Journal articles on the topic 'Art and craft education'
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Kokko, Sirpa. "Orientations on studying crafts in higher education." Craft Research 13, no. 2 (September 1, 2022): 411–32. http://dx.doi.org/10.1386/crre_00086_1.
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Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultural heritage of crafts and design-based crafts. Both similarities and differences were found. The targets, prospective career paths and pedagogical methods of these study programmes were adapted to the broader targets of the various departments. Craft teaching followed the basic principles of studio pedagogy. The sought-after skill acquisition level varied from expressive purposes to ability to make quality products. There were also differences in whether a programme focused on a specific craft field or covered a broad spectrum. The requirements of academization were adapted in all study programmes. However, the role of writing differed from free and short reflective writing in the art department to a strict academic writing style in the education department. Professional goals varied from becoming a teacher or an artist to self-employment in a small-scale craft enterprise or achieving commercial success in industrial production. Concerns about losing craft traditions and dedication to maintaining them were shared across programmes. Despite being situated on the outskirts of academia, the status of crafts as an HE discipline adds value and visibility to the crafts and strengthens their identities.
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Wisdiarman, Wisdiarman, Ariusmedi Ariusmedi, Erwin Erwin, and Suib Awrus. "EMPOWERING THE JUNIOR HIGH SCHOOL TEACHERS IN BUKITTINGGI TO OVERCOME THE PROBLEMS IN LEARNING CRAFTS." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 19, no. 2 (December 3, 2018): 159. http://dx.doi.org/10.24036/komposisi.v19i2.101776.
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Crafting in junior high school consists of some learning materials such as handcrafting, processing, engineering, and cultivating. The learning material that must be given junior high school students in Bukittinggi is crafting because it is appropriate with the conditions of the area that is close to the centers of handicrafts. In fact, the problem found from the observation was that the teachers generally (82,73%) are not from the art and craft education. The teachers who are from art or craft education will be easier to teach crafts than those who are not. Those who are not from art education got problems in the implementation of craft learning materials. It was happened because they did not master or did not have enough experience about it. Moreover, the junior high school teachers also lacked of learning strategies that are in line with the demands of the 2013 curriculum. As a result, the implementation of craft learning, especially craft materials, did not run well. The solution offered to solve the above-mentioned problems was the application of science and technology with several approaches; 1) designing, 2) counseling by presenting training material, 3) training in crafting and designing learning strategies, and 4) mentoring. The results of this activity were; 1) Most of junior high school teachers (77.77%) have mastered the craft materials given, especially makrame and woven crafts, 2) Most of them (88.88%) have mastered learning strategies that are in line with scientific approaches in the 2013 Curriculum. Keywords: Increasing teachers’ ability, craft learning, craft learning materials, learning strategies in 2013 curriculum
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Gale, Richard A., and Lloyd Bond. "Assessing the Art of Craft." Journal of General Education 56, no. 2 (January 1, 2007): 126–48. http://dx.doi.org/10.2307/27798072.
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ABSTRACT Assessment of craft in the creative/fine/performing arts is not different in any fundamental way from assessment of other competencies. By investigating the nature of critique and proposing a structural approach to examination/evaluation, we address process and goals of assessment, providing access points for this difficult aspect of general education.
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Sugiarto, Eko, Tjetjep Rohendi Rohidi, and Dharsono Sony Kartika. "The art education construction of woven craft society in Kudus Regency." Harmonia: Journal of Arts Research and Education 17, no. 1 (June 16, 2017): 87. http://dx.doi.org/10.15294/harmonia.v17i1.8837.
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<p>One example of society-based local art which is constantly enculturated is woven craft of Desa Jepang (Jepang Village) Kecamatan Mejobo in Kudus Regency. This paper aims at explaining the enculturation of woven craft grown in Jepang village Kudus Regency Central Java Province Indonesia as a form society-based art education. The approach employed in this study was qualitative with the cased study as the research design. Data were collected through observation, non-structural interview, as well as documentation study with interactive model analysis. Research results show that art education grows within the society as the result of enculturation process of woven craft art in Jepang Village that takes place in the forms of: (1) the transmission of the craft skill and (2) the transmission of socio-cultural values. The transmission process is done between the old and young generations both in informal and non-formal ways. The woven craft of Jepang Village as an art product that has been enculturated is unique in terms of its form, media, technique, idea, as well as the modification aspects.</p>
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Granrose, John T. "The Art and Craft of Teaching." Teaching Philosophy 8, no. 2 (1985): 188–89. http://dx.doi.org/10.5840/teachphil19858250.
