Relevant bibliographies by topics / Women artisans

Academic literature on the topic 'Women artisans'

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Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Women artisans"

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Qureshi, Irna, and Naiza Khan. "Women artists and male artisans in South Asia." South Asian Popular Culture 9, no. 1 (April 2011): 81–88. http://dx.doi.org/10.1080/14746689.2011.553892.

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Duarte de Oliveira Berraoui, Mara Rita, Albenise Gomes Almeida, Tânia Maria de Góes, Roque do Nascimento Albuquerque, Alex Da Rocha Rodrigues, Maurício Arthur Duarte Cardoso, Neusa Teresa Costa Pereira, and Lidiane Duarte da Cruz Nistaldo. "Memory of women gourd’s artisans from Quianduba Island (Abaetetuba-Pará)." Concilium 23, no. 7 (May 15, 2023): 338–51. http://dx.doi.org/10.53660/clm-1230-23e38.

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The objective of the research was to record the collective memory of women artisans about the artisanal technique of producing gourds on Quianduba Island, in the municipality of Abaetetuba, in the State of Pará. 03 (three) women artisans of cuia, who live on the banks of the Quianduba river, were interviewed. Oral history was used as a methodology, aiming to maintain the veracity of the interviewees' speeches, through the transcription of oral form into writing, guaranteeing the recording of both individual and collective memories. As main references we use: Bosi (1993,1994) Cunha (2007), Diegues (2001) and Oliveira (2008). It stands out how important the artisanal work of making gourds carried out by women artisans is to guarantee the subsistence of their families. These women assume different social identities, they are riverside dwellers, artisans, mothers, educators, they are direct collaborators in the construction of sociability in the space where they live, transforming the reality of the family and the traditional community.
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Nwosu, M. C., K. N. Igwe, and N. A. Emezie. "Women Artisans' Information Needs, Sources and Seeking Behaviour and the Implication for Empowerment in a Semi-Urban Area in Nigeria." International Journal of Civic Engagement and Social Change 1, no. 4 (October 2014): 47–63. http://dx.doi.org/10.4018/ijcesc.2014100103.

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This study examined the information needs, sources, information-seeking behavior of women artisans and the implications for empowerment in Offa, a semi-urban area in Kwara State of Nigeria. Survey research method was adopted with questionnaire as tool for data collection, involving 210 women artisans. Findings revealed that women artisans have information needs related to their work, but with information accessibility challenges due to unavailability of accessible information sources like libraries, as well as absence of empowerment programmes from government. It further revealed that the major sources of information for most women artisans were verbal or face-to-face mode of communications. The paper concludes that women constitute a vital asset of Nigeria and are a resourceful group with a good number practicing artisanship. Therefore, there is need to develop the information consciousness of the women artisans by the provision of efficient, effective and reliable formal information delivery mechanisms to them, such as community information centres.
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Rahmaniah, Syarifah Ema, Pabali Musa, Annisa Rizqa Alamri, Ira Patriani, Elyta Elyta, and Muhammad Adam Abd Azis. "FIGURING BIDAI CRAFTSWOMEN’S FUTURE IN THE UPCOMING ASEAN EECONOMIC COMMUNITY (AEC): CASE STUDY IN THE BORDERLAND OF JAGOIBABANG." Alfuad: Jurnal Sosial Keagamaan 6, no. 1 (July 5, 2022): 63. http://dx.doi.org/10.31958/jsk.v6i1.5781.

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Poverty on the country became a classic phenomenon that has not been resolved properly. The poverty of woman in the country veranda district Jagoibabang Bengkayang. Plantation in women and the double burden of women, the issue of trafficking in women and the exploitation of women can not be separated from women’s lives on the porch country. this research uses qualitative method, using indepth interview and data collecting technique to some splint artisans in Jagoi Village. This research describes the socio-economics dynamic of artisans in Jagoi Babang spilnt as mean to preserve the local culture that exists. There are two interesting things from this splint handicraft. First, this craft is does by ethnic Dayak and Malay. Second, most of these artisans are women. That is, solints have the opportunity as a medium of bonding relations between etnics group and at the same time as an effort to strengthen the capacity of women to preserve local wisdom and improve their family welfare. Interestingly, more dayak and Malay woman are move from spar production sector than men who are more involved in the trade sector of splint at regional, national to foreign levels. Third, this study also to explain the prepared, provlems and challenges of women handicraftsmen in facing the MEA. Therefore, this research is a descriptive framework to contribute the policy of business incubator program for female artisans toget gender equity to be strived in improving family welfare marked by increasing knowledge and awareness of the importance of business incubator in face of MEA.
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Shanmugam, Sindhu, and S. Ramakrishna Velamuri. "ToeHold Artisans Collaborative: Building Entrepreneurial Capabilities to Tackle Poverty." Asian Case Research Journal 12, no. 02 (December 2008): 187–213. http://dx.doi.org/10.1142/s0218927508001114.

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Toehold Artisans Collaborative (TAC) is a project launched by the Asian Center for Entrepreneurship Initiatives (ASCENT), a non-profit organization based in Bangalore, to build entrepreneurial capacity in a community of footwear artisans of the small southern Indian town of Athani. Prior to ASCENT's involvement, which began in 1998, the artisans of Athani were making a subsistence wage, which did not even guarantee them two square meals a day. They could not send their children to school and were thus suffering from economic stagnation. TAC is an established Group Enterprise of 14 women Self Help Groups (SHG). Even though women's SHGs are the direct stakeholders, the men are not left out — they are treated as co-preneurs for all inputs, exposure to international fairs and production purposes. The front end of TAC is a customer-centric business enterprise that has taken the exquisite footwear brand 'ToeHold™' to challenging international mainstream markets. The backend is an artisan-centric social enterprise striving for improvement in the quality of life of about 400 artisans' families. The case documents how TAC was set up and evolved during the 1998–2006 period, the challenges it faced and continues to face, and the impact it has had on the artisan community. It is useful for examining the effective organization and running of social enterprises.
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Nenadic, Stana, and Sally Tuckett. "Artisans and Aristocrats in Nineteenth-Century Scotland." Scottish Historical Review 95, no. 2 (October 2016): 203–29. http://dx.doi.org/10.3366/shr.2016.0296.

