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Journal articles on the topic 'Crafts'
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1
Kouhia, Anna, and Sirpa Kokko. "At the Intersection of the Digital and the Material: Teaching and Learning Crafts during the Pandemic." Research in Arts and Education 2022, no. 2 (December 22, 2022): 47–55. http://dx.doi.org/10.54916/rae.122976.
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Although the value of crafted artefacts and craft activities is recognized in contemporary research and discussion, crafts as a standard school subject is still struggling with stereotypic labels; some consider the subject a relic from the past. This commentary demonstrates that crafts is an innovative school subject that engages students in creative thinking and up-to-date digital-material practices. The commentary relies on Finnish craft teachers’ experiences of learning and teaching crafts during the Covid-19 pandemic. Material was collected in two webinars in autumn 2020.
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Sudana, I. Wayan, Hasdiana Hasdiana, and Isnawati Mohamad. "Pembentukan Desa Kreatif Rintisan Berbasis Seni Kerajinan Lokal." Jurnal Sibermas (Sinergi Pemberdayaan Masyarakat) 11, no. 3 (June 18, 2022): 710–26. http://dx.doi.org/10.37905/sibermas.v11i3.14448.
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The formation of creative villages is one of the instruments in improving the economy of rural communities in the creative economy sector. Creative villages can be formed in stages with a certain basis as superior according to the potential of the village. This activity aims to form a pioneering creative village based on local crafts as superior. The implementation of activities using participatory methods and workshops goes through: program socialization, formation of crafter groups, provision of knowledge related to crafts, manufacture of local crafts products, and planning follow-up activities. The results are: 1) increasing public interest in developing local crafts; 2) the formation of a crafter group in the village; 3) increasing community knowledge and skills in making local craft products according to village potential; 4) agreed on a program for continued activities in the development of local crafts in a sustainable manner. The results achieved are an indicator of the formation of a pioneering creative village based on crafts as a superior, which has the opportunity to improve the economy of rural communities in the creative economy sector.
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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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Cook, Hadrian, and Kathy Stearne. "Rural Crafts: A study in South Wiltshire." Craft Research 12, no. 1 (March 1, 2021): 105–25. http://dx.doi.org/10.1386/crre_00042_1.
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Rural Crafts are crafts with agrarian roots, but they are not easily located historically, or within today’s developed markets. This study stresses Rural over Heritage Crafts (based in manual skills and traditional materials, designs and techniques), although the two are not mutually exclusive. Rural Crafts are considered, present and past, through interviews with practitioners based in South Wiltshire. The study embraces networks of crafters, interviews with individuals and a focus for a rural craft event located at the Harnham Water Meadows at Salisbury, a historic location. It is established that, while few participants sustained themselves financially through their craft, it was clear that participation is ‘value driven’, providing personal benefits. The ethos of sustainability is a strong theme, both in sourcing materials and in the processes employed, especially true for individuals working with wood and thatching. Few clear similarities are found from past cottage industries, although the sense of continuity in craft is still strong. Networks included craft associations, and opportunities for informal learning, but there is a lack of formal training opportunities. This finding may be historic, as most people interviewed were over 60 years. As well as an age bias, there is a strong gender bias with men dominating regular part-time or full-time paid occupations and women treating their craft more as a hobby. Most people treat sales of any products as a bonus, and the future of such activities is dependent more upon personal interests and networks than on formally trained (often younger) individuals, more so than formal training delivered through individual organizations or companies. Otherwise, our conclusions are in line with modern ideas of personal, well-being and social benefits derived from craft activities.
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Abd Samad, Faisal Ikram, Mohd Yuzri Mohd Yusop, Nik Mohd Ridzuan Shaharuddin, Nasrudin Ismail, and Omar Bin Yaakob. "SLAMMING IMPACT ACCELERATIONS ANALYSIS ON SMALL HIGH SPEED PASSENGER CRAFTS." Brodogradnja 72, no. 1 (January 1, 2021): 79–94. http://dx.doi.org/10.21278/brod72104.
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Small high speed passenger crafts (HSC) are commonly known for their poor seakeeping qualities. These crafts are frequently exposed to large slamming impacts and these repetitive shocks may pose danger to passengers’ safety and health. In Malaysia, small high speed passenger crafts having lengths between 7 to 9 meters are mainly used to transport tourists between popular island destinations. Evaluation on impact and vibration for this type of craft was conducted by using accelerometers attached to several locations on craft’s deck. The test was conducted at speeds ranged between 20 to 30 knots and the highest peak accelerations were recorded. The highest acceleration record during the sea trial was recorded at 4.22 g and the average acceleration measure is 2.20 g. Apart from this test, evaluation on effectiveness of the current foam seat typically used in this craft were evaluated using Dynamic Response Index (DRI) and results have shown that the seat is less efficient when impact reaches more than 1g at speeds of more than 20 knots. It is concluded that safety measures such as the use of more efficient suspension seat and limiting the operational speed need to be taken into consideration.
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Hart, Imogen, and Jorunn Veiteberg. "Today’s Anthology for Tommorow’s Crafts CRAFT." Journal of Modern Craft 14, no. 1 (January 2, 2021): 107–11. http://dx.doi.org/10.1080/17496772.2021.1926744.
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Breen, Laura. "Sloppy craft: postdisciplinarity and the crafts." Journal of Modern Craft 10, no. 3 (September 2, 2017): 341–43. http://dx.doi.org/10.1080/17496772.2017.1394522.
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Sewruk, Piotr. "Rzemiosło żydowskie w Lublinie i jego instytucje w latach trzydziestych XX wieku." Studia Judaica, no. 1 (45) (2020): 169–201. http://dx.doi.org/10.4467/24500100stj.20.006.12920.
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Jewish crafts in Lublin and their institutions in the 1930s The paper attempts to reconstruct the condition of Jewish crafts in Lublin in the 1930s after the new legal regulations for industry were introduced in 1927 (“The act on industry law”). Crafts in Lublin in this period were ethnically strongly polarized between the two groups. Jews owned 60 percent of all the workshops in the city, while Poles held the rest of the crafts and services. Jewish craftsmen dominated mainly in textile (tailoring) and leather (shoemaking) industries and services like hairdressing or photography. The article focuses primarily on quantitative and statistic aspects of the discussed topic. Jewish craft organizations (craft guilds), supporting institutions (credit institutions for craftsmen) and Jewish personnel of the Lublin Chamber of Crafts are also presented.
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Zhong, Yiming, Shukun Tang, and Mei Lan. "Research on the Inheritance Path and the Branding Inheritance Model of Traditional Crafts." Sustainability 15, no. 7 (March 28, 2023): 5878. http://dx.doi.org/10.3390/su15075878.
