Journal articles on the topic 'Making and Craft'
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1
Groth, Camilla, Katherine Townsend, Tina Westerlund, and Gunnar Almevik. "Craft is ubiquitous." Craft Research 13, no. 2 (September 1, 2022): 211–20. http://dx.doi.org/10.1386/crre_00076_2.
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This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4‐6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.
2
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.
3
Toporkov, A. L. "Pottery-making: Mythology and Craft." Soviet Anthropology and Archeology 26, no. 1 (July 1987): 71–81. http://dx.doi.org/10.2753/aae1061-1959260171.
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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.
5
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
6
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
7
Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.
Full textAbstract:
The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general.
Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education.
The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA.
Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied.
The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore.
Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from.
Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on.
A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original.
How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle
Keywords: Craft research, practice-based research method, material culture, craf
8
Myllys, Riikka. "Spiritual Yarning: Craft-making as Getting Along in Everyday Life." Journal of Religion in Europe 13, no. 1-2 (December 9, 2020): 121–43. http://dx.doi.org/10.1163/18748929-13010007.
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Abstract This article investigates how spirituality relates to craft-making. Spirituality is understood to have both religious and nonreligious content depending on the person. The data was collected in a one-year period of observation and interviews. The results show that spirituality related to craft-making may be both religious and nonreligious. It is noteworthy, however, that religious and nonreligious spirituality are related to different aspects of craft-making: the social and prosocial aspects of craft-making are mostly religiously spiritual, whereas individually centred aspects are not. Altogether, the spirituality of craft-making is largely immanent and wellbeing-oriented. As such, its focus is on getting along in everyday life.
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Groth, Camilla, Veikko Jousmäki, Veli-Matti Saarinen, and Riitta Hari. "Craft sciences meet neuroscience." Craft Research 13, no. 2 (September 1, 2022): 261–83. http://dx.doi.org/10.1386/crre_00079_1.
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Collaboration between disciplines is necessary when research questions cannot be answered within a single discipline. Joining of forces can produce results that neither discipline could provide alone. Here we exemplify collaboration between a ceramic craft researcher and three neuroscientists working in the field of human brain imaging. In our case study of clay throwing, the researcher‐practitioner’s eye gaze, muscular activity and hand acceleration were recorded online, synchronized with video and thermal-camera recordings. We describe the experimental setting and discuss, besides the possible future interests in this kind of research, also the different levels of collaborative work between disciplines. We found that the monitoring methods worked well in the naturalistic setting in a ceramic studio, providing some new perspectives into the craft practice. For neuroscientists, clay throwing ‐ involving accurate sensorimotor hand control, haptics and eye‐hand coordination ‐ provides an attractive setup to extend previous neuroscientific and behavioural findings in strictly controlled laboratory experiments into naturalistic situations. The applied monitoring devices might allow practitioner‐researchers in crafts to become aware of unconscious steps in the making process. The applied methods could also help to accumulate general craft-making knowledge and build related theory.
10
Buchczyk. "Making Certainty and Dwelling through Craft." Journal of American Folklore 133, no. 528 (2020): 178. http://dx.doi.org/10.5406/jamerfolk.133.528.0178.
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Yair, Karen, and Mary Schwarz. "Making value: craft in changing times." Cultural Trends 20, no. 3-4 (December 2011): 309–16. http://dx.doi.org/10.1080/09548963.2011.589711.
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Marshall, Justin, and Catharine Rossi. "Making with China." Digital Culture & Society 3, no. 1 (July 26, 2017): 127–38. http://dx.doi.org/10.14361/dcs-2017-0108.
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Abstract In January 2015, Li Keqiang visited Chaihuo makerspace in Shenzhen, the Chinese city that is the world’s electronics manufacturing capital. The visit expressed the significance of China’s fledgling but fast-growing maker movement: while its first makerspace was set only up in 2010, in 2016 there are over a hundred, and Keqiang’s visit is part of a bigger governmental push on makerspaces, positioned as sites of creative and technology-led innovation key to the country’s economic growth. Amidst growing research into the social, politicoeconomic and cultural significances of makerspaces in the UK and Europe, the specificity of China’s maker movement remains underresearched. Yet understanding the on-the-ground lived experience, rather than the promotional rhetoric, of China’s maker movement is crucial to its future: while lots of makerspaces are opening, many lack makers, and there are fears that China’s maker movement is an artificially fuelled bubble about to burst. Contemporaneously, the future of other types of making in China, such as its craft traditions, urban manufacturing networks, and shanzhai production, is being threatened by an assemblage of fiscal and state forces. Investigating China’s maker movement was the focus of two British-based and British-funded network, research and knowledge exchange projects in which the authors participated during 2015 and 2016: Living Research: Making in China and China’s Creative Communities: Making Value and the Value(s) of Making. This paper considers their research methodologies and initial findings. Specifically, it focuses on the craft-based participatory methodology developed in China’s Creative Communities, as seen in a “Digital Craft” workshop. Informed by social anthropology, its empirical, immersive and inclusive approach gave a voice to makers themselves. While still in a developmental stage, we believe this “craft anthropology” approach has value for future research into the maker movement in China and in other cultures and contexts.
