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Dissertations / Theses on the topic 'Handicraft'
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Szydlowski, Rachael A. "Expansion of the Vietnamese Handicraft Industry: From Local to Global." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1218497546.
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BARROS, LUIZ ANTONIO DOS SANTOS. "DESIGN AND HANDICRAFT: THE POSSIBLE CHANGES." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2006. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=9596@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEssa pesquisa parte da premissa de que não é cabível questionar de se o designer deve ou não atuar junto ao segmento artesanal, mas sim, como deve se dar essa ação. A crescente participação do designer junto à cadeia produtiva do artesanato estabelece a presença deste profissional neste segmento e, configura um crescente campo para a atuação conjunta de designers e artesãos. Essa parceria busca através da comercialização dos produtos artesanais, a autosuficiência dos artesãos e das comunidades artesanais em nosso país. Nesta pesquisa é apontada a intermediação e a participação de designers no decorrer da trajetória de reconhecimento do artesanato na sociedade brasileira. O estudo apresenta as categorias artesanais, e suas particularidades, definindo parâmetros para a atuação dos designers neste segmento. A pesquisa apresenta diretrizes básicas para a atuação do designer, a partir do respeito e valorização das referências culturais de artesãos e comunidades. E determina que a atuação conjunta de designers e artesãos deve dispor como objetivo comum, agregar valor comercial aos produtos artesanais, otimizando seus processos de produção, comercialização, divulgação e manutenção, visando a auto-sustentabilidade do segmento artesanal.
This research departs from the assumption that is not appropriate to argue if the designer must or not to act attached to the handicraft segment but, indeed, how his action must take place. The increasing partnership of the designer attached to the productive chain of the handicraft establishes the presence of this professional in this segment and shapes a crescent field towards the joined operation of designers and craftsmen. This partnership aims, though the commercialization of the handicraft products, the self- sufficiency of the craftsmen and the handicraft communities in our country. In this research is pointed out the intermediation and the participation of designers in the process of recognition of the handicraft in the Brazilian society. The study presents the handicraft categories and their particularities, defining parameters for the performance of the designers in this segment. The research proposes basic directives for the performance of the designer, beginning with the respect and valorization of cultural references of craftsmen and communities. And, the research establishes that the joint performance of designers and craftsmen must envisage, as common objective, to aggregate commercial value to the handicraft products, maximizing their processes of production, commercialization, divulgation and maintenance, aiming to the self-sustaining handicraft segment.
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Rankin, Carin. "Development by design - an example in the South African craft industry the Due-South travel guide /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10082008-094907.
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RYBALOWSKI, TATIANA MESSER. "DIFFERENTIATED FASHION PRODUCT MANAGEMENT: HANDICRAFT MEETS APPAREL INDUSTRY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13059@1.
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Dentre as diferentes formas que a moda tem para se manifestar, uma das mais
expressivas é a indústria de vestuário. A despeito de sua essência mutável que
busca constantemente a novidade, o produto de moda não tem conseguido ser
diferente a ponto de revelar sua identidade através de seus atributos físicos. A
partir da percepção de certa homogeneização do produto de moda, este trabalho
busca trazer subsídios ao desenvolvimento de produtos diferenciados de moda
através da criação de atributos físicos que reforcem a identidade do produto.
Dentre vários recursos que podem ser utilizados, podem-se destacar os processos
que inserem o artesanal na confecção industrial, resultando em peças únicas e
construindo um contraponto ao excesso de industrialização, impessoalidade e
repetição de modelos produzidos em escala unicamente industrial. Como uma
ferramenta estratégica para a manutenção da competitividade através da
diferenciação, a Gestão de Design utiliza as competências, conhecimentos e
experiências da empresa a fim de possibilitar a contínua reinvenção de produtos e
processos que coloquem a empresa numa posição de destaque no mercado.Apparel is one of fashion`s most expressive resources, and yet, in spite of its ever changing nature, the fashion product has not managed to achieve differentiation in a way that makes its physical attributes reveal its identity. Departing from a perception of a growing homogenization of fashion products, this study brings some insights for the development of differentiated fashion products through the use of physical attributes that reinforce a product`s identity. Among the several strategies to achieve this aim, we may emphasize the processes that promote the merging of handicraft production and apparel industry, thus yielding unique items and disrupting the pattern of excessively industrialized, repetitive and impersonal products. As a strategic tool to maintain competitive advantage through differentiation, Design Management exploits a company`s competence, knowledge and experience to continuously reinvent products and processes to achieve competitive positioning.
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Barringer, Michelle L. K. "An analysis of the need for product development training in cultural craft micro-enterprise projects." Online access for everyone, 2008. http://www.dissertations.wsu.edu/Thesis/Summer2008/M_Barringer_070808.pdf.
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Norwood, Karen. "Propensity of West Virginia craftspeople to use electronic media for marketing their products." Morgantown, W. Va. : [West Virginia University Libraries], 2002. http://etd.wvu.edu/templates/showETD.cfm?recnum=2746.
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Thesis (Ed. D.)--West Virginia University, 2002.Title from document title page. Document formatted into pages; contains vii, 165 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 118-124).
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Basnet, Sandhya. "Women in handicraft production of Kathmandu city in Nepal." Thesis, University of North Bengal, 2001. http://hdl.handle.net/123456789/231.
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Baugh, Carol Traylor. "To teach and to learn settlement and missionary school fireside industry programs in eastern Kentucky, 1900-1930 /." Click to access To teach and to learn (Online), 2005. http://www.ohiolink.edu/etd/view.cgi?miami1123167119.
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Urdziņa-Deruma, Mara. "HISTORICAL DEVELOPMENT OF HANDICRAFT EDUCATION IN GENERAL SCHOOLS IN LATVIA." 名古屋大学大学院教育発達科学研究科 技術・職業教育学研究室, 2006. http://hdl.handle.net/2237/12065.
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Pritchard, J. G. "Development of handicraft teaching in Welsh schools up to 1966." Thesis, Bangor University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332712.
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Rydback, Michelle, and Ruijun Chen. "Elements of Successful Social Enterprise : Unitis Handicraft Cooperative in Ljusdal Sweden." Thesis, Högskolan i Gävle, Avdelningen för ekonomi, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-7621.
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The purpose of this study is to provide profound elements of successful social enterprise that are reliable and valid and can serve as guidelines for those who want to examine how a SE is performing.This work is based on a single case study of social enterprise to analyze the fundamentals of successful social enterprises. It tests the feasibility of previous theories, model and characteristics that are used in evaluating nonprofits organizations. We use interviews, direct observation and questionnaires. There were five elements of successful social enterprise that were re-created in the study, namely; social wealth, networking efficient opportunities, innovation and adaptation towards financial independence, independence from volunteers and generation of economic wealth. Social benefits should be considered the most important aspect while economic wealth should not be taken for granted although it ought not to consider being the primary concern.
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Terry, Mary Elizabeth. "The economic and social significance of the handicraft industry in Botswana." Thesis, SOAS, University of London, 1999. http://eprints.soas.ac.uk/28824/.
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This thesis aims to determine the economic, financial, social, and cultural significance of the handicraft industry of Botswana to selected individuals and their households and to the nation as a whole. Because the importance of the handicraft sector to development in Africa is generally unappreciated, the main aim of the study is to establish whether handicraft production in Botswana is as important as other non-farm, small-scale industries. Using disproportionate stratification and clustering, a nationwide quantitative survey of individual craft producers, production enterprises and marketing outlets was conducted. Data on non-craft industries were obtained from secondary sources. To compare different craft categories and to determine the value of the craft and non-craft sectors, cost-benefit models were developed for ten craft categories (basketry, beadwork, skinwork, leatherwork, carving, weaving, textiles, pottery, jewellery and miscellaneous crafts) and for ten non-craft small-scale industries (beer-brewing, grass/reed collection, hut building, veld products collection, hunting, sewing, bakery, blockmaking, metalwork and milling). This study shows that the handicraft industry has an overall positive impact on individuals working in the sector, their families and communities, particularly rural dwellers, those with little or no formal education and other marginalised people. Benefits for individual producers and enterprises in rural areas are greater than in urban areas. Producers having access to consistent purchasing by formal craft organisations or by tourists benefit the most. Social and cultural benefits derived from craft activities are greater than from non-craft activities, while producers' incomes are comparable. Nationally, both sectors provide financial and economic net benefits, but the non-craft sector provides more overall income due to its larger size. The craft sector shows higher economic efficiency than the non-craft sector, although the latter has higher average profitability. This research in Botswana substantiates research in other developing countries about the significance of off-farm incomes and income diversification on rural and urban dwellers' livelihoods. These findings justify government and non-government support to increase the handicraft sector's positive impact on poverty reduction, employment creation, social welfare, culture, and the economies of Botswana and other African countries.