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This article considers relationships between artisans and aristocrats on estates and elsewhere in Scotland during the long nineteenth century. It argues that the Scottish aristocracy, and women in particular, were distinctly preoccupied with the craft economy through schemes to promote employment but also due to attachments to ‘romanticised’ local and Celtic identities. Building in part on government initiatives and aristocratic office-holding as public officials and presidents of learned societies, but also sustained through personal interest and emotional investments, the craft economy and individual entrepreneurs were supported and encouraged. Patronage of and participation in public exhibitions of craftwork forms one strand of discussion and the role of hand-made objects in public gift-giving forms another. Tourism, which estates encouraged, sustained many areas of craft production with south-west Scotland and the highland counties providing examples. Widows who ran estates were involved in the development of artisan skills among local women, a convention that was further developed at the end of the century by the Home Industries movement, but also supported male artisans. Aristocrats, men and women, commonly engaged in craft practice as a form of escapist leisure that connected them to the land, to a sense of the past and to a small group of easily identified and sympathetic workers living on their estates. Artisans and workshop owners, particularly in rural areas, engage creatively in a patronage regime where elites held the upper hand and the impact on the craft economy of aristocratic support in its various forms was meaningful.
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Bhimanna, Satisavitri, and Dr Laxman Kawale. "Socio-Economic Problems of Women Artisans in Gulbarga District: A Sociological Study." Indian Journal of Applied Research 4, no. 8 (October 1, 2011): 598–602. http://dx.doi.org/10.15373/2249555x/august2014/158.

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KyungHee Jang. "A Study of Occupational Classification of Female Artisans in the Late Joseon Dynasty: Based on the analysis of Uigwe." Women and History ll, no. 20 (June 2014): 96–138. http://dx.doi.org/10.22511/women..20.201406.96.

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Andriani, Ayu, Azhar Azhar, and Agustina Arida. "KONTRIBUSI PENDAPATAN PEREMPUAN PENGRAJIN ATAP NIPAH TERHADAP PENDAPATAN KELUARGA DI KECAMATAN SERUWAY KABUPATEN ACEH TAMIANG." Jurnal Ilmiah Mahasiswa Pertanian 2, no. 2 (May 1, 2017): 195–206. http://dx.doi.org/10.17969/jimfp.v2i2.2884.

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Abstrak. Kontribusi Pendapatan Perempuan Pengrajin Atap Nipah Terhadap Pendapatan Keluarga di Kecamatan Seruway Kabupaten Aceh Tamiang adalah sumbangan pendapatan yang diberikan oleh perempuan pengrajin atap nipah terhadap pendapatan keluarga yang dihitung dalam satuan persen. Penelitian ini bertujuan untuk mengetahui besarnya kontribusi pendapatan perempuan pengrajin atap nipah terhadap pendapatan keluarga dan untuk mengetahui sejauh mana perempuan pengrajin atap nipah ikut dalam pengambilan keputusan di dalam rumah tangganya. Metode penelitian menggunakan metode sensus dengan jumlah responden sebanyak 20 orang. Hasil penelitian menunjukkan bahwa kontribusi pendapatan perempuan pengrajin atap nipah terhadap pendapatan keluarga rata-rata sebesar 44,11 % per bulan. Sedangkan rata-rata pendapatan yang diterima adalah sebesar Rp.1.062.350,00 per bulan. Hal ini menunjukkan bahwa kontribusi pendapatan yang diterima oleh perempuan pengrajin atap nipah tergolong besar dibandingkan kontribusi pendapatan suami dan anak mereka. Dan pengambilan keputusan dalam keluarga perempuan pengrajin atap nipah telah diikut sertakan dalam rumah tangganya yaitu dengan cara melakukan perundingan serta diskusi antara suami dan istri.The Contribution Of The Income Of Nipa Roof Artisan Women To The Family Revenue In The Subdistrict Of Seruway Of Aceh Tamiang RegencyAbstract. The contribution of the income of women who were artisans of nipa roof to the family income in Seruway Subdistrict of Aceh Tamiang Regency is the endowment of revenue given by nipa roof artisan women to their family income which was calculated in percent unit. This study aimed to find out the magnitude of the contribution of nipa roof artisan women’ income to their family revenue and to find out how far the roof artisan women took part in decision making in their household. The research method was census with the number of respondents of 20. The results of the research indicated that the income contribution of women who were artisans of nipa roof to their family income was in the average of 44.11 % per year. While the average of revenue received per month was IDR1.062.350. This showed that the income contribution that was received by the nipa roof artisan women was in the category of big compared to the income contribution of their husband and child. This also showed that nipa roof artisan women had involved themselves in the decision making performed in their family, namely by the way of doing negotiation and discussion between the husband and wife
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Mehta, Maahi A. "Contribution to Informal Economy; Voice of Women Artisans of India." Integrated Journal for Research in Arts and Humanities 4, no. 2 (April 27, 2024): 142–44. http://dx.doi.org/10.55544/ijrah.4.2.23.

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Art is not just a part of life; for some, it’s life itself! and this life is being lived to the fullest by the women artisans who not only nourish the art like their own kin but also help in promoting the GDP and shaping the economy of the country. According to the International Trade Centre, women make up for 70% of the global handicraft workforce. Here, through this exhaustive research, we shall analyze the contributions, challenges, solutions and outcomes of the voice of women artisans in India and how In- dia’s GDP has got a boost indirectly with women artisans taking the center stage. A KPMG study estimated that approximately 7.3 million people depend on handicraft and allied activities for livelihood. The handicraft and handloom sector in India is a Rs 24,300-crore industry and contributes nearly Rs 10,000 crore annually in export earn- ings. Women Artisans of India and the tribal communities gearing up with their act is tru- ly inspiring amidst the brand market of the world where handmade threads and knots are giving a run for the money to the machine made and robotic assembled goods. Vocal for local and its impact which not only promotes self reliability in the tourism sec- tor but even sustainability and is environment friendly is another feature that is touched upon with reference to Indian handicrafts and emergence of new startups promoting an-cient Indian techniques is another interesting feature. Self help group and NGOs sup- porting the economic development especially during the COVID pandemic times where this industry was the worst hit has been he life savior of this massive Industry. Digital empowerment ensuring higher market reach and faster market capture is the tool that does the trick with women artisans voicing in their concerns and asking for a leading hand not for their support from the masses but an indirect upliftment via awareness generated in the market. This awareness is the gateway to Education.
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Dissertations / Theses on the topic "Women artisans"

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Williamston, Shabria A. "On Being and Becoming: Re-thinking Identity Through Female Indigenous Artisans in Guatemala." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1535636928044626.