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Kröger, Tarja. "Promoting significant learning in a cultural craft course." Craft Research 11, no. 2 (September 1, 2020): 211–36. http://dx.doi.org/10.1386/crre_00026_1.
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The study explores creating intentional cultural dialogue through craft and cultural heritage and examines significant learning experiences of a cultural craft course reported by thirty-two (N = 32) exchange students. The students were from ten countries and studied Cultural Heritage and Craft Education in the International Study Programme at the University of Eastern Finland during the academic year 2018–19. The methods applied in the course were significant learning and collaborative designing for supporting cultural dialogue. Data were collected through reflective essays and reported in Dee Fink’s taxonomy of significant learning framework. The analysis identified six types of significant learning experiences and confirmed that cultural heritage embodied in crafts serves as a significant platform for cultural dialogue. That is, a holistic craft process including designing, making and reflective evaluation can support cultural learning. The research contributes to the development of international study courses and provides means to enhance cultural dialogue in the context of craft education.
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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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Zoran, Amit, Seppo O. Valjakka, Brian Chan, Atar Brosh, Rab Gordon, Yael Friedman, Justin Marshall, et al. "Hybrid Craft: Showcase of Physical and Digital Integration of Design and Craft Skills." Leonardo 48, no. 4 (August 2015): 384–99. http://dx.doi.org/10.1162/leon_a_01093.
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This article introduces the Hybrid Craft exhibition, positioning 15 hybrid projects in the context of today’s Maker culture. Each project demonstrates a unique integration of contemporary making practice with traditional craft. The presenters in the show represent a wide range of professional backgrounds: independent makers, students and teachers, designers associated with research institutes, and commercial organizations. The background of Hybrid Craft, the makers and their works, including tool-making, jewelry, bowl-making and interactive design, are presented. The discussion focuses on integrating human skill and design to introduce a diverse portfolio of technologies used in this hybrid making process.
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Sandhiasti, Kayla Thalusya, and Sabrina Ilma Sakina. "Making Fashion Products From Abaca Fiber In Pandemic Times." Prosiding Konferensi Nasional Pengabdian Kepada Masyarakat dan Corporate Social Responsibility (PKM-CSR) 4 (November 20, 2021): 1056–60. http://dx.doi.org/10.37695/pkmcsr.v4i0.1318.
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North Sulawesi is one of the regions in Indonesia with abundant natural resources, one of them being the banana trees. The fiber of this tree is often used to make one of the components for their traditional houses and other everyday crafts, including their indigenous fabric called Kofo. However, throughout the years, the existence of this fabric has decreased because of the limited craftsman and its intricate process in making it. Because of that, the abaca fibers are not well used. The Coronavirus Pandemic has affected many aspects, especially in the economic area. This phenomenon has limited our daily activities. However, it also opens up opportunities to collaborate and be creative with various parties from home. This project is a collaboration between multiple parties, the craft students from ITB have become a bridge between the craftsmen from different regions in Indonesia who produce the products and the local business that distributed them. The result is fashion products made from abaca fibers in a modern and high-end approach. To conclude, this report aims to encourage people to produce craft products using abaca fibers during pandemic times.
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von Busch, Otto, and Cigdem Kaya Pazarbasi. "Just Craft: Capabilities and Empowerment in Participatory Craft Projects." Design Issues 34, no. 4 (October 2018): 66–79. http://dx.doi.org/10.1162/desi_a_00512.
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In this article, we regard craft as a form of making “publics” from the perspective of the capabilities approach. With this approach, we argue capabilities developed in craft empowerment projects can be mapped and better understood. If projects empower higher internal as well as external capabilities, artisan practices can be used strategically to mobilize further social agency, autonomy, and political praxis.
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Hart, Karen. "Making musical instruments." Early Years Educator 23, no. 4 (November 2, 2021): S14—S15. http://dx.doi.org/10.12968/eyed.2021.23.4.s14.
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The activities here are designed to show the many different ways to produce sound and create music, as well as to demonstrate a variety of craft techniques, many of which will hopefully be new and interesting to children.
