This thesis has sought to answer how gara, a type of embroidery embellished on traditional sari, works as a communicative tool of Parsi identity to both non-Parsi and Parsi. In order to achieve...Show moreThis thesis has sought to answer how gara, a type of embroidery embellished on traditional sari, works as a communicative tool of Parsi identity to both non-Parsi and Parsi. In order to achieve this, we shall see first how dress is able to communicate identity to oneself and others through a process this thesis dubs embellishment, before focusing in on the social, historical, and religious aspects of gara, and uncovering what collective Parsi identity is communicated through gara exactly. This thesis concludes that the process of embellishment communicates an identity that is Parsi through applying an identity narrative on dress which is interacted with by others to formulate a temporarily fixed identity of the wearer. This identity narrative embellished on gara has social, historical, and religious roots, all of which are discussed in the thesis at length. This thesis thus answers two important questions in the study of identity communication through dress, by explaining how identity can be transmitted though dress, as well as how this identity is formulated.Show less
Bachelor thesis | South and Southeast Asian Studies (BA)
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The gamelan is an ensemble, well-known as an Indonesian icon, and popular in today's media. However, how well do we really know about its background and roots? How ancient/recent is it, for...Show moreThe gamelan is an ensemble, well-known as an Indonesian icon, and popular in today's media. However, how well do we really know about its background and roots? How ancient/recent is it, for instance? The paper proposes various lines of investigation while highlighting issues of perception and definition hidden in the very core of the object of investigation. Current public perceptions of the gamelan may have to undergo challenges if we are to find an answer. In compensation for such challenges, we discover a fascinating Asia-wide cultural, social and historical perspective and a delightfully rich matrix in which the gamelan emerged.Show less
The Dubois Collection, currently patrimony of the Naturalis Biodiversity Center in Leiden (the Netherlands), is a contested assemblage of fossils and personal archival material pertaining to the...Show moreThe Dubois Collection, currently patrimony of the Naturalis Biodiversity Center in Leiden (the Netherlands), is a contested assemblage of fossils and personal archival material pertaining to the Dutch palaeontology and paleoanthropologist Marie Eugène François Thomas Dubois (1858 – 1940). Most notably, the collection contains a skullcap and femurs belonging to the ancient hominid ancestor Homo Erectus. These finds were dubbed ‘Java Man’ and constitute the earliest physical evidence that the human lineage has been subject to evolution according to Darwinian principles of selection and adaptation. While these have always been a subject of great interest to the scientific community, the historicity of the Collection and particularly the contested status of these fossils have attracted much less academic interest over the last 12 decades. This changed when a formal request by the government of Indonesia for restitution of the Dubois Collection was filed with the Dutch government in October 2022. A state commission is now deliberating on the rightful place of residence for the Dubois Collection. Because there is a possibility that the Java Man fossils may remain with their current stewards at Naturalis in Leiden, it is worthwhile to examine their exhibition history and investigate how the current permanent exhibition seeks to educate the public about the historical context in which these fossils were acquired. This text questions whether the permanent exhibition on Dubois and Java Man in Naturalis Biodiversity Center reflects a commitment to researching and informing the public about the historical context in which the Dubois Collection was acquired. It describes the exhibition history of the Dubois Collection and particularly the Java Man fossils and critically examines the narrative that has been presented in these exhibitions. Particularly, this text argues that the perceived differences between natural history and material culture collections are instrumental in explaining why the current permanent exhibition falls short of educating the public about the historical context in which the Java Man fossils were acquired. It also elaborates on the public statements made by museum staff to further contextualise the possible motivations for making certain design choices in this exhibition.Show less