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The inheritance of traditional crafts has contemporary value in the economy and socio-culture and, hence, the development of human civilization. China is well known for its traditional crafts and is the main subject of international traditional craft research; the Chinese government is the first leading force in traditional craft inheritance. This paper employs the grounded theory to analyze the content of 79 national policies on traditional crafts in China from 1960 to February 2022, and induces, compares, refines, and formulates an inheritance path for traditional crafts under the guidance of current public cultural policies in China. The path clarifies the Chinese government’s overall structure for traditional craft inheritance and can also serve as a reference for the international community in revitalizing traditional crafts and maintaining cultural continuity. The path contains five models, among which, the branding inheritance model is key to the revitalization of traditional crafts, yet in both theory and practice, there is a lack of implementation plans. This paper reviews branding theories, sorts out the four attributes of brand “Identification, Communication, Value, and Culture”, and then analyses the advantages of the branding inheritance model for traditional craft inheritance in four dimensions—recognition, identification, acquisition, and survival. Subsequently, this study selects the classical brand model focusing on each of the four attributes, explores the path to constructing the four attributes of traditional craft brands with a distinct operational logic, integrates the results of constructing the four attributes, forms a three-stage model of traditional craft branding inheritance, and analyzes the logical relationships of the components in the model. The model is a concrete implementation plan of the traditional craft branding inheritance, which aims to help public institutions formulate policies and guide practices in traditional craft inheritance, by providing a scientific strategic framework with a high degree of universality.
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Stefanidi, Evropi, Nikolaos Partarakis, Xenophon Zabulis, Ilia Adami, Stavroula Ntoa, and George Papagiannakis. "Transferring Traditional Crafts from the Physical to the Virtual World: An Authoring and Visualization Method and Platform." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–24. http://dx.doi.org/10.1145/3484397.
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Visualizing human motion is a topic that has gained increasing attention in the domain of cultural heritage, due to the need for capturing intangible dimensions, existing for example in theatrical performances, dances, and crafts. In this respect, virtual humans are typically employed to re-enact human motion, executing movements reproduced through predefined animations, or physics simulation engines. In the case of traditional crafts, a defining point is how to model the interaction of virtual humans with craft-related objects and how to transfer it from the physical to the digital world. Toward a more effective and generic modeling and visualization of the interaction of humans with tools and machines utilized in crafts, this article proposes a novel methodology for the modeling and visualization of crafts and presents a platform enabling the authoring and visualization of craft processes. We contribute a way of visualizing craft processes within virtual environments, aiming to increase the usability of craft representation. As an example, we present and analyze the case of the craft of weaving with the use of a loom.
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Rusmaniah, Rusmaniah, Dedy Ari Nugroho, Putri Dyah Indriyani, and Muhammad Adhitya Hidayat Putra. "Partisipasi Perajin Dalam Pengembangan Seni Kerajinan Anyaman di Kampung Purun Berbasis Kearifan Lokal." PINUS: Jurnal Penelitian Inovasi Pembelajaran 8, no. 1 (September 28, 2022): 1–10. http://dx.doi.org/10.29407/pn.v8i1.18451.
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Business actors in the creative economy sector focus on creativity, one of which is the purun woven craft business, while humans have various mindsets and cultures as a result of their habits. This is a challenge in Purun Village to continue to have an existence in the creative economy sector competition so that it requires the participation of craftsmen in the development of woven crafts in Purun Village. This research was conducted to provide an overview of the participation of artisans in the development of woven crafts in Purun Village based on local wisdom. This study used a qualitative approach. Data was collected through in-depth interviews, observation and documentation. Data analysis went through several stages, namely the reduction stage, presentation and conclusion drawing and verification. The results showed that the participation of artisans in the development of woven crafts in Purun Village was based on local wisdom. Among them are: 1) preserving woven from generation to generation 2) making plaits based on local wisdom 3) creating product innovations in accordance with market developments 4) product diversification. In the development of the purun woven craft industry, the role of the crafter is very important, including preserving the purun woven craft by passing it on to the next generation, protecting the environment by utilizing purun which is known as a wild plant, and improving the regional economy.
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Vadilla, Icha Tyas Nur, and Dhani Ichsanuddin Nur. "PENGEMBANGAN EKONOMI KREATIF PENGRAJIN BAMBU MELALUI WORKSHOP KERAJINAN BAMBU DESA LAWEYAN KABUPATEN PROBOLINGGO." Jurnal Pengabdian Masyarakat Sabangka 2, no. 04 (July 10, 2023): 409–14. http://dx.doi.org/10.62668/sabangka.v2i04.705.
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Laweyan Village, Sumberasih District, Probolinggo has a good geographical location with bamboo potential. So it is necessary to utilize the potential of bamboo so that it can develop optimally and has a beneficial value to the people of Laweyan Village. Through creative economic development related to bamboo crafts, bamboo craftsmen can create new innovations and creativity in bamboo crafts. This research aims to develop the potential of bamboo crafts and re-generation of Laweyan Village bamboo craftsmen through bamboo craft workshops. The research method used is descriptive qualitative analysis, by collecting data through observation, survey, and interviews of the object of research. By using a direct approach to the object of research. With bamboo craft workshop activities will open the insight and knowledge of bamboo craftsmen regarding the creative economy related to bamboo crafts. Through bamboo craft workshops will develop innovation and creativity so that it can help improve the economy of the Laweyan Village community.
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Vartiainen, Leena, and Minna Kaipainen. "TEXTILE CRAFT STUDENTS’ PERCEPTIONS OF SUSTAINABLE CRAFTS." Problems of Education in the 21st Century 43, no. 1 (June 20, 2012): 131–40. http://dx.doi.org/10.33225/pec/12.43.131.
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Future teachers have an important role in education for sustainable development. This article describes textile craft teacher students’ perceptions of sustainable textile craft. The data derives from a survey of craft teacher students of the University of Eastern Finland (N = 20). The questionnaire included open-ended and multiple choice questions about sustainability of textile craft education and the relevance of sustainability in the students’ lives. The study reveals textile craft teacher students’ conceptions as consumers, craft makers and future textile craft teachers. The open-ended questions were analyzed by content analysis and the multiple choice questions were analyzed with statistical methods. The results were reflected to Victor Papanek’s function complex. As consumers, students favour good quality products and recycling of textiles. They are concerned about workers’ work conditions and against child labour. Although values and perceptions related to sustainable consumerism are high, sometimes the actual purchasing behaviour differs from the values because of the students’ meagre budgets. As craft makers, availability of locally produced materials and materials made of natural fibres are important to students. As future textile craft teachers, students think that craft is an excellent way to teach sustainability and sustainable craft. They consider it is important to teach life-cycle thinking but also craft culture and skills. Key words: clothing and textile design, sustainable craft, textile craft teachers.
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Zhang, Li, Cees de Bont, Avsar Gurpinar, and Mingxi Tang. "An Exploration of the Relevance between Sustainable Craft and Service Design Based on a Literature Review Study." Sustainability 15, no. 24 (December 13, 2023): 16798. http://dx.doi.org/10.3390/su152416798.