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Johnson, Joyce Starr. "Motivational factors among contemporary female needlework producers /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9998489.

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Hartman, Sarah M. "Postcards of us Moroccan textiles on the global market /." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1009.

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Chambers, Jacqueline M. "The needle and the pen : needlework and women writers' professionalism in the nineteenth century /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9999278.

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Corniquet, Claire. "Ancrage social, ancrage spatial: circulations des savoirs céramiques chez les potières de l'Arewa et du Kurfey, Niger." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209394.

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A première vue, la poterie est une activité qui se pratique seule :la potière possède son propre atelier dans le village et est l’unique bénéficiaire de la vente de ses récipients. Néanmoins les enquêtes de terrain menées dans l’Arewa et le Kurfey oriental (Niger) révèlent qu’à chaque étape de la chaîne opératoire, l’artisane est en contact, plus ou moins proche, avec d’autres praticiennes (apprenties, artisanes de la localité ou d’autres localités). Ces contacts, organisés ou informels, prennent généralement place dans le contexte de certaines étapes de la chaîne opératoire à deux échelles d’analyse différentes :l’échelle villageoise par l’occupation d’un atelier et/ou d’un site de cuisson commun à divers artisanes et l’échelle extra villageoise par la fréquentation de sites d’extraction et de marchés partagés par des artisanes issues de localités différentes. Autant d’espaces de pratiques fréquentés par les potières susceptibles d’échanger leurs savoirs, collaborer et construire, ensemble, un répertoire de connaissances mobilisables. Quand une potière réalise son récipient, elle inscrit sa pratique dans un monde connu et habité. Sa technique est autant marquée par son apprentissage que par son identité familiale et villageoise ainsi que par ses interactions avec d’autres artisanes. Si on admet que chaque pratique est située et que la situation donne du sens à la pratique, il devient impératif d’examiner les situations de partage des savoirs ainsi que les cadres dans lesquels ces situations prennent place. Nous mettrons en évidence les points de contacts qui lient et interconnectent les artisanes d’une même localité et des différentes localités de la zone d’étude. Nous évaluerons les dimensions sociales et relationnelles de l’apprentissage de la poterie ainsi que la façon dont les habiletés sont conceptualisées et investies par les artisanes. En analysant le contexte d’apprentissage et de pratique des artisanes, nous souhaitons apporter un éclairage sur comment s’accroche le social et la technique et ainsi expliquer les configurations techniques observées au sein de la région d’étude.


Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Guilois, Bruno. "La communauté des peintres et sculpteurs parisiens : de la corporation à l’Académie de Saint-Luc." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL098.

