than ten women with hands joined to form a circle and with the legs pressed together start the dance. In this position they begin to bend and stretch as they sing. The dance gains momentum as the legs come into action and the girls start jumping to the right or to the left as the circle is set in motion"" (Kano 1956, p. 437). The dance depicted here resembles Kano's description of a Tomoto dance, though there are only nine participants. The other circular dance described by Kano was the 'Magaram Dance': ""several young women form a circle with arms outstretched and hands clasping the alternating neighbors' hands behind the neighbors' backs to form two entwining circles. As they begin to sing the d 4. [wa0018] [Orchid Island architecture] 410 Tools and Appliances; 340 Structures; 290 Clothing; 292 Special Garments; 344 Public Structures; 411 Weapons; 410 Tools and Appliances Several Orchid Islanders, men and boys, posing for camera in loin-cloths, upper garments, and helmets. Some men are holding spears, standing on a rounded-stone wall. Kano Tadao labels the roofed structure on the left as a ""Tagakal,"" or pile-raised resting platform. He writes: ""Almost every Yami family owns a resting platform which is erected in front of the main dwelling. It is built on four piles with the plank flooring raised about 3 meters above the ground. The roof is thatched and access is by a ladder. Resting on the platform even in the heat of midday is refreshing and the refreshing cool sea breezes make it possible to forget the unbearable heat of the tropics. From this vantage point once can also see the incoming boats with their catches of fish"" (Kano 1956, p. 70). Chen Chi-lu, following Kano, writes that one ""characteristic feature of [Yami] construction is that the hous 5. [wa0019] [Paiwan man flanked by four women] 300 Adornment; 290 Clothing; 292 Special Garments; 301Ornament; 560 Social Stratification; 565 Classes Paiwan man and four women in official attire and headwear in Pingdong County. 6. [wa0023] [Funeral procession with palanquin] 760 Death; 780 Religious Practice; 290 Clothing; 764 Burial Practices and Funerals; 292 Special Garments A funeral procession passing in front of what appears to be a Christian Church. 7. [wa0024] [Paiwan man and woman in front of house] 530 Arts; 5311 Visual Arts; 340 Structures; 300 Adornment; 290 Clothing; 292 Special Garments; 301 Ornament; 342 Dwellings; 560 Social Stratification; 565 Classes Paiwan man and woman in elaborate attire, including head-dresses and leopard skins, with trademark Paiwan slate roof, snake-and-human decorated lintel work, and upright carved-slate statue. These decorations indicate the home of hereditary elites in Paiwan society. This same image, colorized, but with the Japanese caption cropped off, was still being reproduced and sold in Taiwan as late as December, 2007, under the imprint: ""[原味台湾] Aboriginal Peoples of Taiwan"". The back matter on these reproductions is trilingual: ""盛装的排湾族男女/盛装のパイワン族男女/Paiwan couple in full dress."" 8. [wa0033] [Five men with guns] 510 Living Standards and Routines; 410 Tools and Appliances; 290 Clothing; 516 Postures; 411 Weapons Five men with muskets, standing behind three squatting boys, on a plain in front of a mountain. Portraits of Aborigines, and Aboriginal themed cards present a dominant strain in the Warner collection. Of the 335 different images in the collection, 161 depict Aborigines and their material culture or geographic surroundings. On an island whose Han population has been above 95% for the duration of the 20th century, this is indeed a high percentage. This preference for Aboriginal themes, whether consumer driven or government directed, is perhaps attributable to the still predominant belief that Aborigine cultures are comparatively static and unchanging, at least compared to those of urbanized, industrialized citizenries. In his examination of the Korean case, Hyung Gu Lynn argues that ""picture postcards also helped reiforce a discourse of backwardness and progress, often juxtaposing 'quaint 9. [wa0046] [Pingdong woman in regalia] 300 Adornment; 290 Clothing; 292 Special Garments; 301 Ornament Young Paiwan woman in richly embroidered dress with necklaces and elaborate head-dress. Pingdong County. 10. [wa0047] [Three Paiwan musicians] 530 Arts; 300 Adornment; 534 Musical Instruments; 290 Clothing; 301 Ornament Seated Paiwan males playing Jew's harps and a nose flute in richly ornamented clothing and head-dresses.Riban no tomo places the scene in Fengshan 鳳山. 11. [wa0049] [Reluctant subjects] 290 Clothing; 620 Community; 622 Community Heads Bunun woman and man face camera with small children, babies and women in the background. Their body language and facial expressions suggest a reluctance to be photographed. Caption from Riban no tomo ""Bunun customs and manners: Niitaka county (gun), Kanetowan chief, Raonmatorayan husband/wife."" 12. [wa0051] [Paiwan youths in front of a skull shelf] 780 Religious Practices; 300 Adornment; 290 Clothing; 301 Ornament Paiwan youths, male and female, pose in front of a clothes line and planked building. A small skull shelf is visible in the background. 