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Sustainable craft is a relatively new concept, and a growing body of literature has examined sustainable craft from a multidisciplinary perspective. However, these researchers found a dearth of research that examines service design as a prospective transformative tool in sustainability crafts. Therefore, this study identifies published articles and the most productive journals, institutions, and countries by conducting a bibliometric analysis of the Scopus database of research articles on sustainable crafts in the 21st century. Based on that, we conduct an open discussion about sustainable crafts and service design. Finally, we obtain some key findings about these two areas.
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Pontsioen, Robert. "When heritage laws and environmental laws collide: Artisans, guilds and government support for traditional crafts in Tokyo." Craft Research 10, no. 2 (September 1, 2019): 211–36. http://dx.doi.org/10.1386/crre_00003_1.
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Abstract This article examines the legislative basis and operational effectiveness of the national and prefectural systems for designating and promoting traditional crafts in Tokyo. Traditional artisans participate in these systems primarily through their involvement in kumiai ('artisan guilds'), whose historical background and organizational structure are briefly summarized. To evaluate the usefulness of government support for contemporary craft practitioners, four broad and interrelated categories of kumiai activities are examined: promoting craft business, maintaining and enhancing craft skills and product quality, securing the future of craft traditions, and procuring craft materials. These goals are reflected in the frameworks of national and prefectural legislation that aims to support the efforts of kumiai. However, these goals and the resulting legislation have created a sustained discourse of tension palpably felt by many crafters themselves: the clash between laws designed to protect or promote 'traditional' crafts and other laws that aim to safeguard ecology or animal welfare. Examination of this tension as it is understood and discussed by artisans themselves reveals that, although the positive impact of traditional craft designation systems is widely recognized, it is also perceived that incompatible environmental protection laws can negatively affect their business and threaten the long-term sustainability of craft traditions.
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Chavraiparn, Maturose, Jirawat Phirasant, and Maria de Correa. "Arts and Crafts Management Model of Baan Huai Ta Community, Utttaradit Province." Revista de Gestão Social e Ambiental 18, no. 5 (March 13, 2024): e05183. http://dx.doi.org/10.24857/rgsa.v18n5-008.
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Purpose: The objectives of the present research on the arts and crafts management model of Baan Huai Ta community, Uttaradit province were to analyze the community arts and crafts management model; develop the community arts and crafts management model; and evaluate the community arts and crafts management model of Baan Huai Ta, Uttaradit Province. Theoretical Framework: This study employs the concept of local wisdom and product development and design. Design/Methodology/Approach: The procedures involved building a network, acquiring knowledge, developing a community arts and crafts management model, developing community arts and crafts, evaluating the community arts and crafts management model. A qualitative research was employed consisting of observation, in-depth interviews, focus group discussion, and participatory action. Findings: The analysis of community arts and crafts management model suggested the area-based potential of Baan Huai Ta with arts and crafts abilities including weaving, wickerwork, and wood carving. Her Majesty Queen Sirikit had graciously supported people in the community to receive career development trainings in arts and crafts intended to offer extra jobs for generating more income. Their products were delivered for distribution to the Bureau of the Royal Household and the Arts and Crafts Promotion Foundation. Research Practical and Social Implication: Evaluation results of community arts and crafts works were as follow: increased value at a highest level; design concept at a highest level; selection of raw materials at a highest level; production process at a highest level; quality and beauty at a highest level; increased value added at a very high level; creating identity at a very high level; and generating value added at a very high level. The arts and crafts management model of Baan Huai Ta community, Uttaradit province comprised 4 components namely: analysis of community context; analysis of community management//network building; development of arts and crafts; and evaluation of arts and crafts management model. Originality/Value: The development of community arts and crafts management models focused on the designs with applied local wisdom to provide community products. The design concept is based on the link of science and knowledge in coordination with applied local materials to develop community products with an aim to bring about value added, self-reliance, as well as group forming. This had led to the development of products consisting of 12 pieces of fabric art and craft products, 2 pieces of carving art and craft products, and 8 pieces of wickerwork arts and crafts products, totaling 22 products.
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Kappasov, Marat. "Crafts by Nomads of the Ural and Turgai Regions at the Beginning of the 20th Century." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (August 2021): 102–16. http://dx.doi.org/10.15688/jvolsu4.2021.4.9.
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Introduction. The article, based on the “Materials on the Kyrgyz (Kazakh) Land Use Collected and Developed by the Statistical Parties of the Turgai-Ural Resettlement Region”, examines the crafts of the nomads of the Lbischensky, Uralsky, Turgai, Irgiz, Temir uyezds in the early 20th century. Temir, Lbishchensky and Ural uyezds belonged to the Ural region, Turgai and Irgiz uyezds to the Turgai region. Methods and materials. Using the mathematical method, the method of comparative analysis and content analysis, the author shows how much income per person came from crafts in the studied uyezds and proves that crafts were only additional industries and could not compete with nomadic cattle breeding. The article examines the crafts that brought the greatest income. Farmhands, transportation, groundhog hunting, fishing, etc., were well-known crafts; the Muslim spiritual cult and its servants was an unusual craft. Analysis. Our article shows that the studied uyezds had their own craft specializations. For example, a significant number of nomads in Lbischensky uyezd were engaged in transportation, in Turgai uyezd in hunting groundhogs, in Irgiz uyezd in hunting and fishing. Results. At the end of the article, the author concludes that the majority of nomads were primarily engaged in crafts as farmhands due to their poverty.
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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.
Full textAbstract:
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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Richards, Greg. "DEVELOPING CRAFT AS A CREATIVE INDUSTRY THROUGH TOURISM." Brazilian Creative Industries Journal 1, no. 1 (July 1, 2021): 03–22. http://dx.doi.org/10.25112/bcij.v1i1.2671.
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This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing at the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tourism, including case studies from Brazil, Finland, and Thailand, to examine how tourism can support the creative development of crafts. This analysis indicates that craft can be an important aspect of creative tourism development in different contexts and can provide a strong basis for placemaking initiatives.
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Väänänen, Niina, and Katja Vilhunen. "Exploratory factor analysis of sustainable craft theory among Finnish craft hobbyists." Craft Research 15, no. 1 (March 1, 2024): 13–40. http://dx.doi.org/10.1386/crre_00117_1.
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This study explores how Finnish craft hobbyists view their craft practice in a sustainable craft theory context. We collected the data for this study through an online survey in February and March 2021. We analyse the survey questionnaire data (N = 929) using exploratory factor analysis. The findings of the study show detailed information about craft hobbyists’ perceptions towards sustainable craft and reveal how craft hobbyists find sustainable crafts to be well-being-related activities that enhance meaning-making in their leisure time. This study also provides a sustainable craft measure framework for quantitative examination and analysis. The findings of the study can be utilized to understand sustainable behaviour through hobby crafts in the green transition.
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Srivastava, Dolley. "One District One Product of India." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 14, 2021): 774–77. http://dx.doi.org/10.22214/ijraset.2021.35083.
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The Aim of this research paper is to develop a website used to find products and crafts in INDIA on a single platform – like the ancient craft, world-famous work on clothes which aims to encourage such indigenous and specialized products and crafts. The “ONE DISTRICT ONE PRODUCT”(ODOP) website has been conceived with the view to provide a platform to sell indigenous and specialized products and crafts made in various districts of various states which is very helpful in providing employment.
