The methods and values of reviving the endangered practice of MIAO embroidery from the late Qing Dynasty are discussed in "THE TRANSIENCE OF TRADITIONAL ART FORMS:

I want to express my gratitude for my family's assistance with the research. Additionally, I want to express my gratitude to the professors for their advice and assistance with the thesis writing process. I would also like to thank Juliet and Renee, my tutors, for their patience and commitment in guiding me through the needlework lessons. The research process and execution of this work were considerably aided by the abilities and knowledge I gained.
The Miao embroidery is in danger of going extinct as a cultural art form due to technological advancement. However, in the Miao community, the practice is central to their daily lives as it is culturally and spiritually significant. The females undertake the embroidery tradition, which is taught to young girls, by their mothers or grandmothers, at the age of around four. However, with globalization and technological advancement today, most of the skilled people from the Miao society are elderly. As a result, the inclusion of the art in the list of Intangible Cultural Heritage contributes to the preservation of the unique and attractive art (Unesco.org. 2017, n.p.). The paper consists of ethnography research where the observer will participate in two introductory embroidery classes to determine the difficulty of learning the art and techniques in detail through two tutors. Further, the literature review will provide secondary resources in order to understand and prepare for the lessons that will be undertaken by the observer. Lastly, the results will be analyzed through a personal reflection on the study to draw inferences on the significance and need to preserve the tradition before its transience.

Keywords: Miao embroidery, heritage, art, handcraft, tradition, costume, ethnography, ancestry.



Design Rationale

The thesis focuses on hand embroidery in silk, as well as shading on fabric. The method requires multiple color threads, and weaves to blend together and give a natural look of the subject. After a thorough research, I realized the hands in embroidery are the link in between the embroiderers and their soulful/spiritual artwork. I started the design with acrylic on a canvas (the piece I found is a fabric-like canvas from art store) which was suitable for the experiment. The subject of the design is a warped hand that implies the flow and flexibility of an adequate embroiderer’s hand. The color is combined with a gradient color from blue and white at the bottom to denote the notion of handcrafted art is fading away due to this digitized world. The red on each fingertip represents the power and blessing from Miao’s ancestors while Miao women are practicing their embroidery skills



Table of Contents

Acknowledgement 2

Abstract 3

Design Rationale 4

Table of Contents 5

Introduction 8

Background 8

Problem Statement 9

Research Questions 12

Research Objectives 12

Literature Review 13

A Powerful Ethnic Group without a Written Language 13

The Indispensable Relationship between Miao, Embroidery and their Costumes 14

Types of Miao Embroidery Skills, Quality and Collector’s Values 15

Looms and Weaves 16

Dyes and Calendaring 16

Decorative techniques and stitches 17

How China Provides Solutions for Miao Embroidery and the Underlying difficulties 18

The Contribution of Zeng Xianyang and daughter Zeng Li in preserving Miao embroidery 20

How the UK Provides Revival Solutions for the Dying Traditional Art Forms 20

Research Methodology 21

Research Design 21

Secondary Research 22

Primary Research 23

Analysis and Interpretation of the Ethnographic Data 24

Observational Data and Analysis 24

Part 1: Introduction to Embroidery with Juliet Ferry on 8th December 2017 24

Bullion 26

Pearl Purl 26

Silver Purl Bullion 26

Double thread & securing the thread 28

French Knots 28

Applying the Beads 28

Couching in a Circle 28

Cutwork over Felt Padding 29

Self-Reflection 1 29

Part 2: Goldwork workshop with Renee Lindell on 18th of December 2017 30

Soft String Padding 31

Cutwork 31

Chips with Pearl Purl Outline 32

Self-Reflection 2 32

Analysis of Observational Data and Secondary Research 33

Conclusion 33

References 38



The Transience of Traditional Art Forms: The Methods and Values of Reviving the Endangered Practice of Miao Embroidery from the Late Qing Dynasty

Introduction

Through technology, developed countries are replacing the human skills with machine programs. As a result, the industrial techniques which utilize machines and digital designs for production threaten the extinction of the handcraft, which is practiced in villages. For instance, the Miao culture of China practices this art to create a variety of designs by using a needle and thread, such as bags, jackets, and traditional wedding dresses (Wang 1987, p. 10). Therefore, to preserve the craft, scholars, institutions, including the Chinese Intangible Cultural Heritage (ICH), and cultural festivals promote the activity through knowledge preservation of tangible heritage to enhance its revival (Unesco.org. 2017, n.p.). The paper, therefore, involves an ethnography research of the Miao embroidery to determine the significance of the tradition, underlying difficulties, and the need to revive the art under museums and Chinese government initiatives.