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Makhado, Zwoitwa. "Crafting a livelihood: local-level trade in mats and baskets in Pondoland, South Africa." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&.
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This study explored the dynamics of local-level trade in plant-based mats and baskets in Khanyayo village, Eastern Cape. These dynamics include social aspects of harvesting, resource tenure and trade. It also includes institutional issues such as legislation that enhances or restricts the degree to which local people could benefit from the trade or direct use. The study also explored the contribution of the trading in mats and baskets to the livelihoods of the Khanyayo people.
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Trotzig, Eva. "The origin of organized handicraft education for girls in Sweden 1880-1920." 名古屋大学大学院教育発達科学研究科 技術・職業教育学研究室, 2009. http://hdl.handle.net/2237/12375.
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Fabeil, Noor Fzlinda. "Entrepreneurship in rural Malaysia : an investigation of handicraft producers in Sabah Region." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8929.
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This research investigates the commercialisation processes of handicraft producers in Sabah, Malaysia, and the factors influencing their development and performance. The Malaysian government encourages handicraft production as a full-time activity in dedicated workshops, but the vast majority of producers stay part-time and home-based. The aim of this research is to understand why so few producers switch to a greater level of commercialisation, despite government support. From the literature review, it is found that a combination of person-related and contextual factors influences small enterprise development and performance, but handicraft producers in a developing country context have different characteristics to the firms usually studied in entrepreneurship, so they may follow different development paths. Therefore, qualitative research was carried out (in-depth interviews with 16 handicraft producers), which aimed to understand deeply from the producers’ point of view how they made choices about their enterprises, and the factors that encouraged or inhibited their move to full-time status or workshop premises. It was found that interviewees perceived part-time domestic production to be convenient and flexible, and workshop production to be a big commitment, although factors such as level of perseverance and social networking were influential to these. In the interviews, a complicated relationship between status, premises and enterprise performance was also found. A face-to-face survey was then conducted of 210 handicraft producers in Sabah region, which aimed to test quantitatively the factors that influence producers’ status, premises and performance, and the relationships between them. Through cluster analysis, three groups of producers were identified: (i) ‘high performance full-timers’, (ii)‘part-time professionals’ and (iii) ‘part-time home workers’. The first group contained both domestic and workshop-based producers, all full-time status, and showed highest levels of sales and profits. It was interesting to find that part-time professionals had lower profit levels than part-time home workers, even though almost all part-time professionals produced in workshops, half of them in government assisted workshops. One way ANOVA tests found significant differences between the clusters on thirteen person-related and contextual factors, including producers’ (i)education level, attendance in craft incubator, previous income activity, (ii)self-confidence, perseverance, (iii)skills relating to production, organising and networking, (iv)income maximisation motivation and (v)access to government supports, financial resources and reliable workers. The evidence from the research shows that handicraft producers in Sabah region see many advantages in domestic production, and profit levels can be higher than in workshops. By identifying the different profiles of handicraft producers in Sabah, and the person-related and contextual factors that influence them, this research may help the Malaysian government to develop effective support policies for different types of handicraft producer, including how to encourage more individuals to become ‘high performing full-timers’.
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Toops, Stanley Winfield. "The tourism and handicraft industries in Xinjiang : development and ethnicity in a minority periphery /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/5658.
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Freiji, Ousama Musa. "Red clay : Georgia craft workshop." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/24173.
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Horlik, Veronika. "The river : the relevance of craft disciplines in our information technology-driven society." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98932.
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This thesis addresses the relevance of craft disciplines in our present-day world, one that is driven largely by information technology. It is an examination of the contemporary value, benefits and importance of making objects 'by hand' from the perspective of both the craftsperson and the people who take pleasure in craft objects. In the thesis, craft is interlinked with an issue of time, more precisely, with the need for slowing down in order to live and work at a variety of speeds or rhythms. The impact of this on our understanding of learning, in the formal education system and beyond, is central.The thesis draws on a variety of sources from contemporary education and economic theories to craft philosophies of the past and issues relating to the current international Slow movements which urge us to enjoy the sensual, visual and tactile pleasures of life.
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Bose, Roy (Datta) Mowsume. "Women in handicraft production of Sikkim : a study in aspects of their role and status." Thesis, University of North Bengal, 2008. http://ir.nbu.ac.in/handle/123456789/268.
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Bose, Roy (Datta) Mowsume. "Women in handicraft product on Sikkim: study in aspects of their role and status." Thesis, University of North Bengal, 2008. http://ir.nbu.ac.in/handle/123456789/3599.
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Karling, Maria. "Kulturarvet i textilslöjden : En undersökning om hur textillärare i grundskolan använder sig av kulturarvet i slöjdundervisningen." Thesis, Södertörn University College, Lärarutbildningen, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-861.
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The educational directive for the school subject textile handicraft (slöjd) claim, that the pupils should have knowledge of handicraft traditions from historical and present perspective. Teachers in handicraft, teaching in schools for the first nine years of a child education forwards a cultural heritage. The purpose of this essay is to find out what the teachers opinion is about what constitute the Swedish textile cultural heritage. How the teachers relate to it and how they use it, then teaching. The essay is based on a qualitative method and consists of interviews with teachers. The interviews indicate that the textile cultural heritage consists of old methods for textile handiwork. The teachers also stresses that it is important for the pupils to have knowledge of the history of methods and materials and how it is made. The knowledge of the cultural heritage gives the pupils a possibility to relate to older generations. Therefore there is a potential of combining education in handicraft with for example history, which for the pupils would give a broader perspective. Knowledge of how different methods for creating things used in everyday-life have been used and developed could also increase the understanding of how people have lived.
I kursplanen för slöjd står att slöjdämnet bland annat ska ge insikter i vardagshistoria och ge kunskaper om slöjdtraditioner från förr och nu. Slöjdlärare på grundskolan förmedlar ett kulturarv i sin undervisning. Syftet med undersökningen är att ta reda på vad lärarna anser att det svenska textila kulturarvet består av, hur textillärarna förhåller sig till det och hur de använder sig av det i sin undervisning. Undersökningen är baserad på en kvalitativ forskningsmetod och består av intervjuer med lärare. Enligt resultatet av intervjuerna består det svenska kulturarvet inom det textila området av gamla tekniker som har funnits länge. Av undersökningen framkommer att det är teknikerna i sig som lärarna räknar till kulturarvet. Lärarna poängterar även att det är viktigt att känna till en tekniks eller ett materials ursprung och hur det är tillverkat. Kännedom om kulturarvet ger eleven möjlighet att känna samhörighet med äldre generationer. Om kulturarvet förs in i slöjden i samarbete med till exempel historieämnet, ger det eleven möjlighet att se tekniken i ett större sammanhang. I och med att många tekniker användes förr för att framställa vardagliga föremål, kan slöjden även skapa förståelse för hur man levde förr.