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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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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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Bowe, Nicola Gordon. "Crafts." Circa, no. 50 (1990): 48. http://dx.doi.org/10.2307/25557518.
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Chitwood, Michael. "Crafts." Prairie Schooner 92, no. 3 (September 2018): 129. http://dx.doi.org/10.1353/psg.2018.0128.
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Mercu Mahadi and I Nyoman Ngidep Wiyasa. "Business based on bamboo arts and crafts products in east Lombok." World Journal of Advanced Research and Reviews 22, no. 1 (April 30, 2024): 1966–69. http://dx.doi.org/10.30574/wjarr.2024.22.1.1252.
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This research aims to find out the process of making bamboo crafts in Loyok Village, Sikur, East Lombok, to find out the materials and tools used to make bamboo crafts in Loyok Village, Sikur, East Lombok and to find out what types of bamboo woven crafts there are in the village. Loyok, Sikur, East Lombok. The data collection techniques used in this research are observation, interview and documentation techniques. The results of the research obtained by the researchers were knowing the process of making bamboo crafts in Loyok Village, Sikur, East Lombok, the types of woven bamboo craft products in Loyok Village, Sikur, East Lombok are Ponjol, Lompak, And Dedungki, and the process of making woven bamboo crafts is the process of selecting bamboo and processing bamboo, namely felling bamboo, cutting bamboo, slicing bamboo, painting bamboo slices and nembeq.
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Cheatle, Amy, and Steven Jackson. "(Re)collecting Craft: Reviving Materials, Techniques, and Pedagogies of Craft for Computational Makers." Proceedings of the ACM on Human-Computer Interaction 7, CSCW2 (September 28, 2023): 1–23. http://dx.doi.org/10.1145/3610041.
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This paper examines craft's foundational relations to materials, techniques, and collaborative modes of teaching and learning, and these can be called upon to strengthen and extend computational craft as practiced in fields like CSCW and HCI. Drawing from literature in HCI, craft studies and Science and Technology Studies (STS), we explore craft's modern formation at the dawn of the Industrial Revolution across three formative sites: Scandinavian Slöyd, British Arts and Crafts, and Japanese Mingei. From this review we identify three key (and still evolving) features: craft's accountabilities to natural materials and local ecologies; craft's holistic ways of making with 'head, heart, and hand'; and craft's distinctly collaborative and embodied styles of teaching and learning. We then show how these lessons can be applied to contemporary practices and pedagogies of computational making. We argue that doing so can help to rebalance computation's ecological ties and relations, recenter its practice on a sensorially rich and 'whole-self' concept of making, and support more collaborative modes of teaching and learning that are inclusive, relational, and heterogeneous.
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Dzikrillah, Khirza Faiz. "Exhibition, Marketplace, and Handicraft Development Building in Jepara Regency with Neo- Vernacular Approach." Canopy: Journal of Architecture 12, no. 1 (August 30, 2023): 53–62. http://dx.doi.org/10.15294/canopy.v12i1.70976.
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Jepara is known as the city of woodcarving. This reputation is attributed to the success of Jepara's carved furniture products in entering the international and global markets. In addition to woodcarving crafts, Jepara also produces various other crafts. The types of crafts in Jepara are diverse, including pottery, calligraphy, furniture, metalwork, sculptures, rattan weaving, batik, and woven textiles. These various crafts are concentrated in different areas within Jepara Regency. However, in its development, the number of craft practitioners in Jepara has decreased due to the development of several industrial areas in the regency, leading people to prefer working as factory employees rather than craftsmen. Therefore, efforts need to be made to preserve the crafts in Jepara as cultural heritage and potential for improving the community's economy in the creative industry sector. In this regard, the proposed solution is to establish an Exhibition, Marketplace, and Handicraft Development Building to preserve the crafts in Jepara as cultural heritage and economic potential in the creative industry sector.
The Exhibition, Marketplace, and Handicraft Development Building can serve as educational facilities
and economic activities related to crafts in Jepara Regency
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Laraqui Hossini, Chakib El Houssine. "SS12-04 CRAFTING THE FUTURE: MOROCCO'S VISION FOR A MODERNIZED AND SUSTAINABLE ARTISANAL ACTIVITY." Occupational Medicine 74, Supplement_1 (July 1, 2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0109.
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Abstract Craftsmanship provides a range of very varied products of artistic or utilitarian value. The arts and crafts professions are classified into five groups depending on the product and its basic raw material: wood, metals, earth, leather, textiles. The Ministry of Tourism, Crafts, Social and Solidarity Economy is responsible for supervising and supporting craft professionals. The 2021-2030 craft development strategy aims to create a modernized, value-creating, competitive and structured craft industry. It will be based on four axes: the structuring and support of stakeholders, the modernization of sectors, the development of human resources and the strengthening and optimization of the institutional organization. The development of this strategy was based on a participatory approach including all social partners. The Craft Chambers: These 12 public establishments of a professional nature are placed under the supervision of the State. They represent craftsmen, craft businesses and cooperatives and are grouped within the Federation of Craft Chambers. La Maison de l'artisan, has the main mission of promotion of craftsmanship, assistance and supervision in commercial prospecting. Its board of directors is chaired by the representative of the Minister responsible for crafts and is made up of several members including five representing ministers (interior, foreign affairs, finance, tourism, cultural affairs), the president of the Federation of Chambers of Crafts and representatives of professional associations. Conclusion: Improving the quality of life and working conditions of artisans must be a priority. The handicraft is the historical heritage of Morocco must keep its artistic character and its high quality and not fall into industrial products.
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Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (June 20, 2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.
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Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a wider regeneration process. Even though regeneration really determines the development in the future. Looking at the current development of the craft, efforts to make a more open regeneration process seem necessary. Through this paper, the author try to find steps that can be taken by the supporting community and the Regional Government to form a formal and informal container. It is intended that interested people have access to learn about this craft. Regeneration is carried out to maintain the continuity and development of monel crafts.
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Guo, Jingyan, and Byunghak Ahn. "Tacit Knowledge Sharing for Enhancing the Sustainability of Intangible Cultural Heritage (ICH) Crafts: A Perspective from Artisans and Academics under Craft–Design Collaboration." Sustainability 15, no. 20 (October 17, 2023): 14955. http://dx.doi.org/10.3390/su152014955.