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Galkina, Marina. "Traditions of folk culture and education." E3S Web of Conferences 284 (2021): 08015. http://dx.doi.org/10.1051/e3sconf/202128408015.
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The research on problems on preserving identity of tradition folk art and craft for strategic objective to design modern methods and tools in order to contribute to the creation of an education process. Experience was acquired in conducting relevant large-scale festivals, competitions, science conferences clearly demonstrated the younger generations growing ability in ownership to provide effective Russian Art cultural. Increased attention to realize workshops with Folk art and craft in the Moscow region system of additional education indicated positive dynamic for introducing teachers and children’s through period 2010-2020 years. It is notable for protection cultural historical heritage areas of Moscow region, which directed towards traditional Russian decorative Art especially over the past years.
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Cowie, Edward. "Book Review: Teaching Art, Craft and Design." Australian Journal of Education 38, no. 1 (April 1994): 97–98. http://dx.doi.org/10.1177/000494419403800107.
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Steers, John. "Art, Craft, and Design Education in Great Britain." Art Education 42, no. 1 (January 1989): 6. http://dx.doi.org/10.2307/3193182.
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Ali, Mohammed Feroz. "Challenges Faced by Secondary Teachers in Teaching Arts Education in Fiji - A Case Study of Western Division." IRA International Journal of Education and Multidisciplinary Studies 10, no. 3 (April 6, 2018): 48. http://dx.doi.org/10.21013/jems.v10.n3.p4.
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<p>Art and craft education is the area of learning which is based upon the visual, drawing, painting, pottery, weaving, print making, making artifacts using recycled materials and to name a few. This research focuses on the challenges<strong> </strong><strong>faced by secondary teachers in teaching Arts Education.</strong> The idea was researched to establish how art and craft education can be utilized to increase levels of confidence, motivation and skills in Secondary school teachers. The research used a mixed method approach for gathering results. This study, using a questionnaire designed by the investigator, provided an insight into secondary art and craft teachers, principals and curriculum developers of art education. A group of 20 participants was selected through convenient sampling for the purpose of this study. Findings show a positive correlation between the art and craft program at the center of this research and the advancement of the skill acquisition, motivation and confidence. The recommendations after the study and analysis of results should enshrine great details on how art and craft can become a mainstream subject and shed its light on the minds of the children to gain its due respect and position to where it naturally belongs.</p>
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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.
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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.
The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula.
Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research
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Hung, Chi-Sen, Tien-Li Chen, and Yun-Chi Lee. "From Cultural Heritage Preservation to Art Craft Education: A Study on Taiwan Traditional Lacquerware Art Preservation and Training." Education Sciences 11, no. 12 (December 9, 2021): 801. http://dx.doi.org/10.3390/educsci11120801.
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In Taiwan, preservation and training policies of intangible cultural assets are highly valued by the government. In this study, lacquerware art craft education as intangible cultural heritage is the subject of this study. We conducted in-depth interviews and secondary data collection to obtain research data and carried out a grounded theory data analysis method through expert meetings to explore the passing on education strategy of “lacquerware art craft” in Taiwan. Firstly, based on Bloom’s educational objectives, the study analyzed three aspects of lacquer art education: cognitive, affection and skill, and proposed a “Lacquerware Art Passing-On Education Framework Diagram”. Later, the analysis results of the grounded theory enable us to summarize the “Lacquerware art value and learning structure diagram”. In this structure, it reveals that the Lacquerware artist’s way of thinking about the craft levels can echo the system of the Three Extremes of the Tao in the Book of Changes and divide the value levels of creation into the levels of tools of livelihood, way of living and philosophy of life.
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Knobel, Michele, and Colin Lankshear. "Remix: The Art and Craft of Endless Hybridization." Journal of Adolescent & Adult Literacy 52, no. 1 (September 2008): 22–33. http://dx.doi.org/10.1598/jaal.52.1.3.
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Almamari, Badar Mohammed, Fakhriya Al-Yahayai, and Mohammed Alamri. "Traditional Omani Crafts Approaches To Identity." Technium Social Sciences Journal 10 (July 28, 2020): 566–78. http://dx.doi.org/10.47577/tssj.v10i1.1328.
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The purpose of this study is to identify how landscapes, places, and geographical forms of land influenced craft making identity by addressing Omani crafts enterprises in urban and rural areas. This has been done by interviewing local craftspeople and analysing their responses as a qualitative data collection method using open-ended questions to seek reliability and credibility in the study. The interviews in this research were mostly conducted with participants belonging to ten enterprises under the management of the Public Authority for Crafts Industries (PACI), Department of Art Education and the Handcrafts Centre. Consequently, this study highlights the importance of studying the influence of landscapes, places, and geographical forms in shaping local people's crafts identity by investigating their craft industries in rural and urban areas.
