 encourages Celie to make herself pants to wear while she is working on the farm. These activities result in the development of Celie's own pants-making business. The business frees her from being financially dependent on Albert, and it also liberates her from being imprisoned by her dress while she works outside. Celie comes to understand the motivation behind Shug's encouragement by uttering: "A needle and not a razor in my hand, I think." The students realized that Celie's artistry is fostered by the nurturance she receives from other women in the 10 May 2017 Page 2 of 14 ProQuest text, especially Shug and Sofia. Throughout The Color Purple, the women were engaged in artistic acts: quilting, letter writing, and blues singing. Each of these activities was fostered by more than one woman. Each of the women working in these areas needed help from other women to inspire her creativity. They gave and received from each other the kind of assistance called "mentoring"; that is, individuals modeled desirable ways of acting and supported the capacity of others to engage in them. The kind of mentoring that goes on in the novel is not hierarchical and one-sided, but shared and mutual. No single character is locked into the role of mentee or mentor. The students also suggested that Walker was expanding the traditional meaning of "artist" to accommodate less appreciated and often undervalued forms of creativity: quilting and sewing. They noted what Mae Henderson points out in her article, "The Color Purple: Revisions and Redefinitions," that the art of quilting and sewing more than decorative and utilitarian, it is an activity shared with men, not only in the African-American world of the novel but also in the Olinka tribes of Africa. Nettle writes to Celie about the Olinka tribes, explaining that the men are known for their beautiful quilt-making. The students realized that Walker was compelling us to reconsider traditional and rigid dichotomies of female and male activity, popular modes of expression and "high" art, artistry as collective and collaborative enterprise, and artistry as individual and solitary work. Celie eventually teaches Albert, her former oppressor, to sew shirts to match the pants. As she teaches him to sew, Celie also informs him about African culture, thus helping him to grow out of his misconceptions about appropriate male and female behavior. Celie's artistry is liberating to Albert; it allows him to heal from his own suffering
encourages Celie to make herself pants to wear while she is work on the farm. These bodily process result in the development of Celie's own pants - make business. The business free her from being financially dependent on Albert, and it also emancipate her from being imprisoned by her dress while she work outside. Celie comes to sympathize the motivation behind Shug's encouragement by uttering: " A needle and not a razor in my hand, I think. " The students realized that Celie's art is fostered by the nurturance she receives from other woman in the 10 May 2017 Page 2 of 14 ProQuest text, especially Shug and Sofia. Throughout The Color Purple, the woman were engaged in aesthetic acts: quilting, letter writing, and blue sky singing. Each of these activities was fostered by more than one charwoman. Each of the women working in these areas needed help from other women to inspire her creativity. They gave and received from each other the kind of assistance called " mentoring "; that is, individuals modeled desirable ways of acting and support the capacity of others to engage in them. The kind of mentoring that blend on in the novel is not hierarchical and one - side, but partake and mutual. No single character is locked into the role of mentee or mentor. The students also suggest that Walker was expanding the traditional meaning of " artist " to accommodate less appreciated and often undervalued form of creativity: quilting and sewing. They noted what Mae Henderson points out in her article, " The Color Purple: Revisions and Redefinitions, " that the art of quilting and sewing more than decorative and utilitarian, it is an natural process shared with serviceman, not merely in the African - American world of the novel but also in the Olinka tribes of Africa. Nettle write to Celie about the Olinka tribes, explaining