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The tacit nature of craft forms a barrier to the sustainability of intangible cultural heritage (ICH) crafts in craft–design collaboration that makes facilitating knowledge sharing across domains challenging. Hence, the discussion of tacit knowledge becomes a significant topic in university-based craft–design collaboration. However, there is still a lack of a systematic tacit knowledge-sharing structure for guiding academics and artisans in interacting beyond superficial manifestations in collaboration with the consideration of sustainability. This study aims to seek the relationship between craft–design collaboration, tacit knowledge sharing, and sustainability in the context of ICH crafts in China. By taking a qualitative research approach, grounded in knowledge management, semi-structured interviews were conducted with artisans and academics in China’s Belt and Road regions guided by the four defined dimensions of craft–design collaboration. This study investigates tacit knowledge sharing in craft–design collaboration, and its key contribution to sustainability. The study found that university-based collaboration activity can share knowledge sustainably and dynamically through knowledge accumulation, knowledge expression, knowledge diffusion, and knowledge reflection. Additionally, it argues that the integration of craft–design collaboration and knowledge management should be considered an essential future skill to investigate the sustainability impact of ICH crafts.
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Kofler, Ingrid, and Maximilian Walder. "Crafts and Their Social Imaginary: How Technological Development Shapes the Future of the Crafts Sector." Social Sciences 13, no. 3 (February 29, 2024): 137. http://dx.doi.org/10.3390/socsci13030137.
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The crafts sector, traditionally characterized by its adherence to heritage and small-scale familial enterprises, confronts an array of unprecedented challenges stemming from rapid technological advancement, globalization, climate change, and shifting demographics. This article presents a pioneering investigation into the profound and transformative effects of digitalization on the crafts sector, offering novel insights into the future trajectory of this industry. Through an explorative approach, we critically examine and interrogate the social imaginary underpinning the crafts sector, shedding light on the intricate interplay between tradition and innovation. Leveraging an inter- and transdisciplinary framework, our research brings together academics, experts, and practitioners from diverse regions in Italy and Austria to explore the nexus of digitalization and craft futures. We introduce three future scenarios for the crafts sector, each delineating varying degrees of digitalization and their potential implications. Employing a mixed-method approach encompassing expert interviews, a Delphi survey, focus groups, and scenario development, our study offers a comprehensive exploration of the multifaceted landscape of craft futures. Furthermore, through the visualization of these scenarios, we provide a tangible platform for envisioning and engaging with the myriad possibilities that lie ahead. By synthesizing innovative methodologies from future studies and social imaginaries with a specific focus on the crafts sector, our research offers a robust analytical framework for navigating the complex dynamics of digitalization and envisioning transformative futures. This paper not only illuminates the disruptive forces unleashed by digitalization but also provides strategic insights to inform future decision-making processes within the crafts sector and beyond.
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Bhoj, R. "An intensification of sustainable eco-friendly sisal fiber crafts in healthcare industry." CARDIOMETRY, no. 23 (August 20, 2022): 310–18. http://dx.doi.org/10.18137/cardiometry.2022.23.310318.
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India’s rich cultural diversity and heritage provide a unique and huge resource for developing craft products. India is one of the important suppliers of handicrafts to the world market. The industry is mostly spread in rural and urban areas, highly labor-intensive, and cottage-based decentralized industry. Many artisans, on a part-time basis, are involved in the crafts work. In addition, many Governmental and non-governmental organizations are engaged creating income opportunities for these artisans. Few of them are engaged in women empowerment programs, developing training programs for women to make them self-reliant and independent learners. In today’s world, all are talking about sustainability. Many artisans are engaged in making eco-friendly and sustainable crafts from various natural materials when it comes to handicrafts. Natural fibers play a very important role in the production of the handicraft industry in India. The crafts like baskets, carpets, wall hangings, bottle holders, bags and accessories, home décor items, and many more are made using natural fibers like jute, banana, coir, sisal, bamboo, etc. The present paper will explain the procedures used for manufacturing these crafts using natural Sisal fiber. The data has been collected from various organizations for the process and methods used to manufacture these crafts. Producing a craft using natural material and eco-friendly processes helps in reducing the carbon footprint (the number of greenhouse gases, mostly CO2 released into the atmosphere by any activity) and makes the manufacturing process more environmentally friendly. Many Indian handicrafts and artisans have incorporated the ideology of eco-friendly fashion and contributing to reducing the environmental impact of these handcrafted products. Natural fibers are promoted in large quantities for making handicrafts. The growing popularity of fiber crafts is following the huge demand for Eco-friendly products throughout the world. Fibers extracted from bananas, sisal, Pina, and jute are mainly used to produce crafts.
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Semeritskaya, Ol'ga Vladimirovna. "The intangible heritage of folk art crafts." Культура и искусство, no. 3 (March 2024): 89–102. http://dx.doi.org/10.7256/2454-0625.2024.3.70042.
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The object of the study is the intangible heritage of Russian folk arts and crafts as a phenomenon of traditional culture. Special attention is paid to the object content of the intangible heritage of crafts, as well as the forms of their preservation and actualization. The research originates from the definition of the concept of the intangible heritage of folk arts and crafts. The concept of the bearer of the intangible heritage of crafts is formulated. The definition of the morphology of the intangible heritage of crafts is based on the analysis of the intangible part of the artistic, industrial, ethnocultural and religious heritage of crafts. An important part of the study is the analysis of modern practices for the preservation and actualization of the intangible heritage of crafts in order to develop optimal forms and methods. The importance of such a form of preservation and broadcasting of the intangible heritage of folk arts and crafts as museification is emphasized. The definition of the concept of intangible heritage of crafts and the structural analysis of this fragment of cultural heritage was carried out on the basis of recognition of heritage by systemic education. The scientific novelty of this study lies in the definition of folk arts and crafts as a phenomenon of traditional culture, the key component of which is tradition, objectified, first of all, in an immaterial form. For the first time, the definition of the concept of the intangible heritage of folk art crafts is given based on the analysis of historiography and legislative practice, and a morphological analysis of this type of heritage of crafts is given based on the generalization and analysis of the experience of its preservation and actualization. The intangible heritage of artistic crafts - the artistic and pictorial language of handicrafts, techniques and technologies for their manufacture and decoration, social ways of transmitting knowledge and skill, customs, way of life and lifestyle in the craft - are of high value from an informational and axiological point of view and need to be preserved and broadcast.
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Mehra, Aashish, Nidhi Mathur, and Vaibhav Tripathi. "Sahaj Crafts: the challenge of alleviating poverty in Western Rajasthan." Emerald Emerging Markets Case Studies 9, no. 1 (May 8, 2019): 1–45. http://dx.doi.org/10.1108/eemcs-06-2018-0099.