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La communauté des maîtres peintres et sculpteurs parisiens a connu une importante évolution entre les XVIIe et XVIIIe siècles. La création de l’Académie royale en 1648 correspond à un temps de bouleversement : l’ancien et le nouveau corps se joignent alors, et tentent de cohabiter dans une même structure. La fin du XVIIe siècle correspond à l’essor de la population de la maîtrise, à la publication des listes de ses membres, ainsi que des statuts, dans une remise en ordre globale de la communauté. C’est donc une corporation forte d’une nombreuse population et bien organisée qui obtient en 1705 une déclaration de Louis XIV lui permettant d’ouvrir une école de dessin fondée sur le modèle vivant. La toute nouvelle Académie de Saint-Luc peut s’installer durablement dans le paysage artistique de la première moitié du XVIIIe siècle. Installée dans des nouveaux locaux dont elle se porte acquéreuse, rue du Haut-Moulin en la Cité, elle transforme considérablement ses statuts, en accordant une place importante en son sein à un corps d’artistes, chargés d’assurer l’enseignement de l’école. Les années 1750 à 1775 sont des années où les évènements se précipitent, pour l’Académie de Saint-Luc. Des expositions, suivies du public, permettent de faire connaître nombre de ses membres, et d’inscrire la petite académie dans les débats artistiques du milieu du XVIIIe siècle. Le perfectionnement de l’école d’après le modèle, permet dans les années 1765-1775 de reconnaître davantage encore un statut propre pour les artistes, au sein de la communauté. L’évolution est donc spectaculaire sur plus d’un siècle, et témoigne d’une adaptation remarquable de la vieille corporation, qui a su assimiler ainsi un fonctionnement académique à l’organisation hiérarchique d’une communauté de métier
The community of Parisian master painters and sculptors went through important evolutions between the 17th and 18th centuries. The creation of the Royal Academy in 1648 corresponds to a time of upheaval: the old and the new profession then came together and tried to coexist within the same structure. In the late 17th century, the population of the maîtrise increased and the list of its members as well as its statutes were published, in an overall re-ordering of the community. Thus, in 1705, the guild was strong in numbers and well-organised when it obtained a declaration from Louis XIV allowing it to open a drawing school based on live models : the brand-new Academy of St Luke became established in the artistic landscape of the early 18th century. It purchased new premises on rue du Haut-Moulin-en-la-Cité. From there, it significantly altered its statutes, giving an important role to a body of artists who was put in charge of teaching within its school. In the years 1750 to 1775, things moved faster for the Academy of St Luke. Several well-attended exhibitions put members of the Academy of St Luke on the map and involved the small academy in mid-18th century artistic debates. The improvement in the life-drawing school in the years 1765-1775 led to an even better recognized status for artists within the community. Over more than a century, this spectacular evolution shows the remarkable adaptation of the old guild, which thus managed to integrate its academic functioning to the hierarchical organization of a professional community
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Carvalho, Andréa Freire de. "Mulheres artesãs : extrativismo da taboa (Typha spp.) em Pacatuba/SE." Pós-Graduação em Desenvolvimento e Meio Ambiente, 2018. http://ri.ufs.br/jspui/handle/riufs/9269.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The cattail (Typha spp.) is the protagonist of the life histories of women extractivist-artisans, because it guarantees their sustainability in daily life. In this perspective, the main objective of the thesis was to point out how cattail promotes the socioenvironmental sustainability of women who attribute meanings to their actions as a way of surviving, in the face of the adversities of their daily lives. It had as specific objectives: to contextualize the actions and processes of women in the extraction of the Cattail, in order to influence the construction of socioenvironmental sustainability; identify spaces (social, educational, cultural and political) in which women express their experiences in daily life; to describe the meanings attributed by the woman to the extraction of the cattail in relation to the sociability and the commercialization of the products re-signified to the raw material of Typha spp. To achieve the objectives, oral history was used interwoven with social phenomenology, which allowed us to recall events and facts that led the women extractivist-artisans of cattail - as well as extractive-artisans from Ouricuri straw, fishermen, lace makers, seamstresses, straw braids artisans, housekeepers, ministers, sisters, mothers and wives - to incorporate in their routine ways of resisting and sustaining the family in the place of daily life. In this case, the research locus was the municipality of Pacatuba, State of Sergipe, Brazil. We also used interviews-dialogues, semistructured questionnaires, participation in meetings and events, field journals, theoretical readings and photographs as methodological tools, which allowed us to systematize the thesis. We conclude that, for extractive-artisan women, sustainability is delineated in daily life through actions that aim to keep Typha spp. in constant production and growth. It is not something that is discussed, it is something that is done, and it was transmitted to them by previous generations and by processes of observation of the daily life, especially since the knowledge of the correct management is passed from artisan to artisan, during the harvest, as well as in meetings in associations, craft centers, group meetings and also in prayer spaces. Finally, the meaning that these extractivist-artisans attribute to the cattail is summed up in one word: everything. "[...] The Cattail to us is everything".________________________________________________________________________________________________________________________________
L’arbre Taboa est la protagoniste des histories de vie des femmes artisans et faisantes de l’extractivisme, en raison de la garantie de leur maintenance dans la vie quotidienne. Ainsi, l’objectif central de cette thèse est exposer comment le Taboa (Thypha spp.) permet la viabilité de l’environnement et sociale des femmes qui mettent signification dans ces actions comme une forme de survivre avant les adversités de leur vie. Comme des objectifs spécifiques, la thèse contextualise les actions et les procès des femmes dans l’extraction de Taboa pour influencer dans la construction de durabilité socio-environnemental; elle identifie les espaces (sociaux, de l’éducation, culturels, politiques) dans lesquels les femmes expriment leurs expériences quotidiennes; décrit les significations attribués par ces femmes à l’extraction de Taboa en relation à la durabilité et commercialisation des produits de le Thypha spp. Pour la concrétisation de la thèse, on s’utilise de l’histoire oral ainsi comme de la méthode de la phénoménologie sociale, qui a en permis revoir la construction des faits responsables pour l’incorporation, pour partie de ces femmes artisans de Taboa, (ainsi como les artisans de “palha do Ouricuri”, pêcheuses, dentellières, couturières, femmes blanchisseuses, femmes de ménage, femmes pasteurs, soeurs, mères et femmes) dans leur quotidien, formes de résister et maintenir leurs familles. Dans ce cas là, le locus de recherche est le ville de Pacatuba, Sergipe, Brèsil. On s’utilise aussi des interviews-dialogues, des questionnaires semi-structuré, des participations dans des événements, des registres de recherche en locus, de la littérature de théorie et des photos, comme instrument méthodologique qui permet la systématisation de la thèse. On peut conclure que, pour les femmes artisans et faisantes de l’extractivisme, la durabilité habite dans la vie quotidienne, à travers des actions qui visent maintenir le Thypha spp en constant production et développement. Pour ces femmes, ce n’est pas quelque chose à discuter, mais à faire, une coutume transmise par des générations précédentes et des procès d’observation du quotidien, surtout parce que cette connaissance de manipulation est apprise d’artisan à artisan, pendant les périodes de la récolte, et dans les rencontres des associations, les centres d’artisanat, les réunions de groupe d’artisans, ainsi comme dans les espaces de prière. Enfin, le résumé de la signification que ces femmes artisans mettent à Taboa, est le mot ‘tout’: “Le Taboa est tout pour nous”.
A taboa é a protagonista das histórias de vida das mulheres extrativistas-artesãs, em razão da garantia da sua sustentabilidade no cotidiano. Nesta perspectiva, o objetivo central da tese foi explicitar como a taboa (Typha spp.) promove a sustentabilidade socioambiental de mulheres que atribuem significados às suas ações como forma de sobreviver, diante das adversidades do seu cotidiano. Teve como objetivos específicos: contextualizar as ações e processos das mulheres na extração da taboa, de modo a influenciar na construção da sustentabilidade socioambiental; identificar espaços (sociais, educacionais, culturais e políticos) em que as mulheres exprimem suas vivências no cotidiano; descrever os significados atribuídos pela mulher à extração da taboa, em relação à sociabilidade e à comercialização dos produtos ressignificados à matéria-prima da Typha spp. Para concretização, foi utilizada a história oral entrelaçada à fenomenologia social, que permitiu rememorar eventos e fatos que levaram as mulheres extrativistas-artesãs da taboa - bem como as extrativistas-artesãs da palha do Ouricuri, pescadoras, rendeiras, costureiras, trançadeiras, lavadeiras, passadeiras, faxineiras, pastoras, irmãs, mães e esposas - a incorporarem em sua rotina formas de resistir e sustentar a família no local de vida cotidiana. Neste caso, o locus da pesquisa foi o município de Pacatuba, Estado de Sergipe, Brasil. Utilizou-se também entrevistas-diálogos, questionários semiestruturados, participação em encontros e eventos, diários de campo, leituras teóricas e fotografias como instrumentos metodológicos, que permitiram sistematizar a tese. Concluímos que, para as mulheres extrativistas-artesãs, sustentabilidade delineia-se no cotidiano por meio de ações que objetivam manter a Typha spp em constante produção e crescimento. Não é algo que se discute, é algo que se faz, e que lhes foi transmitido pelas gerações anteriores e por processos de observação do cotidiano, sobretudo porque o conhecimento do manejo correto é passado de artesã para artesã, durante a colheita, e nos encontros nas associações, centros de artesanatos, reuniões do grupo e também em espaços de oração. Por fim, o significado que essas extrativistas-artesãs atribuem à taboa se resume em uma palavra: tudo. “[...]A taboa pra nós é tudo”.
São Cristóvão, SE
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Totten, Kelley D. "Crafting memories in the Mantaro Valley of Peru : performance and visual representation in craftswomen's souvenir production /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10081.