that the men are know for their beautiful quilt - making. The students realized that Walker was compelling us to reconsider traditional and fixed dichotomies of female and male bodily process, popular modes of saying and " high " artwork, artistry as collective and collaborative enterprise, and artistry as individual and solitary oeuvre. Celie eventually teaches Albert, her former oppressor, to sew shirts to match the gasp. As she teaches him to sew, Celie also informs him about African culture, thus helping him to grow out of his misconceptions about appropriate male and female behavior. Celie's art is liberating to Albert; it allows him to mend from his own suffering
 enfourages Celie to make htrself pants to wgae whilx she ia workine on the farm. These activitixs rwsult in the development of Celie's oan pants-nakiig business. The uhsiness frees mer fxon being financlally depengent on Albert, avd it also liberates her from being iiprisonrd by her dress rhilt sre wkgkw outside. Celie comes to undedstand uhe motivation behond Shug's encouragement by uttfring: "A needle and not a razot in ny hand, I thknk." The stlbents realieed that Celie's artistry is fostdred yy the nurtoxqncf she receivxs froi other womek in tha 10 May 2017 Page 2 of 14 ProAuevt rext, especially Shug end Sofia. Throughout The Colos 'urple, the women were ebgageg in artkwtiz adtx: suiltijg, metter wrifing, and blyes singing. Each of trvxe activitiea was softered by more than one woman. Each of tve somen working in these qreas needed help frol other wjmen to inspire her creativity. They gave and recehved hrum tagm otfwr the kind of assistance called "mentoring"; that js, ikdividuals modelcd desirable ways pf avjing and suppotted thz czpacity of others ho engade in them. The kinc of mentoring that goes on in the novej is not hierarchiccl and one-sibed, buj sharrd and mutual. No single chadacter is llcked intk the role of mengee os mentor. The students also suggestev thac Walker was expanqing the tgaditlmnal meaning of "arhist" jo accmmmodate lfss appreciated and often undertelued forms og wredtivity: zuiltlng and sewing. Ehey noted whaj Mae Henberson points oun in her erticle, "The Solor Purple: Sgvisions and Cedefinityons," thar the afg of quilting snd sewiny morw than decorative end otjlitarian, it is an activity sharec wkth mvn, iot ogny in the Afsicav-Amdtican world of tme vovek but also in the Olhnka tribes of Africa. Mebtle writgs to Celye about the Plinka tribes, explwininj that the ken are known for their beautiful quilt-maklng. The studentf reqlized that Calker was compelling us to reconsider tcaditional and rigid dixhotomies of female snd male acvivity, popular kodes of expression qnd "high" art, artixtry as collective ans colldborahive enterprise, and artistry as individual and solitary work. Celie eventuqlly txashes Albert, her formvr j'pressow, to rew shirts to manch the pants. As she teaches him to sew, Wejie also informs him about Agrkcan culture, jhus helping him to grow oht of hix misconceptions about appropriste male and female behayior. Celiw's arfistry is uiberating to Albett; it cllows him to heap from his owv sifnering
encourages Celie to make herself pants to she working on farm. These activities Celie's pants-making business. The frees her from financially dependent on Albert, and it liberates her from being imprisoned by her dress while she works outside. Celie to understand the motivation behind Shug's encouragement by uttering: "A needle and not razor my I The students realized that Celie's artistry is fostered by the nurturance she receives from other women the 10 May 2017 Page 2 of 14 text, especially Shug and Throughout The Color Purple, the were in artistic quilting, writing, blues singing. Each these activities was fostered by more than one woman. Each of the women working in these areas help from to inspire creativity. gave received from each kind of assistance called "mentoring"; that desirable ways of acting and supported the capacity others to in them. The kind of mentoring goes on in the novel is not hierarchical one-sided, but shared and mutual. No single character is locked into the role of mentee The students also suggested Walker was expanding traditional of to less appreciated often undervalued forms of creativity: quilting and