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Yalçın Wells, Şehnaz. "A study of art and craft teaching programs according to their function of generating "industrial design education" qualification for teacher candidates." Pegem Eğitim ve Öğretim Dergisi 4, no. 1 (March 1, 2014): 75–102. http://dx.doi.org/10.14527/pegegog.2014.005.
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The purpose of this study is to evaluate the function of art and craft teachers programs, based on opinions of teachers graduated from art and craft teachers undergraduate program, for making the teacher candidates gain the "Industrial Design Education" qualification, which is a part of the Fine Arts classes in primary and secondary schools. The research has been conducted with a qualitative research approach. Participants in the research are 43 teachers graduated from Marmara University Atatürk Education Faculty Art and Craft Teaching undergraduate program. Data has been collected by document analysis techniques and surveys developed by the researcher. The transcripts of the teacher candidates graduated at different years from this program are done by examining the documents. The research has been conducted with a qualitative research approach. The research showed that teachers evaluate the industrial design education qualification function of the art and craft teachers undergraduate program according to workshop diversity, workshop course hours, and the content of the program. (i)Teachers are generally negative about the branching that develops in time within the structure of the program. (ii)They think it is a must for teacher candidates to participate in several workshops to gain the required professional qualification for their branch. (iii) And teachers affirm the regulation of craft design workshop as industrial workshop. (iv) they also stress the importance of course hours and program content. On the other hand, teachers make several suggestions about developing the program, the purpose of the program, education method and environment, cooperation between academicians and institutions, so that the art and craft undergraduate program can function more effectively.
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Maaruf, Siti Zuraida, and Mohamad Nizam Bin Mohamad Helmi. "Innovating Culturally Responsive Pedagogy With the Craft Fun Kit (CFK)." European Journal of Social & Behavioural Sciences 30, no. 3 (August 31, 2021): 251–63. http://dx.doi.org/10.15405/ejsbs.303.
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This study presents findings on the implementation of a teaching learning tool to enhance culturally responsive learning to enhance awareness of and knowledge about Malaysian traditional crafts in Visual Art classes. Most research in the Malaysian context exploring culturally responsive pedagogical methods has investigated theoretical and general properties, but few have attempted to investigate innovating tools to improve teaching and learning in schools and higher education. New methods with interesting features to teach certain cultural elements will not only trigger learning but can also instil the targeted values in students especially those living in multi racial countries. Using the Design and Development Method for one such tool, this study presents an evaluation of the Craft Fun Kit utilised by an experienced Visual Arts Education teacher in his class to study the students’ responses to and acceptance of the tool both to enhance learning and multicultural awareness. The overall results found that the Craft Fun Kit is relevant and appropriate as a learning tool which can enable students to attain Visual Art education learning outcomes at the secondary school level in Malaysia.
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Nimkulrat, Nithikul. "Material inspiration: From practice-led research to craft art education." Craft Research 1, no. 1 (September 2010): 63–84. http://dx.doi.org/10.1386/crre.1.63_1.
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McCannon, Desdemona. "Pattern and pedagogy in print: Art and Craft Education in the mid twentieth-century classroom." Journal of Illustration 6, no. 2 (December 1, 2019): 241–63. http://dx.doi.org/10.1386/jill_00013_1.
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Abstract In this article I compare a set of early and mid-twentieth-century print publications supportive of the 'new' art teaching in schools. The educator Marion Richardson's reflections on her use of pattern in the classroom in Art and the Child (1948) is considered alongside publications by artist-teachers such as Robin Tanner's Children's Work in Block Printing (1936) and Gwen White's A World of Pattern (1957). The monthly publication Art and Craft Education first published in 1936 was a magazine for teachers of art which showcased the work being done in schools around Britain that were involved in the 'new' art instruction. Pattern-making in schools in these publications is positioned as a modular and constructivist form of learning encouraging multisensory and exploratory ways of looking at and making sense of the world. Ackerman (2004) outlining theories of constructivist models for learning stresses the need for children to be 'builders of their own cognitive tools', and I argue that the exploration of pattern offers multiple strategies for the children to explore their phenomenological experience of the world. Pattern-making is also presented as a democratic form of creativity and a means of introducing the concept of art into everyday life, inculcating an appreciation of well-made things in daily life. I argue that through the lens of this pedagogic print culture with this emphasis on the benefits of teaching pattern-making in schools a nostalgic and pastoral English arts and crafts sensibility can be seen meeting a modernist cultural agenda via psychological theories of child development, creating a distinctively egalitarian, child-centred and craft-led model for learning. Revisiting this moment in childrens' education in Britain offers a timely insight into alternatives to the current educational landscape, with its emphasis on measuring pupil's achievement and downgrading of creative subjects in the school curriculum.