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Latoufis, Kostas, and Aristotle Tympas. "The Craft of Small Wind Turbine Making." Digital Culture & Society 6, no. 1 (December 1, 2020): 187–92. http://dx.doi.org/10.14361/dcs-2020-0110.
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Vizcarrondo-Laboy, Angelik. "Making Knowing: Craft in Art, 1950–2019." Journal of Modern Craft 13, no. 2 (May 3, 2020): 195–200. http://dx.doi.org/10.1080/17496772.2020.1790113.
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Chou, Yen-Fei, and Tsai-Yun Lo. "Combining the traditional craft of twined flower making with stone." Craft Research 13, no. 1 (March 1, 2022): 153–68. http://dx.doi.org/10.1386/crre_00070_1.
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Twined flower making has been a handicraft practiced by women since the Qing Dynasty (1885‐94) in which wires, papers and silk threads are the main materials used by entwining the materials together in various combinations into the forms of flowers. However, the rise of plastic flowers in the 1970s, the evolution of lifestyle and weakened folk traditions has led to the gradual decline of twined flower craft. The craft of twined flower making has not been taught in a systematic fashion and thus is more difficult to pass onto new generations. The research aims to bring the art of twined flower into daily life to continue the future of this craft. The eastern region of Taiwan has an abundance of stone resources. The conception of the project is to unite the contrasting materials of twined paper flowers and to augment the scope of the craft. Traditionally twined flower handicraft has been applied mostly as an ornament or fashion accessory for women. The project extends the craft to the context of stationery by combining features found in traditional Chinese painting to produce a modern object.
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Santoso, R. E., and L. A. Utami. "Exploring traditional thread-making and simple weaving used in OPP lamination film upcycling for ecologically responsible textile craft." IOP Conference Series: Earth and Environmental Science 905, no. 1 (November 1, 2021): 012030. http://dx.doi.org/10.1088/1755-1315/905/1/012030.
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Abstract Aiming for sustainable eco-friendly craft/design practice, this design research explored upcycling-practice of OPP plastic waste using traditional technology to create an alternative raw material for textile craft. By combining cultural investigation into the textile-making tradition with Cradle-to-Cradle design principles, we identified the potential of traditional technology as an ecologically responsible production process. We also developed upcycling method to process OPP plastic waste material. This research resulted in: (1) thread-making techniques that produce different sizes of thread as raw materials and hand-woven textile, (2) revitalized endangered indigenous technology of craft-making that had been a part of human-nature ecology, (3) eco-design education that can be accepted by local textile craft community, and (4) textile craft products that express the local identity and promote environmental care.
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Sugiarti, Rara, Margana Margana, Muthmainah Muthmainah, and Laela Rizki Fauzia. "Leather Craft Industry and Tourism: A Symbiotic Relationship? (A Case Study of Magetan East Java Indonesia)." Harmonia: Journal of Arts Research and Education 19, no. 2 (December 13, 2019): 141–51. http://dx.doi.org/10.15294/harmonia.v19i2.21124.
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This article examines how leather craft industry contributes to tourism development in Magetan East Java Indonesia and vice versa. This study applied a qualitative approach and is descriptive in nature. Techniques of collecting data include site observation, interview, document review, and focus group discussion. Data were analyzed using the interactive model and thematic analysis. Research results indicate four themes. First, leather craft industry in Magetan that is mostly home industry has been empowered in many ways. Several aspects, including a high number of tourist visits, local government policy, abundant human resources, and industrious businessmen have strengthened the industry. Some local government policies have been implemented in several programs to develop the industry. Second, quality products and new design innovation for leather crafts are limited. Most products that are dominated by shoes and sandals are created for lower-middle-income consumers. Third, leather craft industries in Magetan have contributed to the establishment of local entrepreneurship, small-medium enterprises, and tourism. They create job opportunities for the locals and boost the local economy. Fourth, the relationship between leather craft centers and tourism activities is dominated by tourists’ purchase of leather craft products for souvenirs. However, tourism activity in the area is not yet aimed at watching and involving tourists in the process of craft making for educational tourism purposes.
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Tambat, Priyansi Nimish, and Ketaki Chandrakant Joshi. "Promoting Craft Entrepreneurship by Rejuvenating Tambat Craft in Old Tambat Ali, Nashik." Journal of Heritage Management 2, no. 1 (June 2017): 53–75. http://dx.doi.org/10.1177/2455929617726930.
