Gender and the Boundaries of Dress in Contemporary PeruSet in Arequipa during Peru's recent years of crisis, this ethnography reveals how dress creates gendered bodies. It explores why people wear clothes, why people make art, and why those things matter in a war-torn land. Blenda Femenías argues that women's clothes are key symbols of gender identity and resistance to racism. Moving between metropolitan Arequipa and rural Caylloma Province, the central characters are the Quechua- and Spanish-speaking maize farmers and alpaca herders of the Colca Valley. Their identification as Indians, whites, and mestizos emerges through locally produced garments called bordados. Because the artists who create these beautiful objects are also producers who carve an economic foothold, family workshops are vital in a nation where jobs are as scarce as peace. But ambiguity permeates all practices shaping bordados' significance. Femenías traces contemporary political and ritual applications, not only Caylloma's long-standing and violent ethnic conflicts, to the historical importance of cloth since Inca times. This is the only book about expressive culture in an Andean nation that centers on gender. In this feminist contribution to ethnography, based on twenty years' experience with Peru, including two years of intensive fieldwork, Femenías reflects on the ways gender shapes relationships among subjects, research, and representation. |
From inside the book
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... represents Cayllominos region- ally and nationally . Even as Cayllominos urged me to dance in disguise , and my ... represent power as racial and ethnic inequality . The literature on transvestism and on Peruvian ritual initially ...
... Representing the clothed body as a primary site where authority and authenticity intersect , the images evince the in ... represent politics in polleras . " Basta ya de violencia . " ( Enough violence already . ) One drawing shows women ...
... represent themselves as more authentic . We are presented with a paradox : polleras seem to have become both more and less authentic emblems of identity . Although I privilege the " native " gloss of “ indigenous ” in these in- stances ...
Contents
Introduction False Borders Embroidered Lives | xvii |
the Crossroads | 78 |
Process | 103 |
Copyright | |
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