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Tomaz, Mariana Amaral. "Projeto de “artesãs empreendedoras”: trajetórias de mulheres em um programa de inserção produtiva." Universidade Tecnológica Federal do Paraná, 2016. http://repositorio.utfpr.edu.br/jspui/handle/1/2021.

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Essa dissertação mapeia e interpreta trajetórias de mulheres participantes do projeto de geração de renda Vitrine Social, a fim de compreender os valores, relações e conflitos envolvidos nos processos de capacitação, produção e comercialização de artefatos. A pesquisa está centrada nas trajetórias de vida de quatro mulheres que participaram do Programa Vitrine Social, na cidade de Curitiba-PR entre os anos de 2010 e 2015 e que comercializam seus produtos nas feiras de artesanato de Curitiba, mais especificamente, nas feiras do Largo da Ordem e da Praça Osório. A partir de uma perspectiva de gênero, apresentamos os embates vivenciados no processo de tornar-se uma “empreendedora-artesã”, uma vez que o programa se propõe a formar empreendedoras/es. Os procedimentos metodológicos realizados para esta pesquisa qualitativa foram observação participante nas feiras de artesanato, registros em diário de campo e entrevistas que foram guiadas a partir das materialidades confeccionadas ao longo do curso: colchas de patchwork costuradas pelos grupos, portfólios de costura e outros produtos costurados. Em diálogo com as narrativas e memórias das interlocutoras deste trabalho, procuramos produzir uma imagem de todo processo: a decisão por começar a fazer o curso, a trajetória de aprendizado da costura e de noções de gestão de negócios, a formação de um grupo produtivo (e de um “projeto” coletivo), a comercialização nas feiras de artesanato, o desenvolvimento de novos produtos e, por fim, a produção dentro dos lares. Com um olhar sensível às relações e aos espaços envolvidos em cada etapa, foi possível evidenciar a não homogeneidade do processo de aprendizado e das formas de criação e produção de artefatos costurados.
This thesis maps and interprets women’s trajectories, which participate in a social project called Vitrine Social, which goal is to generate income. The aim is to understand values, relationships and conflicts experienced during training, production and commercialization of the handcrafts. This research is centred on life trajectories of four women, who were participants of the Vitrine Social in Curitiba, Paraná, Brazil, from 2010 to 2015 and sold their products in Curitiba’s handicraft fairs, mainly at Largo da Ordem and Praça Osório Fairs. From a gender perspective, we present conflicts experienced in the process of becoming a “handcraft-businesswoman”, since this program proposes to form entrepreneurs. The methodological procedures performed on this qualitative research were participative observation of handicraft fairs, records on field diaries and life history interviews with participants from latest groups of Vitrine Social. Interviews were guided starting from handcrafts made during the course: patchwork bedspreads sewed by groups, sewing portfolios and other stitched products. In dialogue with conversationalist narratives and memories we attempted to build an image of the whole process: the decision of taking part of the course, the learning process of sewing, the business management, the formation of a productive group (and of a “Project” collective), commercialization in craft fairs, the new product development, and at last, the production at home. Looking carefully at relationships and spaces involved in each stage, it was possible to evidence inhomogeneity in the learning process, development and production of sewed handcrafts.
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Alkhudair, Maha. "Unveiling Artists: Saudi Female Artists Life Stories." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37502.

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This study tells the life stories of four Saudi female artists. Using life story narrative approach, I focused on the following research questions: How are Saudi female artists fulfilling their aspirations as artists in the conservative Saudi society? What are the common and divergent themes in the life stories of the Saudi women artists, namely Safeya Binzagr, Maha Almalluh, Tagreed Albagshi, and Fida Alhussan? The artists were interviewed using open-ended questions and asked to discuss their artwork. The postmodern feminism and social construction theories were used to understand their life experiences and how they came to be “successful artists” in the conservative Saudi society. The findings showed that family and formal education played an important role in these women’s life journeys as artists. The Saudi society was also a major influence, sometimes supporting them, at other times obstructing them. These artists share many personality features such as being persistent, believing in themselves, taking risks, facing challenges, being independent, being responsible as artists and as part of society, and being honest in their artwork. This study contributes to the art education curriculum in Saudi schools and universities. Globally, it contributes to women’s studies and to social and cultural studies in shedding light on the Saudi society, especially as it is experienced by women.
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Books on the topic "Women artisans"

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Forgotten identities: Women artisans of Kashmir. New Delhi: Decent Books, 2004.

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Willow, Bim. Naturally furnished: Rustic designs by women artisans. Atglen, Pa: Schiffer Pub., 2009.

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Naturally furnished: Rustic designs by women artisans. Atglen, Pa: Schiffer Pub., 2009.

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Bueno, Ricardo. Mãos, meninas, mulheres: A cultura como ferramenta de inclusão social. Porto Alegre, RS, Brasil: Quattro Projetos, 2011.

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ENDA Zimbabwe. Environment Resources Management Division., ed. Women and craft production in Sengwe: An income generating project for promoting Shangaan craft, women and wealth creation through craft production, Sengwe Communal Lands : Chiredzi Rural District Council. [Harare?]: The Division, 1992.

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Wiene, Inger. En historie om kvindelige håndværkere i 200 år. København: Selskabet til forskning i arbejderbevægelsens historie, 1991.

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Ramos, Movimiento Manuela, ed. Voces de las artesanas: Estudio socioeconómico binacional Perú - Ecuador. Lima, Perú: SENDAS, 2001.

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Covington, Karen. Creators: Artists, designers, craftswomen. Austin: Raintree Steck-Vaughn, 2000.

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Ramona, Peralta de Sánchez, Instituto de Desarrollo Alternativo (Asunción, Paraguay), and Centro de Documentación y Estudios (Asunción, Paraguay), eds. Vida de la mujer artesana. Asunción, Paraguay: Instituto de Desarrollo Alternativo (IDEA), 1992.

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Klomp, Sinie. The crumbs of craft: Women's craft groups in Jamaica. Nijmegen: Third World Centre/Catholic University, 1988.

