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Puruha Fashion as Aesthetic Sovereig...

Parada, Anais M.

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Puruha Fashion as Aesthetic Sovereignty: Identity Making and Indigenous Dress in Ecuador.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Puruha Fashion as Aesthetic Sovereignty: Identity Making and Indigenous Dress in Ecuador./
Author:	Parada, Anais M.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	385 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-02, Section: A.
Contained By:	Dissertations Abstracts International82-02A.
Subject:	Cultural anthropology. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27832193
ISBN:	9798662442023

Puruha Fashion as Aesthetic Sovereignty: Identity Making and Indigenous Dress in Ecuador.
Parada, Anais M.

Puruha Fashion as Aesthetic Sovereignty: Identity Making and Indigenous Dress in Ecuador. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 385 p.

Source: Dissertations Abstracts International, Volume: 82-02, Section: A.

Thesis (Ph.D.)--University of South Carolina, 2020.

This item must not be sold to any third party vendors.

Puruha fashion designers, vendors, and sellers have used their cultural heritage to create an emerging dress market that is both locally productive and nationally disruptive. These entrepreneurs have combined traditional dress with contemporary elements to create a new style that is distinctly recognizable as Puruha, and thus acts as both a cultural and an individual brand. In a nation-state that offers its Indigenous people tokenism and concessions that don't otherwise challenge the status of existing governmental and legal systems, having control over one's own narrative through branding is a revolutionary act. In fact, the fight for economic autonomy against state sanctioned development programs is central to how many Puruha social actors describe their shared history and current motivations. For Puruha dress designers and sellers, autonomous economic success eliminates the notion that Indigenous people need a middleman to help them negotiate any non-local market, a rhetoric unfortunately still present in Ecuador today. It also gives them access to social capital, such as business networks and high fashion language, which had previously not been accessible because of the devaluation of Indigenous artistry in Ecuador. In this way Puruha entrepreneurs have been able to sidestep legal political recognition within Ecuador in favor of broader social visibility through economic achievements, which can be implemented without the direct support of the nation-state.I focus specifically on how the entrepreneurial strategies they use rely on both global capitalist models and Andean community-oriented and reciprocal models, which challenge neoliberal state ideologies that have been exploitative of Indigenous Ecuadorians in the past. In addition, I argue that this dress is a special form of commodity, since it also acts as an art object and as a malleable marker of identities. Thus, this research necessarily contributes to semiotic theory in practice, the ability to understand Puruha dress as part of semiotic processes that negotiate relationships in context and the political, economic, and social stances that emerge in these processes. Dress, as an intimate art form, enables Puruha producers and consumers to establish shared sartorial discourses and form semiotic communities. Moreover, the production and circulation of Puruha dress enables Indigenous actors to reclaim the economic potential of their aesthetics, contributing to ongoing endeavors in economic autonomy and aesthetic sovereignty.

ISBN: 9798662442023Subjects--Topical Terms:

2122764
Cultural anthropology.
Subjects--Index Terms:

Ecuador

Puruha Fashion as Aesthetic Sovereignty: Identity Making and Indigenous Dress in Ecuador.
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506 $a This item must not be sold to any third party vendors.
520 $a Puruha fashion designers, vendors, and sellers have used their cultural heritage to create an emerging dress market that is both locally productive and nationally disruptive. These entrepreneurs have combined traditional dress with contemporary elements to create a new style that is distinctly recognizable as Puruha, and thus acts as both a cultural and an individual brand. In a nation-state that offers its Indigenous people tokenism and concessions that don't otherwise challenge the status of existing governmental and legal systems, having control over one's own narrative through branding is a revolutionary act. In fact, the fight for economic autonomy against state sanctioned development programs is central to how many Puruha social actors describe their shared history and current motivations. For Puruha dress designers and sellers, autonomous economic success eliminates the notion that Indigenous people need a middleman to help them negotiate any non-local market, a rhetoric unfortunately still present in Ecuador today. It also gives them access to social capital, such as business networks and high fashion language, which had previously not been accessible because of the devaluation of Indigenous artistry in Ecuador. In this way Puruha entrepreneurs have been able to sidestep legal political recognition within Ecuador in favor of broader social visibility through economic achievements, which can be implemented without the direct support of the nation-state.I focus specifically on how the entrepreneurial strategies they use rely on both global capitalist models and Andean community-oriented and reciprocal models, which challenge neoliberal state ideologies that have been exploitative of Indigenous Ecuadorians in the past. In addition, I argue that this dress is a special form of commodity, since it also acts as an art object and as a malleable marker of identities. Thus, this research necessarily contributes to semiotic theory in practice, the ability to understand Puruha dress as part of semiotic processes that negotiate relationships in context and the political, economic, and social stances that emerge in these processes. Dress, as an intimate art form, enables Puruha producers and consumers to establish shared sartorial discourses and form semiotic communities. Moreover, the production and circulation of Puruha dress enables Indigenous actors to reclaim the economic potential of their aesthetics, contributing to ongoing endeavors in economic autonomy and aesthetic sovereignty.
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653 $a Ecuador
653 $a Fashion anthropology
653 $a Gender
653 $a Material culture
653 $a Race and ethnicity in Latin America
653 $a Sartorial semiotics
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