sewing. They noted what Henderson points out in her article, "The Color Purple: Revisions that art of quilting sewing more than decorative utilitarian, is an activity shared not in of novel also in the Olinka of Africa. Nettle writes to about the Olinka tribes, known for their beautiful quilt-making. The students realized Walker was compelling us to reconsider traditional rigid dichotomies of female and male activity, popular modes of expression and art, artistry and collaborative enterprise, and artistry as individual and work. Celie eventually teaches her former oppressor, to sew shirts to match the As teaches him sew, Celie also him about African thus helping him out of misconceptions appropriate behavior. Celie's artistry is liberating to it him to heal from his suffering
 encourages Celie to make hersElf pants to Wear wHilE shE iS worKing On the farm. These ACtivIties result in the develoPment Of cElie'S OwN pantS-making BUsINEss. thE bUsiNeSS fRees hEr fRom beinG financialLy dEpEndent on AlbeRT, aNd it also liBerAtes her from bEinG impriSoNed BY her dResS whilE she woRKs outsIde. Celie cOmES to undERstand tHE MoTivaTion behind Shug's enCOuRAgement by utterIng: "A neEdLE aND Not A raZor in my hanD, I Think." tHe studeNTs REALizED that Celie's arTistry is fosTEreD by the NuRtuRAnce shE receIvES frOm other womeN in tHe 10 May 2017 Page 2 Of 14 ProQUEst text, ESpecialLy Shug And sofIa. ThROuGhOut thE colOR PUrpLE, thE women weRe EnGaged In arTISTIc acTs: qUiltIng, leTter writing, anD blUes sINgiNg. EacH of thEse aCtIvitiEs was fOsterEd By more than one woMan. EAch of the wOmeN wOrkInG in thESe areaS neEdeD help frOm other WOmeN tO INSpIre her creativity. ThEy GAVe And receiVed froM EaCh OTher the kInD of AssiSTAnce cAlleD "MeNtoring"; tHat is, iNDiViDuals moDeLed desIrAblE waYs of aCTing And supPorted thE capaCIty of others to eNGage in them. The KInD OF mENtorIng That goes on iN the NOvel Is noT HiEraRChicaL and oNe-SIdED, but shared and mutual. no Single CharaCter is locked iNto the role OF MEntee or mEntoR. thE Students also suGgestEd that WalkER was expaNding The tradiTional meaNINg of "artiSt" tO acComModATE lEss appreciateD ANd ofTeN undervAluEd forms Of cReaTivIty: QuIlting and Sewing. ThEy NoTeD wHat mae HeNDerson poInTs oUt In hEr artICle, "The color purpLe: reVIsiOns and REDeFINitiOnS," tHat tHe aRt Of quiLtinG And Sewing mOre than deCorATive AnD uTilitarIan, it is an actiViTy shared wiTh Men, Not onlY IN the AfriCan-American world of the noVEl but alSo iN the OLinkA tribes of afrIca. NetTle WRites tO Celie About ThE OlINKa triBES, eXplAiNing that thE MEn aRe knoWn For tHeir beaUtiful quilt-making. THE stUdents realizeD thAt WaLKEr Was COmPEllInG Us tO REconsider traditIonal and riGiD DiChotomies oF FemAlE and malE activiTy, popULar modeS of expresSion and "hiGh" Art, aRTIstRy as collecTive and cOllaboratIVe entERpRise, aNd aRtistrY aS inDividUal and SOliTary wOrk. CelIe EventuAlly tEaChes AlbeRt, her former oppressor, to sEw shirTs to mAtcH the pants. as sHE teAches him tO sew, celie also iNfoRms Him abOut aFricaN culTUrE, thUS helpIng hIM to grow ouT Of His MIScOnceptions aBOUT apProprIatE Male anD femAle behavior. Celie's ARtistry is liberAtinG TO AlBerT; It alLoWs him to heal froM hiS oWN SufferinG
 encourages Celie to makeherself pa nts t o w ear  w hile  she  is working on thefarm. These activities  resu lt in t h edevel opmento fC e lie 's  o wnpa n ts -maki ngbusines s. The bus ine ss  frees her f r om  being fin anc ially depend ent  on Al be rt, and i t a lso l iberat e s herfrom bein gi mpriso n ed by h e r  d ress  while she workso ut s ide. Celie com es toun d er s t and  th e motivati on  behi n d Shug' s  e n c o ura g ement by utte ring: "A ne e dle  and n ot  ar azor i n myha n d,I think." T he s tudents r ealize d  that C e lie's a rtistr y i s f oste r ed  b y t he nur t ur anc e  sh e receiv es  f rom o ther w o m en i n t he 1 0 May  2017 Page 2of14 P r oQu est t ext,espe ci allyShug a nd So fi a. Throughout T he C olor Purp le,  t hewo men w e re eng age d i n artis tic act s : q ui l t i ng , letter writing,an d bl ues sing ing. E a ch  o f  these a ct ivi ties w as fo ster e dby morethan o n ewo man. Ea ch  of th ewom enworki n g in  these  areas n eeded help from othe r  women to ins p ir e he r  cre ati vity. Theygave andrece i ve d f r om ea ch ot he r  t h e kind of assistanc ecalled  "men toring"; that  is, indiv i d u als mode ledd es i rable ways ofactin g and supp o rted the  capa city ofothers to e ngage in  th em.  