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Book chapters on the topic "Women artisans"

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Noor, Shaista, Chaudhry Shoaib Akhtar, Shaheryar Naveed, and Filzah Md Isa. "Women Artisans Facing Obstacles." In Contributions to Management Science, 259–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-82303-0_15.

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Guha, Sriparna, Anirban Mandal, Fedric Kujur, Saikat Chakrabarti, and Dibyendu Chattaraj. "Entrepreneurial Ability of Rural Women Artisans." In Perspectives in Human Resources, 155–62. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781032668925-16.

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Mukherjee, Malinee. "Debating the Livelihood Narratives of Women Zari Artisans." In Women in Bengal, 36–46. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003473930-5.

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Hassanin, Leila. "Egyptian women artisans: ICTs are not the entry to modern markets." In Social Dimensions Of Information And Communication Technology Policy, 179–90. Boston, MA: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-84822-8_12.

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Sastre-Merino, Susana, Pablo Vidueira, José María Díaz-Puente, and María José Fernández-Moral. "Capacity Building Through Empowerment Evaluation An Aymara Women Artisans Organization in Puno, Peru." In Empowerment Evaluation: Knowledge and Tools for Self-Assessment, Evaluation Capacity Building, and Accountability, 76–85. 2455 Teller Road, Thousand Oaks California 91320: SAGE Publications, Inc, 2015. http://dx.doi.org/10.4135/9781483387079.n7.

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Singh, Kaniska, and Asfia Jamal. "Women’s Paid Work as a Bubble of Empowerment: A Case Study of a Social Enterprise Working with Women Artisans." In Gendered Inequalities in Paid and Unpaid Work of Women in India, 71–97. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-16-9974-0_5.

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Engel, Laura. "Women Artists, Silhouettes, and Waxworks." In Women, Performance and the Material of Memory, 107–29. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-137-58932-3_5.

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Desmond, Adrian. "6. Founding the Museum." In Reign of the Beast, 175–200. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0393.06.

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In 1831 Saull moved his business to larger premises at 15 Aldersgate Street. That April he bought James Sowerby’s fossils, added them to his own, and in June declared his wine-depot museum open. In these months, Reform Bill fever was running high. Henry Hetherington started his class-conscious Poor Man’s Guardian, and the museum fossils, arranged stratigraphically, were to show Hetherington’s dispossessed “scum” how life’s perfecting principle promised a brighter future. Accordingly, where Sowerby’s museum had had a hefty entrance fee, Saull’s was free; nor were letters of introduction needed. He invited radical artisans (men and women), Rotunda dissidents and Trades’ Union activists. Thus the museum, in its clientele and accessibility, broke all precedents, while in its rationalist explanation of life, to ready the “productive classes” for power, it was unique. Meanwhile Saull’s political lobbying, at the Guildhall and in the National Political Union, continued in support of the Reform Bill. To coincide with the museum opening, Saull, still on bail and under threat of prosecution for blasphemy, stopped publicly attacking Christianity, but continued it under the rubric of his newly-started geology lectures. He now moved completely into Robert Owen’s camp. Saull helped establish Owen’s Labour Exchange, and sat on the council of Owen’s “Institution of the Industrious Classes”, where he delivered geology courses.
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Rochester, Emma. "Women Pilgrimage Artists and Their Lineages." In Women and Pilgrimage, 95–116. GB: CABI, 2022. http://dx.doi.org/10.1079/9781789249392.0008.

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Rosenbaum, Brenda. "OF WOMEN, HOPE, AND ANGELS." In Artisans and Cooperatives, 85–106. University of Arizona Press, 2022. http://dx.doi.org/10.2307/j.ctv2pwtmgz.8.

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Conference papers on the topic "Women artisans"

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Hassanin, Leila. "Egyptian women artisans: Struggling to face the demands of modern markets." In 2008 IEEE International Symposium on Technology and Society (ISTAS). IEEE, 2008. http://dx.doi.org/10.1109/istas.2008.4559772.

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Manzar, Osama, and Saurabh Srivastava. "Presenting START, GOAL, Digital Sarthak, SkillBot and Maker’s Space: Inspiring Innovations for an Empowering, Democratic and Inclusive Technological Society." In Tenth Pan-Commonwealth Forum on Open Learning. Commonwealth of Learning, 2022. http://dx.doi.org/10.56059/pcf10.9404.

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Digital Empowerment Foundation (DEF) has been making use of many innovative methods and technologies to democratize innovation, upskill, build resilience and foster lifelong learning in rural India with a special focus on marginalized communities. We would like to showcase some of our innovations here. // START: A digital learning and Media & Information Literacy (MIL) toolkit, designed exclusively for first-generation technology users to promote digital inclusion and fight information poverty. It is a 45-hour digital learning curriculum that covers 30 topics ranging from basics of computers, use of applications, MIL and online security and safety, among others. The pedagogy for START focuses on hands-on training and workshops in rural and tribal communities through activities and gamification of topics. // GOAL (Going Online as Leaders): A program to connect urban volunteers with rural women online to provide them guidance and support in digital skills to bridge the information gap. This technology-enabled mentorship program was adopted by the Ministry of Tribal Affairs, Government of India and is now being replicated in several states. The data comparing baseline and endline show that beneficiaries of GOAL show higher interest in pursuing higher education, greater self-confidence, improved communication skills and aspiration to become changemakers. // Digital Sarthak: This program demonstrates how digital literacy through the community network model can be an important strategy to achieve a replicable model of local economic development. 100 rural women were trained to further train 500 women-led Community Development Organizations (CDOs) and 10000 rural women entrepreneurs in the first stage. The program placed women in active roles in the information eco-system that further improved their confidence and capacity. // SkillBot: A self-learning chatbot built on the free and open-source Telegram platform. Telegram provides free backend technical support and chatbot feature. SkillBot was developed by DEF and Commonwealth of Learning to teach digital literacy, financial literacy, citizen services and data management to rural youth and artisans. SkillBot is multilingual and employs tutorial lessons, audio graphics, infographics, flashcards, interactive quizzes and activities for teaching. Skil Bot thus provides an accessible, easy to understand platform for skilling. // Maker's Space is an initiative where physical centres equipped with STEM learning and digital skilling tools are created in DEF’s community information centres at the remotest locations. Maker's Space facilitates an unstructured learning space supported by digital/STEM tools that allow children and youth, especially persons with disabilities, to take ownership of their learning and create innovative solutions for their communities.
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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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Холошин, П. Р., and Ш. Шарма. "WOMEN’S POTTERY IN THE MODERN INDIAN CITY." In Вестник "История керамики". Crossref, 2023. http://dx.doi.org/10.25681/iaras.2021.978-5-94375-343-5.226-246.

