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.… (portrait of a devotee with "vaddedda", which is the traditional jute bag that devotees carry on their head to carry the Candlemas) ….
.… ( ritratto di devoto con la “vaddedda”, che è il tradizionale sacco di iuta che portano sul capo i portatori laterali delle candelore) ….
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...this is a short-long report I did this year 2015, in the city of Catania (Sicily) in occasion of the feast of her patron saint Agatha, which took place on the 3, 4 and 5 February (this dates commemorates the martyrdom of the young Saint), and on 17 August too (this date celebrates the return to Catania of her remains, after these had been transferred to Constantinople by the Byzantine general Maniaces as war booty, and there remained for 86 years), when the Sicilian city is dressed up to feast, with a scent of orange blossom and mandarins, and its citizens show that they possess an extraordinary love and bond with the young martyr saint Agatha.
The religious sicilian feast of Saint Agatha is the most important feast of Catania, its inhabitants from five centuries, during the three days of the feast in honor of her "Santuzza" (young Saint), create a unique setting, with celebrations and rituals impressive, which means that this event is regarded as the third religious festival in the world (some say the second ...) after the "Semana Santa" in Seville and the "Corpus Christi" in Cuzco, Peru. Unlike other religious holidays, more sober, to Sant'Agata highlights a vocation exuberant typical of the south Italy, who loves to combine the sacred with the profane.
The cult of the young Santa dates back to the third century, when the teenager Agatha was martyred for refusing the roman proconsul Quintiziano. One year after the death of the young Agatha, on 5 February of the year 252, his virginal veil was carried in procession, and it is said it was able to save Catania from destruction due to a devastating eruption of Mount Etna.
The festivities begin with the procession of Candlemas (this year were in greater number, perhaps 14 instead of the 11 years of the other years); the "Candlemas" are giant Baroque wooden "candlesticks" paintings in gold, each representing an ancient guild (butchers, fishmongers, grocers, greengrocers, etc.), which are brought by eight devotees; the "cannalore" (candlemas) anticipate the arrival of the "float" of Saint Agatha during the procession. Devotees, men and women, wearing a traditional garment similar to a white bag, cinched at the waist by a black rope, gloves and a white handkerchief, and a black velvet cap, and it seems that such clothing evoke nightgown with the qule the Catanese, awakened with a start by the touch of the bells of the Cathedral, welcomed the naval port, in 1126, the relics of the Holy which fell from Constantinople. On float, consisting of a silver chariot sixteenth of thirty tons, which is driven by a double and long line of devotees with the robust and long ropes, takes place the bust of Saint Agatha, completely covered with precious stones and jewels. On February 4, the parade celebrates the so-called "external path" that touches some places of martyrdom in the city of Catania; the next day, the 5 instead the procession along the "aristocrat path", which runs along the main street, Via Etnea, the parlor of Catania. On this day the devotees carry on their shoulders the long candles of varying thickness, there are some not very big, others are fairly heavy, but some skim exceptional weights.
... Questa è un breve e lungo report, da me realizzato nel febbraio di quest’anno 2015, nella città di Catania (Sicilia) in occasione della festa della sua giovane santa patrona Agata, che ha avuto luogo come ogni anno il 3, il 4 ed il 5 di febbraio (questa data commemora il martirio della Santa giovinetta), festa che viene ripetuta anche il 17 agosto (questa data rievoca il ritorno a Catania delle sue spoglie, dopo che queste erano state trasferite a Costantinopoli da parte del generale bizantino Maniace come bottino di guerra, spoglie che ivi rimasero per 86 anni); per questa occasione la città siciliana è vestita a festa con profumi di fiori d'arancio e mandarini, coi suoi cittadini che mostrano di possedere uno straordinario amore e legame con la giovane martire Agata.
Gli abitanti di Catania, oramai da cinque secoli, nei tre giorni della festa in onore della "Santuzza", danno vita ad una scenografia unica, con celebrazioni e riti imponenti, che fanno si che questo evento sia considerato come la terza festa religiosa al mondo (qualcuno dice la seconda ...) dopo la "Semana Santa" di Siviglia ed il "Corpus Domini" a Cuzco, in Perù. A differenza di altre feste religiose, più sobrie, quella di Sant'Agata mette in luce una vocazione esuberante tipica del meridione, che ama unire il sacro col profano.
Il culto della giovane Santa risale al terzo secolo, quando l'adolescente Agata fu martirizzata per aver rifiutato il proconsole romano Quintiziano. Un anno dopo la morte della giovane Agata, avvenuta il 5 febbraio dell'anno 252, il suo velo virginale venne portato in processione, e si narra esso riuscì a salvare Catania dalla sua distruzione a causa di una devastante eruzione del vulcano Etna.