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Addison, Nicholas. "The art and craft of pedagogy: portraits of effective teachers." Cambridge Journal of Education 43, no. 1 (March 2013): 139–40. http://dx.doi.org/10.1080/0305764x.2013.767541.
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Ward, Henry. "The art and craft of pedagogy. Portraits of effective teachers." Journal of Education for Teaching 38, no. 5 (September 11, 2012): 636–38. http://dx.doi.org/10.1080/02607476.2012.714127.
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Barrett, Maurice. "Art, craft and design and the national curriculum." Education 3-13 18, no. 3 (October 1990): 46–49. http://dx.doi.org/10.1080/03004279085200321.
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Akobirova, Madina B. "THE ROLE OF "FOLK CRAFT" SCIENCE IN IMPROVING THE LIVING CULTURE AND SPIRITUALITY OF THE PEOPLE." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 12 (December 1, 2021): 135–39. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-27.
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In this article, the role of “folk art” as one of the specialty disciplines for students in the direction of “technological education” in raising the life culture and spirituality of the people, types of Uzbek folk art, stages of history and development of Applied Art, types, history and technology of weaving, carpet weaving, decorative art are highlighted.
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Bishop, Wendy, and Mimi Schwartz. "Writer's Craft, Teacher's Art: Teaching What We Know." College Composition and Communication 43, no. 1 (February 1992): 101. http://dx.doi.org/10.2307/357373.
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Khandelwal, Pooja. "The Craft of Dentist in the Art of Sports." International Journal of Applied Science 4, no. 2 (July 12, 2021): p1. http://dx.doi.org/10.30560/ijas.v4n2p1.
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Sports is an integral part of life and has become a career option for many. This article is based on the injuries that are both soft and hard tissue injuries encountered in sports and studies on the incidence of orofacial injuries by various authors, their prevention and protection with the use of special appliances. Immediate and long treatment of dental injuries and their rehabilitation. This article also talks about the current guidelines to practice as a Sports dentist. The data is collected from PubMed, ResearchGate, International journal of physical education, sports and health, European Journal of Molecular & Clinical Medicine, International Dental Journal, academyforsportsdentistry.org.
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Vlasyuk, Olena. "PROFESSIONAL TRAINING OF FUTURE SPECIALISTS OF ARTS AND CRAFTS." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 152–62. http://dx.doi.org/10.33989/2226-4051.2016.13.171553.
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The article analyzes the state of Ukrainian art education. The basic ways and prospects of training in higher art’s education in Rivne State Humanitarian University at the Department of fine and decorative art are observed. The question of artistic staff training in Ukraine is very interesting in the context of Ukrainian national school of fine and decorative art. The need for professional training in the field of decorative art was caused by its historical traditions, its aesthetic and practical importance for professional artists and for ordinary people.Therefore, it is possible to solve this problem by integrating the historical experience accumulated and effective approaches to teaching arts and crafts. Thus, there is a clear need for a study towards arts and craft’s professional training and optimal ways of its realization.Educational activities of Department of fine and decorative art of Rivne State Humanitarian University are analyzed in this article.Contemporary tradition of sharing the experience of artistic activity while studying is observed; it is advisable to turn to the works of scientists, which were elaborated during historical practice of training of masters of Arts and crafts. In historical retrospective all these researches kept to the actual ideas about the need for the future artist-craftsmen capacity mastering by taking into consideration the craft traditions and direct involvement into the production process under the guidance of experienced teachers. Their skills and personal qualities will positively affect the student’s success. In addition, the information stated in their works, shows, that the dominant teaching of arts and crafts was a practical component, conducted for a long time by involving students in to the manufacturing process and practical production technology.Professional training of artists and craftsmen in Ukraine is based both on European and national traditions and was conducted in the early twentieth century mainly in departments of arts and crafts in cooperatives, in crafts, stationary craft educational workshops, mobile model studios, art schools (including artistic and industrial schools). Due to the links between folk and professional art, the links between crafts and fine arts, various methodological grounds are available; the students master the technology of decorative and craft products making, they also receive some knowledge of the theory and practice of handicrafts, technological processes of drawing, composition, drawing, secondary and special disciplines.The results of the current research towards the problems of artist-master of arts and crafts training coincides with the thoughts of the scholars, who believe this phenomenon to be complex, ambivalent socio-pedagogical phenomenon, that combines the personal, ethnology and authentic aspects and requires conciliation with the principles of ethnology studies.In Rivne State Humanitarian University at the Department of fine and decorative art future specialist’s training is implemented during educational process, aimed to transforming of the professional activity experience, preserved by humanity, on to subjective, individual heritage, which enables the exteriorization of professional experience, it’s transformation in to individual-psychological heritage and at the same time enables formation of the future artist and master of arts and crafts as a subject of art reproduction of material world in decorative and applied products on the base of comprehension of cultural and historical experience of production and materialization of national art ideas and values.Future professionals of arts and crafts training introduced in Rivne State Humanitarian University was meant to provide a broad range of opportunities to gain knowledge and skills, that enable the personal realization while constant process of improvement, strengthening the ability to search and find the up-to-date information, to learn inspired and excited with the joy of creation.This article does not elaborate all aspects of the problem. Further researches of the questions, concerning the teaching and training of future professionals of arts and crafts have great prospects.