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В статье излагаются результаты обследования женской мастерской по производству традиционных глиняных печей-тандуров в г. Пуна (Ин дия, штат Махараштра). Производство тандуров оказалось тесно связано с гончарством. У мастериц зафиксирован навык составления формовочной массы по рецепту «глина + конский навоз + зола». Конструирование производится жгутами или лентами по кольцу с последующим выбиванием. Мастерицы владеют навыком изготовления сосудов с донно-емкостным монолитным начином. Для формовки используется каменный поворотный столик с подвижной осью. Готовые изделия подвергаются очажному обжигу, типичному для местных гончарных традиций. В результате исследования был сделан вывод, что даже в условиях урбанизации женщины из касты гончаров сохраняют наиболее архаичные черты домашнего лепного гончарства. Однако зафиксированные навыки труда находятся в неустойчивом состоянии вследствие экономического давления и интенсивных культурных контактов. Некоторые навыки, такие как обжиг изделий, использование поворотного столика, формовочная масса с навозом, вероятно, были привнесены в производство тандуров из местных гончарных традиций. A survey of a women’s workshop for the production of traditional clay ovens (tandoor) was conducted in Pune, Maharashtra, India. Tandoor making was closely associated with pottery. The skill in making the pottery paste with the recipe “clay + horse manure + ash” was documented. The building was performed with coils or massive bands placed in a circle, with a subsequent beating. Female artisans preserved a skill in making proper vessels with the bottom to wall solid seed-body. A stone turntable with a rotating pivot was used both in tandoor and pottery making. The finished pieces were fired in an oven typical of the local pot tery tradition. A conclusion was made that, even in an urbanising world women of the caste of potters retained the most archaic traits of a domestic hand-building pottery. However, the skills recorded are in an unstable state due to economic pressure and intense cultural contacts. Some skills, such as the firing, the use of a turntable, and the usage of manure for paste, were probably transferred into tandoor-making from the local pottery traditions.
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Akopyan, A. O., and L. A. Kulagina. "Functional Preparedness of Women-Martial Artists." In Proceedings of the First International Volga Region Conference on Economics, Humanities and Sports (FICEHS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.200114.204.

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Arruda, Lina Alves. "Revisões feministas das histórias da arte: contribuições de Linda Nochlin e Griselda Pollock." In Encontro de História da Arte. Universidade Estadual de Campinas, 2011. http://dx.doi.org/10.20396/eha.7.2011.4089.

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Linda Nochlin inicia o artigo Why Have There Been No Great Women Artists? (1971) analisando os problemas e armadilhas da tentativa de se responder à pergunta que o intitula. Segundo a autora, trata-se de um questionamento de natureza falsa, que leva à presunção automática de que realmente não houve grandes mulheres artistas, aludindo, conseqüentemente, à idéia de que essas são incapazes de atingir a grandiosidade. Esse é um dos principais pontos de contínua incisão do texto: a desnaturalização da atribuição da condição da mulher ao sexo biológico. Alusões diretas ao útero, em fragmentos que trabalham jocosamente a crueza biológica, são recorrentes, evidenciando a preocupação de Nochlin de revogar o argumento centrado na biologia, em prol de uma análise social da condição da mulher.
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"Women and Artisanal Mining: Tin Mine in Kulur Village, Bangka Tengah." In Multi-Conference Proceeding Series A. Galaxy Science, 2022. http://dx.doi.org/10.11594/nstp.2021.1706.

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Narayanan, Vasanth. "The Forgotten Women: Investigating the Absence of the Female Artist from Traditionally Male-Centric Southeast Asian Contemporary Art Historical Narratives." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-24.

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Until recently, Southeast Asian contemporary art’s historical narratives overlooked the influence of female artists. This underrepresentation of female artists is not unique to Asia, nor is it exclusive to contemporary art. Curators’ decisions and other factors may have contributed to the trend in part. However, within the realm of modern art, possibilities have lately developed that may expose the public to the work of more female artists. These include curating shows exclusively for female artists and prominently showcasing the work of female artists on the Internet.
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Adriati, Ira, and Almira Zainsjah. "Analysis of the Aesthetic Value of Video Art by Indonesian Women Artists." In International Conference on Aesthetics and the Sciences of Art. Bandung, Indonesia: Bandung Institute of Technology, 2020. http://dx.doi.org/10.51555/338080.

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Sungur, Zerrin. "Women Entrepreneurship in Slow Cities of Turkey from a Sociological Perspective." In International Conference on Eurasian Economies. Eurasian Economists Association, 2013. http://dx.doi.org/10.36880/c04.00786.

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Cittàslow movement was established in Italy in 1999. The Slow City movement incorporates a philosophy and a commitment to maintain the cultural heritage and quality of life of their membership towns. A slow city aims to improve the quality of life of its citizens and its visitors. Member towns are obliged to pursue local projects protecting local cultures, contributing to a relaxed pace of life, creating conviviality and hospitality and promoting a unique sense of place and local distinctiveness. There are nine slow cities in Turkey in 2013. This study examines the women entrepreneurship in slow cities of Turkey from a sociological perspective. Slow cities offer many opportunities in the meaning of local development especially for women in Turkey. They can engage with small business, hand-crafts, and organic farming in slow cities. But training of women, certification of the quality of artisan products and awareness of the citizens of slow cities are the critical issues in the sustainable local development process. Therefore, it is possible to increase income level of women living in slow cities in Turkey and also to preserve local tastes.
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Reports on the topic "Women artisans"

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Kupfer, Monica E. Perceptive Strokes: Women Artists of Panama. Inter-American Development Bank, March 2013. http://dx.doi.org/10.18235/0006215.

