Artigos de revistas: "Craft"

1

Väänänen, Niina, and Katja Vilhunen. "Exploratory factor analysis of sustainable craft theory among Finnish craft hobbyists." Craft Research 15, no. 1 (March 1, 2024): 13–40. http://dx.doi.org/10.1386/crre_00117_1.

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This study explores how Finnish craft hobbyists view their craft practice in a sustainable craft theory context. We collected the data for this study through an online survey in February and March 2021. We analyse the survey questionnaire data (N = 929) using exploratory factor analysis. The findings of the study show detailed information about craft hobbyists’ perceptions towards sustainable craft and reveal how craft hobbyists find sustainable crafts to be well-being-related activities that enhance meaning-making in their leisure time. This study also provides a sustainable craft measure framework for quantitative examination and analysis. The findings of the study can be utilized to understand sustainable behaviour through hobby crafts in the green transition.

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2

Makhitha, K. M. "Understanding The Organisational Buyer Behaviour Of Craft Retailers In South Africa." Journal of Applied Business Research (JABR) 31, no. 2 (March 3, 2015): 501. http://dx.doi.org/10.19030/jabr.v31i2.9149.

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<p>The purpose of the study was to investigate the buyer behaviour of craft retailers in South Africa (SA). Specifically, the study investigated the stages in the buying process craft retailers go through when buying crafts from the craft producers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of craft retailer and buyer behaviour is a necessity for craft producers who want to sell their products successfully through the craft retailers. A survey was conducted among 233 craft retailers in SA. A convenience sampling method was adopted for the study. The findings revealed that craft retailers go through homogenous buying stages. The stages in the buying process did not differ across different types of craft retailers. The stages also did not differ according to the years of buying experience of craft retailers. An understanding of buyer behaviour of craft retailers would be necessary for craft producers who want to target craft retailers, since they (craft producers) will be able to formulate appropriate and effective marketing strategies targeted at craft retailers. Craft retailers go through a lengthy process when buying crafts. Craft producers, therefore, need to understand the stages that craft retailers go through to ensure that the understanding is incorporated into their marketing strategy.</p>

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3

Vartiainen, Leena, and Minna Kaipainen. "TEXTILE CRAFT STUDENTS’ PERCEPTIONS OF SUSTAINABLE CRAFTS." Problems of Education in the 21st Century 43, no. 1 (June 20, 2012): 131–40. http://dx.doi.org/10.33225/pec/12.43.131.

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Future teachers have an important role in education for sustainable development. This article describes textile craft teacher students’ perceptions of sustainable textile craft. The data derives from a survey of craft teacher students of the University of Eastern Finland (N = 20). The questionnaire included open-ended and multiple choice questions about sustainability of textile craft education and the relevance of sustainability in the students’ lives. The study reveals textile craft teacher students’ conceptions as consumers, craft makers and future textile craft teachers. The open-ended questions were analyzed by content analysis and the multiple choice questions were analyzed with statistical methods. The results were reflected to Victor Papanek’s function complex. As consumers, students favour good quality products and recycling of textiles. They are concerned about workers’ work conditions and against child labour. Although values and perceptions related to sustainable consumerism are high, sometimes the actual purchasing behaviour differs from the values because of the students’ meagre budgets. As craft makers, availability of locally produced materials and materials made of natural fibres are important to students. As future textile craft teachers, students think that craft is an excellent way to teach sustainability and sustainable craft. They consider it is important to teach life-cycle thinking but also craft culture and skills. Key words: clothing and textile design, sustainable craft, textile craft teachers.

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4

Zhong, Yiming, Shukun Tang, and Mei Lan. "Research on the Inheritance Path and the Branding Inheritance Model of Traditional Crafts." Sustainability 15, no. 7 (March 28, 2023): 5878. http://dx.doi.org/10.3390/su15075878.

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The inheritance of traditional crafts has contemporary value in the economy and socio-culture and, hence, the development of human civilization. China is well known for its traditional crafts and is the main subject of international traditional craft research; the Chinese government is the first leading force in traditional craft inheritance. This paper employs the grounded theory to analyze the content of 79 national policies on traditional crafts in China from 1960 to February 2022, and induces, compares, refines, and formulates an inheritance path for traditional crafts under the guidance of current public cultural policies in China. The path clarifies the Chinese government’s overall structure for traditional craft inheritance and can also serve as a reference for the international community in revitalizing traditional crafts and maintaining cultural continuity. The path contains five models, among which, the branding inheritance model is key to the revitalization of traditional crafts, yet in both theory and practice, there is a lack of implementation plans. This paper reviews branding theories, sorts out the four attributes of brand “Identification, Communication, Value, and Culture”, and then analyses the advantages of the branding inheritance model for traditional craft inheritance in four dimensions—recognition, identification, acquisition, and survival. Subsequently, this study selects the classical brand model focusing on each of the four attributes, explores the path to constructing the four attributes of traditional craft brands with a distinct operational logic, integrates the results of constructing the four attributes, forms a three-stage model of traditional craft branding inheritance, and analyzes the logical relationships of the components in the model. The model is a concrete implementation plan of the traditional craft branding inheritance, which aims to help public institutions formulate policies and guide practices in traditional craft inheritance, by providing a scientific strategic framework with a high degree of universality.

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5

Rausch, Anthony S. "Representing craft as cultural commodity in its cultural economy." Craft Research 15, no. 2 (September 1, 2024): 247–65. http://dx.doi.org/10.1386/crre_00133_1.