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COUTINHO, DAVISON DA SILVA. "DESIGN, MATERIAL CULTURE, HANDICRAFT AND MEMORY IN FAVELA MUSEUM OF RIO DE JANEIRO." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=28046@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROEsta dissertação propõe uma metodologia de análise da imagem em parceria com as artesãs da Rede do Museu de Favela do Rio de Janeiro (MUF) do material produzido e comercializado pela Rede. A pesquisa realiza oficinas colaborativas de criação da Exposição Mulheres Guerreiras 2013 com as artesãs do MUF realizando um diálogo com os conceitos de Memória, Cultura Material e Linguagem Pedagógica das Coisas do autor Pier Paolo Pasolini em conjunção com a metodologia do Design Participativo. Todas as etapas do processo foram construídas pelos moradores e pesquisadores envolvidos através das aulas expositivas e das oficinas práticas, nas quais é problematizada a ideia de uma identidade visual local. Os dados revelaram que a participação ativa dos moradores para construção de uma linguagem própria os transforma em potenciais multiplicadores dos fazeres locais, ressaltando os seus saberes da cultura material da comunidade envolvida.
This paper proposes an aesthetic analysis methodology in partnership with artisans of the Network of Favela Museum of Rio de Janeiro (MUF) from the material produced and marketed by the Network. The research conducts collaborative workshops to create the Exhibition Women Warriors 2013 with the artisans of MUF. This establishes a dialog with the concepts of Memory, Material Culture and Educational Language of Things by Pier Paolo Pasolini in conjunction with the methodology of Participatory Design. All process steps have been built by residents and researchers involved through the lectures and hands-on workshop in which we question the idea of a local visual identity. The data have shown that the active participation of residents for construction of a proper language turns them into potential multipliers of local activities. This emphasizes their knowledge of the material culture of the community involved.
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Le, Mare Ann. "Exploring the power to change : fair trade, development and handicraft production in Bangladesh." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/1891/.
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Mok, Chi-yuen Derek. "Revitalization of the 'Lower Bazaar' : a new place for Chinese handicrafts /." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25953163.
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Walker, Sue. "Resurgence this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/372.
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Exegesis (MA--Art and Design) -- AUT University, 2008.Includes bibliographical references. Also held in print (111 leaves : col. ill. ; 22 x 30 cm.) in the Archive at the City Campus (T 746.92 WAL)
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Totten, Kelley D. 1976. "Crafting Memories in the Mantaro Valley of Peru - Performance and Visual Representation in Craftswomen's Souvenir Production." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10081.
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xiv, 98 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The Mantaro Valley of Peru is known for its distinctive Andean villages whose residents specialize in a traditional craft that defines the community's identity: gourd carvers call Cochas Grande home; tapestry weavers reside in Hualhuas; and silversmiths forge traditional designs in San Jeronimo. As tourism to the region develops, travelers purchase these handicrafts as souvenirs to represent and remember a visit to Peru. John Urry suggests that tourists "gaze" on locals, causing them to reconstruct themselves in terms of the tourists' ideas of authenticity. Based on my fieldwork in the Mantaro Valley, I complicate Urry's argument by presenting a multifaceted approach analyzing the complex ways in which these women communicate their individual, familial, regional and national identities through the objects they create. I incorporate visual rhetoric and material behavior theories to suggest alternative ways-of-looking within tourism interactions that consider the relationships between the craftswomen, intermediaries and tourists.
Committee in Charge: Dr. Lisa Gilman, Folklore; Dr. Julianne Newton, Journalism and Communication; Dr. Carol Silverman, Anthropology
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Dowsett, Kathleen Joan. "The Women's Art Association of Canada and its designs on Canadian handicraft, 1898-1939." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37947.pdf.
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Mårtensson, Mikaela. "Renaissancing Diagonally : An investigation in the handicraft of knitting and crochet with diagonal construction." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-26593.
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In this project a collection of clothing, based on the handicraft of knitting and crocheting, has been developed. Today most garments are produced on industrial machines, cheaply, fast and with a low quality. An alternative to this is slow fashion which aims for long-lasting, locally manufactured clothing, primarily made from sustainably sourced fair-trade fabrics. The aim of this project is to raise awareness of slow fashion by working with the handicraft of knitting and crochet. The work has a slow process of making, and the items are carefully made by hand which raises the value of the garments and is a more sustainable way of using the materials. Traditional flat pattern construction is based on symmetrical squares and vertical and horizontal lines. This work's construction is based on diagonal lines around the women's body, as a suggestion that it fits the knitted fabric property and the women's body better. Design decisions were made by looking at renaissance fashion and paintings. To highlight an older way of making fashion and to push the expression in knitwear and show the potential in the craft.
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Van, Wyk Michelle Olga. "Unexplored avenues of adornment : a study of craft-related uses of the Makalani seed." Thesis, Cape Peninsula University of Technology, 2015. http://hdl.handle.net/20.500.11838/2272.
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Thesis (MTech (Design))--Cape Peninsula University of Technology, 2015.Vegetable ivory is the generic term used when referring to the nut of palm trees. Although their outward appearance varies depending on the variety of the palm, the nuts are all known to be hard, ivory-like in colour and lend themselves to shaping in various forms. The craft-related use of vegetable ivory in Namibia has been limited to carving in the past. The nut, known locally as Makalani seed, is the seed of the Hyphaene Petersiana palm fruit. Vegetable ivory products found globally prove that this non-timber forest product (NTFP) has greater potential than what is currently being explored by Namibian crafters. Similar nuts are found across the globe, including the South American tagua nut. The tagua nut has a pronounced role in the craft-related market place due to its popularity as a sustainable alternative to animal ivory. It has also provided many locals with employment and a stable form of income. Globally, focus has expanded to address the sustainability of the integrity of forest systems, as economic profits to be gained from timber-producing trees, no longer take sole priority. Rural households are making use of NTFPs as a source of income and often use the money generated from trading as a safety net in times of economic challenges. Developing management strategies for addressing global climate change has become an increasingly important issue influencing forest management around the globe. Participatory forest management is one of the strategies developed for addressing issues arising from global climate change. It is aimed at rural development, by involving locals living in the area, in programmes that involve domestication of indigenous fruit trees. By means of participatory action research (PAR) and co-design sessions, the study looked at expanding the scope of manufacturing techniques used when crafting the Makalani seed. The list of sustainable manufacturing practices generated from the data informed the creation of the crafter’s product. Expanding the range of manufacturing practices feeds into the potential the seed has as an income-generating product. These techniques contribute to the body of knowledge of craft in Namibia by addressing the issue of sustainability by exploring the potential of the Makalani nut as a crafting material as well as a medium of teaching various crafting skills. It also engaged the researcher in contributing towards social upliftment, while allowing crafters to engage in experimenting with new sustainable techniques used globally on similar seeds that could benefit their generating of income. By assessing data gathered in the codesign sessions, recommendations were made towards elevating the Makalani seed from its current craft level to that of a well-used NTFP craft material. The nature of participatory action research required analysing gathered data to feed into a solution for solving a local problem. The study is of a qualitative nature, and involved a case-study of one, a local crafter. Participatory action design was the framework for the research, as both researcher and crafter explored how the Makalani nut lends itself to techniques used on the tagua nut. It is through this lens that the study speaks to the practices of respect and responsibility, as well as that of sustainability within the parameters of a Namibian context
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MacEachren, Elizabeth J. "Craftmaking a pedagogy for environmental awareness /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66359.pdf.
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Fantin, Carla. "Sistema de indicadores de sustentabilidade para o turismo: uma abordagem do artesanato de Antônio Prado - RS." reponame:Repositório Institucional da UCS, 2018. https://repositorio.ucs.br/11338/4157.