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Learning outcomes The learning objectives of this case are as follows: identify and understand the major challenges/problems faced by a social enterprise in promoting handicraft business; examine the value chain architecture of handicraft products; assess the role of the protagonist (Sanjay) as a social change agent in shaping a successful social enterprise; assess Sahaj Crafts' initiatives and analyze whether the key intervention/s planned/executed were required for skilling up of rural artisans and upgradation of handicraft business; know the marketing strategies for handicraft products; and understand the “strategies” which need to be applied for uplifting people's lives at the bottom of pyramid in general and for enlivening of artisans’ clusters in particular. The outcomes are as follows: examining the value chain architecture of handicraft product; understanding the difficulties and challenges of structuring a viable social business model; examining the role of Sanjay as a social change agent in shaping a successful social enterprise; and examining the model of Craft Incubation Center and design education proposed by Sahaj Crafts for improving rural artisans’ livelihood and skills upgradation. Case overview/synopsis Sanjay Joshi – the promoter and CEO of “Sahaj Crafts” (a social enterprise established in Western Rajasthan, India), an initiative to strengthen indigenous skills and mainstream rural craft products and artworks – is faced with the question of how to scale up his organization’s operations. Doing so requires that he address these fundamental challenges in terms of – how to deal with unorganized craft communities; match up product orientation to market demands; integrate modern technology / processes in craft business; combat restricted mobility of women artisans; and make effective interventions so that the artisans learn and enjoy working in the current model and solve the financial issues faced by the social enterprise. Providing effective and implementable answers to those questions is vital to Sahaj Craft’s development in attaining its mission to alleviate poverty in the region. Failing to expand operations above a critical scale may leave Sahaj Crafts vulnerable in meeting sufficient demand for contemporary craft products in the mainstream markets. Complexity academic level This case study is primarily suitable for post-graduate level management students to teach the concepts of designing and operationalizing a “social” business model in a social entrepreneurship module. This case study can also be used for highlighting business model innovations in the social sector of emerging markets. The case could be taught in the following academic domains: social entrepreneurship; bottom of the pyramid; social inclusion; supply chain consolidation (vertical integration in a value chain); marketing strategies for handicraft products; branding; brand positioning; cost and management accounting. Supplementary materials Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes. Subject code CSS 3: Entrepreneurship
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Partarakis, Nikos, Voula Doulgeraki, Effie Karuzaki, George Galanakis, Xenophon Zabulis, Carlo Meghini, Valentina Bartalesi, and Daniele Metilli. "A Web-Based Platform for Traditional Craft Documentation." Multimodal Technologies and Interaction 6, no. 5 (May 10, 2022): 37. http://dx.doi.org/10.3390/mti6050037.
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A web-based authoring platform for the representation of traditional crafts is proposed. This platform is rooted in a systematic method for craft representation, the adoption, knowledge, and representation standards of the cultural heritage (CH) domain, and the integration of outcomes from advanced digitization techniques. In this paper, we present the implementation of this method by an online, collaborative documentation platform where digital assets are curated into digitally preservable craft representations. The approach is demonstrated through the representation of three traditional crafts as use cases, and the lessons learned from this endeavor are presented.
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Wahidin. "BUILDING ENTREPRENEURSHIP THROUGH TALIKUR CRAFT TRAINING FOR HOUSEHOLD ISSUES." BALANGA: Jurnal Pendidikan Teknologi dan Kejuruan 10, no. 1 (June 30, 2022): 22–26. http://dx.doi.org/10.37304/balanga.v10i1.4985.
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Talikur craft is currently being favored by women, be it teenagers or adult women. However, not everyone can buy it due to economic limitations considering the price is not cheap. Therefore, this service activity was carried out to provide training on how to make talikur crafts. So, participants can make their own talikur craft as desired. The methods used in this activity are direct training (lectures, demonstrations, and questions and answers) and mentoring. The result of this service is that participants have the knowledge and skills to make talikur crafts in various forms and models.
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Kouhia, Anna. "Online matters: Future visions of digital making and materiality in hobby crafting." Craft Research 11, no. 2 (September 1, 2020): 261–73. http://dx.doi.org/10.1386/crre_00028_1.
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Over the past twenty years, hobby crafting has experienced a revival of interest, as people have started to seek new ways to engage with crafts as creative leisure in an increasingly digital world. Along the way, emerging, digital technologies have provided new tools and ways to engage in hobby crafting. Indeed, today’s hobby crafts are frequently concerned with material mediated via the internet and accomplished with the aid of software, which also affects our understanding of maker identities in online communities. This article argues that digitalization has not only revolutionized hobbyist craft making with new tools and technologies, but has also paved new ways for practising creative skills, which has had a significant impact on makers’ engagements with craft materials, objects and communities of practices. This is demonstrated through netnographic explorations on Facebook’s leisure craft community where digital material practices are increasingly prevalent in hobbyists’ everyday life. As a conclusion, the article speculates on visions of the future of hobby crafts and its relevance as a leisure pursuit.
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Wiriadidjaja, Surjatin, Amzari Zhahir, Zahratu Hilall Mohamad, Shikin Razali, Ahmad Afifi Puaat, and Mohamed Tarmizi Ahmad. "Wing-in-ground-effect craft: A case study in aerodynamics." International Journal of Engineering & Technology 7, no. 4.13 (October 9, 2018): 5. http://dx.doi.org/10.14419/ijet.v7i4.13.21319.
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A wing-in-ground-effect (WIGE) crafts can be deployed to fly by utilizing the ground effect, which is a natural phenomenon known to improve the efficiency of airplanes during take-off and landing approaches. In contrast, WIGE craft is not commercially viable for public transport mainly due to the difficulties in controlling its longitudinal stability. As an attempt to support the development of WIGE crafts, this paper presents a case study in aerodynamics based on certain published reports, specifically to reveal the available research data that are considered of interest and can be used as a lesson for further study and analysis. The wind tunnel procedure and testing, as well as numerical investigation of a WIGE craft, are applied and the results are then analyzed. The discussions are oriented in the perspectives of aerodynamics. Based on the tests and calculation, parameters concerning the ground effect as the WIGE crafts approaching the ground surfaces may be identified and hence their values can be determined. Thus, the static longitudinal stability may then be established and optimized for control of the WIGE craft.
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Chang, Anni, and Yanfa Wu. "The new inheritance of traditional craft in the form of cultural and creative souvenirs." Highlights in Art and Design 1, no. 3 (January 2, 2023): 138–41. http://dx.doi.org/10.54097/hiaad.v1i3.4150.
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With the development of the times, more and more people are willing to go to museums to feel the charm of historical precipitation compared with entertainment places. Museums have also adopted various ways to publicize, such as cultural souvenirs. Cultural relics break the stereotype that can be seen from afar but not obscene, and integrate with the vitality of contemporary life, and are accepted by the young group. On the contrary to the “hot” of the museums is the “cold” of traditional arts and crafts. The change of social aesthetic tendency makes traditional arts and crafts face a severe test. How to promote the inheritance of traditional arts and crafts has become an issue that cannot be ignored. In view of the problem of the combination of traditional craft innovation and development are discussed, so that the traditional craft will continue to shine in the new era.
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Megha Purohit Atre, Manjeeta Raturi ,. "A New form of Art Through Paper Messy Arts." Tuijin Jishu/Journal of Propulsion Technology 44, no. 4 (October 16, 2023): 4162–64. http://dx.doi.org/10.52783/tjjpt.v44.i4.1637.
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Shri B. Mohan Negi Ji the pride of uttarakhand was a great person. who is known as the pride of uttarakhand, due to his glorious work and fame, he was been honoured with the God Vibhuti Samman of uttarakhand : from have a new look to the pictures of which the paper mache art.
