aPoa facra fats at (The West Wears Down the World) By: Brady and Jade Creation: In the beginning, Apabaya, meaning waste in Bangla, was bom from a castaway, unwanted, unloved piece of clothing. Apabaya once manifested herself within a simple pair of jeans. She was created by another woman; a slave to her factory. Apabaja wears her face. Apabaya wanted to see if the world would love her and treat her with respect and kindness. They did not. In a landfill from where she was abandoned, she rose up in retribution against the unloving humans. Apabaya sought to correct the injustice that exists in a world of greed and ; a world where all castaway oblivious consumerism. In her rage, she created a global crisis: clothing seeps poison, destroys landscapes, and corrupts lungs, Apabaya wanted the world to feel the pain that she once endured. There must be consequences for such hatred. Context: Brady’s ISU focuses on the implications of disposing textiles. The issue is an often misunderstood, often downplayed global environmental crisis that should be on the forefront of recycling debates. Jade’s ISU focuses on materialism, and the negative impact it has on developing countries. From creation to disposal, materialism has long-reaching and impactful economic, environmental, and moral intricacies. Our Shaman, Apabaya, combines the issues of materialism and the textile waste crisis, which go hand in hand. As textile waste was a core example of Jade’s topic of materialism, the entire structure revolved around the consumerism of clothing. Where Jade’s topic includes the full implications of both creation and disposal, and Brady’s focuses on the disposal, we sought to base the structure mainly on textile waste. Many clothes are created using foreign, cheap labour which is damaging to both the person and the environment.Theme: The theme of the Shaman revolves around exploitation; how the Wester World fosters underdevelopment through neo-imperialism and economic domination which effectively subjugates the respective country into a status of periphery. More specifically, our Shaman illustrates the complex social issues that emerge as a result of consumerism. In the center of our Shaman is a Bengali worker; a worker in a country that is exploited extensively for its cheap labour. Our Shaman is colourful, another theme that represents certain evils that aren’t necessarily apparent at face value-- certain issues aren’t popular topics of discussion because of -ncing nature of capitalism. Western consumers are bombarded with the exploitative and all: bright and happy advertisements, and brands become virtually synonymous with these happy feelings. Overall, the colourful imagery of the clothes contrast the dark reality of our combined issues. The colourful nature of the clothes is meant to mask the stark nature of sweatshops, poverty, and virtual economic dominance by the Western world.