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Defining craft has proven troublesome in craft-related research, with existing definitions either failing to reflect the expanse and variety of crafts or creating artificial boundaries, which constrain the fullest extent of how crafts can be recognized, viewed, interpreted, preserved and promoted. This research presents an examination of a place-based lacquerware craft of rural Japan, which offers an alternative approach to representing craft based on the idea of conceptual and operational space for both craft categories and craft items. Such a combined way of viewing craft – conceptually and operationally – offers the fullest interpretation of what craft is both in its original and ideal sense and in terms of its contemporary, social and economic realities. Further, the article proposes that by extending such conceptual and operational views of a particular craft category or item by linking them with the circumstance of their respective host locale, the resulting representation yields the craft as a cultural commodity, through which it ultimately constitutes its own independent cultural economy. The conclusion of the research proposes how such an approach extends the practice of static definitions by connecting craft through its conceptual and operational realities to the contemporary reality of both cultural and economic commodities.

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6

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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7

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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8

Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We hope that it sparks constructive discussion and further cooperation with interested partners in order to advance craft studies in general. Within the framework of an academic institution, craft research inevitably involves difficulties that need to be overcome as academic knowledge is traditionally considered to be abstract, and not skill-related. Traditional craft skills are part of intangible cultural heritage, therefore it is important to pay them due respect in research and higher education. The Committee of Craft Terminology was established in 2016 at the initiative of the Estonian Native Crafts Department. The definition of craft skills they work with is: the combined set of manual, bodily and intellectual practices that form part of intangible cultural heritage, the usage of which produces examples of material culture. It is acknowledged that traditional craft skills are not objectively given, but are constantly constructed by the masters of craft as well as by researchers. In craft research orientated to traditional technologies the following objects of study may be listed: artefacts, technologies, materials, tools and workshops, master skills. The chief research questions are: how are artefacts made?, what skills does this require?, what are the reasons behind doing certain things? This article focuses on the application of practice-led research, drawing on examples from four outstanding MA theses defended at the Estonian Native Crafts Department of UT VCA. Ethnographic research has provided a firm platform for the development of Estonian craft research. The importance of skills and their documentation was already acknowledged as a vital aspect in understanding local material culture in the 1920s at the beginning of systematic ethnographic data collection by the Estonian National Museum. The questionnaires sent to the members of the network of the museum’s correspondents all over Estonia have yielded a great deal of interesting information about various craft-related practices. And, to date,not all of this material has been exhaustively studied. The most interesting ethnographic studies concerning traditional technologies combine thorough fieldwork, skilful use of written responses from correspondents, outstanding observational skills, and a deep knowledge of local dialects and folklore. Especially interesting developments in the study of old technologies have been initiated during the past few decades by archaeologists using experimental methods. When dealing with ancient artefacts whose makers can no longer be observed or interviewed and for which there is archival information, novel methods have to be employed. Experimental creation, chemical analyses, or study under a microscope may supply interesting data about the artefacts in question, the ways they were made and the material they were made from. Practice-led research usually starts with the question ‘How is it made?’, and the first stage of data collection comprises ‘close observation’, which involves a detailed mapping of all the physical and observable parameters of the object under study, including drawing up a technological description with notes about its wear, defects, repairs, and so on. A craft researcher should be a skilled craftsperson him- or herself in order to be able to pose meaningful questions about the technological aspects of the objects being studied. A craft researcher can detect, describe and reconstruct the methods of making of an old artefact in a way that will make it possible to repeat that original process of making, bequeathing us a material object technologically similar to the original. How might craft research contribute to the humanities in general? This article offers three keywords: materiality, bodily knowledge, and environmental sustainability. The co-operation between master and his/her material is crucial in skilled craft activities. The notions of embodied knowledge and embodied cognition that originate in phenomenology, as well as the concept of tacit knowledge associated with Michael Polany, are cornerstones in the understanding of traditional crafts. Environmental sustainability is a key question that will increasingly shape human activity. Studying traditional technologies, tools, materials, skills and crafts provides a much-needed basis in the general turn towards a more sustainable lifestyle Keywords: Craft research, practice-based research method, material culture, craf

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9

Stefanidi, Evropi, Nikolaos Partarakis, Xenophon Zabulis, Ilia Adami, Stavroula Ntoa, and George Papagiannakis. "Transferring Traditional Crafts from the Physical to the Virtual World: An Authoring and Visualization Method and Platform." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–24. http://dx.doi.org/10.1145/3484397.

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Visualizing human motion is a topic that has gained increasing attention in the domain of cultural heritage, due to the need for capturing intangible dimensions, existing for example in theatrical performances, dances, and crafts. In this respect, virtual humans are typically employed to re-enact human motion, executing movements reproduced through predefined animations, or physics simulation engines. In the case of traditional crafts, a defining point is how to model the interaction of virtual humans with craft-related objects and how to transfer it from the physical to the digital world. Toward a more effective and generic modeling and visualization of the interaction of humans with tools and machines utilized in crafts, this article proposes a novel methodology for the modeling and visualization of crafts and presents a platform enabling the authoring and visualization of craft processes. We contribute a way of visualizing craft processes within virtual environments, aiming to increase the usability of craft representation. As an example, we present and analyze the case of the craft of weaving with the use of a loom.