Background

By definition, embroidery is the craft of fabric decoration, which involves using the needle and thread/yarn as the primary materials (Wang 1987, p. 10). In addition, there is the cultural incorporation of items, such as quills, sequins, beads, or pearls to enhance the beauty of costumes. In China, embroidery started after the agricultural activity of silk productions, and it is considered one of the heritage products (Wang 1987, p. 12). The Miao women use hand-embroidery as opposed to making the decorations by computerized machines because of the sacredness and spiritual guidance of the ancestors. Though a slow process, the fabric has higher quality in regards to the aesthetics, which appear as a beautiful painting, compared to the digital products (Wu 2000, n.p.). The Miao embroidery has been actively practiced by the locals for decades, and it is considered a Chinese cultural heritage both in intangible and tangible forms. The intangible forms include the knowledge and skills of the practice of embroideries, such as oral traditions, Miao traditional skills, and the local information on the art. On the other hand, tangible cultural heritage refers to the items which are the products of the embroidery maintained across generations of a society, such as mats and clothing.

Using the Miao society, the study explores the art, relations to customs, such as the way of dressing, the difficulties of keeping the tradition active, the transience, and the need to enhance its revival through museums across the world. Also, the Chinese government has a role in protecting Miao embroidery as a cultural heritage. The preservation of the embroidery knowledge is essential since the world is increasingly becoming globalized, and cultures being exchanged. In this regard, there is need to preserve such traditional arts which have a higher quality, and value than mimics from computer software output. The collection of Miao deign gives the community a cultural identity.

Problem Statement

According to Fuchs et al. (2015, p. 98), individuals from different societies and cultures view handmade items as appealing than industrial items. Though the latter might have higher quality and rising popularity, hand-embroidery remains attractive, and when given as gifts to loved ones, the presents symbolize a loving gesture (Luutonen 2008, p. 331; Wang 1987, 18). Besides, as a traditional culture, art ,such as the Miao embroidery is attached to customs or ritual meaning that is passed down from one generation to the next (Wang 1987, p. 12). Therefore, it is crucial to protect and preserve such art since it is part of Miao way of life. The computerized imitations of embroidery art are intended for mass production and business objective of making profits. However, most individuals still prefer the authenticity of the handwork rather than the generic products (Fuchs et al. 2015, p. 98). The attractiveness of the craft is evident since tourists prefer buying traditional forms of the cultural heritage, such as embroidered handbags. In the Miao community, embroidery is a sacred technique that reflects the history of the family, as well as a symbol of prosperity (Wang 1987, p. 12). If the art is not protected and promoted through various initiatives, such as museum displays, or inheritance of the skills, then it might not only affect the Miao people, but also, it can be extinct before being passed to the next generation.

In relation to the culture, there are two main threats to the transience of the Miao embroidery which include technology and globalization (Unesco.org. 2017, n.p.). Firstly, the rapid development of both science and technology as a way of increasing modernization in the world significantly affect the intangible cultural heritage (Unesco.org. 2017, n.p.). The rationale is that the current generation prefers using machines to improve the efficiency of their work and reduce wastage of time. Hence, technology limits the learning or utilization of traditional skills, such as the handmade embroidery. In this century, statistics showed that Miao ladies between 50-60 years old believe that their embroidery skills are not as good as the past generation while those between 30 and 40 know few techniques and are no longer skillful (Zeng and Zeng 2009, p. 23). Further, the women between 10 and 20 year-age group have no knowledge of embroidery (Zeng and Zeng 2009, p. 23). Besides, hand embroidery is not convenient for mass production as it involves more time to achieve the level of making profits (Fuchs et al. 2015, p. 98). Additionally, globalization threatens the preservation of a particular heritage. With the aid of technology, various regions and cultures around the world are exchanging practices through the internet and tourism (Fuchs et al. 2015, p. 99). As a result, most of the people adopt new methods from the western culture as a way to increase civilization, leading to ignorance of traditional cultures. Therefore, it is essential that individual governments, as well as museums take appropriate actions, such as policy formulations and marketing strategies to protect the artwork that not only defines the Miao community but also has significance to their customs.