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Tambat Ali1 is a part of ancient settlements in Nashik. The settlement houses craftsmen who are highly skilled in making handmade copper and brass utensils by their traditional techniques. The settlement is a living heritage of the city due to its unique craft, culture and traditional architecture. Today, Tambats are suffering a sharp decline in craft, and hence architecture is getting affected. This is mainly due to rapid changes in consumer preferences and taste, inadequate publicity, increased prices of raw materials and unexploited resources in the area. The article presents challenges faced by Nashik Tambat craftsmen for handicraft survival. It analyses strategies to keep pace with demanding market changes. The study proposes to promote craft entrepreneurship and rejuvenation of Old Tambat Ali through conserving a ‘spirit of place’ with strong identity, making the area vibrant, appealing to live in and visit.
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Myllys, Riikka. "Nowhere and Everywhere." Temenos - Nordic Journal of Comparative Religion 56, no. 1 (June 15, 2020): 53–74. http://dx.doi.org/10.33356/temenos.71104.
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This article investigates the intergenerational transmission of craft making, including the role religion and spirituality play in this transmission. The theoretical approach is based on everyday religion and Bengtson’s theory of intergenerational solidarity. The data for this qualitative study was collected in interviews. The results show that warm relationships and closeness between generations are at the heart of transmission: craft making brings different generations together, creates space for intimate relationships, and serves as a way of showing care for children and grandchildren. What about religion? At first glance it seems absent. However, a closer look reveals multiple religious aspects of this process, such as transmitted values and shared craft-making moments associated with religious memories and experiences. Above all, craft making is a venue for warmth and closeness between generations, which is at the heart of religious transmission.
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Maidment, Jane, Raewyn Tudor, Ada Campbell, and Karen Whittaker. "Women’s place-making through craft in post-earthquake Christchurch." Aotearoa New Zealand Social Work 31, no. 1 (April 23, 2019): 17–30. http://dx.doi.org/10.11157/anzswj-vol31iss1id557.
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INTRODUCTION: There is little research on the role of creative arts and craft in disaster recovery. This article reports findings about the emergent role of crafting from research conducted after the 2010–2011 series of earthquakes in Christchurch and surrounding districts in Aotearoa New Zealand. In particular, the article focuses on the significance and differing interpretations of the notion of place expressed by participants through their craftwork, in this case led by women and mediated by the post-earthquake geographic and temporal context.METHOD: This qualitative research included nine individual interviews and five focus group interviews with crafters from Christchurch and surrounding districts. There were 35 participants in total, 33 were women. Applied thematic analysis was used to code the data and identify themes. These themes included connection to place, the symbolism of craft, the healing experience of craft groups and places for women. The notion of place was evident across all three themes.FINDINGS: The findings from the research demonstrate differing ways in which the significance of place was reflected in the craftwork. Participants interpreted the concept of place in descriptive, symbolic, and therapeutic ways.IMPLICATIONS: More understanding about the way creative endeavours like crafting can be used to help ameliorate the impact of natural disasters is needed. Social work practitioners are encouraged to explore place-based wellbeing during their work with service users and to include aspects of artistry, craft and creativity.
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Dan Roche. "The Expressionists: The Intimate Craft of Making Eyes." Fourth Genre: Explorations in Nonfiction 15, no. 1 (2013): 13. http://dx.doi.org/10.14321/fourthgenre.15.1.0013.
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Roccetti, M., G. Marfia, and M. Zanichelli. "The art and craft of making the Tortellino." Computers in Entertainment 8, no. 4 (December 31, 2010): 1–20. http://dx.doi.org/10.1145/1921141.1921148.
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Bailey, Rowan, and Katherine Townsend. "Craft and the handmade: Making the intangible visible." Craft Research 6, no. 2 (September 1, 2015): 157–63. http://dx.doi.org/10.1386/crre.6.2.157_2.
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Roche, Dan. "The Expressionists: The Intimate Craft of Making Eyes." Fourth Genre: Explorations in Nonfiction 15, no. 1 (2013): 13–29. http://dx.doi.org/10.1353/fge.2013.0488.
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Lehmann, Ulrich. "Making as Knowing: Epistemology and Technique in Craft." Journal of Modern Craft 5, no. 2 (July 2012): 149–64. http://dx.doi.org/10.2752/174967812x13346796877950.
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Tidy, Joanna. "War craft: The embodied politics of making war." Security Dialogue 50, no. 3 (April 9, 2019): 220–38. http://dx.doi.org/10.1177/0967010619834111.
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This article makes the case for examining war from what Stephanie Bunn calls a ‘making point of view’. Makers and their material production of and for war have been neglected in our accounts of war, security and international relations. An attention to processes of making for war can reveal important things about how such processes are lived and undertaken at the level of the body. The article focuses on the particular phenomena of martial craft labour – the recreational making of ‘stuff’, including hats and pillowcases, by civilians for soldiers. To explore embodiment within this social site, an ethnographic method is outlined that enables the reading of objects as embodied texts, the observation of others in processes of making, and the undertaking of making by the researcher. Analysing embodied registers of aesthetic expression and the social values that attend such crafting for war reveals how this making is a space through which intimate embodied, emotional circulations undertake work for liberal-state and military-institutional logics and objectives, obscure violence, normalize war, and produce the military as an abstract social cause. Beyond the immediate empirical focus of this article, a much wider political entanglement of violence, embodiment and material production necessitates a concerted research agenda.