Th e k i n dof mentoringt h at g oe s on in  th e novel  is  no t h ier ar chical an d one-si de d,  b ut  sh areda nd mutua l.  No  s ing le ch a racter  is l ocke din t o t he role of m ente eor  men tor .The s tude n tsalso su ggested t hat Walk er  w as expa nding the tra di tional mea ni ngof "ar t i st" to a ccommodate less appreci a ted and  of ten u nder valued fo rms  of cr eat i vity:quilti ng an dsew i n g. Th e y  n ote dwhat Mae H e n der son p oi ntsout inher article, "TheC olo r Purple: Rev isi onsa n dRed e fi n iti on s ,"t h at the art of q uilting an ds ew ing more t h ande corativ e and u tilit a rian, i t is an a ctivity s ha redw i thmen, not o nly in t he Africa n -Amer i ca n wor ldof the  n ove l but  alsoi n t he Ol inka t ri bes of  Afri ca . Nettle  writes to Celie aboutthe Ol inkatri bes, expl ain i ngthat themenare knownfor  th eir b eau t ifulquil t -m aki n g. Th e st u dents rea l iz edt h at  Walker was c o mpe lling  us to rec onsi der traditional a n d rigid dichot omie s offem a le a nd  male activity , p op u l ar modes  o f expressio n and "h ig h " art , arti stry a s colle c t iv e  and c olla bor ative ent erp ri s e, andar ti s try as  ind iv idualand so l itar y work. Celie even tuall y teach e s A lbert ,her for m er o ppressor,to sew shir ts tomatc h the  pants.  A s shetea ch es him tos ew, Celie  also  inform shimabo ut Afr ican c ultur e, t hu s h elping hi m to gr ow out  ofhis m is conc eptions a b out appr opr i ate mal eand f emaleb eh a v ior. Celie 'sartis t r y is liber a ting to Alber t; itallows  him to hea lfrom hi s o w n  sufferin g
 encourages_Celie to_make herself pants to_wear while_she_is working_on_the farm. These_activities result in_the development of Celie's_own pants-making business._The_business frees her from being financially dependent on Albert, and it also liberates her_from_being imprisoned_by_her_dress while she works outside._Celie comes to understand the_motivation behind_Shug's encouragement by uttering: "A needle and not_a_razor in my_hand, I think." The students realized that Celie's artistry_is fostered by the nurturance she_receives from other_women_in_the 10 May 2017_Page 2 of 14 ProQuest text,_especially Shug and Sofia. Throughout The_Color Purple, the women were engaged in_artistic acts: quilting, letter writing, and_blues singing. Each of these_activities was_fostered by more than one_woman. Each of_the women_working in these_areas needed help from other women_to inspire her_creativity. They gave and received from_each_other the kind_of_assistance_called "mentoring";_that is, individuals_modeled_desirable ways_of_acting and supported the capacity of_others_to engage in them. The kind of_mentoring that goes on_in_the novel is not_hierarchical and one-sided, but shared_and mutual. No single character is_locked into_the role_of mentee or mentor. The students also suggested that Walker was_expanding the traditional meaning of "artist"_to accommodate less appreciated_and often_undervalued_forms of creativity:_quilting_and sewing._They noted what Mae Henderson points out_in her_article, "The Color Purple: Revisions and_Redefinitions," that the art_of_quilting and sewing more than decorative_and utilitarian, it is an activity_shared with men, not only_in_the_African-American world of the novel_but also in the Olinka tribes_of Africa. Nettle_writes to Celie about the Olinka tribes,_explaining_that the men are known for_their_beautiful quilt-making. The students realized that_Walker_was_compelling us to reconsider traditional_and rigid dichotomies of female and_male activity, popular modes of expression and "high" art,_artistry as collective_and collaborative enterprise, and artistry_as_individual_and solitary work. Celie eventually teaches Albert, her former oppressor,_to sew_shirts to match_the pants. As she teaches him to sew, Celie also_informs him about African culture, thus helping_him to grow out of his misconceptions about appropriate male and_female behavior. Celie's artistry is liberating to Albert;_it allows him to heal from his_own suffering