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Gender and the Boundaries of Dress in Contemporary Peru by Blenda Femenías

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By Blenda Femenías

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Additional info for Gender and the Boundaries of Dress in Contemporary Peru (Louann Atkins Temple Women & Culture Series, Bk. 6)

Example text

When we look at ourselves within culture and at the same time from outside it, how does the garment fit? When we take the metaphor literally and examine actual garments, what do we learn about culture? In ‘‘Clothes Make the Man,’’ Marjorie Garber (1992) explores transvestism as a primary means of producing culture in both literal and metaphorical ways. ’’ counters Kath Weston (1993) in regard to dress and eroticism. Both authors address the constitutive aspects of dress, but Weston’s analysis of gender identity through lesbian fashion statements also confronts some tenets of performance theory.

Forced to absorb the burden of racist and domestic violence, they are also charged with the embodiment of moral and aesthetic values. Why do women’s bodies carry such a heavy physical and symbolic weight? Why do women embellish their appearance, attracting the eyes of others to their bodies? In a modern nation that censures ‘‘Indian’’ appearance, why do ethnic traditions remain vital? Embroidery production flourishes in family workshops throughout Caylloma. In economically depressed times, why do artisans make bordados?

A palpable emptiness emanated from the buildings, and I would flee the stillness in the air. I needed to be with people, joining in what they were doing, planting or harvesting as the season required. Then other walks would take me away from town, into the fields, hills, and ravines that comprise the community. Or I might choose an arbitrary destination, a pretext for just walking around the countryside, continuing the process of getting acquainted with all that was Coporaque. I’m a walker. I walk whenever and wherever I can.

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