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10

Guo, Jingyan, and Byunghak Ahn. "Tacit Knowledge Sharing for Enhancing the Sustainability of Intangible Cultural Heritage (ICH) Crafts: A Perspective from Artisans and Academics under Craft–Design Collaboration." Sustainability 15, no. 20 (October 17, 2023): 14955. http://dx.doi.org/10.3390/su152014955.

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The tacit nature of craft forms a barrier to the sustainability of intangible cultural heritage (ICH) crafts in craft–design collaboration that makes facilitating knowledge sharing across domains challenging. Hence, the discussion of tacit knowledge becomes a significant topic in university-based craft–design collaboration. However, there is still a lack of a systematic tacit knowledge-sharing structure for guiding academics and artisans in interacting beyond superficial manifestations in collaboration with the consideration of sustainability. This study aims to seek the relationship between craft–design collaboration, tacit knowledge sharing, and sustainability in the context of ICH crafts in China. By taking a qualitative research approach, grounded in knowledge management, semi-structured interviews were conducted with artisans and academics in China’s Belt and Road regions guided by the four defined dimensions of craft–design collaboration. This study investigates tacit knowledge sharing in craft–design collaboration, and its key contribution to sustainability. The study found that university-based collaboration activity can share knowledge sustainably and dynamically through knowledge accumulation, knowledge expression, knowledge diffusion, and knowledge reflection. Additionally, it argues that the integration of craft–design collaboration and knowledge management should be considered an essential future skill to investigate the sustainability impact of ICH crafts.

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11

Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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12

Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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13

Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, inluding its methodological approaches, with a focus on Ph.D theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The puropse of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system. The authors of the article have granted permission to have the original research article published in Craft Research Journal 11 (2), CC-BY-NC-ND to be translated from English and published in Estonian. The translation is accompanied with a brief contextualising afterword by the editorial team of Studia Vernacula. Keywords: craft sciences, crafts, craft research, craft education, sloyd, research methods, art research

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14

Utami, Silvia, and Etmi Hardi. "Perkembangan Usaha Kerajinan Anyaman Bambu di Nagari Koto Baru Simalanggang Kecamatan Payakumbuh Tahun 1990-2022." Al-DYAS 3, no. 2 (May 21, 2024): 754–78. http://dx.doi.org/10.58578/aldyas.v3i2.3032.

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This research examines the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang, Payakumbuh District, 1990-2022. The research aims to discover the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang and its impact on the socio-economic life of the local community. The method used in this research is a historical method with four stages of research methods, namely heuristics, source criticism, interpretation and historiography. Based on the research results, it can be seen that the bamboo woven craft business in the village of Koto Baru Simalanggang, Payakumbuh District has existed for a long time, but the year it appeared is not certain. Woven bamboo crafts have developed in shape and model. In 1990, the form of woven bamboo crafts was still very simple. In 1995, the woven bamboo craft business began to improve and develop significantly. Woven bamboo crafts were initially introduced by Mom Desweni. The woven bamboo craft business is a business that has been passed down from generation to generation through non-official education route. Bamboo woven craft business can be used as the main job for craftsmen to fulfill their daily needs. Bamboo woven craft business has a big influence on the socio-economic life of bamboo woven craftsmen in Nagari Koto Baru Simalanggang. Level of Education, Level of social welfare , and the socio-economic life of craftsmen has improved significantly from the existence of this bamboo woven craft business.

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Groth, Camilla, Katherine Townsend, Tina Westerlund, and Gunnar Almevik. "Craft is ubiquitous." Craft Research 13, no. 2 (September 1, 2022): 211–20. http://dx.doi.org/10.1386/crre_00076_2.

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This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4‐6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adhesive between other domains. In this editorial we claim that craft practice is ubiquitous, since acts of ‘crafting’ are infiltrated in most aspects of society, from the industrial workplace to the home. In addition to being a professional domain, craftmanship is also an attitude and a way of life. Craft making further facilitates shared reflective platforms which can carry and sustain cultural associations, or even social resistance, over time. We hope to invite readers to extend the notions of what crafts can be, by discussing issues related to such various topics as plant propagation, crystal growing, neuroscientific activity tracking, multimodal presentations of craft research and hybrid forms of digital and handmade craft processes. We also present an overview of educational contexts of crafts and discuss the role of the craft practitioner in heritage studies such as traditional boat building or industrial lace making.

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16

Hart, Imogen, and Jorunn Veiteberg. "Today’s Anthology for Tommorow’s Crafts CRAFT." Journal of Modern Craft 14, no. 1 (January 2, 2021): 107–11. http://dx.doi.org/10.1080/17496772.2021.1926744.

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Breen, Laura. "Sloppy craft: postdisciplinarity and the crafts." Journal of Modern Craft 10, no. 3 (September 2, 2017): 341–43. http://dx.doi.org/10.1080/17496772.2017.1394522.

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Gao, Fei. "Visualization Study of Traditional Artistic Crafts of “Kao Gong Ji” Based on Digital Simulation and Reconstruction." Journal of Global Humanities and Social Sciences 5, no. 7 (July 25, 2024): 234–39. http://dx.doi.org/10.61360/bonighss242016560701.