According to Ye (2012, p. 19), the Miao people are famous for their embroidery which is an essential cultural symbol for the society since it represents their customs and beliefs. The costumes are also critical items for inheriting culture in societies (Wang 2014, n.p.). The images embroidered in the Miao culture represent the objects that demonstrate the value of family ties. The patterns embroidered involve the displaying folk culture or religious themes (Wakana 2017, p. 2). The decorations fall into three primary categories of geometric, agriculture, and landscape patterns. Liu (2012, n.p.) depicts Miao embroidery as a crucial element in the community with the efforts placed in producing attractive pieces of embroidered clothing. Miao embroidery skills are passed from one generation to the next female lineage (Wakana 2017, p. 2). Young girls start to learn the art when they are six or seven years old to the age of 16-17 since the skill takes time before one can be perfect (Bowen 2017, n.p.; Wang 1987, p. 18).

According to Liu (2010, n.p.), the art of hand-embroidery of the Miao people is being replaced by modern, digital outputs which are affordable. Authorities in Guizhou are, therefore, making efforts towards preserving the delicate art (Han and Gao 2009, n.p.). In this study, the researcher focuses on the Miao embroidery as a dying form of the traditional craft while exploring the necessity of the work in the society in reflecting the spiritual and cultural importance of such products. The findings reveal the need to protect intangible cultural heritage, as well as demonstrating the Chinese efforts towards the preservation of ICH. Also, the study contributes to the current literature and research on the specific practices of this society in the study.

Research Questions

The questions are asked to determine the importance of the craft, as well as the value of the hand-crafted over the machine-produced embroideries.

What is the need of protecting the Miao embroidery as an intangible cultural heritage in China?

What are the possible differences between the machine and handmade embroideries in regards to traditional significance and value?

If hand-embroidery is a time-consuming art in the digital era, why do fashion schools still teach the same?

Research Objectives

To answer the above questions, the following are the objectives of the study

To investigate the significance of the inclusion of the Miao embroidery in the first list of Intangible Cultural Heritage of China.

To investigate the necessity of embroidery schools, such as the Prince School of Traditional Arts to enhance passing down the Miao skills to the next generation as a way of avoiding its end.

To determine the importance of Miao embroidery as the central culture of the society and how it relates to its customs and beliefs.

To investigate the level of difficulty in learning hand-embroidery as a beginner / non-Miao.



Literature Review

A Powerful Ethnic Group without a Written Language

According to Torimaru (2008, p. 1), the research reveals that the Miao community of China has rich decorative embroidery skills that reflect not only tradition but also a form of communication. One of the unique characters of the society is that they have no written language. Therefore, through the skills used in the embroidery of fabrics and clothing, the information is passed from one generation to another. Torimaru (2008, p. 1) describes the variety of traditional dresses as a display of the technical embroidery skills, especially in traditional ceremonies. To an extent, each of the traditional dresses has a specific purpose in the society. Therefore, through inheritance, the information reaches the next generation (Wang 1987, p. 17). Thus, the techniques used in fabrics constitute the vocabulary that the community uses in communicating the customs and spiritual life, especially during their celebrations.

In the past, most of the Miao people inhabited Northern China though in the recent past most of the population is living in the southern part of the country too (Torimaru 2008, p. 1). The demographic changes are a result of constant migration towards the Southwest since two thousand years ago with an estimate of 4.3 million individuals from this community living in the province of Guizhou (Torimaru 2008, p. 1). The Miao have more than one hundred sub-tribes and part of them which also have their own cultures as a result of migration out of China. Despite the relocation, the cultural significance is still intact in the design embroidered in their dresses (Wang 2000, n.p.). For example, the Hmong people of the Miao migrated to Southeast Asia and continued with their own cultures in countries, such as Thailand, Vietnam, and Myanmar as a way to preserve the ethnic identities and historical background through the textiles (Torimaru 2008, p. 1). Therefore, the paintings or embroidery skills entail the traditions of the Miao people, documenting the beautiful landscapes, and celebration designs depending on the type of the cloth (Wang 1987, p. 13). The Miao women preserve the art by teaching their daughters the embroidery techniques from a young age (Ye 2012, p. 21). Therefore, the skill is passed from mother to daughter and practiced over time to reach perfection in making the designs of the particular sub-group in the Miao community (Wakana 2017, p.2). Also, the designs include recording of present features or occurrences within the society relating to the current way of life, such as farming activities out of creativity, especially in the celebration periods of harvests.