Arts and crafts are a profound expression of the emotional life of the people anywhere. A close and living relationship ties land to the people to the craft and culture. This is particularly true of uttarakhand.
Here changes economic, social and religious during many centuries are reflected in our arts and crafts. The creative urge of our crafts people have thus varied at different periods.
Uttarakhand is not only home to the vast cultural and ethnic diversity but also the myriad arts and crafts that have been carefully nurtured for the centuries.
A variety of motifs, techniques and craft flourished in the land as the people from regions flocked through the beautiful place and many of the skilled craftsmen desided to settle amidst its charming abundance of natural beauty with time, these arts ave gained even more distinctiveness and paper mache, wood carving hand knotted carpets and let of other traditional crafts.In Uttarakhand one meets with all those arts and crafts which are in most cities, such as stone polishing, stone cutting, window cutting etc.
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Fadhilah, Annisa Jauhar. "Ekonomi Kreatif Kerajinan Eceng Gondok Di Desa Cihampelas Sebagai Sumber Belajar IPS." PAKIS (Publikasi Berkala Pendidikan Ilmu Sosial) 3, no. 2 (September 30, 2023): 114. http://dx.doi.org/10.20527/pakis.v3i2.6352.
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Social studies teachers often rely on conventional learning resources, primarily textbooks, including electronic books, and student worksheets available in the library. The utilization of varied learning resources by teachers is relatively limited. Therefore, this study aims to achieve four objectives: 1) Describe the home industry of water hyacinth crafts. 2) Explore the connection between water hyacinth crafts and the creative economy of the Cihampelas village community. 3) Investigate the integration of home industry water hyacinth crafts as social studies learning resources. 4) Identify the challenges faced by the home industry of water hyacinth crafts in contributing to the creative economy and propose solutions for their utilization as social studies learning resources. This research adopts a descriptive qualitative approach and is conducted in Cihampelas Village. The findings reveal that the process of incorporating the water hyacinth craft home industry as an environmentally-based learning resource involves social studies teachers initially analyzing the relevant educational standards before conducting field visits. For instance, in the case of Class IX, Basic Competency 3.3, which focuses on the development of creative economies based on the regional potential for community welfare, the material can be linked to the local environment, such as Cihampelas Village's utilization of water hyacinth crafts derived from the Saguling reservoir, contributing to the community's creative economy. This approach ensures the relevance of the activities to the water hyacinth craft home industry in Cihampelas Village.
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Azizah, Niken, Aji Windu Viatra, and Mukhsin Patriansah. "Packaging Sebagai Media Komunikasi Visual Branding Kerajinan Purun Pedamaran Kepada Generasi Z Di Kota Palembang." Besaung : Jurnal Seni Desain dan Budaya 9, no. 1 (March 18, 2024): 73–90. http://dx.doi.org/10.36982/jsdb.v9i1.3724.
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Purun crafts have a number of unique qualities as cultural heritage with the main ingredient being purun. The purun raw material processing system is able to give a natural and ecological impression to each craft. Traditional designs with distinctive woven patterns reflect cultural identity and local values as well as natural colors without additional coloring highlighting the natural beauty of the purun plant itself, environmentally friendly manufacturing processes without negative impacts on the environment and innovation in design presenting products that remain relevant to the world. modern market. As consumer trends and preferences change, purun products may experience a lack of innovation in design or function. This branding aims to reintroduce and maintain the cultural value of Purun crafts in Palembang City, especially for those aged 17 - 26 years, so that they can restore the functional value of Purun crafts from economic, fashion and cultural aspects, as well as involving them actively through social media, and Integrating modern technology can be effective steps to introduce and popularize purun crafts among the younger generation. Keywords : Branding, Purun Crafts, Generation Z, Palembang
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Chatterjee, Abhishek, and Heitor Alvelos. "Re-inscribing the value of craft in times of dictated obsolescence." Craft Research 11, no. 2 (September 1, 2020): 275–94. http://dx.doi.org/10.1386/crre_00029_1.
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This article introduces a design research mediation project, Anti-amnesia, that explores various connotations of ‘wealth’ as embedded in the material culture and human narratives surrounding traditional crafts in Portugal. The project argues that ‘wealth’ is undergoing a process of signification that is semantically reductive, being brought to tacitly invoke monetary gain rather strictly, if on an underwritten basis, and this is bearing an adverse effect in terms of perceptions towards other consequential but intangible values related to craft practices. In this regard, it presents the case of traditional Azulejos tilemaking, a long-established cultural archetype in Portugal, whose original technique is on the brink of dissipation due to the emergence of newer manufacturing and architectural paradigms. The article respectively reviews the actions of a collaborative initiative Azulejos do Porto that is focusing on the craft’s reanimation through making creative connections between culture and community development. The article correspondingly presents a case for design research and pedagogy to establish long-term hands-on collaboration with such restorative initiatives that are oriented towards traditional making. The project conjectures that the resulting interknowledge can reveal complementarities between all stakeholders: which can be tactical towards addressing critical issues that are affecting traditional crafts’ relevance to contemporaneity; provide suitable conditions for an extended evaluation of crafts’ multifaceted nature in terms of value to culture and society and can connect newer generations of creatives to their making heritage, thereby ensuring a continuity of specialized know-how.
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Utami, Silvia, and Etmi Hardi. "Perkembangan Usaha Kerajinan Anyaman Bambu di Nagari Koto Baru Simalanggang Kecamatan Payakumbuh Tahun 1990-2022." Al-DYAS 3, no. 2 (May 21, 2024): 754–78. http://dx.doi.org/10.58578/aldyas.v3i2.3032.
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This research examines the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang, Payakumbuh District, 1990-2022. The research aims to discover the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang and its impact on the socio-economic life of the local community. The method used in this research is a historical method with four stages of research methods, namely heuristics, source criticism, interpretation and historiography. Based on the research results, it can be seen that the bamboo woven craft business in the village of Koto Baru Simalanggang, Payakumbuh District has existed for a long time, but the year it appeared is not certain. Woven bamboo crafts have developed in shape and model. In 1990, the form of woven bamboo crafts was still very simple. In 1995, the woven bamboo craft business began to improve and develop significantly. Woven bamboo crafts were initially introduced by Mom Desweni. The woven bamboo craft business is a business that has been passed down from generation to generation through non-official education route. Bamboo woven craft business can be used as the main job for craftsmen to fulfill their daily needs. Bamboo woven craft business has a big influence on the socio-economic life of bamboo woven craftsmen in Nagari Koto Baru Simalanggang. Level of Education, Level of social welfare , and the socio-economic life of craftsmen has improved significantly from the existence of this bamboo woven craft business.
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Karyasa, I. Wayan, I. Gede Putu Astawa, and I. Made Ardwi Pradnyana. "Mengembalikan Kejayaan Industri Kerajinan Cadas Silakarang di Kabupaten Gianyar melalui Penerapan Teknologi Cadas Termokromik Buatan." JPM (Jurnal Pemberdayaan Masyarakat) 6, no. 1 (May 4, 2021): 591–98. http://dx.doi.org/10.21067/jpm.v6i1.5095.