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A busca pela sustentabilidade tem sido tema recorrente no campo do turismo, devido as suas características que geram influências na localidade em que se desenvolve. Por isso, a análise da sustentabilidade torna-se fator de significância, para a avaliação da realidade existente e para a promoção de ações, que objetivem o turismo sustentável. Assim, o presente estudo tem por objetivo verificar, através do SISDtur, a sustentabilidade econômica, social e institucional, do artesanato comercializado na casa do artesão de Antônio Prado – RS. Para tanto, foi utilizada a metodologia proposta por Hanai (2009), o SISDTur. A pesquisa se caracteriza como um estudo de caso único, com natureza descritiva e enfoque qualitativo e quantitativo. A coleta de dados se deu a partir da aplicação de questionários, com questões fechadas sobre o artesanato e perguntas sobre o perfil dos respondentes. Os resultados principais evidenciaram que a comercialização do artesanato em Antônio Prado – RS, é potencialmente sustentável nos aspectos econômicos, sociais e institucional, inferindo que a atividade tem produzido efeitos positivos sobre a comunidade envolvida, mas, ainda assim, são necessárias ações para garantir sua sustentabilidade, já que alguns indicadores se apresentaram insustentáveis e parcialmente insustentáveis. Desta forma, foi possível obter o panorama atual da comercialização do artesanato em Antônio Prado – RS, seus indicadores positivos e negativos, para auxiliar na construção do artesanato sustentável na localidade.The search for sustainability has been a recurring theme in the field of tourism, due to its characteristics that generate influences in the locality in which it is developed. Therefore, the analysis of sustainability becomes a factor of significance, for the evaluation of the existing reality and for the promotion of actions, which aim at sustainable tourism. Thus, the present study aims to verify, through SISDtur, the economic, social and institutional sustainability of craftsmanship marketed in the house of Antônio Prado - RS artisan. For this, the methodology proposed by Hanai (2009), SISDTur, was used. The research is characterized as a unique case study, with descriptive nature and qualitative and quantitative approach. The data collection was done from the application of questionnaires, with closed questions about the craft and questions about the profile of the respondents. The main results showed that the commercialization of handicrafts in Antônio Prado - RS, is potentially sustainable, inferring that the activity has produced positive effects on the community involved, but, nevertheless, actions are necessary to guarantee its sustainability, since some indicators are unsustainable and partly unsustainable. In this way, it was possible to obtain the current panorama of the commercialization of handicrafts in Antônio Prado - RS, its positive and negative indicators, to assist in the construction of sustainable handicrafts in the locality.
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Almeida, Ana Julia Melo. "Design e artesanato: a experiência das bordadeiras de Passira com a moda nacional." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-22112013-200350/.
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O trabalho apresenta uma reflexão acerca da aproximação entre o design e o artesanato. Para abordar esse contato, a pesquisa tem como objeto de estudo o encontro das bordadeiras de Passira (PE) com a moda nacional. O estudo expõe como esses dois campos se relacionaram e as repercussões dessa interação no trabalho das artesãs. Desse modo, analisa como os processos criativos e produtivos dialogam, além de compreender o que é gerado por meio dessa ligação.This work presents a reflection about the approach between design and handicraft. To broach this relation, the research aims to study the encounter of Passira (PE) embroiders with brazilian fashion. The study exposes how these two fields are related and the repercussions of this interaction in the artisans work. Thus, analyzes how the creative and productive processes dialogue, besides understanding what is generated through that connection.
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Chapados, Louise. "L'entrepreneurship en metiers d'art : le profil des artisans en métiers d'art de la Côte-Nord /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1992. http://theses.uqac.ca.
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BRANCO, TÂNIA SANTOS CASTELLO. "THE MANAUARAS ARTISANS FROM DOWNTOWN MANAUS CITY HANDICRAFT FAIR: THE FAMILY TIME AND THE LABOR TIME." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18902@1.
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O mundo do trabalho aponta contextos de inclusão e exclusão social que
levam os sujeitos sociais a buscar estratégias de subsistência frente ao imperativo
do capital. Nesse bojo, as mulheres que historicamente buscaram maior
visibilidade social, na realidade contemporânea, inserem-se no mercado de
trabalho, até mesmo na configuração da informalidade. Assim, o estudo objetiva
compreender o lugar da família e o espaço do trabalho das artesãs manauaras da
feira de artesanato do centro de Manaus. Os procedimentos metodológicos
envolveram a observação direta e posteriormente a aplicação de quatorze
questionários e realização de entrevistas com perguntas abertas e fechadas, as
quais foram realizadas no setor de artesanato onde se trabalha com artigos de
cama, mesa e banho. Os resultados da pesquisa mostraram que as mulheres têm
apoio da família para a realização das atividades e efetivação do trabalho,
contudo, tal fator não significa notoriamente a solidariedade no que tange às
estratégias de subsistência da família. Considerou-se ainda as dificuldades
referentes à separação do ambiente doméstico com o trabalho, o que mostra uma
confusão entre o início do papel relacionado às atividades laborativas das
mulheres e o desenvolvimento das ações domésticas e de atenção aos familiares
destinadas ao referido sujeito social, que se configura como protagonista de uma
sociedade em mutação.The world work points contexts of inclusion and exclusion that lead to social sibjects to pursue livelihood strategies against theimperative of capital. The bulge, the women who historically have sought greater social visibility actually fit into the contemporarylabor market, even in the informal setting. Thus the study aims tounderstand the place of the family and the scope of work of the artisans of Manaus craft fair from downtown Manaus. The methodological procedures involved the direct observation and then applyingsshowed that wo fourteen questionnaires and interviews with open and closed questions, which were performed in the craft industrywhere he works with bedding, bath and table. The survey resultsshowed that women have family support to carry out the activities and effectiveness of work, but this factor does not meannotoriously solidarity regarding the livelihood strategies of the family. It also pondered the difficulties regarding the separation of the home environment with work, which shows a confusion between t the beginning of the paper regardins the work activities of women and development of domestic action and attention to family members for the said social subject, which configures itself as the lead in a changing society.
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Leopold, Stefanie Johanna. "Methods of knowledge transfer : a case study of small and medium-sized handicraft businesses in Germany." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/14621.
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Thesis (MBA)--Stellenbosch University, 2008.ENGLISH ABSTRACT: The study is divided into two major parts: a theoretical research of two knowledge transferring methods headed by a discussion on knowledge and learning, and a case study analysing the presence of mentoring within traditional apprenticeships at carpenter workshops in Germany. The two methods on knowledge transfer are mentoring and the cognitive apprenticeship model, whereas each of the models is discussed in terms of the individual characteristics present and techniques used within the relationship of the parties present. In the past, both methods have been established in modern business organisations to enhance knowledge creation, transfer and archiving though many approaches have failed due to mistakes in the basic conceptual interpretation or lack of support. The question, which underlined this research project, focused on whether positive aspects of the methods or the methods themselves have already been incorporated in the organisational culture of small to medium sized enterprises. Thus, the research explored whether knowledge transferral methods, and particularly mentoring, is apparent within the organisational structure of small to medium sized enterprises and in Germany and whether the size of the company has an influence on the presence of mentoring aspects in the businesses. With particular focus on mentoring, the research has shown that no aspects relating to mentoring have been incorporated. Even though some answers pointed to a correlation in between business size and the incorporation of aspects, no real correlation could be proven.
AFRIKAANSE OPSOMMING: Die studie is in twee hoofonderafdelings verdeel: 'n teoretiese ondersoek van twee metodes van kennisoordrag ingelei deur 'n bespreking van kennis en leer; en 'n gevalletudie wat 'n ontleding doen van die teenwoordigheid van mentorskap binne tradisionee vakleerlingskappe by skrynwerkerswerkswinkels in Duitsland. Die twee metodes van kennisoordrag is mentorskap en die kognitiewe vakleerlingskapsmodel en elk van die modelle word bespreek na aanleiding van die individuele kenmerke wat teenwoordig is en tegnieke wat gebruik word binne die verhouding van die partye wat teenwoordig is. In die verlede is beide metodes in moderne sakeorganisasies daargestel om die skep, oordrag en bewaring van kennis te verbeter, hoewel baie benaderings misluk het weens foute in die basiese konseptuele interpretasie of gebrek aan ondersteuning. Die vraag onderliggend aan beide navorsingsprojek fokus op positiewe aspekte van die metodes of die metodes self reeds geinkorporeer is in die organisasiekultuur van klein tot medium grootte ondernemings. Die navorsing het dus ondersoek of metodes van kennisoordrag, en veral mentorskap, duidelik is binne die organisasiestruktuur van klein tot medium groote ondernemings in Duitsland en of die grootte van die maatskappy 'n invloed het op die teenwoordigheid van mentorskapsaspekte in die besigheid. Met spesifieke fokus op mentorskap het die navorsing getoon dat geen aspekte van mentorskap geinkorporeer is nie. Selfs waar sommige antwoorde 'n korrelasie aangetoon het tussen die grootte van die besigheid en die inkorporering van aspekte, kon geen werklike korrolasie bewys word nie.