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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.
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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.
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Maaruf, Siti Zuraida, Wan Nur Nadia Hanin Wan Abdul Hamid, and Muhammad Faiz Sabri. "UPCYCLING JUNK ART AND CRAFT MODULE TO NURTURE CREATIVITY OF CHILDREN." Malaysian Journal of Sustainable Environment 8, no. 3 (October 26, 2021): 55. http://dx.doi.org/10.24191/myse.v8i3.15889.
Full textAbstract:
Up-cycling is a sustainable alternative incorporating the prevalent 3Rs of Recycle, Reuse, and Reduce of used items in campaigns to save the environment. The ‘DIY Art and Craft Activity Module’ is used as a scaffolding tool to enhance environmental awareness and its impact among primary school children through Visual Arts Education. This research utilised the Design Development Research Method (DDR) comprising of three phases namely; Phase 1: Needs Analysis, Phase 2: Design and Development, and Phase 3: Implementation and Evaluation. The data was collected by interviewing Visual Art teachers on the usability of the module and document analysis on the collection of artworks produced by students. Findings of this study demonstrated positive feedback from the teachers and students on the usability of the Junk Art module as supplementary learning material in order to enhance recycling awareness among Primary School students through Visual Art Education.
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Karppinen, Seija. "Craft-Art as a Basis for Human Activity." International Journal of Art & Design Education 27, no. 1 (February 2008): 83–90. http://dx.doi.org/10.1111/j.1476-8070.2008.00560.x.
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Lupton, Mandy, and Christine Bruce. "Craft, process and art: Teaching and learning music composition in higher education." British Journal of Music Education 27, no. 3 (September 22, 2010): 271–87. http://dx.doi.org/10.1017/s0265051710000239.
Full textAbstract:
This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.
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Penketh, Claire. "Historicizing an Ocularnormative Future for Art Education." Journal of Literary & Cultural Disability Studies 16, no. 1 (February 1, 2022): 5–22. http://dx.doi.org/10.3828/jlcds.2022.2.
Full textAbstract:
The future of art education is shaped by its past, yet the history of art education in special or segregated schools is largely absent from authorized histories of the subject. Previous historical accounts of educational policy and practice establish art and disability as parallel concerns. However, the emergence of educational institutions to promote the visual arts and the contemporaneous establishment of segregated education for disabled children and young people indicate the significance of capitalist industrialization on the production of both. Beginning in the mid-nineteenth century, the article examines parallel histories and the futurity they imagine via an exploration of two key texts: Arthur Efland’s A History of Art Education (1990) and Michael Royden’s history of the Royal School for the Blind in Liverpool, Pioneers and Perseverence (1991). An increased emphasis on observation and drawing as a means of enhancing quality in British design prescribed an ocularnormative future for art education at this time while education at the Royal School for the Blind shifted its emphasis from technical, craft, and arts-based training to a literacy-based education. The article discusses the relevance of these parallel concerns and the apparent inevitability of an ocularnormative future for art education.
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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
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Ogutu, Wanyama. "The Dynamics of Art and Craft Curriculum in Enhancing Child Growth and Development." East African Journal of Education Studies 2, no. 1 (April 8, 2020): 18–24. http://dx.doi.org/10.37284/eajes.2.1.134.
