Woven Identities: Tribal Weaving from Iran, Afghanistan, and Central Asia

Woven Identities: Tribal Weaving from Iran, Afghanistan, and Central Asia

Winter (9 - 13.5 hours) | This course is completed

48 Lebanon Street Hanover, NH 03755 United States

Room 212

Repeat Course

1/28/2020-3/12/2020

View Schedule

$60.00

From ancient times through the early 20th century in the Near East, designs woven in to utilitarian objects were one expression of tribal identity.The bags, bands, covers, and rugs of each tribal group manifest identity through colors, iconography, and function.

We will look at weavings from four broad tribal groups – the Kurdish and Shahsavan tribes of northwest Iran, the major tribal confederations of southwest Iran, the Baluch and related tribes of northeast Iran and northwest Afghanistan, and the Turkmen tribes of western Central Asia. We will examine how styles differ by general geographic region, how specific objects reflect the way particular groups lived, and what we know and don’t know about the origins and meaning of some of the designs.

In addition to looking at slides of weavings and of tribal life, there will be some opportunity to handle and examine actual weavings. Further reading will be encouraged but not required.

  • There are no required reading materials.

Stella Lackore was born and raised in Groningen, the Netherlands. She worked for 25 years in the Netherlands as a teacher of art and art history, and subsequently worked as an art therapist there. Her focus on Hildegard von Bingen is linked to her interest in art, philosophy, and religion as key factors informing the cultural history of civilization. She has written several published articles, and has served as a guide on many tours throughout Europe. Composer, conductor, theorist, and musicologist, Dr. Mark Nelson has over 30 years’ experience teaching music and directing music ensembles. He currently teaches a series of music appreciation seminars at the Upper Valley Music Center and directs several area ensembles. He is animated by the notion that a musician is an historian—that performance and understanding are enriched by careful consideration of the aesthetic, socio-political, and biographical contexts from which a composition emerges.