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De, Silver Godwin, and Palash Kundu. "Handicraft Products: Identify the Factors that Affecting the Buying Decision of Customers (The Viewpoints of Swedish Shoppers)." Thesis, Umeå universitet, Företagsekonomi, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-83351.
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Berma, Madeline. "The commercialisation of handicraft production among the Iban of Kapit division in Sarawak, Malaysia : constraints and potential." Thesis, University of Hull, 1996. http://hydra.hull.ac.uk/resources/hull:4923.
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This study is concerned with Iban involvement in commercial handicraft production (CHP). Its aim has been to examine the possibilities of employment expansion through small-scale rural industrialisation in Sarawak, Malaysia and to discuss differential Iban involvement and "success" in CHIP. The pertinent questions are: why do some Iban craftspersons take up CHP, while others do not; and under what conditions do Iban craftspersons succeed in CHIP? By undertaking this research, it is hoped to establish whether rural industrialisation based on craft production is "desirable" and 'feasible" for the rural Iban. Survey methods were employed from 200 Iban craftspersons from 10 longhouses in Kapit Division, Sarawak supported by participant observation in addition to in-depth interview with government personnel and selected entrepreneurs (such as tour operators, Chinese towkays). The thesis argues for a reinterpretation of Iban economic history because previous research on the Than economy has tended to ignore Iban involvement in non-agricultural activities, particularly in commercial activities. Although the Iban have become increasingly oriented to the market, there has been very little attention to the evolving landscape of the Iban economy. The study shows that Iban involvement in commercial activities does not occur in linear evolutionary phases; it is a variable and fluid response to changes in the social, economic, cultural and political environment. The study also shows that CI-[P provides the rural Iban with employment and income earning opportunities which, in turn enables them to sustain their livelihood whilst regenerating interest in Iban culture. Some craftspersons have succeeded in CHIP and have even managed to market their products beyond their local region. The majority, however, have been unable either to initiate, or once involved, to survive in CHIP because of constrains identified in marketing, availability of raw material, capital, labour, lack of entrepreneurship and institutional support, and certain cultural obstacles. Despite these problems, the majority of those Iban surveyed are willing to take up CHIP in the future suggesting that there is potential for the development of rural industrialisation in Sarawak. This study is a first step towards understanding the nature, extent and effects of Iban involvement in commercial activities, which is a neglected subject in development studies in Malaysia and the interplay of factors that promote or hinder their role in economic development.
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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.
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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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Medina, Veronica E. "Theorizing American girl." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4975.
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Thesis (M,A.)--University of Missouri-Columbia, 2007.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on October 30, 2007) Includes bibliographical references.
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Marquesan, Fabio Freitas Schilling. "Terra e artesanato Mbyá-Guarani : polos da contraditória política indigenista no Rio Grande do Sul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/86847.
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O objetivo deste trabalho é desvelar as contradições inerentes às políticas ou ações que preconizam o artesanato enquanto meio de sobrevivência nas comunidades indígenas Mbyá-Guarani no estado do Rio Grande do Sul (RS). A atividade artesanal integra programas de inclusão social na condição de solução para a geração de renda e preservação identitária dessas comunidades. Entretanto, oculta uma estratégia que procrastina o enfrentamento do problema da concessão e demarcação das terras indígenas. O consenso social formado em torno dessa política fragiliza a luta pela terra por parte dos povos originários, e o incentivo ao artesanato acaba por desviar as atenções dessa questão crítica. Ainda assim, o artesanato indígena é uma alternativa legítima para a preservação de modos de fazer e formas de organização autóctones que definem padrões de interação social autônomos. É, portanto, uma atividade capaz de manter vivos os sistemas societais específicos de cada etnia indígena. Mas, em contraponto a esse consenso, formula-se a hipótese de que tal política impede o fortalecimento de uma agenda pública realmente efetiva no que diz respeito ao cumprimento da legislação que determina a demarcação e registro das terras indígenas. Para viver em acordo com seus modos tradicionais, as comunidades indígenas precisam dispor de amplos espaços naturais preservados. E isso não é contemplado quando ocorrem assentamentos em áreas de tamanho diminuto e pobres em recursos naturais. Trata-se, pois, da defesa de um posicionamento que confronta tanto a política indigenista quanto a pesquisa em administração no Brasil, que têm se pautado por doutrinas que não oferecem respostas a questões como essas. A filosofia positivista, que propunha a conversão do indígena tido como selvagem em cidadão civilizado, integrado à sociedade, foi dominante em praticamente toda a história da política indigenista brasileira, e seus resquícios ainda se fazem presentes. O paradigma sistêmico-estrutural funcionalista, por outro lado, tem constituído a ortodoxia nos estudos em administração no Brasil e tanto o questionamento de seus pressupostos quanto a busca por outras formas organizativas têm sido feitos de modo fragmentado. Por fim, compreende-se que a questão indígena, pela carga de interesses, preconceitos e toda sorte de equívocos que a cercam, torna-se um meio privilegiado para que se explore a crítica nos estudos organizacionais. Uma crítica que se propõe a desvelar a aparência de que se estaria diante de políticas transformadoras quando, de fato, permanecem incontestes os mecanismos fundamentais da exploração capitalista. Ainda que imersos no discurso positivo do respeito e da valorização da diversidade.The goal of this Thesis is to address the contradictions contained in the policies, and the actions that uses handicrafts as a means of survival in indigenous communities Mbyá-Guarani in the State of Rio Grande do Sul (Brazil). Handicraft activities are part of social inclusion programs as a solution for generating income and preserving the identity of these communities. However, it cloaks a strategy which defers addressing the problem of the allocation and demarcation of indigenous lands. The social consensus formed around this policy weakens the struggle for land of the indigenous peoples. It is argued that incentives to engage in handicrafts serve to deflect attention from this critical issue. Nonetheless, handicrafts represent a legitimate alternative for preserving indigenous ways of operating and forms of organization that define independent patterns of social interaction. It is, therefore, an activity capable of maintaining the specific societal systems of each indigenous ethnic group. However, in opposition to this consensus, it is defended the hypothesis that this policy prevents the strengthening of a truly effective public agenda with regard to the enforcement of legislation which determines the demarcation and registration of indigenous lands. To live according to their traditional ways, indigenous communities need to have preserved natural areas. And this is not taken into account when settlements occur in small areas that are poor in natural resources. This position challenges both the indigenous policy and management research in Brazil, which have been based on doctrines that do not provide answers to these questions. The positivist philosophy, which proposed the conversion of the Indians, held as savages, into civilized citizens, integrated into society, has predominated virtually the entire history of Brazil's indigenous policy and its remnants are still present today. The systemic-structural functionalist paradigm, on the other hand, has constituted the orthodoxy of management studies in Brazil and both the questioning of its assumptions as well as the search for other organizational forms have been conducted in piecemeal fashion. Lastly, it is understood that the indigenous issue, given the weight of interests, prejudices and all the misconceptions surrounding it, has become a prime means to critically explore these organizational studies. A criticism which, in this Thesis, endeavors to lay bare the appearance that we are dealing with transformational policies, when, in fact, the underlying mechanisms of capitalist exploitation remain unchallenged. Though immersed in positive discourse about respect and valuing diversity.
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Sugee, Nadia. "Increasing South Africa's contribution to global trade in craft." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/6171.