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“Kao Gong Ji” is a major work of handicraft technology in early ancient China, which recorded in detail the handicraft methods and craft information of the pre-Qin era in China, summarized the industrial production technology and construction system at that time, and embodied the advanced social ideological concepts at that time. It plays an important role in studying the history of science and technology, crafts, and culture in China. The technical concept of “Heaven has time, earth has gas, material has beauty, and work has skill, and when these four are combined, then it can be made into a good one” still provides the basic method for modern craft production. Through digital visualization technology, we can digitally reproduce the craft technology and artistic expressions recorded in the Book of Examination and Records of Work, and understand the principles and characteristics of ancient craft technology more deeply. This can not only provide inspiration and reference for modern craft innovation but also help modern craftsmen better master traditional craft skills and promote the integration and development of traditional crafts with modern technology. The use of this technology is not only the inheritance and promotion of traditional culture but also a powerful impetus to the development of modern crafts.

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and professional trades, between crafts and the academic knowledge system, and furthermore between crafts and heritage conservation.Mass production and mass consumption have greatly challenged traditional craftsmanship. Trade structures for crafts have been dissolved, and enterprises have been decimated. Still, in this dismal transformation, small craft-based enterprises constitute a large part of the economy. The diagnosis in the Swedish context, underpinned by research, is that craft-based enterprises lose family traditions, and that small or micro-companies resist investing in new apprentices, outside the altruistic structure of family bonds, due to the costs and risks involved in training. Small craft-based enterprises demand already trained and skilled craftspeople. However, such a workforce is difficult to find on the labour market as curriculums of formal vocational education focus mainly on the qualifications demanded by industry. Efforts by public authorities and trade organisations to enhance apprentice training do not sufficiently succeed in attracting the younger generation. Despite high youth unemployment, many of the offered apprenticeships go unfilled.The context of research is provided by the Swedish Craft Laboratory, which is a socially committed craft research centre at the University of Gothenburg. It was established in 2010 in cooperation with heritage organisations, craft enterprises and trade organisations to empower craftspeople in the complex processes of production. The general agenda of the Craft Laboratory is to bring research into practice and to involve craftspeople in processes of enquiry. In 2010 and 2011, the Craft Laboratory and National Property Board conducted a study into the state of traditional crafts. The study comprised a quantitative survey focused on the demand for competence and forms of education and training. Furthermore, 14 dialogue seminars were held in different parts of the country to discuss the state of the art, urgent needs and desires with craftengaged people.The results indicate extensive needs, but a clear and recurrent demand from craftspeople, enterprises and communities is action to support knowledge transfer in fields where craftsmanship has lost influence in design and planning. Traditional crafts involve attitudes and moral frameworks that have a negative impact on recruitment and obstruct development in sustaining crafts in contemporary society. All traditions are not completely good. Learning a traditional craft comes with a commitment, placing a responsibility on the master, the business and the culture. The relationship is intimate, enduring and asymmetrical, where the apprentice has to put trust in and submit to the master’s plan, as there are no formal documents to rely on. Many craft communities are weak and practitioners feel lonely in their efforts to maintain skills and develop their practice. There is no significant guild spirit; on the contrary, many craftspeople and companies demand networks and forums for sharing experiences with others. The main competition consists not of other craft companies but of alternative industrial products and methods. Many craftspeople experience a gap between the scope of their competence (what they possess the knowledge and skills to do) and the scope of their practice (what they are expected and commissioned to do). To bridge this gap, the craftspeople need to add interactive tools to their toolbox and craft new skills to interact and communicate.The conclusion is that craftspeople have to make their tradition transparent and to place on a communication level their ways of anchoring judgments and actions in the past. As traditional craft fields migrate to amateur communities, academies and the field of heritage conservation, craft practitioners have to become involved in the negotiation processes of why and for whom things are produced and preserved, and to consider the different values of traditional crafts for different groups of people. Adhocism, academisation and heritagisation may sustain traditional crafts in contemporary society.

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Kokko, Sirpa. "Orientations on studying crafts in higher education." Craft Research 13, no. 2 (September 1, 2022): 411–32. http://dx.doi.org/10.1386/crre_00086_1.

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Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultural heritage of crafts and design-based crafts. Both similarities and differences were found. The targets, prospective career paths and pedagogical methods of these study programmes were adapted to the broader targets of the various departments. Craft teaching followed the basic principles of studio pedagogy. The sought-after skill acquisition level varied from expressive purposes to ability to make quality products. There were also differences in whether a programme focused on a specific craft field or covered a broad spectrum. The requirements of academization were adapted in all study programmes. However, the role of writing differed from free and short reflective writing in the art department to a strict academic writing style in the education department. Professional goals varied from becoming a teacher or an artist to self-employment in a small-scale craft enterprise or achieving commercial success in industrial production. Concerns about losing craft traditions and dedication to maintaining them were shared across programmes. Despite being situated on the outskirts of academia, the status of crafts as an HE discipline adds value and visibility to the crafts and strengthens their identities.

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Zabulis, Xenophon, Nikolaos Partarakis, Ioanna Demeridou, Paraskevi Doulgeraki, Emmanouil Zidianakis, Antonis Argyros, Maria Theodoridou, et al. "A Roadmap for Craft Understanding, Education, Training, and Preservation." Heritage 6, no. 7 (July 13, 2023): 5305–28. http://dx.doi.org/10.3390/heritage6070280.

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A roadmap is proposed that defines a systematic approach for craft preservation and its evaluation. The proposed roadmap aims to deepen craft understanding so that blueprints of appropriate tools that support craft documentation, education, and training can be designed while achieving preservation through the stimulation and diversification of practitioner income. In addition to this roadmap, an evaluation strategy is proposed to validate the efficacy of the developed results and provide a benchmark for the efficacy of craft preservation approaches. The proposed contribution aims at the catalyzation of craft education and training with digital aids, widening access and engagement to crafts, economizing learning, increasing exercisability, and relaxing remoteness constraints in craft learning.

