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1
Kim, Min Jae, and U.-Seok Seo. "Artist Perceptions and Experiences with an Experimental Artist Residency Program: The case of the S-store Project in Seoul Art Space Sindang." Korean Arts Association of Arts Management 65 (February 28, 2023): 5–40. http://dx.doi.org/10.52564/jamp.2023.65.5.
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There is a growing recognition of the important role that artist residency programs can play in supporting artistic activities in their various forms. This paper examines an experimental residency program that has been in operation for less than two years in Seoul Art Space Sindang. The principal goal of the “S-store” project is to help artists develop products for the art market in cooperation with a major department store. We use Bourdieu’s field theory to analyze the strategies that underlie the operation of this more thoughtful approach to commodifying craft artworks; an approach that involves a mixture of both autonomous and heteronomous principles. Our findings reveal noticeable differences in the perceptions and experiences of the involved artists based on their positions in the field of craft. In particular, well established artists were more interested in the commodification of art and were consequently more actively involved in the project than less well established artists who were more concerned with maintaining the aesthetics inherent to small scale crafts production. Nonetheless, despite these differences, both groups equally recognized the importance of maintaining a pure art status beyond the boundaries of the art market. This study shows the potential and complexity of artist residency programs in helping artists adapt to the market logic of the art industry.
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Rifai Nasution, Irwanda, and Isnen Fitri. "Developing Art Market Desain in Medan (With a Neo-vernacular Approach)." International Journal of Architecture and Urbanism 5, no. 1 (March 31, 2021): 26–36. http://dx.doi.org/10.32734/ijau.v5i1.6029.
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Abstract. Medan is a historical and multi-ethnic city which is one of the tourist destinations in Indonesia. Medan has many cultures that produce a lot of arts and crafts from each culture. However, the facilities and infrastructure for culture are still lacking. Only Cultural Park and PRSU are cultural spaces facilitated by the government. From the private sector, several galleries sell creative cultural industries that are managed privately. Therefore, this study aims as a boost where it is necessary to build a centre for a complete arts and crafts shop as a medium for art artisans to explore their talents and to help the economy of the surrounding community. Data collection in this study relies on secondary data obtained from libraries, related offices related to urban planning such as the Medan City Planning Agency and online sources. Then proceed with observing the location of potential sites as art markets. These observations emphasize apart from the location of the site as well as on the environment and infrastructure around the site. The results of the study show that: the right location for designing an art market in Medan is on Palang Merah street. This location is considered suitable because of its strategic location, close to the city centre and close to culinary spots. With this art market, it can become a workshop or marketing place for the creative industry in Medan.
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Lubis, Hidayati Purnama. "Market Potential Analysis in Kutalimbaru District." International Journal of Research and Review 10, no. 4 (April 25, 2023): 433–38. http://dx.doi.org/10.52403/ijrr.20230452.
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Kutalimbaru is one of the sub-districts in Deli Serdang Regency, Sumatra Province North, has 14 villages. This research is a qualitative descriptive research with a literature study research method through literature studies. Market potential is a valuation of potential revenue for a particular product or service at a given time. The market size can include a target market or a market segment, and you can measure it in terms of the total value or units of a particular product. There are several business sector opportunities that ultimately generate benefits for the community in Kutalimbaru sub-district in improving welfare, namely: Culinary, Traditional Crafts and Arts, Transportation Services, and Construction Services. Kutalimbaru, which has many villages, has the opportunity to maintain market potential. Keywords: District, Kutalimbaru, Market, Potential
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Oentoro, Kristian. "Pengembangan desain teko set gerabah kontemporer berbasis budaya lokal di Kabupaten Bojonegoro." Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) 3, no. 6 (July 15, 2019): 189–96. http://dx.doi.org/10.24821/productum.v3i6.2431.
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Pottery is a type of traditional craft that has taken root in the history of art and culture of the Indonesian society. This fact is supported by various forms of ancient earthenware crafts which discovered since prehistoric times and the emergence of pottery craft centers in various parts of Indonesia, including in Rendeng Village, Malo District, Bojonegoro Regency. The changing of market needs and tastes today are a common problem faced by the traditional craft industry, including pottery crafts. Local wealth inside the traditional handicraft design which increasingly disappearing is one of the common concerns. The development of this contemporary pottery design aims to revive the skills of pottery craftsmen and the local culture of the Bojonegoro society in a modern design style. The research and development produced three sets of earthenware teapots, namely a turtle-shaped teapot set, a white combination of turtle-shaped teapot and teapot set inspired by Bojonegoro local coffee. Design research uses action research methods which consist of three design cycles. The application of this research method is useful to improve the capabilities and creativity of pottery craftmen in designing craft designs. Each design development cycle has four stages, namely planning, observation, action and reflection. The results of the study show that the color of the local clay Bojonegoro can characterize contemporary designs with a blend of colors and materials. The local way of drinking coffee as an inspiration for ‘kothok’ coffee teapots set has the potential to commercialize products and new experiences in drinking coffee.Key words: teapot, pottery, contemporary, Bojonegoro
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Melnyk, Andrii, Iryna Yerko, Natalia Melnyk, and Roman Kacharovsky. "CENTERS OF AUTHENTIC PRODUCTS OF VOLYN REGION AS A SECTOR OF CREATIVE INDUSTRIES." SCIENTIFIC ISSUES OF TERNOPIL VOLODYMYR HNATIUK NATIONAL PEDAGOGICAL UNIVERSITY. SERIES: GEOGRAPHY 54, no. 1 (July 11, 2023): 140–48. http://dx.doi.org/10.25128/2519-4577.23.1.15.
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The article examined the definitions of the term "folk art industries" according to the legislation of Ukraine. Folk art works in Ukraine are an integral part of Ukrainian culture, they have taken into themselves the features inherent in separate ethnographic regions of the country and are a specific component of historical and cultural recreational resources, one of the most interesting in the people's creativity. The focus of attention is directed on authentic products of Volyn, which forms a brand of Ukrainian industries. The samples of intangible cultural heritage occupy a separate niche in the system of historical and cultural tourist resources – folk art industries, which allow to study traditions and hue of Volhynians, to make an idea about the peculiarities of life of the region. The UN data show that the global market of creative industries has doubled in the last ten years.
The modern structure of folk art works of Volyn has been defined, the main kinds and centers of folk art, which are found in the territory of Volyn region, are outlined by a brief characteristic of each of them. The entrepreneurial potential of the art folk industries centers as a sector of creative industries has been discovered. The peculiarities of the spatial location of the centers of artistic folk industries on the territory of the region are analyzed in terms of administrative districts and territorial communities. Study of peculiarities and regularities of accommodation of centers of artistic folk crafts will allow to expand the range of available tourist routes, to create a proper tourist infrastructure near these centers. The analysis of the supply ratio of this type of tourist-recreational resources as a basis for development of cognitive tourism was carried out. The proposed measures will allow to increase the role of these objects in the system of recognizable tourist routes, which in turn will allow to increase the number of tourists in Volyn, and thus to improve the financial condition and create a positive image of the region.
On the basis of the conducted research, it is worth creating training centers where anyone who wants to could learn the art of creating artistic folk crafts. It is necessary to consider the possibility of creating a network of specialized trade establishments that would specialize in the sale of souvenir products, the formation of orders for certain individual types of crafts or individual products, exclusive items, would contribute to the popularization of folk and applied arts, contain a base of masters of folk arts and crafts, conduct master classes, aimed at studying certain techniques of creating these products.
A very important component is the information and advertising policy in this field, which would be aimed at popularizing the cognitive aspect of the functioning of centers of artistic folk crafts. At the same time, in order to form a positive image of the region, it is necessary to inform the population and potential tourists with the help of cartographic material (in particular, interactive), printed products (booklets, flyers), mass media about these objects and locations.
The development of folk arts and crafts centers within the Volyn region is one of the most promising areas of the redevelopment of the territory, can create preconditions for the improvement of the environment design, increase the level of attractiveness of the territories for living, promote the accumulation of human potential.
Key words: folk arts, authentic products, cognitive tourism, creative industries, Volyn region
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Ligenko, Nelli P. "THE ROLE AND THE PLACE OF PEASANT INDUSTRY IN THE LIFE OF A COMPLEX PEASANT ECONOMY OF THE SECOND HALF OF THE XIX – EARLY XX CENTURY (on the example of Seltinskaya Volost of Malmyzhsky Uyezd of Vyatka Governorate)." Historical Search 3, no. 1 (March 30, 2022): 11–22. http://dx.doi.org/10.47026/2712-9454-2022-3-1-11-22.
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The importance of peasant industry in the vital activity of a complex peasant economy, the basis of which was arable farming, is shown on the example of Seltinsky volost of Malmyzhsky Uyezd of Vyatka governorate. The integral branches were animal husbandry and extra-agrarian occupations, among which the main burden was borne by extractive and processing works. The role of natural-geographical, socio-economic conditions, legal norms, trade relations, the creative potential of the people in the process of forming and functioning of a sustainable, balanced, integrated peasant economy is considered. A favourable location of the volost along the Siberian tract with access to the Kama and Vyatka trade river routes contributed to the development of a periodic market sphere (bazaar, torzhok, fair), to peasant economy involvement in the system of a single national market. The zemstvo population censuses made it possible to show a relatively high level of peasants’ provision with land plots, as well as draft, horned cattle and small livestock. Different levels of ethnic groups’ economic situation are noted. There was economic differentiation in the village; the vast majority was occupied by the well-to-do and middle class of the peasantry. To serve the numerous village needs, 90 types of crafts were functioning, which were represented by a wide range of manufactured products. The semi-natural character of peasant economy determined the diversity of its economic forms: domestic industry, handicrafts, small-scale production, capitalist cooperation. Another important role of crafts in the social medium life should be noted – it is an opportunity to realize an ethnic group’s creative potential, improving production technology, honing artistic skills. Household items, traditional clothing indicate a high level and variety of folk art. People’s memory has preserved the names of the best volost masters, who contributed to further development of national folk art. The study of life activity of the peasant population in a single volost at an interdisciplinary level in a fairly new research direction “the history of everyday life”, involvement of a wide comprehensive database, including published zemstvo statistics, fundamental zemstvo studies, archival documents, materials of ethnographic expeditions enable to deeper investigate the structure of a peasant economy, interaction, interdependence of its individual branches, the important role of crafts in a village economy, as well as legality and necessity of production small forms functioning in any historical epoch.