The Indispensable Relationship between Miao, Embroidery and their Costumes

As Zeng and Zeng (2009, p. 16) denote, the tradition existed more than 4000 to 5000 years ago when the military wore embroidered attire. Further, each costume that a Miao wears has a cultural significance. For example, some of the clothing reflect the history of the ancestor, hence by wearing them they invite back the ancestors to the community despite the nature or spirituality of the occasion (Shizhao 1985, p. 18). Most of the important costumes, such as bridal wear or big festival costumes are inherited while in the making process or unfinished, from one generation to another (Wang 1987, p. 16). The traditional practices of the Miao are greatly reflected through the designs by subgroups, and moreover, each costume has a particular meaning and way of embroidery. Therefore, for each purpose indicating a cultural significance, there is a close relationship between the livelihood, type of embroidery, and design of the costume.

One of the reasons for wearing the embroidered costume is to show the presence of the spirits. In return, the Miao people while wearing the cloth believe their family is protected and shielded from any dangers (Wang 2014, n.p.). The embroidery is critical in showing and recording ancestral worship, inheritance of the various cultures in the Miao, as well as the customs and beliefs of the particular society (Wang 2000, n.p.). In most cases, costumes are, therefore, meant for important occasions within the Miao community, such as wedding and Sister Day festival (Zeng and Zeng 2009, p. 16; Wang 1987, p. 17). Besides, completion of one costume takes up to five years and it requires proper storage to avoid damage.

Secondly, the embroidered costumes are considered sacred by the Miao community and can be passed from generation of up to 7 families in a lineage yet in good condition (Wakana 2017, p. 4). Not only do the inherited items connect the individuals to the late ancestors but also the content, mental situations of the person doing the embroidery, and the functions of the dress determine its sacredness (Wang 1987, p. 18). Having such designs in the family is, therefore, considered a blessing to the Miao family. According to Zeng and Zeng (2009, p. 20), the costumes are more significance to the female gender than the male since it is comparable to the inheritance of land by the men. Additionally, the spiritual view of the skill is that it is the ancestors who guide the woman in embroidery, hence the blessing brings prosperity, such as the embroider getting a bridegroom from the best alternatives (Bowen 2017, n.p.). Also, the themes in the embroidery reflect of the real life, the view of the Miao people of the world, and the purpose of its existence. Some of the themes include the connection between heaven and earth, the universe and ancestry, as well as life and nature (Sogyal 2008, p. 13).

Types of Miao Embroidery Skills, Quality and Collector’s Values

Ohms (1989, p. 8) and Wang (1987, p. 10) defines embroidery as a term used to describe the enrichment or addition of ornaments to a woven fabric through the use of needle and thread. In the Miao community, there are various types of embroidery skills, such as stitching, applique, and patches among others (Shizhao 1985, p. 18). Also, the quality differs depending on the generation and maturity of the skills (Liu 2010, n.p.). The following is a description of some of the types of Miao embroidery skills and their application to attires or clothing. Comment of the following: There are numerous Miao embroidery skills and applications, what were the purposes to choose the following for this paper? The techniques you chose from the book were about Chinese folk embroidery skills but not exactly Miao embroidery techniques. Could you please choose a few from the ethnography research that I mentioned they are actually the same or similar to some of the Miao techniques; and some other ones (from zeng’s book)?

Looms and weaves

The tradition feature either uses a body-tensioned method by use of rope and foot or by using shafts to make garments, such as baby carriers (Corrigan 2001, p. 12). In most cases, embroidery utilizes additional weft techniques when using fabrics of wool, cotton or silk that is woven. In other instances, decorations are inserted through hand weaving as embroidery to create symbols, such as birds and geometric designs (Corrigan 2001, p. 12).

Dyes and calendaring

The skill involves making of dye pastes from cuttings of plants to create the color of vegetable indigo used in most base fabrics (Corrigan 2001, p. 14; Wang 1987, p. 20). Also, women who make the dye can use it for commercial purposes (Wang 1987, p. 17). On the other hand, calendaring is done through beating the material on a flat stone using a mallet made out of wood then placing the fabric on top. In the preparation process of the dye, it is a taboo for a pregnant woman to go near the fermenting vat since it will stop the process (Corrigan 2001, p. 14). In addition, there is the use of wax resist, which is a technic of using substances that cannot dissolve in the dye, to create specific shapes before washing the wax off with hot water.