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Thesis (MBA (Business Management))--Stellenbosch University, 2008.ENGLISH ABSTRACT: This study proposes to deal with the challenge of getting craft products efficiently and sustainably to the market.The objective of the study is to suggest an integrated framework for interventions led by the state to ensure that the right products reach the right markets at the right price at the right time, thus ensuring that South Africa's contribution to global trade is increased. The South African Government has recognized the importance of the craft sector from the onset of democracy and has developed a number of policies to ensure its growth and development. These policies range from the economic to cultural to social dimensions. The thesis has largely focused on the economic aspects of these policies. Key amongst these is the Customised Sector Programme (CSP) for Craft, developed by the DTI since it focuses on strategies aimed at commercialising the sector. According to the CSP, South Africa's comparative global advantage and strategic positioning lies with its very strong design and innovation skill; its strong global reputation; combined with a relatively sophisticated communication and IT industry and well established infrastructure and logistics environment. However, SA contributes just less than 1 % of global trade in craft because of a number substantive issues constraining it. These include amongst others: • a weak skills base on the manufacturing enterprise side • high and uncompetitive product prices • poor ability to capitalise on market opportunity • lack of research and development • lack of reliable national sector profile data and up-to-date market intelligence. There are many government departments and entities that currently support the craft sector. They have different objectives and approaches ranging from enterprise support and economic development to social, welfare and cultural support. These objectives and approaches have been translated into a number of programmes. These programmes essentially function as separate units and do not necessarily tie up in creating a continuum of support to ensure the development of globally competitive craft enterprises. The Cape Craft and Design Institute, established as a craft development agency, is the exception. Two case studies were undertaken to demonstrate the fact that the South African craft sector is complex, uncompetitive and unable to capitalize on market opportunities. The products are commercial, while the systems supporting them are not. These systems include internal business systems, infrastructure and logistics, language and communication, business development support etc. The case studies highlighted how these factors undermine the sector's ability to contribute to global trade. This is compounded by the fact that the vast majority of enterprises are rural in origin and the support systems do not adopt a Bottom of the Pyramid approach to development. The thesis makes a case for the integration of support and alignment of objectives of stakeholders involved in the sector. This integration is crucial to the South African craft sector's success in the global arena and is envisaged as follows: • The creation of a craft industry cluster to include both government and private sector stakeholders. • The nucleus of this cluster should be a craft development agency. • This agency should drive an economic agenda, but should adopt a holistic approach to development - the triple bottom line approach with a market driven agenda.
AFRIKAANSE OPSOMMING: Die doel van hierdie verhandeling is om inligting te verskaf ter ondersteuning van 'n geintegreerde mikro-ekonomiese intervensie van die Departement van Handel en Nywerheid (DHN) wat sal bydra tot die ontwikkeling van 'n globale handwerkbedryf en 'n verhoogde bydrae tot wereldwye handel in handwerk. Die Suid-Afrikaanse regering het die belangrikheid van die handwerksektor reeds sedert die aanvang van demokrasie in Suid-Afrika erken en het 'n aantal beleide ontwikkel om groei en ontwikkeling van hierdie sektor te verseker. Hierdie beleide strek oor die ekonomiese, kulturele en sosiale spektrum. Die verhandeling fokus hoofsaaklik op die ekonomiese aspekte van hierdie beleide. Die belangrikste daarvan is die Doelvervaardigde Sektor Program (DSP) vir Handwerk, wat deur die DHN ontwikkel is, omdat dit gemik is op die kommersialisering van die sektor. Volgens die DSP is die vergelykbare globale voordeel en strategiese posisionering van Suid-Afrika gelee in sy sterk ontwerp en innoverende vaardigheid; sy goeie wereldwye reputasie; saam met 'n relatiewe gesofistikeerde kommunikasie en IT - industrie en goed gevestigde infrastruktuur en logistieke vermoe. Nietemin lewer Suid-Afrika net minder as 1 % van die wereld se handel in handwerk. Dit kan toegeskryf word aan 'n aantal beperkende faktore, waaronder die volgende genoem kan word nl.: • 'n swak vlak van vaardighede van vervaardigingsondernemings; • hoe en swak kompeterende produkpryse; • onvermoe om op markgeleenthede te reageer; • gebrek aan navorsing en ontwikkeling; en • 'n gebrek aan 'n betroubare data-profiel van die nasionale sektor en markinformasie, wat op datum is. Daar is baie regeringsdepartemente en entiteite wat tans die handwerksektor ondersteun. Laasgenoemde het verskillende doelwitte en benaderings wat strek van ondememingsondersteuning en ekonomiese ontwikkeling tot sosiale welsyn en kulturele ondersteuning. Hierdie doelwitte en benaderings het ontwikkel tot 'n aantal programme. Hierdie programme funksioneer essensieel as aparte eenhede en sluit nie noodwendig bymekaar aan om kontinuum-ondersteuning te bied wat ontwikkeling van globale handwerkondernemings verseker nie. Die Kaapse Handwerk- en Ontwerpinstituut wat as 'n handwerkontwikkelingsagentskap gevestig is, is 'n uitsondering. Twee gevallestudies is ondemeem om die feit te illustreer dat die Suid-Afrikaanse handwerksektor ingewikkeld en nie mededingend is en nie die vermoe het om op markgeleenthede te kapitaliseer nie. Die produkte is kommersieel lewensvatbaar, maar die ondersteuningsstelsels is nie. Hierdie stelsels sluit in interne sake-stelsels, infrastruktuur en logistiek, taal en kommunikasie, en sakeontwikkellingsondersteuning. Die gevallestudies werp lig op hierdie faktore, en hoe dit die sektor se vermoe om globaal mee te ding ondermyn. Dit word vererger deur die feit dat die groot meerderheid van die ondernemings landelik van aard is en dat ondersteuningsstelsels nie besigheid doen aan die onderkant van die inkome-piramiede - van onder tot bo - nie. Die verhandeling maak 'n saak uit vir die integrasie van ondersteuning en doelwitgerigtheid van alle spelers wat betrokke is by hierdie sektor. Hierdie integrasie is van die uiterste belang vir die Suid-Afrikaanse handwerksektor se sukses op die wereldarena en word as volg gevisualiseer: • Die vestiging van 'n handwerkindustriegroep wat beide regerings- en privaatsektorspelers insluit. • Die kern van hierdie groep moet 'n handwerkontwikkelingsagentskap wees. • Die agentskap moet 'n ekonomiese agenda navolg met 'n holistiese benadering tot ontwikkeling, - die drievoudige-onderstelyn benadering met 'n markgedrewe agenda.
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Grönlund, Jonny. "Skiktlimning i skolslöjden : ett gestaltande examensarbete om skiktlimning i slöjdundervisningen." Thesis, Umeå universitet, Lärarhögskolan vid Umeå universitet (LH), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-53098.
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Syftet med detta gestaltande arbete är att ta reda på hur skiktlimning fungerar i skolundervisningen och vilka möjligheter som finns för att integrera den mer i skolan. Syftet är också att bidra med kunskap om tekniken till andra lärare. Detta är ett gestaltande examensarbete. Tre olika produkter tillverkades med hjälp av skiktlimning. Processen dokumenterades så att lärare och elever ska kunna använda dem i slöjdundervisningen. Jag gjorde även fyra olika intervjuer med fyra lärare från tre olika skolor och även en undersökning om hur produkterna jag tillverkat fungerar i en skolsituation. Resultatet visar att skiktlimning är en teknik som kan vara av intresse för elever i skolan. Det är också uppenbart att lärare inte har mycket erfarenhet och kunskap om tekniken. Slöjdlärarna medger att det finns fördelar med tekniken även om den inte används ofta i undervisningen. Slutsatsen av denna studie är att skiktlimning som teknik kan användas i grundskolan men att den verkar förekomma i liten utsträckning. Min undersökning visar att det var mycket populärt bland eleverna när de väl blev introducerade och intresserade av tekniken.The purpose of this study is to find out how laminate bending works in school and how one could integrate it even more. The purpose is also to spread awareness of this technique. This is an examinations work. I made three different items that involve the technique laminate bending. I documented them and made manuals for those so that teachers and students in school will be able to understand them. I also made four separate interviews with four different teachers from three different schools and also investigated how the products I made work in a school context. The results show that laminate bending is a technique that can be of interest to students today. It is obvious that teachers do not have much experience and knowledge about the technique. Teachers in sloyd admit the advantages of the technique even though it is not used frequently in learning processes in school. The conclusions from this study are that the technique can be used in school nowadays but it seems like it occurs in a very small extent. It is also apparent from my investigation that it is very popular among the students, once they got introduced and interested in the technique.