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Fitzpatrick, Esther, and Rosemary C. Reilly. "Special Issue: Making as Method: Reimagining Traditional and Indigenous Notions of “Craft” in Research Practice." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): i—xvi. http://dx.doi.org/10.18432/ari29464.
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In this special issue of “making as method” we aim to help shift the cultural narrative about craft by celebrating a diverse range of creative researchers who disrupt Western ways of knowing, celebrate a reclaiming of Indigenous knowledge and methods, provide space for decolonising practices, and in this digital age, reimagine traditional and Indigenous notions of craft in research. These authors in this issue all theorise their craft and provide, a rich and varied theoretical justification for “making as method.”
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Mawaddah, Syaifah, Misgiya Misgiya, Wahyu Tri Atmojo, and Sri Wiratma. "TINJAUAN KERAJINAN BERBAHAN SABUT KELAPA DI SENTRA CREABRUSH DESA MULYOREJO KECAMATAN SUNGGAL DELI SERDANG." Gorga : Jurnal Seni Rupa 9, no. 1 (February 23, 2020): 44. http://dx.doi.org/10.24114/gr.v9i1.17213.
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AbstrakPenelitian ini bertujuan untuk meninjau lebih jauh tentang jumlah bentuk yang dihasilkan, dan bagaimana perkembangan produk pada kerajinan berbahan sabut kelapa di Sentra Creabrush Desa Mulyorejo Kecamatan Sunggal Deli Serdang. Metode penelitian yang digunakan yaitu metode penelitian Deskriptif Kualitatif. Populasi yang terdapat dalam penelitian ini sebanyak 5 karya kerajinan sabut kelapa. Sampel yang digunakan dalam penelitian ini terdiri dari karya kerajinan sabut kelapa dengan menggunakan teknik Purposive Sampling yaitu teknik penentuan sampel dengan pertimbangan tertentu. Guna memperoleh data mengenai tinjauan terhadap kerajinan sabut kelapa di Sentra Creabrush Desa Mulyorejo Kecamatan Sunggal Deli Serdang. Setelah dilakukan pengumpulan data memalui instrumen penelitian observasi, wawancara dan dokumentasi, maka hasil penelitian menunjukkan bahwa proses pembuatan setiap kerajinan sabut kelapa pada Creabrush memiliki proses pembuatan yang berbeda-beda tergantung dari jenis kerajinannya, dan bahan dasar sabut kelapa yang utuh atau diolah dulu menjadi lembaran atau coco sheet. Bentuk karya seni kerajinan sabut kelapa yang dibedakan berdasarkan fungsinya yaitu homedecor dan fashioncraft, dan sebagian karya seni kerajinan sabut kelapa di sentra Creabrush seperti lukisan, kaligrafi, sepatu, sandal dan tas mengalami perkembangan dalam peroses pembuatan dan hasil karyanya dari waktu ke waktu.Kata Kunci: tinjauan, kerajinan, sabut kelapa.AbstractThis aims of this study are for reviewing the shapesof produced, and how the outgrowth in the coconut coir craft produc at the Creabrush Center at Desa Village, Kecamatan Sunggal Deli Serdang. The method of the study is descriptive qualitative research method. The populations in this study contained by 5 coconut coir crafts. The sample of this study consisted of coconut coir craft by using the Purposive Sampling technique, which is a sample determination technique with certain considerations. For colleting the data of this study at coconut coir handicrafts at the Creabrush Center at Desa Mulyorejo, Kecamatan Sunggal Deli Serdang. After the process collecting the data through observation research instruments, interviews and documentation, the results of this study show that the process for making the coconut husk craft in Creabrush has a different manufacturing process depended by the type of craft itself, and the basic material of coconut coir itsel finclude processing the material first or no. The product of coconut coir craft divided by aech functions, which are homedecor and fashioncraft, and some of coconut coir crafts whose works in the Creabrush centers such as paintings, calligraphy, shoes, slippers and bags has an increase in the process of making and also the products. Keywords: enhancement, crafts, coconut coir.