Full textAbstract:
As the government of Kenya is geared towards achieving sustainable development goals and Kenya Big 4 Agenda, the Ministry of Education rolled out the new education system 2-6-3-3-3 dubbed “Competence Base Curriculum” whose mission is to nurture every learner’s potential. It received overwhelming appraisal from different stakeholders;- locally and internationally eliciting debates in the local media, radio and television talk shows. Prior to this bold step in the curriculum, the government of Kenya set up various taskforces to review the 8.4.4 curricula in 1992, 1995, 2002, 2009 and 2011, reviewed by the late Professor Douglas Odhiambo which asserted the atrocities of children not developing to their full potential and its negative effect in threatening the realization of Kenya Vision 2030. The paper has established diverse ways in which the curriculum in art and craft is enhancing the growth and development of a child’s emotional, physical, cognitive, and creativity. It has hypothetical employ qualitative analysis to examine art and craft in terms of the art stages of growth and development of a child. Further, the paper has briefly observed that naturalistic child growth and development of Leonardo Da Vinci - (A high renaissance artist of 14th century)- and the researcher’s teaching experience, as the case study and scope. It has concluded that any curriculum design ought to consider art and craft because it has an inherent psychological and development power that develops a child into full potential.
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Widhyasmaramurti, Widhyasmaramurti, Ari Prasetiyo, and Dwi Kristianto. "The Metal Art Industry in Tumang, Cepogo, Boyolali: Preservation and Development Recommendation Policy." Indonesian Journal of Multidisciplinary Science 1, no. 4 (January 28, 2022): 436–51. http://dx.doi.org/10.55324/ijoms.v1i4.84.
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Nowadays, the craftsman is considered a profession that does not need higher education requirements; thus, it creates a wider gap in the craftsmen's regeneration. Tumang's younger generation prefers to work as resellers instead of becoming craftsmen. This study aims to provide policy recommendations that support the preservation of the Tumang Copper Craft Art as traditional Indonesian knowledge. The research uses a qualitative method with a participatory action research approach. It focuses on group discussions with copper artisans and sellers in Tumang on collecting data on the field's challenges and interviews with policymakers to obtain appropriate policy recommendations. The results show that supporting the regeneration process is necessary. The request of public policy needs to be linked to formal education in schools through the Education and Culture Office and efforts to increase the capacity of artisans through the Community and Village Empowerment Service. Moreover, to ensure that the recommendation to support the preservation and development of the Copper Craft Art can be implemented, a public policy recommendation with legality is in the form of a Regent's Regulation because it may cover both education and community empowerment in Tumang.
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Nikonov, Vadim M. "GZHEL CERAMIC SCHOOL IN 1918–1925 IN THE ARCHIVAL DOCUMENTS OF THE RUSSIAN STATE ARCHIVE OF LITERATURE AND ARTS AND CENTRAL STATE ARCHIVE OF THE MOSCOW REGION." History and Archives, no. 4 (2021): 115–33. http://dx.doi.org/10.28995/2658-6541-2021-4-115-133.
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The article considers the documents related to the work of the Gzhel Ceramic School in the first half of the 1920s. This period became one of the defining stages of the development of art and industrial education on the territory of the distribution of the oldest folk art craft in the Moscow province. The Gzhel Ceramic School of the People’s Commissariat of Education, which began its activity in the autumn of 1918, was the successor of the drawing classes opened here in 1899 by the Imperial Stroganov Central Art and Industrial School. The analysis of the School’s work allows us to ascertain the leading role of the state in the formation of art and industrial education, a characteristic feature of the development of which in those years was the search for optimal organizational forms of training, aimed at mass training of master ceramists in combination with their general secondary education. In the first post-revolutionary years, the development of handicraft production in the places of the traditional existence of folk arts and crafts was an important area of activity for the Soviet republic. In the 1920s the products of folk crafts were one of the few goods produced in the RSFSR that were in demand abroad, which made it possible to consider it as a means of obtaining foreign currency. In addition, the development of crafts, which employed a significant number of workers in imperial Russia, seemed to be one of the ways to level the social tension associated with unemployment in the regions that had previously been distinguished by the relative prosperity of the residents. The article notes the role of the School’s management and the teaching staff in its educational, economic and awareness-raising activities.
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Jamouchi, Samira. "Exploring Art and Craft in Teacher Education Whilst Going Toward a Performative Approach." SFU Educational Review 12, no. 1 (March 11, 2019): 68–81. http://dx.doi.org/10.21810/sfuer.v12i1.612.
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Since 1997, I have returned to and revisited textile materials through different types of approaches. As an artist, I have been working with soft sculptures and immersive installations. As an artist-teacher, I sought to (re-)introduced wool felting tradition to teacher students in Norway. As a researcher, I re-turn (Barad, 2014) my approach to wool felting and engage diffractively (ibid.) within teacher education.