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Alekseev, Evgeny P. "Problems of the Art Industry in the Materials of the All-Russian Congress of Artists (1911–1912)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 26, no. 3 (2024): 195–208. http://dx.doi.org/10.15826/izv2.2024.26.3.050.
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This article examines the activity of the Art Industry and Handicrafts Department at the All-Russian Congress of Artists (1911–1912, St Petersburg). The congress delegates, including S. S. Goloushev, M. N. Dietrich, P. S. J. Marcerou, L. G. Orshansky, P. P. Pashkov, N. F. Root, P. S. Filosofov, A. P. Eisner and others, possessed considerable expertise in the organisation of art and industrial educational institutions and handicraft industries. They were highly knowledgeable about the nuances of decorative and applied art and had a keen understanding of folk art and the developments that occurred within the Western European art industry. The Proceedings of the All-Russian Congress of Artists in Petrograd, December 1911–January 1912 (in 3 vols, 1915) contains a wealth of information pertaining to specific crafts (ceramic, lace, carpentry, etc.), the lives and work of artisans, the characteristics of the market and the training system for master craftspeople. In addition to the reports, discussions were published that enabled the identification of the relevance of the issues raised and the inconsistency of the approaches proposed to address them. Despite differing opinions on individual issues, common positions were developed. The participants of the event considered it crucial to maintain the national identity of artisanal products while widely promoting folk art through exhibitions, museum displays and printed publications. They also emphasised the importance of communicating to local officials the necessity of providing comprehensive support to crafts. Furthermore, they highlighted the necessity of imparting artistic literacy to artisans and involving experienced artists and educators who possessed a comprehensive understanding of the nuances associated with handicrafts in their collaboration with artisans. Simultaneously, the speakers perceived no potential for artistic design and attempted to differentiate mass industrial products from handicrafts. During the Soviet era, several congress participants would persist in their endeavours and would vigorously promote the advancement of handicrafts in the context of evolving socio-economic circumstances.
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Fahlevi, Mochammad. "A Systematic Literature Review on Marine Tourism in Business Management: State of the Art and Future Research Agenda." Journal of Tourism and Services 14, no. 27 (December 18, 2023): 299–321. http://dx.doi.org/10.29036/jots.v14i27.549.
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This systematic literature review investigates marine tourism within the scope of business management areas, shedding light on diverse industry dimensions, from environmental impacts to economic valuations. Utilizing the Scopus database and spanning a decade (2012-2022), this research meticulously sifts through an initial bulk of identified articles, ultimately honing in on 37 pertinent papers through a criterion that ensured relevance via aspects like authorship, title, publication year, journal, and citation count. With a structured mapping approach, the research categorizes marine tourism in business management into basic, emerging, motor, and niche themes, revealing critical insights and articulating states of the art in several key facets of marine tourism. Among these are Limited Focus on Sustainable Practices, Under-Explored Technology Utilization, Insufficient Market Segmentation Studies, and Minimal Research on Crisis Management. The study further crafts a future research agenda, considering pivotal domains such as sustainability, technology, market dynamics, crisis management, and community engagement. Serving as a potential cornerstone for forthcoming studies, this research not only maps out future investigations in marine tourism within business management but also highlights themes ripe for deeper, more detailed exploration, thereby enriching the academic vista in marine tourism within the realm of business management.
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Pradipa Artawan, I. Putu, I. Made Kusuma Negara, and Luh Gede Leli Kusuma Dewi. "STRATEGI PEMASARAN PT. ALLIANCE VAST TOURS TERHADAP WISATAWAN PENGGUNA JASA PERJALANAN." Jurnal IPTA 2, no. 2 (December 18, 2014): 19. http://dx.doi.org/10.24843/ipta.2014.v02.i02.p04.
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Indonesia especially Bali has a huge potential in the field of tourism. It can be seen from a wide range of beautiful natural scenery, culture, history of the nation, festivals and ceremonies are unique, different kinds of art and crafts, and a number of very attractive place for tourists throughout the year . The study aims is to determine the marketing strategy of the company's tour packages PT. Vast Alliance Tour who can be success to attract tourists to use the services at PT. Vast Alliance Tour. The analysis using SWOT to determine what the is right strategy which can be used to market package of PT. Vast Alliance Tour. This study led to the conclusion that that the marketing strategies undertaken by PT. Vast Alliance Tour in promoting its products through website, brochures, and sales calls. Products offered by PT. Vast Alliance Tour package in the form of packages like rafting, water sports, cruise, spa, and and much more. Strategy undertaken in this study using the SWOT analysis is to combine the strengths and opportunities that can cover the weaknesses and threats that exist in the relevant product market.
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Chairunissa, Salsabilla Putri, and Gde Indra Bhaskara. "Ekonomi Kreatif Di M-Bloc Space Jakarta Sebagai Kegiatan Wisata." JURNAL DESTINASI PARIWISATA 10, no. 1 (April 17, 2023): 70. http://dx.doi.org/10.24843/jdepar.2022.v10.i01.p09.
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The term of creative economy is developed from the concept of creativity-based capital which hasthe potential to increase economic growth in a region. Creativity is considered having capability indriving business opportunities for small businesses through the development of souvenirs, folkfestivals, and so on. Creative economy and the tourism sector are two things that influence andsynergize with each other if managed properly. This study uses a qualitative method which aims toidentify tourism in M-Bloc Space Jakarta through the creative economy. The type of data used isqualitative data with data collections carried out through observation, in-depth interviews, anddocumentaries. The data analysis used is descriptive qualitative analysis. The results of this studyindicate that the creative economy at M-Bloc Space Jakarta consists of eight creative economy subsectors,namely advertising, art market, crafts, design, fashion, music, publishing and printing, andculinary. Creative Economy at M-Bloc Space Jakarta as a tourism activity consists of (3S) Something todo, Something to see, Something to buy.Keyword: ekonomi kreatif, kegiatan wisata, creative hub, m-bloc space Jakarta.
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Ma, Yanhong. "Revival and development of classical photography in contemporary perspective." SHS Web of Conferences 174 (2023): 02028. http://dx.doi.org/10.1051/shsconf/202317402028.
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Photography technology after 180 years of baptism, today’s photography technology has been monopolized by digital images, this monopoly can be described as a subversion of the traditional silver salt image, just like the painting art a hundred years ago and nowadays the photography art is in the process of change. In this ever-changing era, people are increasingly pursuing personalization and art, and photography is no exception. However, the detail of the most representative contemporary works of photographic art will unexpectedly promote the development of the classical craft of photography and be presented in a quiet way in today’s art market, which has aroused a warm response. The modern application of classical photography techniques not only opens us up to a new field, but also shows us the great potential of photography technology in the new era.
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Akhiyar, Dinul, Vivi Nila Sari, and Abulwafa Muhammad. "Analysis and Development of Marketing for the Creative Industry of West Sumatra Based on E-Commerce with the Concept of Customer Relationship Management (Crm) (Analisa Dan Pengembangan Pemasaran Industri Kreatif Sumatera Barat Berbasis E-Commerce Dengan K." Jurnal KomtekInfo 6, no. 2 (November 19, 2019): 144–54. http://dx.doi.org/10.35134/komtekinfo.v6i2.53.
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West Sumatra is an area in Indonesia that has many Creative Industries, this is the reason the government places representatives of the Ministry of Creative Industries in this region. This is done to foster, oversee and develop the Creative Industries that exist today. The Creative Industries that exist today are very diverse there are 15 fields that are very potential to be developed in Indonesia, Advertising (Advertising), Architecture, Art Goods Market, Crafts (Craf), Design, Video, Film, Photography, Interactive Games (Games), Music , Performing Arts (Showbiz), Publishing and Printing, Computer and Software Services, Television and Radio (Broadcasting), Research and Development (R&D), Culinary. Of the 15 creative industries in Indonesia for the West Sumatra region there are 9 sub-sectors of potential creative industries, namely, fashion, culinary, handicraft, music, performing arts, photography, design, animation, and film, but not all creative industry sectors it is developing so that it has an impact on the marketing of its products. For this reason, it is necessary to analyze and develop the marketing of creative industries in West Sumatra that prioritizes the concept of Customer Relationship Management (CRM) so that marketing concepts that have the potential to increase marketing of creative industry products will be known. Especially now that the Provincial Government is developing the Halal Tourism Industry, of course in this field there a re very many opportunities for the development of the Creative Industries
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Khasanah, Indah, Faracha Nur Rahma, Dwi Rahayu Nurazizah, Gilang Sasmita, Laila Nur Khasanah, Dini Salamah Isnaningsih, Fahrillia Ayu Kusumawardani, et al. "Efforts to Preserve Woven Art by Utilizing Pet Rope Waste at “Cemoro Pitu Nganyam Budoyo” Event in Dayu Village, Karanganyar." Journal of Community Services and Engagement: Voice of Community (VOC) 2, no. 3 (December 28, 2022): 19–26. http://dx.doi.org/10.23917/voc.v2i3.1854.
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This research was conducted in the village of Dayu, Gondangrejo District, Karanganyar Regency by promoting regional culture. The activities carried out were themed with the name Cemoro Pitu Nganyam Budoyo which aims to promote the tourism potential of Dayu village to the public. In addition, this activity is an increase in the strategy or efforts of the Dayu village government to develop cultural potential, which at the same time provides space for the community to improve the economy through marketing local culture such as culinary, crafts, agricultural products, and others. The methods carried out are in the form of committee formation, location determination, floor plan design, and event concept, progress of activity design, marketing and publication, implementation, and sustainable empowerment programs. KKNT students also participated in the event committee along with youths from Dayu village, the head of Grenjeng hamlet. Determining the plan design needs to pay attention to several things related to the concept of the event including the location of the main stage, invited guests, culinary tourism spots, visitor selfie spots, children's play spots (traditional toys), off road spots, free spots. Cultural market activities and pet rope workshops provide sustainable benefits for the Dayu community in addition to Cemoro Pitu which can become a new tourist destination, pet ropes can open up opportunities to increase the community's economy and new jobs. The work of pet ropes made by the Dayu community can support the village program, namely Dayu as a tourist village by making pet rope creations as typical souvenirs.