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Rathore, Sumati, Usha Thakur, and Sarla Shashni. "POTTERY: A UNIQUE TRADITIONAL CRAFT IN INNER SIRAJ VALLEY OF NORTHWESTERN HIMALAYAN DISTRICT OF KULLU, HIMACHAL PRADESH." International Journal of Advanced Research 8, no. 9 (September 30, 2020): 1106–11. http://dx.doi.org/10.21474/ijar01/11766.
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Pottery is a century old craft used by human and is one of the most tangible and iconic elements of Indian art. This craft system shows the lifestyle of native communities, their belief, faith, customs and tradition through their craft. This paper documents the traditional pottery art of the Sirajicommunity living in the inner Siraj Valley of Kullu district in Himachal Pradesh. The uniqueness of the art is wheels are not used for making different pots as in other parts of the country. Paper also documents the procedures involved in making the pots and its current status. Study revealed that this traditional craft system will not survive if some urgent measures are not be taken in near future.
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DEWI, ASIH PERWITA, NUNIK SRI ARIYANTI, and EKO BAROTO WALUJO. "DIVERSITY OF PLANTS USED FOR PLAITED CRAFTS BY THE DAYAK IBAN-DÉSA IN KABUPATEN SINTANG, KALIMANTAN BARAT, INDONESIA." REINWARDTIA 15, no. 2 (December 22, 2016): 67. http://dx.doi.org/10.14203/reinwardtia.v15i2.2941.
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DEWI, A. P., ARIYANTI N. S. & WALUJO, E. B. 2016. Diversity of plants used for plaited crafts by the Dayak Iban-Désa in Kabupaten Sintang, Kalimantan Barat. Reinwardtia 15(2): 67 – 79. — Many plants are used for making plaited crafts such as basketry and woven mats by the Dayak Iban-Désa, a sub-tribe of the Dayak in Kalimantan Barat, Indonesia. The Dayak Iban-Désa gather the craft materials mostly from the plants in the forest. However, the habitats of these plants are being threatened by deforestation. The diversity of plants used for crafts is here documented. This study recorded the scientific names of plant species used for the craft plaiting, and observed abundance of plants used for craft. Information about the plants used were gathered using non-structural interview and focus group discussion (FGD) with the informants and participants. The abundance of plaited plants was observed in 46 plots of 10 × 10 m2 plots by participative ecological method. Nineteen plants species were used as plaited material, belonging to four families: Arecaceae, Poaceae, Pandanaceae and Zingiberaceae. Two species of rattan (Calamus sp. and Plectocomiopsis wrayi Becc.) have the highest Index Cultural Significance (ICS) value. Those species were considered as the most valuable plant materials because of the quality of fiber, intensity on harvesting, and the resulting quality of plaited craft products. However, the demand for high quality products is not always supported by the availability of plant materials in the forest. Therefore, the cultural significance of plants (the ICS values) and their availability should be considered when determining the conservation strategy for each of these species.
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Indahyani, Titi. "Sukses Mengembangkan Desain Seni dan Kerajinan Menjahit Aplikasi Berbahan Dasar Limbah Kain (Kain Perca) bagi Industri Rumah Tangga." Humaniora 1, no. 2 (October 31, 2010): 431. http://dx.doi.org/10.21512/humaniora.v1i2.2885.
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Arts and craft products are now beginning to be produced by many home industries such as sewing patchwork application products. But the lack of knowledge of art, design and product marketing in this industry making products become less competitive and provide income earning less than the maximum. Besides, home industry players sometimes do not have the high endurance and sustainability in business. As one of the national strategic issues, the arts, crafts and creative industries get serious attention from the government. It is expected with the opening horizons of knowledge in art, design and product marketing in the area of sew patchwork application craft (which is use the waste fabric) will impact the development of entrepreneurship opportunities and support many home industries entrepreneur from local micro become sustainable macro business. This action will also support to further explore the various culture of Indonesian arts, crafts and other creative industries became more creative, innovative and competitive by using waste materials that are environmentally friendly.
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Baniyamin, Nurhaya, and Aida Shazlin Shaharom. "ABSTRACTION OF TRADITIONAL CRAFTS INTO EXPRESSIVE SUSTAINABLE ARCHITECTURE." International Journal of Creative Industries 3, no. 8 (December 15, 2021): 74–86. http://dx.doi.org/10.35631/ijcrei.38006.