Decorative techniques and stitches

Embroidery through stitching is done on small pieces, such as the slaves of jackets or additional material by relying on a base for support. The process is through using the hand and the stitch which is straight or running (Wang 1987, p. 13).

In regards to quality, two elements define its attractiveness and durability which include the richness of the colors as well as the material used (Corrigan 2001, p. 19). The Miao community uses specific types of fabric, thread, and needle to do the embroidery (Wang 1987, p. 10). On the other hand, the richness of color refers to the variety of colors applied in an embroidery piece (Wang 1987, p. 19). The shades differ according to nature of the occasion in the Miao culture (Wang 1987, p. 18). For example, costumes that have very few colors sometimes plain reflect an ordinary day to day wear, a range of colors reflect an occasion of the spiritual event, such as receiving visitors, while those that have a high contrast of colors in shades reflect the highest quality of embroidery (Wang 1987, p. 19). In comparison between northern and southern Miao community of China, the southern ones living in Guazhou produce the highest quality of embroidery (Wang 1987, p. 19).

According to Zeng and Zeng (2009, p. 30), the collector’s value enhances the marketability of the quality costumes, as well as the Miao embroidery products. Most collectors do the business for commercial purposes through buying at a low price and selling expensively to make profits (Zeng and Zeng 2009, p. 30). Some who understand the art and its cultural values collects the different pieces and groups them together according to a particular theme, such as costumes for wedding ceremonies, funeral, or religious occasions (Zeng and Zeng 2009, p. 30). As a result, the cultural value and the number of years invested in embroidering the culture to the fabric becomes more significant than the price value. In the Miao community, the collection value is through four elements which include the art, rarity, impossibility of imitation, and culture (Zeng and Zeng 2009, p. 30). Therefore, when the collectors appreciate the value of the culture of the Miao community in the rural areas through buying costumes, the acceptance in the market promotes the art and culture other than appreciation of its beauty.

Lastly, the collector’s values further promote the Miao embroidery through enhancing its significance and meaning to the rest of the world. In China, Zeng Xianyang and the daughter Zeng Li are considered the largest collectors of the art in the whole of China (Fu 2007, n.p.). Zeng Xianyang began as a reporter and photographer having interests and passion in Miao, where, he contributed his work and collections through multiple mediums. After his death, the daughter (Zeng Li) inherited his work and collection, and funded to establish a museum under her father’s name to showcase the pieces. Also, the daughter funded the publishing of the book Miao Xiu, which is involved as one of the plans of ICH to preserve on Miao’s culture. Further, Zeng Li recounts how being a participant observant helps understand the art while staying with her relatives, leading to learning of the intrinsic value of the traditional dresses and their uniqueness (Dou 2016, p. 50). As a result, sharing the experiences further promotes the cultural values of the Miao community and the beauty of the embroidery through the collection.

How China Provides Solutions for Miao Embroidery and the Underlying difficulties

One of the ways through which the country of China promotes the tradition of Miao embroidery is through the creation of cultural festivals for the art. In the occasions, Miao participants can showcase their skills through competitions. As a result, festivals can attract audiences from different regions to learn and watch the exhibitions. Gradually, the same is passed down from generation to generation for its continuity purposes.

The government had also targeted which market they wanted the message to be sent. For instance, they connected one of the most famous and popular TV show in China (Dad Where Are We Going, Dad?) which is a reality TV show broadcasted on Hunan Television. The content of this TV show features five celebrity fathers who take their children to rural areas to take challenges. In the fifth series, episode eight, the TV show promoted Miao culture, costumes and jewelry by asking the father and children to take challenges in order to win the jewelry as trophy. Also, the show introduces a Miao festival near the end of the episode (Hunan TV Official Channel 2017, n.p.). The reality TV show has a big audience from different regions since all the fathers in the show are famous celebrities who have millions of followers on Weibo. The show has millions of views on YouTube (Hunan TV Official Channel 2017, n.p.).