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Ni Luh Putu Yesy Anggreni, I Putu Eka Indrawan, and Pande Komang Suparyana. "WIRAUSAHA MASYARAKAT DESA MENDOYO KABUPATEN NEGARA DALAM PEMANFAATAN LIMBAH KAYU SEBAGAI PRODUK KERAJINAN TANGAN YANG RAMAH LINGKUNGAN." Jurnal Pengabdian Kepada Masyarakat Widya Mahadi 2, no. 2 (June 7, 2022): 8–16. http://dx.doi.org/10.59672/widyamahadi.v2i2.1951.
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Wood waste is the waste of the sawmill industry. So far, wood waste has caused a lot of problems in its handling, which has been left to rot, stacked and burned will have a negative impact on the environment, so its management needs to be considered. Judging from the potential that exists in Mendoyo village, especially in the Negara district, it is one of the largest producers of wood waste that has no use, which is simply piled up. So, we have the innovation of making a handicraft in the form of a watch made from wood waste. Which is an accessory craft that has added value and high creative value. This watch, combined with Balinese motifs or images on the watch. The benefits of this activity are, helping to reduce the amount of waste among the surrounding community, opening up new business opportunities for the community and also making the community aware of the importance of quality wood sawdust waste that has become waste that is not feasible to be used as a craft accessories with high economic value. The main targets are people of productive age, the academic community, and people who have middle and upper incomes, but it is possible that it will be wider and market to special markets and the art market because these watch products have high artistic value and creativity.
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Farhaeni, Mutria, Anak Agung Istri Ngurah Dyah Prami, and Sri Martini. "The Role of Craftsmen Group in Increasing Potential Tourism of Paksebali Village." ETNOSIA : Jurnal Etnografi Indonesia 9, no. 1 (June 28, 2024): 99–114. http://dx.doi.org/10.31947/etnosia.v9i1.32521.
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By exploiting the potential of art and culture that exists in Paksebali Village, this can be a prominent and sustainable tourist destination. The synergy between the craftsmen group and the tourism sector will not only boost the local economy, but also ensure that this rich cultural heritage is preserved and appreciated by future generations. Innovation in craft products that combines local cultural elements with modern trends. While previous research mostly deals with Although previous research mostly discussed the tourism potential in Paksebali Village, this article focuses on craftsmen who can create various types of products that are attractive to tourists, such as Endek Cloth Weaving Craft, Tedung, Prada Bludru Craft, Lontek Craft, Gambelan Bali Craft, Topeng Bali Craft. This diversification helps attract tourists who have a variety of preferences. This qualitative research was conducted in Paksebali village, Dawan Subdistrict, Klungkung Regency, Bali. Data was collected using the combination between in-depth interview and observations. The informants who participated in this research are craftsmen in Paksebali village, as my case studies. The findings show that through synergies between the craftsmen group and the tourism sector, there is a mutually beneficial exchange of value. Tourists gain experience and quality products, while the craftsmen gain the opportunity to increase their income and expand their market. In addition to economic benefits, these collaborations also have an impact on the preservation of local culture. Craftsmen products often reflect the history, tradition, and identity of a region. With increasing tourist interest in these products, the group of craftsmen is encouraged to continue to preserve and develop their expertise. Craftsmen in Paksebali Village can help increase the village's attractiveness as a tourist destination, while maintaining and preserving local cultural heritage. It is recommended that Craftsmen in Paksebali Village is expected to improve quality and innovation in craft products, setting up a craft centre or gallery, working with tourism agencies, conducting digital marketing and promotion, improving the packaging of craft products to make them more attractive, actively participating in exhibitions and festivals as well as cultural preservation and education.
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Kilinska, K. Y., M. D. Zaiachuk, P. O. Suhy, S. D. Bryk, Y. D. Atamaniuk, and O. S. Smyk. "Tourism and farming in the polonynas of the Carpathian region of Ukraine (on the example of Chernivtsi Oblast)." Journal of Geology, Geography and Geoecology 31, no. 2 (August 4, 2022): 311–20. http://dx.doi.org/10.15421/112229.
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We studied the specifics of touristic and economic management of the polonynas of the Carpathian Region of Ukraine and characterized festival tourism in Putyla district of Chernivtsi oblast – a promising direction of developing event tourism in Ukraine. We found evolutionary changes in festivals, determined the main directions and possibilities of popularizing and managing the potential touristic resources, and evaluated the festival potential of the region. We analyzed event tourism – a significant source of formation of a positive image of the region and increase in the touristic attractiveness of the oblast and country in general. We paid special attention to festival resources, the potential of which is unlimited and is most attractive for educational, youth, ethnic and adventure types of tourism. We analyzed the polonynas of the southwest part of Chernivtsi Oblast, which were classified as small (15), average (7), large (3) and very large (2). We found most overloaded polonynas, located right near the areas where the local population constantly resides. Such include Baikalivka (Yablunytsia village), Hudivska (Poliakivska village),Shchuryntsi and Komarnyk (Ploska village), Shyroka (Hrobyshche village) and Nyzhni Rakovy (Kyselitsi village) polonynas. We characterized transhumance sheep farming, which remains a specialized sphere of farming in the polonynas. We analyzed the festival of the departure of shepherds and servants for the polonyna, which since 1967 has been held in Putyla in the last week of May. We determined that this event with an exhibition and market of regional crafts (vyshyvankas, bead accessories, pottery, weaving, pysanka decorative art, carving, wood burning and incrustation on wood, etc) is of domestic and international significance. We characterized popular Hutsul traditional accessories, related to the polonyna farming. We obtained results which may further promote multi-aspect models of marketing development of festival tourism.
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Sukarno, Hari, Susanti Prasetiyaningtiyas, Khanifatul Khusna, Abdul Muhsyi, and Alif Mirzania. "PENINGKATAN KAPASITAS SUMBER DAYA MANUSIA BERWAWASAN DIGITAL PADA UMKM ZAYYAN ART DESIGN PASCA COVID 19." As-Sidanah : Jurnal Pengabdian Masyarakat 4, no. 2 (July 15, 2022): 113–23. http://dx.doi.org/10.35316/assidanah.v4i2.113-123.
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The presence of MSME-scale businesses in Indonesia has improved the country's economy, especially during the economic crisis hit, one of which was during the COVID-19 pandemic. This pandemic has also changed the business flow of all business actors, including MSMEs. During the pandemic, all business people who initially only marketed their products conventionally began to take advantage of technological sophistication, especially on social media. The use of social media and technological sophistication is an alternative to develop the existing market potential while making it easier for business actors to find what consumers need. The use of technology is also applied to products produced by MSMEs, one of which is Zayyan Art Design, an MSME actor in the craft sector. One of Zayyan Art's obstacles to running their business is that they can’t use social media to market their products. The purpose of the activities that have been carried out is to help improve skills by increasing the capacity of human resources with a digital perspective. This increase is expected to help increase the number of sales of partner products so that partner problems can be slightly reduced especially in financial problems and an increase in partner income. The method that has been used in this activity is Asset Based Community Development (ABCD). This concept is one of the strategies in service activities whose main activity is community development in the form of training and assistance in using technology in marketing for Zayyan Art. The form of training that has been held is in the form of tutorials on making product marketing videos and making digital product catalogs. The results of the service activities that have been carried out are an increase in employee skills in using social media and expanding the market reach of Zayyan Art products.
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Goyal, Dinesh, Yashpal Soni, and Geeta Gandhi. "Issues and Challenges of E-Bazaar Implementation in Rural Rajasthan: A Review." ECS Transactions 107, no. 1 (April 24, 2022): 16779–84. http://dx.doi.org/10.1149/10701.16779ecst.
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India is a country with cultural heritage rooted to its villages and livelihood. Indian cultural diversity facilitates many remarkable art forms and craft products. Along with other states, Rajasthan is a major stakeholder in this rich cultural heritage and industry like handicraft, pottery, khadi, etc. This sector of market is unorganized, decentralized, and a labor intensive cottage industry which has high potential in global space. To provide this unorganized sector marketplace, an e-commerce scheme with the name e-bazaar has been launched by the Rajasthan government. In this paper we review the current e-bazaar scheme of GoR, its impact, and its technical challenges while comparing it with other such platforms provided by government or non-government agencies.
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Upadhyay, Manali, and U. C. Jain. "MANAGERIAL CHALLENGES OF HANDICRAFT INDUSTRY: AN INDIAN PERSPECTIVE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 122–26. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3719.
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India is one of the most important suppliers of various handicrafts to the world market. The Indian Handicraft industries play an important role in world in Handicraft sector. This is one of the oldest cultures and tradition of India which represent different traditional art, of the different part of country. The handicraft products have very wide market in the world due to its growing potential. The Indian handicrafts industry is highly labour intensive cottage based industry and decentralized, being spread all over the country in rural and urban areas. The industry provides employment to over six million artisans who include a large number of women and people belonging to the weaker sections of the society. The Handicrafts Sector plays a significant & important role in the country’s economy. It provides employment to a vast segment of craft persons in rural & semi urban areas and generates substantial foreign exchange for the country, while preserving its cultural heritage. Handicrafts have great potential, as they hold the key for sustaining not only the existing set of millions of artisans spread over length and breadth of the country. But there are various issues associated with wide development of handicraft sector. The paper highlighted the problem and various issues associated with handicraft sector in India.