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Lichti, Harriman Kathryn A. "An argument of images through a symbolist lens : experiences of craft in North-East Scotland." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=165148.
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Throughout the thesis I take symbolic communication and visual metaphors as starting points for developing a contemporary picture of diverse Craft practices in a small corner of Scotland. This thesis is both an ethnography of Craft and a craft object, explicitly made to be a theory-laden object of material culture. This thesis aims to question a variety of epistemological regimes found not only in anthropology but also in the North-East of Scotland. The main argument of this thesis is that in order to understand something about Craft and the experiences of its makers it is important to have an understanding of the ways in which they create that world as meaningful: that is, an understanding of the thirdness (or symbolism) that is an active, generative force in that world. In the following chapters I argue two interwoven points: one, that a stash (collection) is a collection of stash (craft materials) and is also a site of thirdness in which symbolic thought and action are vital. And two: that, as such, stash and the craft world in which it is embedded are well served by an approach to visual anthropology and that takes seriously a study of semiotics in which poetics become more than a subject of analysis; poetics are also allowed to develop into a method(ology) of engaging both informants and audience in a meaningful dialogue of knowledge production. By using images to contextualize ethnographic evidence and by making these previous points not only with words, but also through imagery, I aim to convince the reader of the integrity of my ethnographic analyses as well as that theories of visual anthropology are as useful for analysing anthropological subjects as for communicating ourselves.
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Mo, Cuiyu, and 莫翠瑜. "The Cantonese lion head: the process of making a lion head in Guangzhou." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hub.hku.hk/bib/B50716293.
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The lion dance is a traditional form of Chinese culture with thousands of years of history. From the historical record, the lion dance tradition was started in the Han Dynasty. Similar to the dragon dance, the lion dance is a spiritual activity. It is a symbol that brings good fortune to people. Nowadays, the tradition is practiced in China, particularly in Guangdong Province (廣東省), Fujian Province (福建省) and spread by the Cantonese, together with good fortune, to Asia, the United States and Canada, and even to Mexico and Europe. Wherever there are Chinese, people perform the lion dance to express joy and happiness.
However, after years and events, with such a rapid development, the crafts industry of making lion heads is facing a variety of challenges in China. This dissertation aims to document the crafts, especially the Southern lion head in Guangzhou (廣州). With particular focus on the craftwork of Mr. Zhong Jiachao (鐘嘉超),the Inheritor of Intangible Cultural Heritage awarded by Guangdong Province Government for his work on lion heads, is famous with his craftwork of building lion heads in Guangzhou and overseas.
The purpose of this dissertation is to provide the technical background for the future conservation of the tradition via the documentation and analysis of the heritage significance of making the lion heads. As a cultural tradition, the craftsmanship of the making of lion heads is an intangible heritage to express tangible and intangible socio-historical value within Chinese communities. It aims to conserve the crafts, and to revive and rejuvenate such folk art via the investigation on the lion dance and lion heads.published_or_final_version
Conservation
Master
Master of Science in Conservation
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Telford, N. J. M. "Making stories : an investigation of personal brand narratives in the Scottish craft microenterprise sector." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21910.
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This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An empirical methodology is proposed which takes a narrative phenomenological approach, generating narrative texts from depth interviews with creative producers which is subjected to a Grounded Theory approach and narrative analysis in view of craft producer typologies (Fillis 1999; Fillis 2010). The stories of makers are used to generate meaning and outputs to contribute to theory, practice and recommendations for policy. Care is taken to ensure that the testimony of participants is co-created and not entirely the result of the researcher’s interpretation even though this study is interpretive in nature (Rae & Carswell 2000; McAdams 2008; MacLean et al. 2011). Similar to other entrepreneurs or producers in the creative industries, the craft worker in the current era is typified as an individual sole trader who operates in a wider culture, society and economy of increasing complexity and competition (Fraser 2013). This thesis selects those owner/ managers whose businesses rely upon craft practice and are operating in Scotland as its focus, but aims its findings at a wider reach to establish themes for future research to understand how its participants build value into their market offerings by creating personal narratives within larger narratives of craft sector and creative industries discourse. A range of participants from new starts to well-established craft practitioners is featured in the text in order to give depth and breadth to the understanding of current practice in a diverse sector which increasingly interacts with other creative industry sectors (Yair & Schwarz 2011). This thesis posits that creative producers build value through their unique ‘auratic’ persona through their personal brand narrative. This is what differentiates their work and outputs from large corporatized mass-manufacturing systems. The products of individuals’ hand skill may be categorised and classified in many ways – from fine contemporary craft to the vernacular, the utile and that which pays homage to others’ designs. What remains constant, however, is that it emanates from personal identity and the identity of the maker mixing self with story (Leslie 1998). The thesis contributes to the gap in academic marketing literature on microenterprise brand development using the topics of personal narrative, business development, product development, marketing competency/ orientation, and technology use in production and marketing. Additional emergent themes of Microenterprise Social Responsibility, the role of life-work balance of makers parenthood which further ideas of career management in the creative industries are also revealed in the course of this research (see also Summerton 1990; Burroughs 2002; Neilson & Rossiter 2008; McDowell & Christopherson 2009; Banks & Hesmondhalgh 2009). Methodologically, this thesis is hybrid but crucially uses the equipment of story and narrative analysis to offer both insights into practice for the academy and a method that practitioners can use to further marketing development and their brand identity. Through the careful gathering and presentation of various stories – of biography, making and marketing, this thesis presents a current view of craft as created, communicated and exchanged by those working in the field in Scotland today. These case stories act as both informative examples that demonstrate how individual producers create value in their work. The findings are consistent with - but also develop - a maker typology offered by Fillis (1999; 2010) and Burns et al. (2012) thus contributing a methodological and conceptual approach and framework to understand the marketing and branding behaviours of Scottish craft microenterprises (McAuley 1999; Creative and Cultural Skills 2009) but which may also be applied to other types of microenterprise.
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Dobson, John Alver. "Institutional influences on the adoption and non-adoption of information systems innovations : case evidence from the Taxco Silver Handicraft Sector." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/institutional-influences-on-the-adoption-and-nonadoption-of-information-systems-innovations-case-evidence-from-the-taxco-silver-handicraft-sector(477139ee-7985-4267-a52d-9c844dae8d22).html.
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This thesis answers the research question: What role do institutions play in the adoption and non-adoption of Information Systems (IS) innovations? In exploring this question, institutional theory is used to develop an interpretation of behaviour by Micro and Small Enterprises (MSE) related to the adoption and non-adoption of IS innovation within the Taxco Silver Handicraft Sector. The research categorised the emergent data into established Mexican institutions, which allowed for the analysis of institutionalised responses to the introduction of new social structures. There is a need to understand behaviour related to adopting IS innovations through the beliefs of local agents. Interpretivist literature was used to explore how the adoption of IS innovations is influenced by the local context. This research developed a theoretical framework that combines Scott’s (2008) three-pillars of institutions (regulative, normative and cultural-cognitive); with the Seo and Creed (2002) framework for exploring the institutionalisation of IS innovations. This theoretical framework allowed for the exploration of the contestation between institutional entrepreneurs (agents advocating the adoption of new social structures) and those resilient to institutional change. This research makes a number of key contributions to the field of study. The development of a new theoretical framework is designed to assist future researchers in exploring the institutionalisation process. The methodological contribution emerges from the demonstrating the value of ethnographic case studies within handicraft sectors in developing economies. The practical contribution of this research lies in increasing our understanding of how and why new social structures are developed.