With the grounding of Cartesian mind-body dualism in modern European philosophy the mind has been granted a pivotal place in the field of epistemology. As a result, knowledge production is...Show moreWith the grounding of Cartesian mind-body dualism in modern European philosophy the mind has been granted a pivotal place in the field of epistemology. As a result, knowledge production is predominantly considered a disembodied enterprise. Over the last century critiques have been formulated against placing knowledge within the perimeters of the mind. For one, the phenomenological tradition offered an influential critique against the separability of mind, body as well as the external world in which the cognisant being finds oneself. Despite providing a powerful argument against disembodied theories of knowledge it appears the applicability of such a phenomenological theory falls short when transcending knowledge on the level of individual experience. This research takes a different approach in critiquing a disembodied understanding of knowledge. Through findings in ethnography and material culture studies it becomes clear knowledge cannot be confined to the internal mental processes of individual subjects. These two research fields bring special attention to firstly, the distributive nature of knowledge amongst collectivities and secondly, the shared epistemological and ontological aspects of knowledge amongst groups of people/cultures required to produce knowledge. Knowledge is considered something that is constructed intersubjectively and in direct relation to the physical world and power discourse in which it is used. Through case studies in material culture currently housed at the Pitt Rivers Museum, an ethnographic and anthropology institute in Oxford, UK, it is argued that mind, body and external world properties play inseparable roles in the way knowledge is produced. In addition it becomes clear that a traditional Cartesian understanding of knowledge has consistently been used in interpreting the knowledge systems of other cultures. Such projection of a traditional Cartesian understanding of knowledge on the knowledge systems of other cultures has left an often distorted view of other modes of knowing, being and understanding, and attests to the colonial conditions under which the objects examined here were acquired. Study of material objects expose the fallacy in mind-body dualism and ought to be considered the missing links regarding knowledge systems obscured as result of the universalisation of the traditional Cartesian understanding of knowledge.Show less
Bronze mirror production was at its peak during the Goryeo dynasty (918-1392 CE) of Korea. This resulted in an unprecedented range of sizes, shapes and motifs. A mirror’s purpose is, by definition,...Show moreBronze mirror production was at its peak during the Goryeo dynasty (918-1392 CE) of Korea. This resulted in an unprecedented range of sizes, shapes and motifs. A mirror’s purpose is, by definition, to reproduce the image placed in front of it. Interestingly, Goryeo bronze mirrors have been recovered from graves and Buddhist temple complexes, indicating that they also served ritual functions. Considering 508 mirrors from ten museums, this study investigates the relation of mirror iconography to mirror use, answering the research question: to what extent did the iconographic attributes of Goryeo bronze mirrors reflect their meaning and role in society? This research found that a number of recognisable motifs could point to a mirror’s use in a particular context. As grave gifts, bronze mirrors were valuable objects, associated with high status and wealth. This inherent auspicious meaning was reinforced by the symbolism in the interred mirrors’ iconography, denoting values such as longevity, beauty and love. The bronze mirrors used in Buddhist rituals display religious symbolism in their designs, such as bells, images of deities and scenes from scriptures. A comprehensive analysis of the exact role played by these religious mirrors is beyond the scope of this thesis, but could be researched further through the examination of scriptures and other primary literature. As secular items used for personal grooming, bronze mirrors were luxury items indicative of their owners’ social standing. Increasing the value of mirrors as status symbols even further was the appropriation of Chinese motifs, as this signified an appreciation of Chinese culture in agreeance with the education that was expected of those with high social standing. In this way, identifying a bronze mirror’s iconographic theme can help clarify the context in which it was once used. However, Goryeo bronze mirrors’ functions were not mutually exclusive, and the presence of religious and secular mirrors in funerary contexts suggests that they could play various roles throughout their use-life.Show less
Looking at diplomatic gifts as not merely precious objects that are transported across the globe, but also as objects that were exchanged purposefully as part of the formation of early modern...Show moreLooking at diplomatic gifts as not merely precious objects that are transported across the globe, but also as objects that were exchanged purposefully as part of the formation of early modern connections, this thesis focuses on the study of gift-giving between the Netherlands and the Dutch East Indies. An analysis of the political relationship between the first ruler of Yogyakarta, Sultan Hamengkubuwono I (1717-92) and the Vereenigde Oostindische Compagnie (VOC) reveals how material objects can be appropriated to create an agency for negotiation of greater political hegemony. In particular, the Sultan was able to create new symbolic meanings that legitimised his authority and power as a ruler in the eyes of his subjects through the gift, Kanjeng Nyai Jimat (royal coach), that was gifted by the Dutch after the Treaty of Giyanti in 1755. Despite its apparent foreign origin, the use of traditional concepts of power that are derived from the Javanese philosophy and cosmology had allowed the Sultan not only to carve an agency for himself but also to maintain the political hegemony of the royal family within Java up to this day.Show less