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Krailiuk, Liubov. "Rivne Artistic Textile School : formation, evolution, personalities." Bulletin of Lviv National Academy of Arts, no. 39 (2019): 127–39. http://dx.doi.org/10.37131/2524-0943-2019-39-08.
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Background. Since the 1960s Ukrainian artistic textile has been researched by S.Sydorovych, A.Zhuk, Ya.Zapasko, Z.Chehuseva, T.Pecheniuk, H.Kusko, Ye.Shymchuk, Z.Shulha, D.Bobiak, O.Yamborko, O.Nykorak, T.Lupii, O.Lukovska, O.Moisiuk studied regional features of folk weaving in history aspect. The fifth volume of The History of Ukrainian ornamental art published by M. T. Rylsky Institute of Art, Folklore Studies and Ethnology Institute of National Academy of Sciences of Ukraine is the important fundamental study where the researched issues are considered (2016). This volume presents the contribution of Rivne and Lviv artists Marta Tokar, Ivanna Tokar, Tetiana Lukashevych, and Olena Okhrymyk in general features. Separate aspects of Rivne artists’ creative work and school development are considered by A.Nikolaieva, N.Kosmolinska, O.Stashuk, I.Tokar etc. In modern times the complex research of Rivne art textile establishment and the issues of school development have not been presented that proves the importance of this paper. This study aims to outline social and cultural preconditions and features of Rivne Artistic Textile School establishment, give a short characteristic of its outstanding people creative work, and determine basic issues and ways of the development. The methodology is based on the complex approach including cultural, structural analysis and art study interpretation. This has provided the possibility using a system way to consider Rivne cloth art of the last decades as a complete art phenomenon. The scientific novelty concerns with regional characteristics of Rivne modern textile art. Results. Since last decades artistic textile having huge variety of its presentation has been becoming the field for new esthetic research and new point of view according to the surrounding on Rivne artistic map. This traditional ornamental branch is getting closer to pictorial art and in perfect manifestations it can even pretend to research modern social and human being conditions. The implementation and function of vocational art education were the important motivation to develop Rivne region artistic textile despite of weak institutional support especially in recent years. This paper studies beginnings and current issues of Rivne Cloth Art School becoming. New artistic senses are polished in the process of democratic competition through craftswomen creative ideas of different generations. This fact demonstrates the formation of Rivne Artistic Textile School. It is textile that is presented at international exhibitions among other kinds of arts including contribution of younger generation craftswomen. Simultaneously the author points out the issue of weak institutionalization of Ukrainian modern art on the local level. First of all it is revealed on the level of artifacts museification as the representation issue becomes the main one in the modern world. According to Rivne regional textile art the issue of centralized accumulation absence of modern works kept in artists’ studios is the most important one. This makes art utterances function more complicated for its research and interpretation. Artistic textile vocational school cooperation with Rivne Linen Factory (that existed till the 1990s) has interesting potential possibilities under the conditions of factors appearance that would let reanimate it or develop a new one. The author states that it can be the development of flax culture in Ukraine, expanding of enterprise ranges and other strategic structural initiatives. Conclusions. Rivne Artistic Textile School became the original branch of Lviv Arts and Crafts School. Focusing on regional folk weaving traditions Rivne modern craftswomen developed a new and unique artistic phenomenon characterized by the variety of its expressions in the semantic content and shape-created aspect. Rivne art-space analysis through the decentralization of artistic processes demonstrates that the leading role definitely belongs to art fabric in this process. Moreover this trend is powerful enough and artistic textile is a counterweight factor to the traditional painting centrism of Ukrainian art (including art-market). The next stage of the research aims to highlight imaginary system of separate art personalities. The study can be interpreted in such interdisciplinary aspects as cultural analysis, methodological points etc.
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Bioza, Betyona, Titis Srimuda Pitana, and Gunawan Gunawan. "SOLO CRAFT GALLERY EXPO DENGAN PENDEKATAN ARSITEKTUR JAWA KONTEMPORER." Arsitektura 15, no. 1 (July 14, 2017): 269. http://dx.doi.org/10.20961/arst.v15i1.12182.
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<p><strong><em>Abstract: </em></strong><em>Solo Craft Gallery Expo is an effort to accommodate the presence of creative industries joined in the craft subsector SMEs, and facilitating MICE activities in the city of Solo. The space is in the form of art galleries as well as a market for good packaging and expo space with diverse capacities. Combining the two functions of this building is a strategy for mutually supporting each other’s existences. Gallery space presented as cultural charms, while the expo space plays a role in bringing visitors. The government policies in synergy with the city’s potential efforts to support and facilitate the development of the city for more advances physical quality and human resources. This system if it is associated with the city of Solo as location, intersects with the image which is the city of culture. This last issue is associated with contemporary architecture, which is an effort to locate and revive the values of cultural and society, as a reflection of the city’s identity. In this case, the Javanese architecture which is the local architecture and result of the Javanese cultural community life, deserve to be appreciated to exist as a force of local architecture. The process of aligning the image of the building with the city image of the building of Solo Craft Gallery Expo, carried out through the application of contemporary Javanese Architecture.</em></p><p><em> </em></p><p><strong><em>Keywords</em></strong><em>: MSME craft’s sub-sector, craft galleries, MICE facilities, contemporary Javanese architecture.</em> <em></em></p>
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Дьяконова, Мария, Mariya Dyakonova, Светлана Степанова, and Svetlana Stepanova. "CULTURAL OFFICES IN PRESERVATION AND DEVELOPMENT OF ETHNOTERRITORIES OF THE REPUBLIC OF KARELIA." Service & Tourism: Current Challenges 10, no. 3 (September 13, 2016): 91–98. http://dx.doi.org/10.12737/21106.
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In the territory of the Republic of Karelia now live three aboriginal people – karelians, russian, vepsians, who created unique and original culture. Residing of ethnic groups – territorially-localised historically developed on the basis of eco- nomic way of ethnos rural settlements that are characterized by domination of traditional forms of economic activities, use of handicraft crafts, cottage industry.
Problems of the labour market and the youth’s position in it are especially acute in rural areas due to reforms and changes in the system of economic relations in the agrarian and forest sectors, and local administration. Difficulties of life in coun- tryside influence on the vital self-determination of youth, promoting strengthening of youth migration in the central part of Republic of Karelia and the Russian Federation. In this connection one of the actual questions is the perspectives of rural settlements development, labour potential of which is a basis of economic life, and self-development of territories. Tourism now appears as one of promising lines for regional development in the Republic of Karelia, which can mitigate social problems, and act as a factor for conservation and reproduction of the natural, historical and cultural potential of the territory. One of promising directions of rural tourism growth is development of the ethnographic tourism based on visiting ethnographic sites for the purpose of knowledge of traditional folklife culture: traditions, culture and a life of the people, the ethnos living on the certain territory. Full-fledged development of the tourism business is only possible if the youth are involved in this sphere of economic activity, recognize its importance, and perceive it as a resource for their life strategy. The work was executed under government order «The role of human capital in a dilemma: the new economic theories – modern challenges».
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Zhang, Aosheng. "Research on Art Participation Models in the Protection and Inheritance of Traditional Crafts." Communications in Humanities Research 34, no. 1 (June 5, 2024): 230–35. http://dx.doi.org/10.54254/2753-7064/34/20240069.
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This study explores the art participation models in the protection and inheritance of traditional crafts, aiming to analyze how these models effectively respond to the challenges brought by modernization and globalization and promote the sustainable development of traditional crafts. Through in-depth analysis, the study finds that traditional crafts face many challenges, including technological progress, changes in market demand, and social transformations. Innovative art participation models, especially the application of digital technology and the strengthening of community and education, provide new opportunities for the protection and dissemination of traditional crafts. Digital technology can overcome geographical restrictions, enabling global audiences to access these crafts, while community participation and educational projects help stimulate local communities and the younger generations interest and involvement in traditional crafts. This study suggests that future research should further explore the effectiveness of different art participation models, especially in the application in different cultural backgrounds, and proposes recommendations for policy and strategy formulation to promote the protection and inheritance of traditional crafts. Overall, through innovative participation models, we can find new ways to protect and inherit traditional crafts, ensuring the sustainable development of these precious cultural heritages and passing them on to future generations.
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Zhang, Aosheng. "Research on Art Participation Models in the Protection and Inheritance of Traditional Crafts." Communications in Humanities Research 38, no. 1 (June 5, 2024): 90–95. http://dx.doi.org/10.54254/2753-7064/38/20240069.
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This study explores the art participation models in the protection and inheritance of traditional crafts, aiming to analyze how these models effectively respond to the challenges brought by modernization and globalization and promote the sustainable development of traditional crafts. Through in-depth analysis, the study finds that traditional crafts face many challenges, including technological progress, changes in market demand, and social transformations. Innovative art participation models, especially the application of digital technology and the strengthening of community and education, provide new opportunities for the protection and dissemination of traditional crafts. Digital technology can overcome geographical restrictions, enabling global audiences to access these crafts, while community participation and educational projects help stimulate local communities and the younger generations interest and involvement in traditional crafts. This study suggests that future research should further explore the effectiveness of different art participation models, especially in the application in different cultural backgrounds, and proposes recommendations for policy and strategy formulation to promote the protection and inheritance of traditional crafts. Overall, through innovative participation models, we can find new ways to protect and inherit traditional crafts, ensuring the sustainable development of these precious cultural heritages and passing them on to future generations.
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Triani, Joanne Triani, and Mieke Choandi. "STUDIO INOVASI DAN KREATIF KERAJINAN KAYU." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 1, no. 2 (January 26, 2020): 1533. http://dx.doi.org/10.24912/stupa.v1i2.4394.