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Topimin, S. "Government intervention in women entrepreneurship development : opportunities and challenges for Bumiputera women entrepreneurs (BWEs) in the handicraft industry in Malaysia." Thesis, Nottingham Trent University, 2015. http://irep.ntu.ac.uk/id/eprint/27893/.
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This study provides insights into the influences of government intervention on the business survival of Bumiputera women entrepreneurs in the handicraft industry in Malaysia in which Bumiputera refers to the indigenous people and the largest population group in the country. The Malaysian handicraft industry is largely made up of Bumiputera women entrepreneurs (BWEs). While very little is known about how BWEs in the handicraft industry in Malaysia manage the survival of their businesses, the impact of the government’s initiatives on BWEs’ business survival process remains largely unexplored. To explore these arguments, this study investigates the business survival experiences of BWEs in the handicraft industry in Sabah, Malaysia: the leading state in the country in terms of handicraft producers. This study adopts an interpretative approach and uses semi-structured interviews as the main data collection technique in exploring the perceptions and views of 21 BWEs and five government officials (GOs) on government entrepreneurial support programmes (GESPs). All interviews were recorded but with participant’s permission. Two additional data collection methods: documentary analysis and observations were utilised; thus, improving the triangulation of the findings. The findings show that BWEs’ business survival is a complex process that is influenced by endogenous and exogenous factors which stem from three different aspects: personal, organisational and institutional. While endogenous factors relate to BWEs’ personal and organisational aspects, exogenous factors refer to four institutional environments: family, social, political and GESPs. The important dimensions that emerged are the significance of the collectivist culture of Malaysia in influencing BWEs’ business survival and the political privileges that influence BWEs’ access to GESPs. This study revealed that government organisations appear to be the dominant source of external support for BWEs in the handicraft industry in Malaysia. However, the way the GESPs are designed, implemented and evaluated do not reflect the business needs of BWEs. This study adds to the body of knowledge on women’s business survival by providing empirical evidence from a Malaysian perspective. The findings demonstrate how the Malaysian collectivist culture is relevant in minimising BWEs’ patriarchal pressures, thus bringing further insights to the gender and women’s entrepreneurship literature. Finally, this study highlights the significance of the political privileges that hinder BWEs access to GESPs whilst also encouraging the establishment of women-only entrepreneurial support programmes, contributing to the literature on institutional influences on women’s entrepreneurship research.
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Mok, Chi-yuen Derek, and 莫智遠. "Revitalization of the 'Lower Bazaar': a new place for Chinese handicrafts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985968.
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Bernal, Mac Donald Fernandes. "A árvore da vida reflexões sobre o artesanato de referência cultural do território trinacional do Iguaçu." Universidade Estadual do Oeste do Parana, 2015. http://tede.unioeste.br:8080/tede/handle/tede/2560.
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Previous issue date: 2015-03-27The text is the result of a survey on remnants of cultural evocations of the Guarani culture in the tri-border region between Brazil, Paraguay and Argentina. Linked anthropology themes, sociology, philosophy and history, the text focuses on focus on some recurring images at the time of formation of the Itaipu Lake Reservoir, demonstrating the re-articulation of knowledge through the evocation of culturally significant images regionally. With the flood caused to the lake filling, the animals living in the affected region sought refuge in the trees in order to save their lives. This phenomenon, once registered, culminated in the creation of cultural reference crafts titled as "The Tree of Life", attributed to the Guarani Indians, and that served to unite references bases of fundamental beliefs and symbols of indigenous culture of this ethnic group with strong parallelism between facts and myths. In addition to the tree, the myths of the Flood, the search for Land Without Evil, among others, make up the Guarani phenomenology around the formation of the lake. Iconographic sources, written and narrated memories are used as a means of demonstrating the everyday experience of weaving the daily task of Pai-Tavytera or Kaiowa, Mbÿá and Ñandeva s Indians, all who became homeless at the time that Itaipu s International Lake was formed.
O texto resulta de uma pesquisa sobre evocações culturais de remanescentes da cultura guarani na região da tríplice fronteira entre Brasil, Paraguai e Argentina. Vinculado a temas da antropologia, sociologia, filosofia e história, o texto concentra-se em enfocar algumas imagens recorrentes no momento da formação do reservatório do lago de Itaipu, demonstrando a rearticulação de saberes mediante a evocação de imagens culturalmente significativas regionalmente. Com a inundação causada para o enchimento do lago, os animais que viviam na região afetada procuraram refugiar-se nas copas das árvores para poderem salvar suas vidas. Este fenômeno, uma vez registrado, culminou com a criação do artesanato de referência cultural intitulado como A Árvore da Vida , atribuído aos índios guarani, e que serviu para aglutinar bases referenciais de crenças e símbolos fundamentais da cultura indígena desta etnia, com forte paralelismo entre fatos e mitos. Além da árvore, os mitos do Dilúvio, a busca pela Terra sem Males, dentre outros, compõem a fenomenologia guarani em torno da formação do lago. Fontes iconográficas, memórias narradas e escritas são usadas como meio de demonstrar a experiência cotidiana de tecer o dia a dia na tarefa de sobrevivência de índios Pai-Tavytera ou Kaiowa, Mbÿá e os Ñandeva, todos os que foram desalojados no momento de formação do Lago Internacional de Itaipu.
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Noronha, Raquel Gomes. "Dos quintais às prateleiras: as imagens quilombolas e a produção da louça em Itamatatiua - Alcântara - Maranhão." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8962.
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Esta pesquisa aborda os diversos sentidos atribuídos à produção de louça por mulheres que moram em Itamatatiua, uma comunidade remanescente de quilombo localizada em Alcântara, Maranhão. Em uma etnografia, a sua secular produção de louça é analisada à luz da categoria zona de contato, enquanto âmbito privilegiado para a observação dos discursos pelos quais as fazedoras de louça de Itamatatiua constituem-se não apenas como quilombolas, mas também como mulheres, pretas, e artesãs. Habitando um território considerado terras de Santa Tereza, as mulheres de Itamatatiua constroem suas narrativas em relação às suas percepções sobre os atores externos ao povoado, como os turistas, pesquisadores, consultores de design que buscam nas suas territorialidades uma forma de acessar o passado. O resultado compartilhado e percebido é o que denomino imagens quilombolas. Estas imagens, constituídas de narrativas, formas de agir e pensar e aqui assumidas também como imagens gráficas (fotografias, peças gráficas e material audiovisual) revelam camadas históricas e discursos hegemônicos que são ressemantizados nos constantes encontros com turistas e pesquisadores, incluindo a mim mesma como pesquisadora e designer. As narrativas das mulheres sobre o saber-fazer da louça, sobre o seu imaginário sobre os turistas, sobre o que os consultores buscam no quilombo são alguns entre outros componentes das imagens quilombolas.This research approaches the several meanings attributed to the production of earthenware women who live in Itamatatiua, a quilombo remnant community located in Alcântara, Maranhão. Their secular production of earthenware is analyzed in an ethnography through the category of contact zone as a privileged scope for the observation of speeches through which earthenware makers from Itamatatiua become not only Quilombo people, but also women, black, and artisans. Inhabiting a territory considered as lands of Santa Tereza, women from Itamatatiua build their narratives with respect to their perceptions of outer actors to the village, such as the tourists, researchers, design consultants who seek in their territorialities a way to access the past. The shared and perceived result is what I call Quilomboish images. These images, made of narratives, ways of acting and thinking and here also assumed as graphic images (photographs, graphic pieces and audiovisual material) reveal historical layers and hegemonic discourses that are resignified in constant interactions with tourists and researchers, including myself as a researcher and designer. The narratives of the women on the know-how of the earthenware on their imaginary about the tourists, on what the consultants seek in the Quilombo are some among other components of the Quilomboish images.