Easter Eggs

Newall, Venetia

doi:10.2307/538415

Cited by 7 publications

(7 citation statements)

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“…Illustrations of the SEBE methodology come from the specific craft of decorating Easter eggs in Romania. Easter egg decoration is not restricted to this country, or Christian Orthodox communities, and egg decoration more generally has deep historical roots in many cultures across the globe (see Gorovei, 2001;Marian, 1992;Newall, 1967Newall, , 1984. While traditionally dyed in red (reminiscent of the sacrifice of Christ), decorated eggs in Romania often display a variety of geometric and figurative motifs and are nowadays at the centre of a vital and creative custom situated at the crossing between art, religion, folklore and a growing national and international market (see Glӑveanu, 2010).…”

Section: Using the Subcam: Easter Egg Decoration As A Creative Craftmentioning

confidence: 99%

“Through the Creator’s Eyes”: Using the Subjective Camera to Study Craft Creativity 1

Glăveanu¹,

Valsiner²

2017

Thinking Through Creativity and Culture

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The present article addresses a methodological gap in the study of creativity: the difficulty of capturing the microgenesis of creative action in ways that would reflect both its psychological and behavioural dynamics. It explores the use of subjective camera (subcam) by research participants as part of an adapted Subjective Evidence-Based Ethnography (SEBE). This methodology combines: a) obtaining first person audiovisual recordings of creative action with a miniature video-camera worn at eye-level, b) accessing the subjective experience of the participant through a confrontation interview based on the recording, and c) formulating interpretations and discussing them with the participant. Illustrations of the technique are offered from a study of craft creativity, chosen as a test ground for its microlevel forms of creative expression. Findings are presented, exemplifying how the technique enables microscopic description of creativity at both process and content levels. In the end, the benefits, limitations and possible applications of the method are considered in the broader context of creativity studies.

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Section: Using the Subcam: Easter Egg Decoration As A Creative Craftmentioning

confidence: 99%

“Through the Creator’s Eyes”: Using the Subjective Camera to Study Craft Creativity 1

Glăveanu¹,

Valsiner²

2017

Thinking Through Creativity and Culture

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“…Eggs have been part of folklore and local mythologies since times immemorial. In ancient India, China, Tibet, Egypt, Phoenicia, Persia, Greece (Gorovei, 2001;Marian, 1992;Newall, 1967) they were often related to the origin of the world or the idea of totality. Traditions, especially in rural areas, still preserve some of the richness of the practices associated with colored or decorated eggs from pre-Christian times.…”

Section: Easter Eggs At the Confluence Between Folklore Religion Andmentioning

confidence: 99%

“…Eggs are decorated with the help of a chişiţă or condei (see Image 1), a stick with a metal pin at one end used to draw the motifs in wax. Eggs are successively covered with wax on certain portions according to the chosen design and immersed into color (traditionally yellow, followed by red and finally black) so that, in the end, after cleaning the wax off, the egg would show all the desired shapes and colors (Irimie, 1969;Newall, 1967;Zahacinschi and Zahacinschi, 1992). There is an impressive number of motifs used in egg decoration (Gorovei alone listing 291) classified as: geometrical, vegetal (fitomorphic), animal (zoomorphic), anthropomorphic, skeomorphic (objects), and religious (Zahacinschi and Zahacinschi, 1992, p. 35).…”

Section: Image 1 Decorating Eggs With Wax Using a Chişiţămentioning

confidence: 99%

Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft 1

Glăveanu¹,

Valsiner²

2017

Thinking Through Creativity and Culture

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The present article reports on the use of a multiple feedback methodology for the study of creativity evaluations in the case of Romanian Easter eggs. Four groups of evaluators have been chosen-ethnographers, priests, art teachers and folk artists-all members of professional communities relevant for this particular folk art. Respondents almost unanimously appreciated 'traditional' wax decorated eggs as highly creative for their designs, aesthetics and the hard work and talent they require but opinions diverged when commenting on the creativity of other types of Easter eggs. At a more general level, two broad evaluation patters were found, corresponding to whether respondents participate or not in decoration practices. Identifying these patterns comes to reinforce the idea that creativity evaluations, as well as creative activity, are rooted in the social and cultural contexts of the participants and these contexts share important similarities but also marked differences.

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“…Egg decoration is a simultaneously symbolic and material practice. Its symbolism is closely related to that of the egg, an object that plays an important part in creation myths around the world (Newall, 1967). Incorporated by Christianity, the red egg is a reminder of the sacrifice of Christ and broader ideas of rebirth and renewal (evocative of older, pagan beliefs).…”

Section: The Decoration Of Easter Eggsmentioning

confidence: 99%

The function of ornaments: A cultural psychological exploration

Glăveanu

2014

Culture & Psychology

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Ornaments are ubiquitous markers of everyday life and yet frequently ignored, belittled and even contested. Moreover, current definitions locate them in the realm of the aesthetic and gratuitous. This article aims to bring ornaments to the attention of cultural psychologists by outlining a typology of their manifold functions that integrates aesthetic and utilitarian, individual and social roles. Ornaments help us to identify and locate, tell or communicate, remind and organise our action, they guide our attention, express and individualise, can generate an experience, beautify as well as represent. These functions are illustrated with examples from a study of Easter egg decoration practices in northern Romania. In the end, the 'meta-function' of emergence is discussed and consideration is given to the spatial and temporal contexts of ornaments. Future opportunities for theorising ornamentation as an embodied practice characterised by repetition and rhythm are suggested.

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Easter Eggs

Cited by 7 publications

References 0 publications

“Through the Creator’s Eyes”: Using the Subjective Camera to Study Craft Creativity 1

“Through the Creator’s Eyes”: Using the Subjective Camera to Study Craft Creativity 1

Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft 1

The function of ornaments: A cultural psychological exploration

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