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Härkki, Tellervo, Henriikka Vartiainen, and Marja-Leena Rönkkö. "Three approaches to multi-materiality through co-taught learning projects." Techne serien - Forskning i slöjdpedagogik och slöjdvetenskap 31, no. 3 (December 20, 2024): 16–32. https://doi.org/10.7577/technea.5921.

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Three approaches to multi-materiality through co-taught learning projects This study examines the implementation of multi-material crafts in Finnish basic education from the viewpoint of utilizing co-teaching to enhance craft education. With the removal of gender-segregated craft subjects and the merger of textile and technical subjects into a common craft subject, room for new pedagogical strategies has emerged. The study involved 17 teachers who had participated in a national development program aimed at integrating multi-material and co-teaching methods into the learning process in crafts. Data were collected through interviews, focusing on how these teachers planned and executed multi-material craft projects in a co-teaching setup. The results showed that teachers adopted diverse approaches to multi-material crafts, depending on their pedagogical aims and the resources available. Three major categories of multi-material, co-taught learning projects were identified – fixed, teacher-directed, and open choice – each offering varying degrees of material and technological integration and pedagogical freedom. The study also found that newly acquired technological skills significantly influenced the roles and collaboration dynamics between co-teachers, positively affecting the division of labor and the overall teaching and learning experience. Keywords: co-teaching, craft teaching, multi-material crafts, material technologies, co-regulation

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Lenskjold, Tau, Anders V. Munch, and Vibeke Riisberg. "Crafting platforms: Student rebellion, gender struggles and collectivism in Danish crafts 1969–77." Clothing Cultures 10, no. 2 (December 1, 2023): 177–93. https://doi.org/10.1386/cc_00077_1.

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During the 1960s and 1970s, Denmark experienced a significant shift in arts and crafts, driven in particular by younger women. This paper examines how such upheavals took place across different platforms, such as the 1969 student rebellion at the Copenhagen School of Arts and Crafts, the initiation of a collective crafts shop, and the staging of an international feminist art exhibition. Despite challenges posed by patriarchal hierarchies in art and craft, female practitioners, especially in textiles, leveraged these platforms to foster collaborative practices, reshape their status and secure livelihoods. Drawing on archives, interviews and feminist theory, the paper explores tensions between tradition and innovation, focusing on how craft evolved from decorative to critical practice, gaining institutional recognition. These struggles highlight the dynamic intersections of gender, art/craft hierarchies and societal change, offering insights into how Danish studio craft challenged conventions and inspired new frameworks for education, collaboration and feminist expression.

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Juliana, Netty. "Development of Outerwear Handicraft Industry Technique in the Application of Simalungun Pinar Hurungguan Ornaments." International Journal of Research and Innovation in Applied Science VIII, no. XII (2024): 183–93. http://dx.doi.org/10.51584/ijrias.2023.81217.

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The engineering development of the outer fashion craft industry in the application of the Pinar Hurungguan Simalungun ornament is a research on the creativity of students in Medan-North Sumatra. The development of creativity applies an explosive qualitative method, which is to produce new designs that have never been designed by someone, through a critical thinking process to create new inspiration. The stages of the activities carried out in creating women’s outerwear crafts are as follows: 1) theoretical presentations about fashion craft art; 2) craft concept maps; 3) drawing sketches; 4) design motifs and clothing using corel draw; 5) the process of making crafts using cloth; and 5) outerwear craft presentation. The goal of developing the outerwear craft industry is to increase the knowledge and skills of the younger generation in the creative industries. So that the preservation of regional culture is maintained optimally and improves the community’s economy.

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Rönkkö, Marja-Leena, and Virpi Yliverronen. "Examining the Views of Student Teachers on the Meaning of Crafting." Research in Arts and Education 2024, no. 3 (November 20, 2024): 108–21. http://dx.doi.org/10.54916/rae.132054.

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The purpose of this study was to examine the views of student teachers on the meaning of craft hobbying. This study employed a qualitative case study approach and used essay submissions from a sample of craft student teachers enrolled in a craft-related course. The study findings suggest that making crafts plays a significant role in both their personal lives and academic pursuits. Their perception of craft making transcends mere recreational activity and is viewed as a means of expressing their creativity, honing their skills, and promoting sustainability. It seems that crafting is culturally ingrained in Finnish craft student teachers.

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Pontsioen, Robert. "When heritage laws and environmental laws collide: Artisans, guilds and government support for traditional crafts in Tokyo." Craft Research 10, no. 2 (September 1, 2019): 211–36. http://dx.doi.org/10.1386/crre_00003_1.

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Abstract This article examines the legislative basis and operational effectiveness of the national and prefectural systems for designating and promoting traditional crafts in Tokyo. Traditional artisans participate in these systems primarily through their involvement in kumiai ('artisan guilds'), whose historical background and organizational structure are briefly summarized. To evaluate the usefulness of government support for contemporary craft practitioners, four broad and interrelated categories of kumiai activities are examined: promoting craft business, maintaining and enhancing craft skills and product quality, securing the future of craft traditions, and procuring craft materials. These goals are reflected in the frameworks of national and prefectural legislation that aims to support the efforts of kumiai. However, these goals and the resulting legislation have created a sustained discourse of tension palpably felt by many crafters themselves: the clash between laws designed to protect or promote 'traditional' crafts and other laws that aim to safeguard ecology or animal welfare. Examination of this tension as it is understood and discussed by artisans themselves reveals that, although the positive impact of traditional craft designation systems is widely recognized, it is also perceived that incompatible environmental protection laws can negatively affect their business and threaten the long-term sustainability of craft traditions.

