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dc.contributor.authorHughes, Kiara Maureen, 1953
dc.date.accessioned2009-08-27T21:25:07Z
dc.date.available2009-08-27T21:25:07Z
dc.date.issued2009-08-27T21:25:07Z
dc.date.submittedJuly 2009
dc.identifier.urihttp://hdl.handle.net/1928/9822
dc.description.abstractThe contemporary production of pottery for global ethnic art markets set in motion a series of economic and social transformations that completely changed the Chihuahuan community of Mata Ortíz. This dynamic art form has included women and men since its initial stages over thirty-five years ago. Today, there are women of talent and expertise represented at every level of pottery execution and quality along the market continuum. Individual creativity and market recognition work together to create a context in which both men and women are able to capacitate themselves by acquiring the skills and competence needed to gain control over their artistic work, either as independent producers or in cooperation with others. In this dissertation, I bring together three aspects of their artistic work – aesthetics, production and the market – to argue that women are able to translate resources derived from their pottery work into growing personal and economic empowerment. By infusing new levels of individual expression into this mixed-gender art form, women dramatically expand the creative boundaries of the community’s aesthetic system. Through learning and controlling major aspects of pottery production and the subsequent income from pottery sales, they are changing their social position within the community and the economic position of their families. Women seek to expand their position within the market by actively responding to client taste and market expectation to achieve economic success. Using an ethnoaesthetic approach, I engaged the women in discussions of their art, and the underpinnings of their agency were revealed as they described their perceptions of learning their art; their artistic choices and judgments; their purposeful action in creating signature styles; controlling production processes; and their interactions within the market. These discussions formed the basis for my argument that artistic work can either enlarge women’s capacities to empower themselves or deepen their subordination, depending upon the interaction between these aspects of their artistic work. While some women gained recognition, found new markets for their art and increased their incomes, others produced in response to patriarchal demands to maximize household income, and lacked control over the income derived from their labor.en_US
dc.description.sponsorshipThe Latin American and Iberian Institute; the Department of Anthropology; the Anthropology Graduate Student Association; the Graduate and Professional Student Association; and the Office of Graduate Studies of the University of New Mexico; and the Arizona Archaeological and Historical Society.en_US
dc.language.isoen_USen_US
dc.subjectWomen and Worken_US
dc.subjectArt and Anthropologyen_US
dc.subjectEmpowermenten_US
dc.subjectAestheticsen_US
dc.subject.lcshWomen potters--Mexico--Mata Ortiz--Social conditions
dc.subject.lcshWomen potters--Mexico--Mata Ortiz--Economic conditions
dc.subject.lcshPottery, Mexican--Mexico--Mata Ortiz--Production standards
dc.subject.lcshWomen potters--Mexico--Mata Ortiz--Aesthetics
dc.subject.lcshSocial change--Mexico--Mata Ortiz
dc.titleThe Women Potters of Mata Ortiz: Growing Empowerment through Artistic Worken_US
dc.typeDissertationen_US
dc.description.degreeAnthropologyen_US
dc.description.levelDoctoralen_US
dc.description.departmentUniversity of New Mexico. Dept. of Anthropologyen_US
dc.description.advisorLamphere, Louise
dc.description.committee-memberField, Les W.
dc.description.committee-memberSalvador, Mari Lyn
dc.description.committee-memberTiano, Susan B.


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