I festeggiamenti iniziano con il corteo delle candelore (quest'anno erano in numero maggiore, 14 invece delle 11 degli altri anni); le "candelore" sono dei giganteschi e pesanti "candelabri" in legno, in stile barocco, dipinti in oro, ognuna rappresentante una antica corporazione (macellai, pescivendoli, pizzicagnoli, fruttivendoli, ecc.), che vengono portati da otto devoti, le quali "cannalore" anticipano l'arrivo della "vara" di Sant'Agata durante la processione. I devoti, sia donne che uomini, indossano un tipico indumento simile ad un sacco bianco, stretto in vita da una cordicella nera, guanti ed un fazzoletto bianchi, ed infine una papalina di velluto nero, sembra che tale abbigliamento rievochi la camicia da notte con la quale i Catanesi, svegliatisi di soprassalto dal tocco improvviso delle campane del Duomo, accolsero al porto navale, nel 1126, le reliquie della Santa che rientravano da Costantinopoli. Sulla vara, costituita da un carro argentato cinquecentesco di trenta quintali, trainata da una doppia e lunghissima fila di devoti tramite delle robuste e lunghe funi, prende posto il busto di Sant'Agata, completamente ricoperto di pietre preziose e gioielli. Il 4 febbraio, il corteo compie il cosiddetto "giro esterno" che tocca alcuni luoghi del martirio nella città catanese; il giorno dopo, il 5, il corteo percorre il "giro aristocratico", che percorre la strada principale, la via Etnea, salotto buono di Catania. In questo giorno i devoti portano in spalla dei lunghi ceri di vario spessore, ce ne sono alcuni non molto grossi, altri sono discretamente pesanti, ma alcuni sfiorano pesi eccezionali.
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
The majority of garment workers are female aged under 30
© ILO/Nguyễn ViệtThanh
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creativecommons.org/licenses/by-nc-nd/3.0/igo/deed.en_US.
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
Extended carpets of lupins (Lupinus pilosus) and other wildflowers decorate the landscape near Amman.
Thank you for dropping by!
unusual fringe detailing makes this simple floral collar an art piece - see Prudence's pdf tutorial 'Flamboyant Fringes' for guidance to create your own one-of-a-kind fringing - www.knotjustknitting.com
I found this perfect garment rack for the dolls at a shop selling home decor items. I think it was intended to be a jewelry organizer but I thought it would be a perfect dolly sized garment rack! Apparently Agnes thinks so too! I made some hangers for her and voilà!!!!
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
I found this perfect garment rack for the dolls at a shop selling home decor items. I think it was intended to be a jewelry organizer but I thought it would be a perfect dolly sized garment rack! Apparently Agnes thinks so too! I made some hangers for her and voilà!!!!
created using the methods described in Prudence's book "Freeform: serendipitous design techniques for knitting & crocheting" - see www.knotjustknitting.com for more information
Gravity Well is a sculpturesque collection of four avant garde gowns. All the garments are OOAK and 100% hand stitched millinery tulle over nude high collar dress that blends into the Latte skin tone.
Available in my shop now:
Modelled by Inamorata Ming Na, a OOAK Nnaji in Latte resin and Andro body. All the fashions fit both Busty and Andro body Inamorata dolls.
created using the methods described in Prudence's book "Freeform: serendipitous design techniques for knitting & crocheting" - see www.knotjustknitting.com for more information
Ghost Advertisments. Blogg and Littauer (whose ad is visible faintly in the upper right hand corner of this building on 26th st.) were the subject of the 1928 silent film "The Latest from Paris.
Jesus is stripped of his garments
The Salvation Army International Headquarters
Guler Ates, Sea of Colour, 2016
Güler Ates is best known for her photographs of mysterious figures in shimmering, diaphanous veils, drifting through opulent spaces. Here fabric takes a different form, drawn from donated and discarded children’s and baby clothes, too worn, damaged, or dirty to be used for charity. These castoff clothes offer a haunting reminder of children who have died—sometimes in their mothers’ arms—in journeys to escape conflict. Having suffered displacement from Eastern Turkey herself, the artist feels an acute empathy for refugees, and has created this work with the assistance of women from local refugee groups. In a new way, she returns to a question that emanates throughout her work: can we ever really know the person in front of us? Can we know their pain? Even when Jesus stood naked, stripped of his garments, who among the jeering crowds really knew what he felt?
© Mazur/catholicnews.org.uk
All the garments I made in 2015. All four. Well, actually I made a total of six garments but I never photographed the 2 pairs of black leggings.
I meant to post this a while ago but didn't... probably because it depressed me to see how few things I actually finished that year. Still, it was better than 2016 (zero)! And I got tons of wear out of three of these (all but the burgundy skirt).
TOP:
(L) Alabama Chanin cami embellished with AC rose stencil in reverse applique. Fabric - AC dark grey plus scraps of burgundy.
(R) Alabama Chanin cami embellished with AC Abby's Flowers stencil, painted and quilted. Fabric - oversized black t-shirt refashioned.
BOTTOM:
(L) Knee-length skirt with hi-lo hem and yoke, self-drafted, with applied pleated ruffle. Fabric - burgundy cotton gauze. This fabric was problematic as it stuck to other layers and didn't really flow. Probably would have been better lined but that would have defeated the purpose.
(R) Long skirt embellished with curved tucks and ruffled hem. Fabric - steel grey/blue pinstripe linen.