I am now still exploiting a performative approach to the subject of arts and craft within teacher education. This approach is conjointly inspired by contemporary visual art form of expressions and by Barad’s performative ontology.
In this text I attempt to convey my working processes as I relate how I started to engage with a performative approach to drawing in the field of arts and craft in teacher education, and how I now aim to enact further a performative approach to wool felting. This approach is inspired by post-humanism perspectives. Consequently, traditional binaries or dichotomies one can find in assumptions related to the humanities, as subject-object and theory-practice (van der Tuin and Dolphijn, 2010), are here deterritorialized to be simultaneously and differently reterriorialized (Deleuze and Guattari,1980). My approach goes thus beyond the theory-practice division to hold an intra-active pedagogy (Lenz Taguchi, 2010) and an ethico-onto-epistemological framework (Barad, 2007). This implies a set of mind considering an intimated relationship between making, being and knowing: all those aspects are present under a creative process, not isolated and nor independent of the process. Adopting a performative approach with my students, I do not necessarily privilege a linear approach and I do not necessarily privilege human agency above non-human entities. Following an ethico-onto-epistemological framework means here to merge the phenomenon of felting (beings) and its written study and analysis (ways of knowing).
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신나경. "Craft Education in Modern Japanese and the Characteristics of Art in East Asian." Japanese Language and Literature Association of Daehan ll, no. 79 (August 2018): 287–305. http://dx.doi.org/10.18631/jalali.2018..79.016.
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Munden, Paul. "Sharing the Art, Craft and Imagination: The National Association of Writers in Education." New Writing 8, no. 3 (November 2011): 215–37. http://dx.doi.org/10.1080/14790726.2011.615403.
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MacEachren, Zabe. "Examining art and technology: Determining why craft-making is fundamental to outdoor education." Journal of Outdoor and Environmental Education 9, no. 1 (April 2005): 23–30. http://dx.doi.org/10.1007/bf03400809.
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Kleniewski, Nancy, and K. E. Eble. "The Craft of Teaching: A Guide to Mastering the Professor's Art." Teaching Sociology 17, no. 3 (July 1989): 389. http://dx.doi.org/10.2307/1318104.
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Coates, Andrew, and Elizabeth Coates. "'ART! IT'S TOO MESSY’ ‐ AN EXAMINATION OF SOME POPULAR MYTHS WHICH SURROUND THE TEACHING OF ART AND CRAFT TO YOUNG CHILDREN." Early Years 8, no. 2 (March 1988): 1–16. http://dx.doi.org/10.1080/0957514880080202.
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Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
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Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
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Labi, Kanni. "Muuseumikogudes ja suulises ajaloos säilib ajalik looming / Transient treasures are kept in museums and memories." Studia Vernacula 13 (November 18, 2021): 198–209. http://dx.doi.org/10.12697/sv.2021.13.198-209.
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Vanda Juhansoo. Artist or Eccentric Woman?Estonian Museum of Applied Art and Design18.01.–01.03.2020, Tartu City Museum 19.06.–26.09.2021.Exhibition curated by: Andreas Kalkun (Estonian Literary Museum)and Rebeka Põldsam, graphic design: Stuudio Stuudio.
Vanda Juhansoo (1889–1966) was by education a porcelain painter and furniture designer; she was, however, known as a textile and craft artist, traveller, polyglot, notable art teacher, interior decorator, advocate of women’s craft, soroptimist and gardener. Sometimes she was also known as the ‘Witch of Valgemetsa’. She graduated from the Central School of Applied Arts Ateneum in Finland, which makes her one of the first Estonian women artists with a higher education at the beginning of the 20th century.
Even though Vanda Juhansoo specialised in ceramics and furniture design, as a student she received the most recognition (as well as travel grants) for her embroidery. From then on, Vanda spent her next thirty summers travelling in Europe. Between 1912 and 1945, she exhibited her ceramics, embroidered doilies and curtains in various places, including the first ever Estonian women artists’ show in 1939. Vanda Juhansoo worked with the Kodukäsitöö limited company, that had been established in 1927 with the aim of reducing unemployment among women. Alongside craft and women’s magazines, the Kodukäsitöö was the most significant promoter of women’s craft in Estonia, regularly organising exhibition-sales and taking Estonian craft to international shows. Unfortunately, most of Vanda Juhansoo’s oeuvre was so ephemeral that there is very little trace of it now. The Karilatsi Open Air Museum near Vanda’s home in Valgemetsa and the collection of the Estonian National Museum hold items given to the museum by Vanda’s cousin’s family, which Vanda herself most likely wore – these are made to fit her petite size and there are photos of Vanda wearing these garments. Her signature style used floral motifs embroidered onto the thin textiles she wove herself. Like a painter, she spent hours embroidering, casting ethnographic patterns aside when creating her original designs. Even though the Estonian National Museum has exhibited Vanda Juhansoo’s embroidered cardigans as examples of Estonian folk art, these are, in fact, clearly original artistic designs.