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Socio-cultural aspects of craft, along with aesthetic and creativity, are expressed in the products of craft practices. Craft activities of weaving may be deeply imbued with unique cultural values and expressive of cultural identities. The paper concerns how traditional Malay craft is abstracted onto a real-life project which has to deal with the problem of modularity and buildability. The focus is on the food covers or better known as tudung saji pattern, woven using a specific technique called triaxial or hexagonal weave, where the strands are plaited in three directions. Understanding and making explicit, formalizing and computing the craft patterns provide new insights into its cultural dynamics as well as creative and generative possibilities. The paper summarizes the design process from craft to meaning and philosophy to variations of modern abstraction. The concepts were integrated into an innovative cladding design of a passive cooling system. The design and development process of water-wall design includes the production of digital three-dimensional model. The efforts to merge craft sensibilities and practices with new making technologies and computational strategies have uncovered several interesting viewpoints. The implication of the study is to inculcate the symbolic application of cultural values in craft goods towards design. Future work towards sustainability in craft is part of revival. Traditional Malay craft need abstraction and reinvention in a contemporary way, to create an expressive connection and foster cultural identity within time and space.
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Brown, Sarah Emily. "To be ‘skilled’ or not to be ‘skilled’? A case study exploring the interaction of two crafts in anthropological fieldwork in Madagascar." Journal of Arts & Communities 10, no. 1-2 (March 1, 2020): 53–66. http://dx.doi.org/10.1386/jaac_00005_1.
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This article reflects on the use of, and interactions between, embroidery and reed weaving as methods in anthropological fieldwork with Malagasy craftswomen. The research explores changes in craft methodologies as weavers faced with declining natural resources have shifted to practising embroidery instead. Engagement with the making process was central to the research design, through an apprenticeship in reed weaving and participant observation using both crafts. Reflection on this approach suggests that the researcher’s pre-existing skills affected the role that each craft took in the research, shaping distinct modes of interaction and generating different types of knowledge. Research activities using weaving, in which the researcher was seen as ‘unskilled’, tended to generate technical, practical and logistical knowledge. Activities using embroidery, in which the researcher was already experienced and seen as a ‘skilled’ practitioner, shaped more exploratory research spaces in which more personal conversations emerged. This article discusses ways that the two processes were used to complement each other and suggests that combining both ‘skilled’ and ‘unskilled’ positions could help to overcome some of the challenges of cross-cultural craft research.
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Reniati, Reniati, Ari Agung Nugroho, and Hengky Veru Purbolakseto. "Pendampingan UMKM Kerajinan Lidi Nipah dan Batik di Desa Kace Timur Kabupaten Bangka." Yumary: Jurnal Pengabdian kepada Masyarakat 3, no. 2 (December 2, 2022): 71–78. http://dx.doi.org/10.35912/yumary.v3i2.1502.
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Abstract: Purpose: To provide digitalization assistance, provide added value and increase sales turnover of the Deshanda Craft Gallery. Method: The method uses participatory, counseling, mentoring and training. Results: The assistance obtained from the implementation are through training, e-commerce applications, digital promotions. So that it has an impact on increasing business motivation, carrying out marketing of products, increasing turnover and making products increasingly known to the public. Conclusions: community service involves small and medium enterprises of Nipah Sticks and Batik Crafts "Galery Deshanda Craft", which has various business of nipah sticks in the form of ornaments and batik. Nipah sticks are an export commodity from the Province of the Bangka Belitung Islands. Lack of promotion, traditional product sales and unprofessional management, lack of availability of raw materials has caused the Deshanda Craft Gallery to experience various obstacles in its development, it could even be threatened with closure due to the Covid 19 pandemic. Limitations: The limitation of this service is the implementation time. Keywords: 1. Nipah 2. Small And Medium Enterprises 3. Commodities 4. Digitization
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Ludlow, Morwenna. "Making and Being Made: Some Preliminary Thoughts on Craft-Education as a Model for Christian Formation." Studies in Christian Ethics 33, no. 1 (November 6, 2019): 3–14. http://dx.doi.org/10.1177/0953946819887911.
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Craft-education was an important pedagogical model in the ancient world, but its importance was obscured by the common contrast between rhetoric and philosophy. Christian writers such as Gregory of Nyssa used craft-education as a model for Christian formation, because of its powerful emphasis on commitment, time, effort and the willingness of both pupil and teacher to submit to change. In the latter part of my article I will offer a preliminary assessment of the strengths and weaknesses of craft-education as a model for the process of Christian formation.
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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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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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Swift, Pamela, Brian Gillatt, Emma Drysdale, Hollie Walker, Pamela Johnston, and Emma Jackson. "Staff survey on using the new clinical risk assessment framework for teams (CRAFT) tool." BJPsych Open 7, S1 (June 2021): S294—S295. http://dx.doi.org/10.1192/bjo.2021.781.
