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ix ILLUSTRATIONS Figures I.1 Map of Panama 3 I.2 Map of Comarca Kuna Yala 4 I.3 Views of Kuna Yala islands 5 I.4 Kuna island scenes 7 I.5 Molas depicting daily life 10 I.6 Mola with Christian references 22 I.7 Examples of molas showing awareness of local and international affairs 23 I.8 Early black-and-white photograph of Kuna Indians 27 I.9 Choco women wearing wrap skirts 31 I.10 The dress of Kuna men 32 I.11 Components of the dress of a Kuna woman 33 I.12 Front and back of a high-quality mola blouse 34 I.13 Contemporary mola blouses 36 I.14 Museum collections as a resource 39 1.1 Kalabari pelete-bite artist Amonia Akoko 49 1.2 Hawaiian holoku 50 1.3 Mohawk chief wearing an elaborate match coat 52 1.4 Meskwaki woman’s dress ensemble with ribbonwork 54 1.5 Components of the cultural authentication process 56 1.6 Mola blouse, 1906 60 2.1 Cultural authentication of the mola blouse—the linkage of selection and transformation 65 2.2 Examples of rough cutting in a pair of mola panels 72 2.3 Cultural authentication of the mola blouse—the linkage of characterization and incorporation 75 2.4 Examples of sergan mola designs 80 2.5 Three mola sewing techniques 84 2.6 Completion of the cultural authentication process 89 3.1 Selected archival photographs and molas from the reference collection, 1911–1917 95 3.2 Selected archival photographs and molas from the reference collection, 1922–1925 97 3.3 Selected archival photographs and molas from the reference collection, 1932–1938 99 3.4 Selected archival photographs and molas from the reference collection, 1941 102 3.5 Selected archival photographs and molas from the reference collection, 1951–1960 105 3.6 Selected archival photographs and molas from the reference collection, 1963–1967 108 3.7 Selected archival photographs and molas from the reference collection, 1970–1978 112 3.8 Selected archival photographs and molas from the reference collection, 1984–1986 116 3.9 Contemporary Kuna women’s dress, 2010 117 3.10 The dress ensemble shown in movement 130 4.1 The process of sewing a mola 137 4.2 Details from mola panels 139 4.3 Relationship of detail section to mola panel 141 5.1 Gathering house mola blouse 157 6.1 Mola designs related to events 176 6.2 Kuna women walking to a girl’s puberty celebration, 2009 180 6.3 The dress of Kuna women and girls at community celebrations 182 6.4 Molas made for trade 184 Illustrations Illustrations x 6.5  Promoting the association of the mola blouse with the nation of Panama 185 6.6 Cruise ship mola 186 A.1 Horizontal and vertical tas-tas 193 A.2 Square gwini-gwini 193 A.3 Four rows of dientes 194 A.4 Dientes in a curve 194 A.5 “Crowns” 194 A.6 Bisu-bisu 194 A.7 Pilu-pilu 194 A.8 Small pips on top of black nips 195 A.9 Two-layered pips 195 A.10 Cross-hatching 195 A.11 and A.12 Chain stitch 195 A.13 Embroidery can create detailed facial expressions 195 A.14 Inserts between layers 196 A.15 Gourd plant counterchange mola pair 198 A.16 Soul bird counterchange mola pair 200 A.17 Design filling the panel 202 A.18 Mola blouse, 1906 203 A.19 Mola blouse, c. 1960. 203 A.20 Mola blouse, 2010 203 B.1 Mola blouse, 1906 213 B.2  Cutting layout of fabric for the morsala (yoke) of a mola blouse 214 B.3 Fabric requirement for panels of mola blouse 214 B.4 Mola blouse, 1917 215 B.5  Cutting layout of fabric for the morsala (yoke) of a mola blouse 216 Tables I.1 Distribution of the Kuna population in Panama 6 I.2 Population of Kuna Yala comarca 6 I.3 Living conditions in four large Kuna communities 9 I.4 Some major milestones in history having an impact on Panama and the United States since the mid-­ nineteenth century 17 I.5 Some major milestones in Kuna history 21 2.1 Examples of names of designs on mola panels 78 2.2 Examples of names of sergan designs on mola panels 78 3.1 Components of the Kuna woman’s dress ensemble 121 5.1 Application of Seligman’s theory of well-being to...

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Additional Information

ISBN
9780826357076
Related ISBN
9780826357069
MARC Record
OCLC
936687675
Pages
288
Launched on MUSE
2016-08-12
Language
English
Open Access
No
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