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Woodcrafts Innovation and Creative Studio are a place for craftsmen or enthusiasts of craftsmanship and process, especially wood. With four main programs: Experience, Explore & Learn, Develop, and Community, it’s expected to become a space for providing resources, facilities, knowledge and forming a community for people to work and create a variety of local products, as well as maintaining and contributing to creative economic growth. The background of this studio, because of the potential of natural resources and creative resources. Millennials' behavior differs from those of the previous generation, whereas millennials are perceived to be more creative, giving birth to many potentials in creative economy industry. Craft is one of the three industries who constitute the most contributions to the creative economy, namely woodcraft. Although potential, it's growth has shown to be stagnated, due to the difficulty to transfer of knowledge to the younger generation. For this reason, it’s necessary to provide a space that can introduce and become a forum to ensure the development of creative economy. Based on the results of some researches conducted on millennials, this generation has the desire to engage in new experiences and opportunities to meet people. This behavior can be used to offer a craft product with the addition of experience and stories that can attract millennials. Located in Kemang, which is known as an area that developed towards the artpreneur with the presence of various art store and galleries. This studio provides a space for experience seekers and creative industry players to share ideas, products, knowledge, and tools. The objective is so that those who do not have the skills yet can gain new experiences and skills, even explore the potential in the creative industry. As for creative economic actors, they can deepen their potential and share their knowledge. Aside from that, they can also market their products to a wider scope. AbstrakStudio kreatif dan inovasi kerajinan kayu merupakan wadah bagi pengrajin ataupun peminat ilmu dan keahlian dalam proses kerajinan, khususnya material kayu. Melalui empat program yaitu Experience, Explore & Learn, Develop, dan Community membentuk sebuah studio yang menyediakan sumber daya, fasilitas, pengetahuan, serta sebuah komunitas untuk berkarya melalui produk kerajinan kreatif berkelanjutan, dan mendorong pertumbuhan ekonomi kreatif khususnya kerajinan kayu. Latar belakang hadirnya studio ini, karena potensi sumber daya alam hingga sumber daya kreatif yang dimiliki di Indonesia. Generasi milinial dinilai lebih kreatif daripada generasi sebelumnya, ditandai dengan ekonomi kreatif baru diberbagai bidang. Ekonomi kreatif kerajinan merupakan salah satu bidang yang menyumbang perekonomian terbesar bagi negara. Kerajinan kayu memiliki potensi yang besar, namun pertumbuhannya mengalami stagnasi. Terhambatnya pertumbuhan diakibatkan kesulitan dan terbatasnya perpindahan ilmu ke generasi muda. Untuk itu wadah komunitas ini yang dapat mengenalkan ekonomi kreatif kepada millenial, agar generasi ini dapat terlibat pengalaman dan kesempatan bertemu sesama peminat ketrampilan kerajinan. Melalui riset terhadap generasi millenial, terdapat keinginan pada generasi ini untuk terlibat pengalaman. Perilaku ini dapat dimanfaatkan untuk menawarkan suatu produk kerajinan dengan penambahan pengalaman dan cerita didalam produk yang dapat menarik minat generasi millennial. Berlokasi di Kemang, Jakarta Selatan yang dikenal sebagai kawasan berkembang ke arah artpreneur , ditandakan banyaknya art store, galeri, dan lain-lain. Studio ini menjadi wadah untuk mendapatkan pengalaman dan menggali potensi dibidang ekonomi kreatif bagi pemula. Sedangkan untuk pelaku ekonomi kreatif dapat memperdalam potensi dan berbagi ilmu dalam proses kreatif, serta mendapat kesempatan berkolaborasi dan memasarkan hasil produk ke lingkup yang lebih luas.
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Semerickaja, Olga Vladimirovna. "Problems of preserving and actualization the heritage of folk-art crafts." Vestnik of Saint Petersburg State University of Culture, no. 3 (52) (2022): 102–7. http://dx.doi.org/10.30725/2619-0303-2022-3-102-107.
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Folk art crafts are a unique cultural phenomenon, the preservation and actualization the heritage of which seems to be the one of the ecological problems in the light of the recognition at the state level and in the scientific community of the importance of the successive development of culture in the interests of society. The heritage of folk-art crafts in all their type and species diversity has a high information potential as a cultural phenomenon and value as a carrier of the cultural code of national and local significance, however, being outside the understanding of cultural heritage as a valuable part of social memory, it is excluded from the process of sustainable development of society. Studying the history of folk-art crafts in a wide historical and cultural context, defining the episteme of the heritage of folk-art crafts – these are the priority tasks for introducing the heritage of folk-art crafts into the integral system of cultural heritage as its organic part with the aim of further developing measures for its preservation and inclusion in the current culture. For the first time, the article presents a scheme of periodization of the general development of folk art crafts on the basis of the adaptive-activity approach to the culture of E. S. Markaryan, the current directions of the study of folk art crafts at the same time as an economic and cultural phenomenon are identified, the forms of actualization of the heritage of crafts that exist today are analyzed and the current risks associated with the commodification of the heritage of folk art crafts are identified.
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Osipova, Marina V. "Ainu Art: From Craft to Fine Art." Humanitarian Vector 19, no. 2 (June 2024): 163–75. http://dx.doi.org/10.21209/1996-7853-2024-19-2-163-175.
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ditional and utilitarian. The modernity gives the boost to the development of the new forms of art. However, there are no studies in domestic or foreign historiography examining this issue. The purpose of this article is to analyze the problem of the formation and development of Ainu modern art as the adaptive mechanisms of traditional crafts. Based on field work and analysis of sources, using descriptive, historical-systemic, comparative-historical and visual methods, an attempt is made to understand the prerequisites for the transition of Ainu craft and decorative art to fine arts, and the conditions that led to the emergence of highly artistic works. The introduction of the results determined the novelty of this research. We found that the transition of the Ainu crafts to decorative and fine arts was facilitated by three factors: economic, cultural and the need for individual self-identification. This made possible to distinguish three stages in the development of Ainu art: the stage of acquaintance with the Ainu craft, the exhibition and market stages, which led to the development of sculpture, graphics, woodcuts and also to emphasize the importance of cultural exchange with neighboring peoples. The presented work allows us to conduct comparative studies with a similar phenomenon among the indigenous peoples of the Russian Federation and to use it in museum projects.
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Bataeva, Lyudmila A., and Anifa K. Akhmetshina. "FORMS FOR REALIZING THE PEDAGOGICAL POTENTIAL OF FOLK ARTS AND CRAFTS IN THE SYSTEM OF ART EDUCATION." Arts education and science 1, no. 34 (2023): 22–29. http://dx.doi.org/10.36871/hon.202301022.
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The article reveals the educational and creative potential of folk arts and crafts as an effective means of fostering artistic culture and aesthetic education of the younger generation. It is noted that within the educational process, as a result of expanding possibilities for self-determination in choosing forms, types and genres of visual art activities, students consider various areas of folk art. At the same time, mastering of folk decorative art at the fine arts lessons takes place mainly in the context of the formation of the cognitive interests of schoolchildren. Moreover, the significance of the orientation of pedagogical thought on a comprehensive analysis of solutions to the issue of integrating the practical mastering of folk arts and crafts in the fine arts lessons with the traditions of masters of the past is revealed. With the development of the applied language of fine arts, its rich cultural, pedagogical and artistic potential, enclosed in the traditions of the masters of the past, is relegated to the background. Therefore, despite the recognition of the educational and developmental possibilities of folk arts and crafts in art and aesthetic education and upbringing of schoolchildren, there is still no clear, well-established understanding of the optimal forms of its implementation in art education.
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Pomaleyko, Anastasia Leonidovna. "The educational potential of folk arts and crafts as a means of developing the socio-cultural activity of the population." KANT 42, no. 2 (March 15, 2022): 293–98. http://dx.doi.org/10.24923/2222-243x.2022-42.56.
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The purpose of the study is to identify the features of the educational potential of folk art crafts as a means of developing the socio-cultural activity of the population. The article deals with the phenomenon of folk arts and crafts in the modern cultural space, which actualizes the socio-cultural activity of the population through the initiation of interest in the local history features of the region. Scientific novelty is characterized by the identification and justification of the effectiveness of the applied art and development technologies of folk applied arts, contributing to the development of socio-cultural activity, the formation of their moral worldview, cultural self-development and creative self-actualization of the population. As a result, the pedagogical potential of folk art crafts in the development of the socio-cultural activity of the population through modern technologies of socio-cultural activities, naturally determined by external and internal factors of local cultural and historical features of the territory, was revealed.
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Eseagwu, Oyenike. "Cultural Tourism as an Exponent of Art and Crafts Sector in African Economy." NIU Journal of Humanities 8, no. 4 (December 31, 2023): 267–70. http://dx.doi.org/10.58709/niujhu.v8i4.1861.
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The arts and crafts sector in African is a vibrant intersection of numerous cultures, reflecting the diversity and creativity of the African people. Arts and crafts, inclusive of sculptures, painting, poetry, woven works, beadworks and textile among others, are deep-rooted in African heritage and bear a substantial contemporaneous value. They embody, the spirit of African Culture, thus enabling tourist to connect with Africa’s trans-generational ethos and rich cultural heritage. The potential for cultural tourism’s growth and invariably, the unique proliferation of the African economy, therefore stems from the international integration of these arts and crafts into the tourism sector. The key components and elements influences the tourist decision making process in choosing a destination to travel. Keywords: Cultural, Tourism, Crafts, Arts, Economy, Sustainability.
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Lin, Xiaojuan. "Fujian Lacquer Art: Xiamen lacquer line carving art and inheritance protection research." Highlights in Art and Design 2, no. 2 (March 20, 2023): 49–53. http://dx.doi.org/10.54097/hiaad.v2i2.6159.
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Lacquer line carving is an excellent treasure of folk arts and crafts created in the long history of Chinese lacquer art culture. Xiamen lacquer line carving continues the excellent traditional spirit of China and is a specimen of folk culture history in southern Fujian. With the advent of the "intangible cultural heritage" upsurge, Xiamen lacquer line carving has gradually been paid attention to, and at the same time, it has promoted the spread of southern Fujian folk culture. The cultural value, historical value, economic value, artistic value, craft value, etc. reflected behind Xiamen lacquer line carving are all worthy of further in-depth study. Only the combination of inheritance, innovation and market is the most effective way of inheritance protection.