After World War II, Vanda stopped exhibiting and publishing her patterns in craft magazines. Instead, she committed herself to teaching drawing and supervised a number of children’s art classes in Tartu that produced many wellknown artists. The memory of Vanda has largely been kept alive by her students, who remember her as a particularly bright and optimistic person. In addition to her embroidery, Vanda’s original style remained visible as she expressed it in her memorable multicoloured hair nets and abundant jewellery, as well as in the striking Valgemetsa summer house and garden.
The curators tried to trace back and recreate some of the wonderful world that Vanda created all around herself with her designs, handicraft, paintings, photos and memories from museums, archives, and from people who knew her. Looking at the life, work and legacy of Vanda Juhansoo, the exhibition asked: What were the choices for women artists in Estonia at the beginning of the 20th century? Why are Vanda’s works found mainly in the collections of ethnographic memory institutions rather than in art museums? Why did Vanda become the so-called ‘Witch of Valgemetsa’ and not a recognised applied artist?
In the present review, the reception of the exhibition is summarised and juxtaposed with the few studies on Vanda Juhansoo’s textile work from the perspective of craft studies and the history of applied art.
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Ji, Linchong, and Zhiyong Liu. "Analysis of the Effects of Arts and Crafts in Public Mental Health Education Based on Artificial Intelligence Technology." Journal of Environmental and Public Health 2022 (August 31, 2022): 1–12. http://dx.doi.org/10.1155/2022/9201892.
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Arts and crafts, with their very different styles due to many factors such as times, regions, technologies, and cultures and nationalities, have undergone an extremely long process, and it is only through continuous superimposition, development, and innovation that they have gradually formed the posture of today’s arts and crafts. Public mental health education is the main way to promote the psychological health development of the public in colleges and universities at present. And among them, sound personality and good self-awareness is one of the important standards of psychological health of the large public and one of the important tasks of mental health education. As an effective psychological test and treatment method, arts and crafts analysis are an important part of mental health education. It has a certain role in improving the level of self-awareness and promoting the integration of personality. Art and craft analysis has advantages in mental health and educational group counseling that cannot be replaced by other words and activities, so it can be used in mental health education courses. It can be used in teaching self-awareness. In order to combine the development of arts and crafts with the development concept and promotion ideas of public mental health education, this article proposes an analysis of the role of arts and crafts in public mental health education based on artificial intelligence computing to enhance the development of arts and crafts from a new perspective and seek the inheritance and innovation of arts and crafts and public mental health education in the new historical period, and proves the proposed method in the relevant dataset. The validity of the proposed method is demonstrated in the relevant dataset.
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Kelly, Rachel, and Sandra Fruebing. "Whose futures need crafting? A collaborative evaluation of the British Council/Crafts Council Crafting Futures 5K grant scheme." Art, Design & Communication in Higher Education 20, no. 1 (April 1, 2021): 103–14. http://dx.doi.org/10.1386/adch_00032_1.
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Sandra Fruebing and Rachel Kelly were recipients of 2018‐19 British Council/Crafts Council Crafting Futures 5k grants. A dialogue between Fruebing and Kelly started when they both returned from their project work in Egypt and the Philippines respectively. Both participants related their experiences through their conversations and this led them to discuss and reflect through regular online exchanges stretching from 2019 to 2020. They both are now considering how their experiences of working with marginalized craft communities have become a position from which to consider the role of development in Art & Design Higher Education research and practice. The spectrum of collaboration and companionship that is emerging from their work, both individually and through online meetings and conversations, become like a radio signal, which is tuning and making audible their similar experiences and understandings.
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Weikop, Christian. "The Arts and Crafts Education of the Brücke: Expressions of Craft and Creativity." Journal of Modern Craft 1, no. 1 (March 2008): 77–99. http://dx.doi.org/10.2752/174967708783389823.
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Durante, Dawn. "Peter Ginna, ed. What Editors Do: The Art, Craft, and Business of Book Editing." Journal of Scholarly Publishing 50, no. 2 (January 1, 2019): 148–52. http://dx.doi.org/10.3138/jsp.50.2.07.
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