This thesis demonstrates the value of using everyday material culture in producing exhibition narratives. This is done by an in depth analysis of one particular case study, “Sour Sweet Bitter Spicy...Show moreThis thesis demonstrates the value of using everyday material culture in producing exhibition narratives. This is done by an in depth analysis of one particular case study, “Sour Sweet Bitter Spicy: Stories of Chinese Food and Identity in America” by the Museum of Chinese in America (NY). The exhibition aimed at representing the multiplicity of Chinese cuisine in the States, as well as the discussions regarding the definition of authenticity in cuisine and more generally culture. The thesis interprets food first as a frame to identity, an example of Derriderean parergon: food both shapes and is shaped by cultural identity. Statements by chefs and home cooks who were interviewed for the exhibition are analysed in order to support this perspective. In a second moment, the thesis considers the materiality of food as the element which enables the visitor to establish, through synaesthesia, an empathic connection with the stories narrated in the museum. Overall, this thesis aims at enhancing the power of material culture in creating exhibitions which combine the theoretical and abstract with the physical reality which we perceive through our senses and bear great impact on our lives and our perception of the world.Show less
Part of the abstract of the thesis: "The research that is presented is based on an experimental construction of a dugout canoe at the experimental-archaeological center Horsterwold (NL) in 2015. A...Show morePart of the abstract of the thesis: "The research that is presented is based on an experimental construction of a dugout canoe at the experimental-archaeological center Horsterwold (NL) in 2015. A team of both experts and students constructed a dugout canoe made of lime wood in a few weeks time. The team used tools based on Mesolithic examples excavated in the Netherlands. Three groups of tools (toolkits) can be distinguished from the tools used to hollow out and shape the dugout canoe: tools made from antler, bone, and flint. The dugout canoe was constructed based on an example excavated at the site of Hardinxveld-Giessendam De Bruin, which has been dated to the Late Mesolithic. The dataset for the research presented here is the documented effectivity of the tools during the experiment. A preference for using tools made of organic material (antler and bone) above those made of inorganic material (flint) was noticed during the construction of the dugout canoe.Show less
Since the dawn of humankind pottery has played a role in civilization. Pottery can be used to pinpoint geographical expansion or migration of a people. It can be a way to determine events...Show moreSince the dawn of humankind pottery has played a role in civilization. Pottery can be used to pinpoint geographical expansion or migration of a people. It can be a way to determine events surrounding civilisations. This historical consciousness of pottery is also what illustrates some iconic events in the history between Japan and Korea, but it may also link the contemporary relationship of each respective ceramic tradition since there are many people interested in the Korean and Japanese pottery of the past. The content of this thesis argues that they are never completely separate from each other. Through the nineteenth and twentieth century Japan and Korea each developed their cultural heritage policies and respective nationalist discourses. In Japan anxiety of westernization crept in. In Korea anxiety of westernization came simultaneously with a struggle for their cultural identity because of the Japanese colonial rule. Both countries took countermeasures in the form of folklore programs and revitalization and other searches for nostalgia and identity. Due to such dynamics, the effect of state policies and national narratives affected how craftsmanship was perceived. It was often labelled as symbol of the state, and something to find your ethnic and national identity in. These post-war policies created a sense of cultural essentialism that was hard to alter, even in the social context. Institutionalisation, as part of ‘heritagisation’ created a web of museums, government advertising, government organized or endorsed festivals and the ‘National Living Treasure’ program. Especially in Korea was this a scholarly source of critique. Through analysis from which context each heritage discourse came from and how it is maintained today it seems as if it obstructs the possibility of creating an image of cultural connectedness. Nevertheless a certain different dynamic is rising. The contemporary communities of potters and ceramic artists may pose as an alternative level to portray pottery heritage juxtaposed to the grand narrative of the heritage industry and government. Will or can redirecting our view to the level of the people as artists involved with Korea’s and Japan’s ceramics heritage change an obstinate cultural essentialism and disconnectedness?Show less