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Laraqui Hossini, Chakib El Houssine. "SS12-04 CRAFTING THE FUTURE: MOROCCO'S VISION FOR A MODERNIZED AND SUSTAINABLE ARTISANAL ACTIVITY." Occupational Medicine 74, Supplement_1 (July 1, 2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0109.

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Abstract Craftsmanship provides a range of very varied products of artistic or utilitarian value. The arts and crafts professions are classified into five groups depending on the product and its basic raw material: wood, metals, earth, leather, textiles. The Ministry of Tourism, Crafts, Social and Solidarity Economy is responsible for supervising and supporting craft professionals. The 2021-2030 craft development strategy aims to create a modernized, value-creating, competitive and structured craft industry. It will be based on four axes: the structuring and support of stakeholders, the modernization of sectors, the development of human resources and the strengthening and optimization of the institutional organization. The development of this strategy was based on a participatory approach including all social partners. The Craft Chambers: These 12 public establishments of a professional nature are placed under the supervision of the State. They represent craftsmen, craft businesses and cooperatives and are grouped within the Federation of Craft Chambers. La Maison de l'artisan, has the main mission of promotion of craftsmanship, assistance and supervision in commercial prospecting. Its board of directors is chaired by the representative of the Minister responsible for crafts and is made up of several members including five representing ministers (interior, foreign affairs, finance, tourism, cultural affairs), the president of the Federation of Chambers of Crafts and representatives of professional associations. Conclusion: Improving the quality of life and working conditions of artisans must be a priority. The handicraft is the historical heritage of Morocco must keep its artistic character and its high quality and not fall into industrial products.

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Rakhbar, E. Kholikova. "FEATURES OF CRAFTS IN THE BUKHARA EMIRATE." LOOK TO THE PAST 5, Special issue 1 (June 27, 2022): 5. https://doi.org/10.5281/zenodo.6758046.

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This article discusses the development of many types of crafts in the Emirate of Bukhara: textile, ceramics, joinery, leather, jewelry, blacksmithing, and other types of crafts, the operation of craft centers in many cities of the emirate, the role of local raw materials, cotton and cocoon in the development of textiles. Also about the fact that the leather craft was considered the most welldeveloped network, about that. that leather artisans made various consumer goods from wellprocessed leather, pottery was considered one of the leading branches of ceramic and handicraft craft, about the production of two types of ceramics; about the fact that Bukhara was the center of the jewelry craft of the late XIX-early XX century, the activities of Bukhara jewelers, their fame all over the world for their products are also analyzed.

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Makhitha, Khathutshelo Mercy. "Marketing Of Craft To Retailers: Understanding Their Buying Process, Supplier Selection Criteria And Information Sources Used." International Business & Economics Research Journal (IBER) 14, no. 6 (November 3, 2015): 791. http://dx.doi.org/10.19030/iber.v14i6.9486.

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The purpose of the study was to investigate the buying process, supplier selection criteria and information of craft retailers in South Africa (SA). The information collected about the buying process, supplier selection criteria and information sources used were to propose a marketing strategy for craft producers wanting to target retailers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of the retailer’s buying process, supplier selection criteria and information sources is a necessity for craft producers who want to sell their products successfully through the craft retailers. A survey was conducted among 233 craft retailers in SA. A convenience sampling method was adopted for the study. The findings revealed that craft retailers go through homogenous buying stages. Craft retailers go through a lengthy process when buying crafts. The most important supplier selection criteria are product quality, product is exciting and attractive, product styling and design and product distinctiveness/uniqueness. The information sources most often used are existing sales records, buyer’s experience and sales persons visiting with samples.

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Saputra, Darman, Maya Yusnita, Indah Noviyanti, Nanang Wahyudin, Sumar Sumar, and Echo Perdana Kusumah. "Creative Economy Competitiveness Improvement Program for MSMEs in Pangkalpinang City." MOVE: Journal of Community Service and Engagement 2, no. 6 (July 3, 2023): 184–90. http://dx.doi.org/10.54408/move.v2i6.215.

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Deshanda Craft is one of the craft businesses in East Kace Village which has been established since 2018. So researchers want to carry out research with the aim of analyzing the value of the creative economy of craft crafts at Deshanda Craft. The results of the study show that the value contained in Deshanda Craft begins with the creation stage where at this creation stage seeks innovative ideas from the internet and then modifies it to make craft patterns, then the production stage where this production stage manages input or materials in the form of nipa palm sticks as raw materials and into flower vases, baskets, tissue holders for the distribution stage in this Deshanda Craft marketed through online media to factories in the form of wholesalers, and this commercialization stage is through providing information to consumers about the products being marketed.

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Makhitha, Khathutshelo Mercy, Melanie Wiese, and Gené Van Heerden. "Informing craft producers in South Africa." Communicare: Journal for Communication Studies in Africa 33, no. 2 (October 17, 2022): 1–24. http://dx.doi.org/10.36615/jcsa.v33i2.1634.