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Ni Putu Laras, Purnamasari. "Aesthetic Characters of Flora and Fauna Painting Art Pengosekan on Visual Objects Wood Carving Craft Arts in Singakerta Village, Ubud." Mudra Jurnal Seni Budaya 39, no. 2 (April 29, 2024): 254–60. http://dx.doi.org/10.31091/mudra.v39i2.2777.
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Along with the heyday of Pengosekan flora and fauna painting in the 1990s, the aesthetic character of painting was attached to the art of wood crafts in Singakerta Village, Ubud. This aesthetic character can be seen from the visual style of creating flora and fauna objects as well as the finishing of wood carving crafts, which reveal images of typical Pengosekan flora and fauna paintings. This research specifically identifies the background and supporting factors for the visual language representation of Pengosekan flora and fauna painting objects in the art of wood carving that developed in Singakerta Village, Ubud. This research is qualitative research, using aesthetic theory and representation theory as analytical tools. The results of the research show that the aesthetic character of Pengosekan flora and fauna paintings is represented in wood carving craft products, in terms of theme, color, shape and visible lines. The representation that occurs is influenced by creativity in order to follow market trends that were developing at that time, as well as the economic motivation of the craftsmen to improve their welfare. The imagery of Pengosekan flora and fauna painting, which is attached to the art of wood carving, has indirectly helped the dynamic existence of this painting art. The representation of the art of painting in crafts is a dynamic that occurs in the development of the art of painting. The practice of indirect representation also shows something that is very important and positive in maintaining the existence of the art of painting itself, even though the visualization is slightly different because it is caused by several factors.
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Wadende, Akinyi. "Chwuech: Sustained Art Education among Luo Women of Western Kenya." Journal of Adult and Continuing Education 17, no. 2 (November 2011): 5–19. http://dx.doi.org/10.7227/jace.17.2.3.
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This article presents the findings of a qualitative study on the Bang jomariek, a women's group in West Reru in Western Kenya who engage in the production of indigenous arts and crafts (pots, baskets, and architecture) to generate income and explore politics, medicine, and other matters that affect them and their community. The women shared their motivations for engaging in the production of these art forms and the characteristics of these educational processes and their environment. I highlight the transformative experience on their lives as a result of the arts and crafts-based adult education work. This article is significant to feminist and anti-colonial adult education as it stresses the importance of processes, potential, and goals of an African indigenous creative education amongst rural women.
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Samosir, Zurni Zahara, Prihatin Lumbanraja, Ance Marintan Sihotang, and Elisabet Siahaan. "Marketing Strategies for Traditional Musical Instruments and Wood-based Souvenir." ABDIMAS TALENTA: Jurnal Pengabdian Kepada Masyarakat 5, no. 2 (December 2, 2020): 647–53. http://dx.doi.org/10.32734/abdimastalenta.v5i2.5424.
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Marketing is known as the most important element of any economic activity. Without a good marketing practices,, product will not be known to public. People will not purchase or consume products that they are completely unaware of. Siponjot Village, which is fostered as an art village, must be able to market its art so that they are widely recognized and recognized by the community. This community service program from the marketing side of village art products targets the creation of creative economic transactions as well as marketing activities for art products of Siponjot Village craftsmen, be it musical instruments, art performances, or crafts made by the people of Siponjot Village. During this occasion, the implementation team has provided a designs that can be used as brands / labels for Siponjot’s products.
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Nartker, Kate. "Crafting in COVID: Engagement With Textile Arts and Crafts Among Senior Living Residents Throughout the COVID-19 Pandemic." Gerontology and Geriatric Medicine 8 (February 23, 2022): 233372142210791. http://dx.doi.org/10.1177/23337214221079164.
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When the World Health Organization declared the COVID-19 pandemic in March 2020, the elderly were identified as a vulnerable group due to their significantly higher risk of severe or fatal outcome of COVID-19. Senior residential facilities were heavily affected and in an effort to constrain the spread of the virus, many organized enrichment programs were paused. This was a concern to many as clinical literature in the fields of Occupational Therapy and Art Therapy has found that art enrichment courses, including textile arts and crafts activities, are effective in managing excess time and coping with loneliness and other emotional challenges. The purpose of this research is to understand how senior residents engaged with textile arts and crafts independently and through a time of increased stress. Due to socializing restrictions, the pandemic provided a unique opportunity to examine the benefits and challenges seniors face when working with textile crafts. Twelve interviews with senior participants were conducted and analyzed to locate key themes related to their experiences. Results of this analysis have applications for enrichment programming in senior housing facilities, design planning for senior housing, and in shaping further clinical research on the potential benefits of textile crafts.
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Yunus, Yusdalifa Ekayanti, Mayasari Yamin, Andi Dita Tawakkal Gau, Syamsiar Zamzam, Muhammad Yusuf Yunus, and Adi Irwandi. "Potensi Limbah Cangkang Kerang sebagai Kerajinan Sederhana Rumah Tangga di Desa Jampue Kecamatan Lanrisang Kabupaten Pinrang." Hippocampus Jurnal Pengabdian Kepada Masyarakat 2, no. 1 (August 5, 2023): 88–92. http://dx.doi.org/10.47767/hippocampus.v2i1.539.
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The use of local materials in the creative industry is now leading to a global economic market. This also had an impact on the women in the Jampue Village PKK who used shell waste as a household-scale craft industry. This service activity aims to educate PKK women in Jampue Village to be more creative in utilizing shell waste as a mainstay product that can compete in the international market. The stages of implementation carried out are by means of socialization and workshops regarding the procedures for making and selecting shells that have the potential to be used as household scale crafts. The implementation of this mentoring program was able to increase the understanding of PKK women in Jampue Village regarding the potential of shell waste which can be used as crafts.
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Rothwell, Sarah, and Jessamy Kelly. "The Power of Glass: Craft Scotland Conference, 2022." Arts 12, no. 5 (August 25, 2023): 183. http://dx.doi.org/10.3390/arts12050183.
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In 2022, the UN marked the International Year of Glass, celebrating the essential role glass has, and will continue to have, in society. One element of this celebration was the importance of glass within art and its history, which the Craft Scotland 2022 Conference: The Power of Glass looked to explore. The aim of the conference was to allow a range of individuals, be they academics, researchers, or students of glass and art history within Scotland and the UK, to access contemporary thought within an under-represented field in the UK craft sector. In this paper, we look to highlight the links between the aims of the International Year of Glass and the proceedings of The Power of Glass Conference, demonstrating how glass artists, makers, and designers are part of a growing international body of creatives who are using the communicative possibilities of glass as a vehicle in which to raise pertinent questions and platform unheard and overlooked narratives. Moreover, they seek to overturn perceived biases of what glass is and its future potential by placing their craft within an arena of judgement beyond discussions of process and technique and by elevating socio-political glass art on par with other forms of artistic protest and commentary.
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Chavraiparn, Maturose, Jirawat Phirasant, and Maria de Correa. "Arts and Crafts Management Model of Baan Huai Ta Community, Utttaradit Province." Revista de Gestão Social e Ambiental 18, no. 5 (March 13, 2024): e05183. http://dx.doi.org/10.24857/rgsa.v18n5-008.
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Purpose: The objectives of the present research on the arts and crafts management model of Baan Huai Ta community, Uttaradit province were to analyze the community arts and crafts management model; develop the community arts and crafts management model; and evaluate the community arts and crafts management model of Baan Huai Ta, Uttaradit Province. Theoretical Framework: This study employs the concept of local wisdom and product development and design. Design/Methodology/Approach: The procedures involved building a network, acquiring knowledge, developing a community arts and crafts management model, developing community arts and crafts, evaluating the community arts and crafts management model. A qualitative research was employed consisting of observation, in-depth interviews, focus group discussion, and participatory action. Findings: The analysis of community arts and crafts management model suggested the area-based potential of Baan Huai Ta with arts and crafts abilities including weaving, wickerwork, and wood carving. Her Majesty Queen Sirikit had graciously supported people in the community to receive career development trainings in arts and crafts intended to offer extra jobs for generating more income. Their products were delivered for distribution to the Bureau of the Royal Household and the Arts and Crafts Promotion Foundation. Research Practical and Social Implication: Evaluation results of community arts and crafts works were as follow: increased value at a highest level; design concept at a highest level; selection of raw materials at a highest level; production process at a highest level; quality and beauty at a highest level; increased value added at a very high level; creating identity at a very high level; and generating value added at a very high level. The arts and crafts management model of Baan Huai Ta community, Uttaradit province comprised 4 components namely: analysis of community context; analysis of community management//network building; development of arts and crafts; and evaluation of arts and crafts management model. Originality/Value: The development of community arts and crafts management models focused on the designs with applied local wisdom to provide community products. The design concept is based on the link of science and knowledge in coordination with applied local materials to develop community products with an aim to bring about value added, self-reliance, as well as group forming. This had led to the development of products consisting of 12 pieces of fabric art and craft products, 2 pieces of carving art and craft products, and 8 pieces of wickerwork arts and crafts products, totaling 22 products.
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Widodo, Ameera Rahil Sahira, and Evy Rachmawati Chaldun. "Business Model Formulation For Yarn Store As Cultural Tourism." Journal of Consumer Studies and Applied Marketing 2, no. 2 (August 15, 2024): 146–55. http://dx.doi.org/10.58229/jcsam.v2i2.250.
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This study aims to develop a sustainable business model for the first physical store of Mondu Crafts, a yarn store targeting cultural tourism. Research objectives include analyzing market characteristics, identifying factors affecting the business, and designing a suitable strategy. A mixed-method approach was used, employing questionnaires and interviews, analyzed through descriptive and cross-tabulation methods. Key findings indicate strong interest in Mondu Crafts, especially among females aged 17-35. High-income groups face time constraints, while lower-income groups face budget limitations. Strategies such as offering free, short trial workshops are recommended. Results highlight the trend for one-stop shops, integrating sightseeing, food, activities, and souvenirs. Long-term sustainability suggestions include integrating AI-based language translation services and eco-friendly initiatives. Establishing Mondu Crafts Cafe & Store in Bandung is both market-viable and financially feasible, with potential expansion to Bali for a broader reach. The study provides practical insights for developing a robust Business Model Canvas for a creative economy as a cultural tourism.