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AimsRisk assessment and management are crucial elements of clinical practice in mental health. Healthcare Improvement Scotland identified risk management as a key area for change, with risk tools identified as one necessary component. In NHS Greater Glasgow and Clyde (GG&C) the CRAFT tool replaced the Glasgow Risk Screen (GRS) in October 2019. The CRAFT tool is a 2 page document that comprises a broad risk screen, details of historical risk events and prompts for family and carer involvement. The aim of this study was to assess staff attitudes to the CRAFT, 12 months after it had been rolled out. Looking at whether the CRAFT tool is used to inform decision making about risk in clinical settings and if patients were involved in the risk management process.MethodAn electronic staff survey was distributed to all clinical staff within NHS GG&C Mental Health Services. Clinical staff includes the following professional groups: Medical, Nursing, Psychology, Occupational Therapists and Allied Health Professionals. Contact details were accessed via the relevant managers and surveys were sent via secure global address lists. Questions were focused around the following areas: time taken to complete/update/frequency of use/contact and ease of use, role in decision making, patient and carer involvement/knowledge, view on the impact of the CRAFT.ResultThere were 209 responses. This represents a response rate of approximately 10%. 89% of respondents had completed a CRAFT tool at some point but only 38% had received training. 15% reported that the CRAFT did not aid decision making about risk in clinical settings, whereas 37% said it did and 42% said it did sometimes. 46% report patients are consulted most of the time (34%) or always (12%). The qualitative impression was that the CRAFT was an improvement on its predecessor. However common themes from responders highlighted a lack of clinical relevance or impact decision making, lack of training in filling it out and cumbersome integration with the electronic case notes.ConclusionStaff perceptions of the CRAFT tool were generally negative with many feeling it was a box ticking exercise that had minimal real world impact on patient risk and its management. However many felt it was an improvement over the previous risk tool and the majority used it at some point to aid clinical decision making.
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Bell, Emma. "Craft Work and the Social Imaginary of Organized Making." Academy of Management Proceedings 2019, no. 1 (August 1, 2019): 14795. http://dx.doi.org/10.5465/ambpp.2019.14795abstract.
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Simpson, Bob. "Citizenship, craft and the making of Mode Two citizens?" Learning and Teaching 2, no. 3 (December 1, 2009): 98–105. http://dx.doi.org/10.3167/latiss.2009.020306.
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What are the civic responsibilities of universities in a democratic society? Since the emergence of the modern university system in the nineteenth century, financial support and a degree of academic freedom have been bestowed on universities but what should society expect back from these places of specialised and, often, elite learning? These are perennial questions, yet answers have been very different under different political and economic circumstances. Originally, the emphasis was on the production of knowledge in settings that were ‘antifunctionalist as well as antiutilitarian’ (Sahlins 2009: 1000); subsequently the wider knowledgeability of students was incorporated as the way the debt to society would be repaid (Nowotny, Scott and Gibbons 2001: 80). In recent years, the making of citizens or, rather, the making of better citizens has come to the fore as an essential output in exchange for society’s input. As part of their ‘service’ to society at large, universities will, amongst other things, produce people who will take their place as members of society with a strong sense of rights that will be asserted and responsibilities that will be exercised.
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McCluskey, Michael. "Local Production: Craft and Film-Making in Interwar Britain." Journal of Modern Craft 12, no. 3 (September 2, 2019): 219–32. http://dx.doi.org/10.1080/17496772.2019.1678872.
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Vannini, Phillip, and April S. Vannini. "Artisanal Ethnography: Notes on the Making of Ethnographic Craft." Qualitative Inquiry 26, no. 7 (July 17, 2019): 865–74. http://dx.doi.org/10.1177/1077800419863456.
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Whereas the arts have acquired a greater role in ethnographic practice as of late, artisanship has not; artisans regularly remain subjects of ethnographic analysis rather than educators or sources of epistemological and aesthetic inspiration for ethnographers. As students of material culture and aesthetic practices, we argue that ethnography has a lot to learn from artisans and advance a vision for an artisan-inspired ethnography. In particular, we ask, “what would an artisanal ethnography be like?” “What can we learn from artisans as ethnographic educators?” “How would the artisanship-inspired ethnographer work?” “What would be his or her styles, tools, goals, and guiding principles?” Through a methodological reflection on the production of our film A Time for Making, we engage with these questions.
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Maidment, J., R. Tudor, A. Campbell, and K. Whittaker. "Use of domestic craft for meaning-making post-disaster." Kōtuitui: New Zealand Journal of Social Sciences Online 10, no. 2 (July 3, 2015): 144–52. http://dx.doi.org/10.1080/1177083x.2015.1047457.
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Niedderer, Kristina, and Katherine Townsend. "Making sense: Personal, ecological and social sustainability through craft." Craft Research 9, no. 2 (September 1, 2018): 195–200. http://dx.doi.org/10.1386/crre.9.2.195_2.
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