13. [wa0052] [Saisiat head-dress] 790 Ecclesiastical Organization; 796 Organized Ceremonial; 300 Adornment; 290 Clothing; 301 Ornament; 292 Special Garments Five Saisiat men facing away from the camera; one is wearing large head-dress. Using 100s of strips of paper, these head-dresses are used for a changing-of-the year grand festival. The location is Garawan village in Taizhong (Suzuki 1935, p.31). 14. [wa0054] [Tsou elder in traditional dress] 290 Clothing; 280 Leather, Textiles, and Fabrics; 286 Woven Fabrics; 300 Adornment Hong identifies this photo as a ""Tsou elder in traditional hat and clothing (Hong 1993, p. 291). 15. [wa0055] [Bunun man facing camera] 290 Clothing; 300 Adornment Bunun man facing the camera. Kanetowan village, Taizhong prefecture. Yao Tsun Hsiung has written that ""the aboriginal tribes of Taiwan were often used by the Japanese in propaganda images to underscore Taiwan's distinctive features and publicize their success in gaining control over the aboriginal population. The aboriginal images commonly used in contemporary propaganda materials included aboriginal figures, lifestyles, everyday artifacts, decorative items and patterns, and the characteristic plants and animals of mountainous Aboriginal areas. Apart from painted and drawn images, photographs were frequently used in the expression of Aboriginal themes. The original Japanese expeditions to aboriginal areas found that the camera was the best and most accurate tool for the recording the lives of the aborigines. Photographs of human figures were therefore commonly used to express aboriginal 16. [wa0056] [Drinking from bamboo cups] 622 Community Heads; 410 Tools and Appliances; 270 Drink and Drugs; 273 Alcoholic Beverages; 290 Clothing; 300 Adornment; 415 Utensils; 280 Leather, Textiles, and Fabrics; 281 Work in Skins This photo can be found in Yuasa Hiroshi's publication of Segawa Kokichi's field notes and photographs. If Segawa himself took the photo, which is almost certain, then it was shot between 1929 and 1935, when it appeared in H. Suzuki's _Taiwan bankai no tenbo_. Segawa referred to the seated man with the head-dress as the ""chief"" of Tapangu village (Suzuki: Tappan) in Tsuo territory. The beverage is called 'moromi' (H. Suzuki). Yuasa and Segawa's description of Tsuo fermented beverages and their consumption is meticulous. They write: ""The Tsou people enjoy wine and [tobacco]. Both men and women, as long as they are above the age of fourteen or fifteen, drink wine, and at celebrations enjoy drinking until they are quite intoxicated. They brew their own wine, including millet wine (emi no ton'u), rice wine (emi no pai), and sorghum wine (emi no batayu, kaoliang wine in Chinese). A method 17. [wa0057] [Men and women in front of a barbed-wire fence] 410 Tools and Appliances; 290 Clothing; 411 Weapons; 300 Adornment Two Bunun men with machetes, or the well-known 蕃刀 ""Aborigine sword"" and two women pose in front of a barbed-wire fence. The man in the center of the photo is holding dear antlers. He and the crouching woman are pictured in image [0325], on a colorized postcard. 18. [wa0058] [Pingdong County headman] 620 Community; 410 Tools and Appliances; 622 Community Heads; 411 Weapons; 290 Clothing; 300 Adornment According to note scrawled on the back, the man pictured in this photograph was the ""headman"" of Manuru village in Pingdong County. His name is not given. This same colorized image, with the Japanese caption cropped off, was still being reproduced and sold in Taiwan as late as 2007, under the imprint: ""[原味台湾] Aboriginal Peoples of Taiwan"". The back matter on these reproductions is trilingual: ""武装的批湾族勇士/武装のパイワン族勇士/Armed Paiwan Warrior."" 19. [wa0060] [Pingdong men drinking together] 290 Clothing; 410 Tools and Appliances; 270 Drink and Drugs; 273 Alcoholic Beverages; 574 Visiting and Hospitality; 415 Utensils; 300 Adornment; 570 Interpersonal Relations Another of several photographs of Aborigine men sharing wine. The back of this photo locates its subjects in Pingdong County, Manuru Village. The man on the right appears to be the ""headman"" identified in image [wa0058]. For a detailed discussion of Aborigine wine manufacture and consumption, based on fieldwork among the Tsou, see [wa0056]. 20. [wa0061] [Smoking a cigar] 270 Drink and Drugs; 290 Clothing; 277 Tobacco Industry; 300 Adornment According to Suzuki (1935) an Ami from Hualian district, Liluo village (p.96).
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