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Fatikhah, Nuriyah Hanik, and Eva Farhah. "ANALISIS DAYA TARIK MUSEUMKU GERABAH KASONGAN BANTUL SEBAGAI WISATA EDUKASI SENI." Jurnal Pariwisata Indonesia 20, no. 1 (June 30, 2024): 25–35. http://dx.doi.org/10.53691/jpi.v20i1.415.
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The Gearabah Museum is a unique museum that contains many works of harbah art and cafes built by Deputy Raharjo, an artist from Kasongan as well as the former Rector of the Yogyakarta Indonesian Institute of Art. My Harab Museum opens in 2023. The village of Kasongan as the center of producing crafts and crafts has an interesting potential to develop, especially with the incorporation of my museum as a tourist attraction for art education and craftsmanship. The purpose of this research is to analyze the attractive components of the Museum of Kasongan as an art education tour. The genius of this research is qualitative descriptive. The data sources used are direct and in-depth observations and surveys. The findings of this research point to the attractiveness of the museum which covers four components, namely the attractions of the Museum which has attractions in art and culture because the museum contains the works of the art of the village of Kasongan, the paintings of the artist, as well as providing a means to learn or practice making art in person. The accessibility component is characterized by easy access of transportation and roads to the tourist attraction, further components of facilities, such as the presence of cafes and restaurants, toilets, bathrooms, parking spaces. Additional service components, the Museum of Social Media, guide officers, as well as access to other tourist attractions.
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Samrin, Hasrul Azwar Hasibuan, Rahmat Hidayat, and Rusiadi. "Model of Blue Ocean Strategy Developing a Bamboo Small Business in Medan City." International Journal of Economic, Technology and Social Sciences (Injects) 3, no. 2 (November 30, 2022): 255–63. http://dx.doi.org/10.53695/injects.v3i2.789.
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The research objective is to analyze the Blue Oceans Strategy method approach to improve strategy development for the Small and Medium Bamboo Industry in Medan City. Woven crafts are one of the most abundant businesses in the SME sector, both rattan and bamboo handicrafts have dominated the activities of SMEs in Medan City . The woven crafts are spread in 5 (five) sub-districts in Medan City. The method of analysis in this study uses a Structural Equation Modeling (SEM) approach, in forming a strategy for developing SMEs and Bamboo cooperatives with the ocean strategy and blue ocean strategy models in Medan City. The competitive strategy used by the Small and Medium Shell Industry in Medan City at this time is to identify competitive factors in the industry which consist of product uniqueness, a touch of art, done in detail, proximity to sources of raw materials, strategic location, availability of labor, Creativity, Prices are not fixed on market prices, Can be used as souvenirs, Skills and skills of employees, Attractiveness and impact after participating in exhibitions, Sensitivity to market choices, Organizational commitment, Work environment, Availability of online order facilities, Experience and managerial skills, Product orders completed on time.
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Maaruf, Siti Zuraida, Ezzah Md Zain, and Nabilah Abdullah. "SUSTAINING LOCAL HERITAGE: FIBRE ART AS A NEW PARADIGM TO UPLIFT MALAYSIAN CRAFT PRODUCTION." Malaysian Journal of Sustainable Environment 7, no. 2 (August 4, 2020): 119. http://dx.doi.org/10.24191/myse.v7i2.10268.
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By putting forward contemporary fibre art as a new paradigm in Malaysian craft production, this study aims to uncover how it is applied involving selection of material, utilization of technique right up to the appraisal of resultant product. The underlying rationale is to ensure incessant appreciation of Malaysian crafts by the society, especially the younger generation. This research utilized the Design Development Research (DDR) that consisted of three (3) phases. Selection of research participants used purposive sampling based on the respondents' expertise in the area. In Phase 1, Needs Analysis was carried out using semi-structured interviews with three (3) textile experts. In Phase 2: Design and Development, the researcher used ADDIE model to develop crafts using fibre art material for Malaysia craft production. In the third and final phase, Implementation and Evaluation, sixty young people from Shah Alam community took part in an assessment of their acceptance of craft using fibre art. However, discussion on this study focuses on the first phase which is the needs analysis. The findings suggest that contemporary fibre art as a new paradigm to Malaysian craft production is relevant and has the potential to be implemented in Malaysia.
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Wang, Lu. "The Analysis on the Potential of the Art Futures Market." Advances in Economics, Management and Political Sciences 86, no. 1 (May 28, 2024): 103–7. http://dx.doi.org/10.54254/2754-1169/86/20240955.
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This study explores the burgeoning field of qualified art derivatives as an innovative investment channel, leveraging the unique attributes of art for inflation resistance, low correlation to traditional financial markets, and cultural significance. Through the analysis of art market trends, the research identifies individuals, family offices, pension funds, foundations, and investment funds as potential purchasers, with artists, galleries, museums, and financial institutions as key sellers. Utilizing data from art market transactions, auction records, and expert appraisals, the study examines the design, operation, and market acceptance of art derivatives. It highlights the potential of art derivatives to offer diversification, hedge against inflation, and contribute to the art market's growth, while also pointing out challenges such as low liquidity, valuation complexities, regulatory uncertainties, and limited traditional investor acceptance. The findings underscore the significant prospects for wealth growth and market development through art derivatives, balanced with a need for careful consideration of their inherent risks and challenges.
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Wanniarachchi, Thushari, Kanchana Dissanayake, and Carolyn Downs. "Improving sustainability and encouraging innovation in traditional craft sectors: the case of the Sri Lankan handloom industry." Research Journal of Textile and Apparel 24, no. 2 (May 14, 2020): 111–30. http://dx.doi.org/10.1108/rjta-09-2019-0041.
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Purpose The purpose of this study is to assess sustainability across the handloom industry in Sri Lanka and identify opportunities for sustainable innovations supporting new markets, development of small-and-medium enterprises (SMEs) and growth in the Sri Lankan craft sector. Design/methodology/approach Using a multiple case studies methodology, 10 case studies and 37 semi-structured interviews were analysed along with the triple-layered business model canvas. Findings The study reveals the handloom industry to be fundamentally sustainable but with structural barriers that hinder both innovation and growth. The environmentally conscious production process and social inclusion within weaving communities are the key driving forces of sustainability in the sector; however, the structure of the industry and lack of access to markets and information act as barriers to both innovation and growth. The incorporation of design interventions, closed-loop manufacturing strategies and the encouragement of community-based entrepreneurship would support sustainability-orientated business innovation in the handloom industry. Originality/value The rapidly increasing market share for high-quality, hand-made goods indicates the potential of the creative industries to accelerate socio-economic growth. Handloom textiles is attracting growing interest in fashion markets because of increasing concern about exploitation in production, thus encouraging interest in the economic benefits of fairly traded, high quality materials and the potential contribution of handloom to sustainability in the fashion industry. The results of this study will support the handloom industry and policy-makers in developing support for sustainable innovation in the handloom industry.
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Pavlichenko, Nadiia. "Evolution of the artist's profession as an important factor in the art market development (from Antiquity to the Renaissance)." Culturology Ideas, no. 21 (1'2022) (2021): 113–27. http://dx.doi.org/10.37627/2311-9489-21-2022-1.113-127.
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The article describes artistic creativity as a professional activity and as an important factor in the art market development. It attempts to follow the evolution of the profession from craft to intellectual creativity in the period from Antiquity to the Renaissance. Thinking of art as a production process enables the important points that had a great impact on it to be highlighted: the role of the customer, the perception of artistic creativity by society, the self-awareness of artists, the organization of labor, etc. During Antiquity, the fine arts were perceived as technical ones arising from the mental activity of man and embodied in his work, so they were evaluated by the same criteria as other applied crafts. Throughout the Middle Ages, the church was the main customer of an art product, and fine arts were used as an improvised means of religious didactics. Scholastic authors perceived "mechanical" arts as lower ones, as noted. A significant rethinking of fine arts and the person creating it had been taking place during the 12th–14th centuries with the advent of the private customer. Recognition of fine arts as intellectual work has also significantly changed the working conditions of artists, the evaluation and perception of the artistic product, contributed to the further development of the art market.
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Samrin, Hasrul Azwar Hasibuan, Rahmat Hidayat, and Rusiadi. "Formulation Of Blue Ocean Strategy Developing A Bamboo Small Business In Binjai City." International Journal of Science, Technology & Management 2, no. 5 (September 28, 2021): 1644–51. http://dx.doi.org/10.46729/ijstm.v2i5.319.
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The research objective is to analyze the Blue Oceans Strategy method approach to improve strategy development for the Small and Medium Bamboo Industry in Binjai City. Woven crafts are one of the most abundant businesses in the SME sector, both rattan and bamboo handicrafts have dominated the activities of SMEs in Binjai City. The woven crafts are spread in 5 (five) sub-districts in Binjai City. Their business has grown more than 15 years ago, they have participated in many exhibitions or workshops outside the city to national. The fluctuating development of woven crafts is due to the large demand for woven bamboo and rattan goods. The data processing and analysis method used was through a post-positivism research approach, namely qualitative research. The method of analysis in this study uses a Structural Equation Modeling (SEM) approach, in forming a strategy for developing SMEs and Bamboo cooperatives with the ocean strategy and blue ocean strategy models in Binjai City. The competitive strategy used by the Small and Medium Shell Industry in Binjai City at this time is to identify competitive factors in the industry which consist of product uniqueness, a touch of art, done in detail, proximity to sources of raw materials, strategic location, availability of labor, Creativity, Prices are not fixed on market prices, Can be used as souvenirs, Skills and skills of employees, Attractiveness and impact after participating in exhibitions, Sensitivity to market choices, Organizational commitment, Work environment, Availability of online order facilities, Experience and managerial skills, Product orders completed on time.