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Craft producers struggle to access the retail market because of their inability to communicateeffectively. Understanding craft retailers’ buying behaviour, particularly with regard to thecommunication channels used, could potentially assist craft producers to create better awarenessof their crafts. The purpose of this article is to investigate the communication channels used byformal craft retailers when searching for craft suppliers and craft products. A survey of formal craft retailers resulted in a total of 233 useable questionnaires. Principalcomponent factor analysis was used to identify the various types of communication channelswhile ANOVA analysis was applied to test the hypothesis. The results indicated that craft retailers differ in their use of certain communication channels and that they tend to use particular channels more often than others. The factor analysisidentified three types of communication channels: internal and personal, promotional, and printadvertising. The results further indicated that craft retailers consult internal and personal channelsmore frequently than promotional channels and print advertising. The results also revealed thatdifferent types of craft retailers differ in their preference of promotional channels, whereas no suchdifferences could be found in the way these craft retailers used internal and personal channels orprint advertising. The results presented in this article provide useful insights – especially to informal craft producers– on how to improve their visibility and product availability by communicating more effectively withformal craft retailers.

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Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (June 20, 2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.

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Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a wider regeneration process. Even though regeneration really determines the development in the future. Looking at the current development of the craft, efforts to make a more open regeneration process seem necessary. Through this paper, the author try to find steps that can be taken by the supporting community and the Regional Government to form a formal and informal container. It is intended that interested people have access to learn about this craft. Regeneration is carried out to maintain the continuity and development of monel crafts.

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Wisdiarman, Wisdiarman, Ariusmedi Ariusmedi, Erwin Erwin, and Suib Awrus. "EMPOWERING THE JUNIOR HIGH SCHOOL TEACHERS IN BUKITTINGGI TO OVERCOME THE PROBLEMS IN LEARNING CRAFTS." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 19, no. 2 (December 3, 2018): 159. http://dx.doi.org/10.24036/komposisi.v19i2.101776.

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Crafting in junior high school consists of some learning materials such as handcrafting, processing, engineering, and cultivating. The learning material that must be given junior high school students in Bukittinggi is crafting because it is appropriate with the conditions of the area that is close to the centers of handicrafts. In fact, the problem found from the observation was that the teachers generally (82,73%) are not from the art and craft education. The teachers who are from art or craft education will be easier to teach crafts than those who are not. Those who are not from art education got problems in the implementation of craft learning materials. It was happened because they did not master or did not have enough experience about it. Moreover, the junior high school teachers also lacked of learning strategies that are in line with the demands of the 2013 curriculum. As a result, the implementation of craft learning, especially craft materials, did not run well. The solution offered to solve the above-mentioned problems was the application of science and technology with several approaches; 1) designing, 2) counseling by presenting training material, 3) training in crafting and designing learning strategies, and 4) mentoring. The results of this activity were; 1) Most of junior high school teachers (77.77%) have mastered the craft materials given, especially makrame and woven crafts, 2) Most of them (88.88%) have mastered learning strategies that are in line with scientific approaches in the 2013 Curriculum. Keywords: Increasing teachers’ ability, craft learning, craft learning materials, learning strategies in 2013 curriculum

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz Høgseth, and Pirita Seitamaa-Hakkarainen. "Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Craft Research 11, no. 2 (September 1, 2020): 177–209. http://dx.doi.org/10.1386/crre_00025_1.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach, adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elements of intangible cultural heritage. This article offers an overview of the developments and progress of the field of craft sciences in these countries, including its methodological approaches, with a focus on Ph.D. theses. Through mapping recurrent methodological approaches, the following categories were derived: craft reconstruction, craft interpretations, craft elicitation, craft amplification and craft socialization. The aim of the classification, and the model derived from it, is to help researchers and students understand better how different types of knowledge relate to different research methods and apply them within their own research. The purpose of the research is to create a common infrastructure for research and education in order to connect and strengthen the dispersed academic communities of craft research and to establish craft science as a formally recognized discipline within the academic system.

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Niedderer, Kristina, and Katherine Townsend. "Luues käsitööuurimust: emotsiooni ja teadmiste ühendamine / Designing craft research: joining emotion and knowledge." Studia Vernacula 15 (December 31, 2023): 40–63. http://dx.doi.org/10.12697/sv.2023.15.40-63.

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This paper considers how both craft and research can be joined in the enterprise of craft research. The rationale is that craft research is still relatively new compared to mainstream design research and that craft, being linked to the creation of artefacts as a source of experience and emotion, is not usually associated with research and the production of knowledge. The paper discusses the emerging need for creative researach in the crafts based on sensibilities of material understanding and human values, which contrast with the current strictures of research. Drawing on current models of design research and knowledge, the paper proposes experiential knowledge as the unifying conceptual underpinning of both. The outcome and contribution of the paper is a better understanding of the relationship of craft and research, and of the value of research for advancing craft as a discipline that is viable and relevant for the future. Keywords: craft research, experience, emotion, knowledge, material understanding, human values

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Juliana, Netty. "Development of Patchwork Craft Industry Engineering on Sofa Cushions." International Journal of Scientific Research and Management (IJSRM) 12, no. 12 (December 27, 2024): 16–23. https://doi.org/10.18535/ijsrm/v12i12.fa01.