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Covid-19 pandemi affects most of craft industries, including the formerly fabulous Silakarang stone’s arts and crafts located in the Gianyar Regency, Bali Province. Environmental issues regarding to river basin ecological protection along Ubud and Sukawati Districts, the mining of basaltic stones from the river banks was restricted strictly by the government. Thus, the natural stones resources for the Silakarang crafts became more difficult to afford. Hence, todays the Silakarang stone craftsmen are more and more dependent on the so-called white stone of Yogya from Java Island. Artificial stone, composing of volcanic ashes, rice husk ash silica-carbon nanocomposite, Portland cement could be the solution the problem. The addition of thermochromic natural inorganic pigment to the mixture could improve their color and performance of the artificial stones. The implementation of the thermochromic artificial stones technology to solve the stone crafts problem was conducted through community service using the participatory action and learning system approuch. As results, the artificial thermochromic stone crafts and arts products could be well accepted by costumers and it impacted to better selling of the stone crafts. The craftsmen gained better income and the Silakarang stone arts and crafts enterprises could better survive among the pandemic time.
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Ardiwijaya, Iqbal, Rini Indriati, and Muhammad Najibulloh Muzaki. "Sistem Rekomendasi Pemilihan Kayu Untuk Kerajinan Ukir Indoor dan Outdoor." Jambura Journal of Electrical and Electronics Engineering 3, no. 2 (July 8, 2021): 94–100. http://dx.doi.org/10.37905/jjeee.v3i2.10944.
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Peminat kerajinan dan pengrajin seni ukir masih banyak yang belum memahami kriteria kayu sesuai kebutuhan yang diinginkan. Ketidakpahaman dalam pemilihan kayu yang tepat sangat mempengaruhi kualitas dan kepuasan peminat kerajinan. Jenis kerajinan ukir sendiri dapat dibedakan menjadi 2 yaitu untuk indoor dan outdoor. Kerajinan ukir indoor adalah kerajinan yang diletakkan di dalam ruangan seperti ruang tamu, ruang keluarga, atau di dalam ruangan lainya sedangkan untuk kerajinan outdoor adalah kerajinan ukir yang biasa diletakan di luar ruangan seperti gazebo, joglo, taman, di pantai, teras bagian luar dan lainya. Untuk membantu pengrajin kayu dalam pemilihan kayu untuk kerajinan ukir yang diinginkan maka di butuhkan sebuah sistem atau perhitungan matematis diharapkan memudahkan pengrajin dalam menentukan kayu sesuai kebutuhan peminat kerajinan dan memberi kemudahan dan kepuasan pada peminat kerajinan itu sendiri. Untuk itu, penelitian ini menggunakan metode Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). Tahapan yang dilakukan dalam penelitian ini adalah analisa dan pengumpulan data, penerapan metode, implementasi, dan pengujian. Menentukan kriteria seperti jenis kayu, sifat fisik kayu, kekuatan kayu, harga, berapa lama kayu bertahan, dan juga beberapa alternatif. Dalam penelitian ini, menghasilkan beberapa hasil rekomendasi kayu yang paling mendekati sesuai keinginan peminat kerajinanThere are still many craft enthusiasts and carving craftsmen who do not understand the criteria for wood according to the desired needs. Misunderstanding In choosing the right wood, it can affect the quality and satisfaction of craft enthusiasts. Types of carving crafts themselves can be divided into 2, namely for indoor and outdoor. Indoor carving crafts are crafts that are placed in rooms such as living rooms, family rooms, or in other rooms while outdoor crafts are carving crafts that are usually placed outside such as gazebos, joglos, gardens, on the beach, outside terraces and others. To help craft enthusiasts and wood craftsmen in selecting wood for the desired carving craft, a mathematical system or calculation is needed, which can make it easier for craftsmen to determine wood according to the needs of craft enthusiasts and provide convenience and satisfaction to the craft enthusiasts themselves. This research uses a method Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). The stages in this research are data analysis and collection, method application, implementation, and testing. Determine criteria such as wood type, physical properties of wood, wood strength, price, how long the wood lasts, and also several alternatives. In this study, produced several recommendations for wood that are closest to the wishes of craft enthusiasts.
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Hansson, Johan. "Ett enande band bland Nordens alla samer." Educare - vetenskapliga skrifter, no. 1 (March 14, 2019): 96–115. http://dx.doi.org/10.24834/educare.2019.1.5.
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From its establishment in 1942, the Sami folk high school included crafts as an important part of its education program. The Swedish Mission Society, who founded the school, not only wanted to educate Sami youth to better their chances on the labour market but also to give them the opportunity to get acquainted with their Sami culture. Thus Sami crafts had a crucial role in educational activities at the folk high school. With the help of Gert Biesta’s concepts, the article shows that crafts had a socializing function. The teaching strengthened the students’ collective identity and provided them with traditional skills and knowledge. However, Lennart Wallmark, the school principal (1942-1972), stressed the importance of learning crafts for other purposes. Influenced by religious thinkers, he stated that the students would also be strengthened as individuals: a process of subjectification. Moreover, the crafts lessons had a third function: qualification. Though the studies were not vocational as such, they could simplify the process of procuring the quality label bestowed by the Sami organization Same Ätnam to crafts of especially high quality. Wallmark and the teachers in crafts were important for the development of craft education at the folk high school. However, Same Ätnam’s ideas of Sami handicraft and government regulations were also influential. These inner and outer forces contributed to the teaching so that it, on one hand, did not change much but, on the other hand, was congruous with the rest of the society.
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Prihatin, Purwo. "Seni Kriya Sulaman Tangan Tradisional dan Pengrajin Perempuan Nagari Koto Gadang dalam Dimensi Ekonomi, Sosial dan Budaya." Jurnal Ilmiah Universitas Batanghari Jambi 22, no. 2 (July 26, 2022): 1197. http://dx.doi.org/10.33087/jiubj.v22i2.2384.
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This research was motivated by the existence of Minangkabau women's crafts and craftsmen, especially in Koto Gadang who have skills in the field of traditional hand embroidery. This study aims to find out the traditional hand-embroidered craft art of women in nagari Koto Gadang as cultural actors who carry out processes in social activities and craft arts. The research method uses a type of qualitative research, data collection through written sources and literature studies, documentation of cultural artifacts, so that this study can be produced and concluded that the traditional embroidery craft art of Koto Gadang is the embodiment of the expression of aesthetic taste in the form of functional objects and aesthetic objects which in their creation requires ability, experience, and technical skills such as embroidery, terawang, kapalo samek, and suji cair. Traditional embroidery crafts apply ornamental motifs, both flora, fauna and other objects based on nature, become teachers. The traditional embroidery craft art in Koto Gadang as a social product has an impact on the dimension of women's lives in Koto Gadang. The presence of Koto Gadang women and the art of embroidery crafts has become a manifestation of minangkabau women's activities that have produced cultural identity and positively impacted the actors and supporters both the social dimension and the economic dimension.