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Purnamasari, Ni Putu Laras. "PRAKTIK REPRESENTASI SENI LUKIS FLORA DAN FAUNA PENGOSEKAN PADA PRODUK SENI KERAJINAN." Gorga : Jurnal Seni Rupa 12, no. 2 (November 30, 2023): 289. http://dx.doi.org/10.24114/gr.v12i2.47185.
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The art of painting the flora and fauna of Pengosekan has a charming visual appeal. This visual object of painting then appeared in several arts and crafts in Gianyar Regency. These crafts include stone crafts, wood crafts and batik crafts. The representation of flora and fauna painting in craft arts can be seen in terms of themes, shapes, lines and colors. This research focuses on the practice of representing the flora and fauna of Pengosekan on arts and crafts products. The method used is a qualitative method with an analytical approach to visual representation and textual text, data obtained through observation, literature study, documents and in-depth interviews with sources in the field. The results of the research show that the presence of painted images of Pengosekan flora and fauna is attached to several arts and crafts products in Gianyar district. Some of these craft products include the art of stone crafts, the art of wood carving crafts, and the art of batik crafts.Economic needs are one of the factors causing the practice of representation, as well as being supported by the creativity of craftsmen, as well as the current trend in the painting market with Balinese natural themes, especially flora and fauna. Some of these things influence the thoughts and behavior of craftsmen to create a characteristic visual language leading to the art of painting the flora and fauna of Pengosekan. Representation can be identified in terms of themes and visual styles in the products created. From an economic, social and cultural perspective, this representational practice has had both positive and negative impacts on society, although basically this behavior has helped the existence of the art of painting flora and fauna, even in different media and functions.Keywords: representation, Pengosekan painting, crafts.AbstrakSeni lukis flora dan fauna Pengosekan memiliki pesona daya tarik pada visual karya. Objek visual seni lukis ini kemudian muncul pada beberapa seni kerajinan di Kabupaten Gianyar. Seni kerajinan tersebut antara lain kerajinan batu padas, seni kerajinan kayu, dan seni kerajinan batik. Representasi seni lukis flora dan fauna pada seni kerajinan terlihat dari segi tema, bentuk, garis, dan warna. Penelitian ini fokus pada praktik representasi seni lukis flora dan fauna Pengosekan pada produk seni kerajinan. Metode yang digunakan adalah metode kualitatif dengan pendekatan analisis representasi visual dan teks tekstual, data diperoleh melalui observasi, studi kepustakaan, dokumen, dan wawancara mendalam dengan narasumber di lapangan. Hasil penelitian menunjukkan bahwa kehadiran citra seni lukis flora dan fauna Pengosekan melekat pada beberapa produk seni kerajinan di kabupaten Gianyar. Beberapa produk kerajinan tersebut antaralain seni kerajinan batu padas, seni kerajinan ukir kayu, dan seni kerajinan batik. Kebutuhan ekonomi merupakan salah satu factor penyebab terjadinya praktik representasi, selain juga karena didukung oleh kreatifitas perajin, serta kecenderungan pasar lukisan saat itu dengan tema-tema alam Bali khususnya flora dan fauna. Beberapa hal tersebut mempengaruhi pikiran dan perilaku perajin untuk meciptakan karakteristik bahasa visual mengarah pada seni lukis flora dan fauna Pengosekan. Representasi dapat diidentifikasi dari segi tema dan gaya visual pada produk yang diciptakan. Dari segi ekonomi, sosial, dan budaya praktik representasi ini sangat memberi dampak baik positif maupun negativ kepada masyarakatnya, meskipun pada dasarnya perilaku ini telah membantu eksistensi seni lukis flora dan fauna meskipun pada media dan fungsi yang berbeda.Kata Kunci: representasi, seni lukis Pengosekan, kerajinan. Authors:Ni Putu Laras Purnamasari : Universitas PGRI Mahadewa Indonesia References:Budiwirman, B., Syeilendra, S., Ramadhan, A., & Syafei, S. (2023). Seni Tradisional dalam Seni Musik Modren: Analisis Berdasarkan Nilai Pendidikan. Gorga: Jurnal Seni Rupa, 12(1), 108-115.Cavallaro, D. (2004). Teori Kritis dan Teori Budaya. Yogyakarta: Niagara.Purnamasari, N. P. L., & Adiputra, A. M. (2020). Unsur Visual Seni Lukis Flora Dan Fauna Pengosekan Pada Seni Kerajinan Batu Padas Di Desa Singapadu. Stilistika: Jurnal Pendidikan Bahasa dan Seni, 9(1), 122-133.Purnamasari, N. P. L. (2022). Identification Of Painting Arts In Padas Stone Crafts In Singapadu Village. Mudra Jurnal Seni Budaya, 37(1), 69-77.Purnamasari, N. P. L. (2021). Tema Flora dan Fauna, Nataloka Studio. Hasil Dokumentasi Pribadi: 17 Maret 2021, Bali.Ramadhani, S. A., & Nelmira, W. (2023). Transformasi Motif Burung Merak pada Produk Bordir Kebaya Pila Kebaya di Kecamatan Harau Kabupaten Lima Puluh Kota. Gorga: Jurnal Seni Rupa, 12(1), 56-62.Sudikan, S. Y. (2001). Metode Penelitian Kebudayaan. Surabaya: UNIPRESS.Mubarat, H., Saaduddin, S., & Ihaq, M. (2022). Implementasi Ragam Hias Songket Palembang pada Ruang Publik Sebagai Representasi Estetik Budaya Lokal Palembang. Gorga: Jurnal Seni Rupa, 11(2), 529-537.Mudra, I. W., Raharja, I. G. M., & Sukarya, I. W. (2019). Motif Tradisi Wayang Khas Bali pada Penciptaan Seni Keramik. Gorga: Jurnal Seni Rupa, 8(2), 320-326.Mudra, I. W., Mahadi, M., & Karuni, N. K. (2020). Inovasi Produk Kriya Di Bali. Gorga: Jurnal Seni Rupa, 9(1), 56-63.
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Maryani, Maryani, Tangkas Udiono, Reno Fanthi, Yunida Sofiana, and Christanto Sidharta. "Training on MSME’s Development Strategies in Wooden Painting Crafts (study case Bloomy Wooden Art)." Social Economics and Ecology International Journal (SEEIJ) 8, no. 2 (October 31, 2024): 104–13. http://dx.doi.org/10.21512/seeij.v8i2.11932.
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The variety of works of painting in each region creates high competition between one painter and another in marketing their products. Considering that in the 2000s, the development of the 'fine arts market' in Indonesia experienced very rapid growth, especially in the achievement of works and products. Bloomy Wooden Art is a company (home industry) which operates in the field of painting crafts using wood media which has been shaped into wall decorations, multi-purpose boxes, tissue boxes, trays, glasses, bowls, decorative tables, etc. The painting arts highlighted here are naturalistic such as flowers, fruit and natural beauty along with elements and animals. The aim of the service is to implement the strategy for developing wood painting craft MSMEs in West Jakarta. The method of implementing service is in 3 (three) stages, namely the preparation stage, implementation stage and evaluation stage. Theory in evaluation uses SWOT analysis to determine weaknesses, strengths, threats and opportunities. Based on the results of initial observations, Bloomy Wooden Art painting MSMEs are generally running well, but there are still shortcomings in terms of marketing aspects of wooden painting products using the social media Instagram which are not optimal, the availability of raw materials and supporting equipment and knowledge in the field of marketing.
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Xu, Yueqing. "Research on the Artistic Construction of Luxury Brands from the Perspective of Brand Culture Communication." Highlights in Business, Economics and Management 2 (November 6, 2022): 387–94. http://dx.doi.org/10.54097/hbem.v2i.2392.
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With the rejuvenation and diversification of the luxury market, luxury brands face the challenge of maintaining economic growth while considering the challenges of brand image building and customer loyalty. There is growing evidence that the younger generation of customers will gradually become the protagonists of the luxury market. One of the customer journeys they care most about is matching personal and brand values and the consumption experience. From this perspective, this article uses case studies, comparative studies, and literature research, taking Cartier Beyond Boundaries - Cartier Palace Museum Crafts and Restoration Special Exhibition as the main case. By comparing with other luxury brands’ art exhibitions in Asia, Analyze and study why contemporary luxury brands have increased their artistic construction and the relationship between luxury brand curatorial activities in the Asian market. By implementing the recommendations in this paper, Cartier can create a digital environment within the experience of its artistic curatorial events, facilitating interaction with their products, stories, and artworks.
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Liu, Yang, Jie Zhang, Shiwei Shen, and Kaixiang Lu. "More Information, Greater Appreciation: The Correlation between Background Information and Aesthetic Judgment of Tourist Crafts." Behavioral Sciences 12, no. 7 (June 29, 2022): 217. http://dx.doi.org/10.3390/bs12070217.
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More information is often correlated with greater appreciation. Drawing on the model of aesthetic appreciation and aesthetic judgment in art psychology, this study aims to investigate changes in tourists’ aesthetic judgments of tourist crafts when provided with different background information. Blue calico, an art form created through white pulp dyeing and printing, is an intangible cultural heritage of China. The photographs used in this study illustrate typical examples of blue calicos that are commonly sold in tourist gift shops in Wuzhen, China. Data from a sample of 133 participants (49 women and 84 men) was analyzed using Two-Way Repeated Measures ANOVA. We examined to what extent respondents varied their assessments of the calicos based on author manipulation of background factors, such as commentaries by the artist or details about the production process. We found that tourists’ impressions of the aesthetics of blue calicos were predicted by background factors, especially those of tourists who were less interested in high arts. Specifically, blue calicos reported to tourists with names that conveyed an auspicious meaning predicted tourists’ assessments of the calicos as more aesthetically pleasing. Explanations of the production process also predicted an increased appreciation of calico aesthetics. Conversely, artists’ commentaries were not significantly correlated with an increased aesthetic merit of calicos. Understanding what may affect tourists’ assessment of art could help those in the tourism industry market souvenirs to drive sales and enhance tourists’ understanding and appreciation of intangible cultural heritage.