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The IDB Cultural Center is proud to host this exhibit honoring the Republic of Panama, host country of the IDB Annual Meeting, which will take place from March 14¿20, 2013. The exhibition highlights the history of modern and contemporary art by Panamanian women and will include paintings, photographs, sculptures, and video art from the 1920s to the present. The 22 artworks, selected by Panamanian curator Dr. Monica E. Kupfer, reveal the ways in which a varied group of female artists have experienced and represented significant geopolitical events in the nation¿s history. Their interpretations also show the position of women in Panamanian society, and their views of themselves through their own and others¿ eyes. Among the artists are: Susana Arias, Beatrix (Trixie) Briceño, Fabiola Buritica, Coqui Calderón, María Raquel Cochez, Donna Conlon, Isabel De Obaldía, Sandra Eleta, Ana Elena Garuz, Teresa Icaza, Iraida Icaza, Amelia Lyons de Alfaro, Lezlie Milson, Rachelle Mozman, Roser Muntañola de Oduber, Amalia Rossi de Jeanine, Olga Sánchez, Olga Sinclair, Victoria Suescum, Amalia Tapia, Alicia Viteri, and Emily Zhukov.
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Galenson, David. Who Were the Greatest Women Artists of the Twentieth Century? A Quantitative Investigation. Cambridge, MA: National Bureau of Economic Research, February 2007. http://dx.doi.org/10.3386/w12928.

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Eran’Ogwa, Bronson, Rachel Olwanda, Gideon Cheptarus, Nicholas Cheptoo, Eric Kioko, Peter Wangai, Mary Baaru, Kaderi Bukari, and Imogen Bellwood-Howard. Milk Markets in Agropastoral Areas of Africa. Institute of Development Studies, May 2023. http://dx.doi.org/10.19088/ids.2023.018.

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This briefing suggests how markets in artisanal milk products may contribute to agropastoralist livelihoods in semi-arid Africa. In some of these areas, milk plays important nutritional and cultural roles, but production is declining due to environmental changes. Very small-scale local markets have responded to demand for milk products, offering limited livelihood opportunities to groups with low capital, including women. Participation in small markets based on the perceived high value of heritage dairy products may be more realistic than high-volume sales. Yet, weak infrastructure and institutional frameworks impede agropastoralists’ participation in any kind of market. The Policy Briefing accompanies the project photoset (https://doi.org/10.19088/IDS.2023.016).
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Dzanku, Fred M., and Louis S. Hodey. Achieving Inclusive Oil Palm Commercialisation in Ghana. Institute of Development Studies (IDS), February 2022. http://dx.doi.org/10.19088/apra.2022.007.

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Oil palm is the most important export crop in Ghana, aside from cocoa. Compared with cocoa, however, oil palm has a more extensive local value chain, including greater opportunity for local industrial and artisanal processing into palm oil and other products, which creates a high potential for employment generation and poverty reduction; as a result oil palm is classified as a priority crop. The selection of oil palm as a priority crop aims to promote agricultural commercialisation through domestic agroindustry development and exports. In spite of this, the oil palm economy has still not achieved its potential, and this begs the question, why? Although it is known in general that commercialisation potential and its benefits are not equally distributed across groups, it is not clear how and why different subgroups (women, men, youth) might benefit differently from the oil palm economy. This brief addresses why different groups of smallholders (women, men, youth) benefit unequally from oil palm value chains, and how returns to oil palm production and marketing could become more inclusive.
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Berggren, Erik. Migration and Culture. Linköping University Electronic Press, August 2024. http://dx.doi.org/10.3384/9789180757638.

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This report is written by students in the Ethnic and Migration Studies Master’s Programme, part of the Research Institute in Migration, Ethnicity, and Society (REMESO) at Linköping University, based on the Norrköping campus. REMESO is an internationally renowned institute that pursues research in migration and ethnic relations. The Master’s Programme is highly sought after, with students coming from all over the world to attend. Their interest in how migration transforms the world and how it influences other social phenomena has fuelled their work in this publication. In their first year of studies, students take the course Critical Cases in Ethnic and Migration Studies, led by Erik Berggren as course coordinator and Kenna Sim-Sarka. The course is designed for students to apply the theoretical knowledge and experiences gained throughout the first year’s courses to produce articles beyond an academic audience for the broader public. Each REMS report is based around a specific theme, with previous themes including migration and Covid-19, migration and Ukraine, and migration and democracy. The REMS report is one of the many ways in which we, as students, are trained to identify and analyse issues related to migration, integration, and diversity and to make research accessible to a wider audience. This year’s overarching theme is Migration and Culture, sparked by recent developments in Sweden’s and Norrköping’s politics of decreasing and cutting funds for cultural activities. Arts and culture are both areas of expression for migrant communities and people on the move, as well as those fighting against racism, discrimination, and exclusion. The current debate on “Swedish culture” and on a “Swedish cultural canon” recalls monolithic understandings of culture as a natural and immutable construct, contributing to the polarisation of views rather than the multiplication of perspectives and conceptions of it. Like culture, which can be visualised as a tapestry created from different threads, different contributions, woven together to form something complex, this report is also a collection of varied articles, united by a common theme. Some articles in this report look at the accessibility of culture in Sweden and its transmission through all kinds of mediums, such as TV programmes; others engage artists or “social artists” who care about issues like migration and the fight against racism and discrimination, and some focus on specific aspects of culture and arts, such as language, food, and music. The first-year students of EMS, 2024.
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Latin American Artists in Washington Collections. Inter-American Development Bank, August 1994. http://dx.doi.org/10.18235/0006223.

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Twenty-four artworks by major Latin American artists, from the Hirshhorn Museum and Sculpture Garden, the National Museum of Women in the Arts, the Art Museum of the Americas, the Samuel M. Greenbaum 1989 Trust, and the IDB Collection.
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Two Visions of El Salvador. Inter-American Development Bank, September 2000. http://dx.doi.org/10.18235/0006436.

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29 paintings and 1 sculpture by artists (including two women) from the early to late modern period of the 20th century, and 36 contemporary folk objects form this exhibition which juxtaposes the art of two different sectors of society ­the formally trained and the spontaneous, reflecting the circumstances and the social environments of each, but making all part of the national memory. The works come from the National Collection, the Julia Díaz Foundation-Museo Forma, and the INAR Foundation collection.
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