Another solution is the listing of the unique Miao embroidery as an intangible cultural heritage in China as a way to protect the identity and significance of the custom to the community (Unesco.org. 2017, n.p.). The primary reason is that the beliefs, practices and the history of the Miao are recorded in the designs as there is no written language. Therefore, its preservation and protection by the government is a documentation of that history (Li 2014, p. 62). Further, technology strategies such creating a Miao embroidery database to digitize the skills and new techniques through online platforms can help pass down the knowledge since the offspring can learn the art as well. Besides, the rest of the world can get to learn about the same through the platforms, hence enhancing the creation of its awareness. Other solutions include:

Arrangement for museum shows in different places of the world

Giving support to individual marketers of the Miao embroidery, such as small businesses selling the designs

The most significant underlying challenge is learning the skill, especially in the young generation who use computer technology. In most instances, the Miao women involved in the government initiatives are elderly (Ye 2012, p. 20). Though the skill may be preserved, passing down to the young girls is slowly fading away and needs to be protected in the family traditions of the art which tell the history and perspectives of the community towards the world.

The Contribution of Zeng Xianyang and daughter Zeng Li in preserving Miao embroidery

As indicated earlier, Zeng Xianyang and the daughter Li contributed significantly to the preservation of Miao embroidery in a variety of ways as art collector of the specific traditional items. In China, they are considered the largest collector of the same. Therefore, the family’s activities contribute significantly through recording, displays, and creating awareness the tradition (Zeng and Zeng 2009, p. 16). In this respect, here are strategies through which the Zeng family promotes the art.

Photography

Collections of embroidery dresses from the Miao community

Sharing information in online platforms regarding the skills

Providing education of the technique to other people

Writing books of the embroidery collection for a worldwide audience

Showcase pieces in the Museum of Guizhou Province Nationality Museum in Guiyang which has exhibitions of culture on the 16 minority people in the region regarding their costumes, beliefs, as well as arts and crafts

How the UK Provides Revival Solutions for the Dying Traditional Art Forms

The Prince School of Traditional Arts in London is one of the leading approaches that the UK uses to preserve the cultural heritages through practical teaching, which makes it unique. The school offers courses at postgraduate levels involving Master programs to the students. Also, the institution collaborates with traditional communities around the world to enhance learning of the skills and crafts which have cultural significance and facing a threat of extinction. The short courses contribute to the teaching of techniques from different cultures, such as in Asian countries to students and community members. As a result, the school is critical in the continuity of the traditional heritage by enhancing inheritance of the cultures, arts, and craft.

Some of the strategies include:

Showcasing the tradition in national museums

Publishing books of the Miao embroidery collection

Inviting participants to the floor festivals to participate through the heritage system

Prince School of Traditional Arts classes.



Research Methodology

Research Design

The study uses an ethnographic approach where the researcher is a participant observer. In preparation for the fieldwork of studying the Miao embroidery, which is the primary research, the secondary data from literature review will provide the prior information about this particular practice. Further, the sources will be useful in the development of the research questions and objectives that contribute to understanding the need to protect the heritage of the Miao society in China. The literature review involves the description of the Miao embroidery and philosophy. On the other hand, the ethnographic research section is a presentation of the recordings from two separate days by tutors on the introduction to embroidery course.

Secondary Research

Apart from the ethnographic approach, the thesis also involves an in-depth analysis of data from various secondary sources to provide a framework for explaining the findings from the primary procedures. The purpose of the secondary resources is to enhance the understanding of the Chinese ethnic embroidery background, especially that of the Miao community before the fieldwork. Therefore, this section involves collecting and analyzing information about the Miao embroidery as intangible cultural heritage. The efforts are important to preservation the craft in China and other parts of the world (Han and Gao 2009, n.p.). The secondary research is also carried out as the basis for literature review as well as for discussion of the findings.

Academic sources, such as journals, textbooks, publications, and reports are searched and obtained from online libraries to provide the conceptual framework for the ethnographic reflection. Also, it will help in analyzing the data recorded from the two classes with the tutors. The analysis of the existing information is not only essential for constructing critical arguments for the thesis but is also necessary for supporting the findings of the process as well as for providing an in-depth understanding of the concepts being explored. According to Whitehead (2005, p. 3), ethnography usually begins with the researcher acquiring the available information regarding the people and the culture being studied. In this regard, the ethnographic research in existing literature will involve collection of images and information about the Miao embroidery. As Pink (2013, p. 49) states, an ethnographic researcher has to plan and practice in advance the appropriate visuals, such as images to use in the project before the fieldwork. In another book by Rose (2012, p. 19), the author indicates that there is need to include the site of productions, images themselves, and the audience intended in the planning stage. In this respect, the literature review gives the re...

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