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The development of patchwork craft engineering on sofa cushions is a creative activity of students in Medan. The development of sofa cushion crafts uses an explosive qualitative application, namely creating a new design that has never been designed by someone. The purpose of this activity is to increase the creativity and imagination of the younger generation by producing innovative, creative works that have functional value for human life. The concept of developing patchwork sofa cushion crafts starts fro: studying the theory of craft art, literature studies, designing concept maps, shape sketches, designing motifs, the process of making sofa cushions, and presentation of craft results. So this creative activity can increase knowledge and skills in the field of craft art, especially household linen. Thus, the younger generation is expected to be able to become entrepreneurs and be ready to compete in the business world professionally and independently.

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Cook, Hadrian, and Kathy Stearne. "Rural Crafts: A study in South Wiltshire." Craft Research 12, no. 1 (March 1, 2021): 105–25. http://dx.doi.org/10.1386/crre_00042_1.

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Rural Crafts are crafts with agrarian roots, but they are not easily located historically, or within today’s developed markets. This study stresses Rural over Heritage Crafts (based in manual skills and traditional materials, designs and techniques), although the two are not mutually exclusive. Rural Crafts are considered, present and past, through interviews with practitioners based in South Wiltshire. The study embraces networks of crafters, interviews with individuals and a focus for a rural craft event located at the Harnham Water Meadows at Salisbury, a historic location. It is established that, while few participants sustained themselves financially through their craft, it was clear that participation is ‘value driven’, providing personal benefits. The ethos of sustainability is a strong theme, both in sourcing materials and in the processes employed, especially true for individuals working with wood and thatching. Few clear similarities are found from past cottage industries, although the sense of continuity in craft is still strong. Networks included craft associations, and opportunities for informal learning, but there is a lack of formal training opportunities. This finding may be historic, as most people interviewed were over 60 years. As well as an age bias, there is a strong gender bias with men dominating regular part-time or full-time paid occupations and women treating their craft more as a hobby. Most people treat sales of any products as a bonus, and the future of such activities is dependent more upon personal interests and networks than on formally trained (often younger) individuals, more so than formal training delivered through individual organizations or companies. Otherwise, our conclusions are in line with modern ideas of personal, well-being and social benefits derived from craft activities.

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Vanderploeg, Jennifer, and Seung-Eun (Joy) Lee. "Factors Influencing Pro-Environmental Behaviors in Craft Businesses." Clothing and Textiles Research Journal 37, no. 1 (September 24, 2018): 51–65. http://dx.doi.org/10.1177/0887302x18800394.

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Since the Arts and Crafts Movement in the early twentieth century, discourse on craft has revolved around conflicts over industrialization. The current craft movement builds on these same responses to the industrialized world while also addressing environmental issues and sustainability. However, authors of craft literature rarely address the pro-environmental business practices of craft artisans or the motivational drivers of such behaviors. In this study, we aim to rectify this imbalance by contributing to an expanded understanding of value and belief drivers of pro-environmental behaviors. The value–belief–norm theory of environmentalism is used to outline the causal influences of pro-environmental behaviors in craft businesses, and our findings support the use of the model. Craft business owners’ pro-environmental behaviors are a result of a causal relationship from values to beliefs, through feelings of obligation to act in pro-environmental ways.

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Kouhia, Anna, and Sirpa Kokko. "At the Intersection of the Digital and the Material: Teaching and Learning Crafts during the Pandemic." Research in Arts and Education 2022, no. 2 (December 22, 2022): 47–55. http://dx.doi.org/10.54916/rae.122976.

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Although the value of crafted artefacts and craft activities is recognized in contemporary research and discussion, crafts as a standard school subject is still struggling with stereotypic labels; some consider the subject a relic from the past. This commentary demonstrates that crafts is an innovative school subject that engages students in creative thinking and up-to-date digital-material practices. The commentary relies on Finnish craft teachers’ experiences of learning and teaching crafts during the Covid-19 pandemic. Material was collected in two webinars in autumn 2020.

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SINGLETON, BENEDICT. "Subtle empires: On craft and being crafty." Design Ecologies 1, no. 2 (October 10, 2011): 249–64. http://dx.doi.org/10.1386/des.1.2.249_1.

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Vadilla, Icha Tyas Nur, and Dhani Ichsanuddin Nur. "PENGEMBANGAN EKONOMI KREATIF PENGRAJIN BAMBU MELALUI WORKSHOP KERAJINAN BAMBU DESA LAWEYAN KABUPATEN PROBOLINGGO." Jurnal Pengabdian Masyarakat Sabangka 2, no. 04 (July 10, 2023): 409–14. http://dx.doi.org/10.62668/sabangka.v2i04.705.

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Laweyan Village, Sumberasih District, Probolinggo has a good geographical location with bamboo potential. So it is necessary to utilize the potential of bamboo so that it can develop optimally and has a beneficial value to the people of Laweyan Village. Through creative economic development related to bamboo crafts, bamboo craftsmen can create new innovations and creativity in bamboo crafts. This research aims to develop the potential of bamboo crafts and re-generation of Laweyan Village bamboo craftsmen through bamboo craft workshops. The research method used is descriptive qualitative analysis, by collecting data through observation, survey, and interviews of the object of research. By using a direct approach to the object of research. With bamboo craft workshop activities will open the insight and knowledge of bamboo craftsmen regarding the creative economy related to bamboo crafts. Through bamboo craft workshops will develop innovation and creativity so that it can help improve the economy of the Laweyan Village community.

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Rydvalová, Petra, Tereza Michalová, and Lucrezia Škaloudová Puchmajerová. "Perception and definition of artistic craft within cultural and creative industries based on the qualitative data analysis." Creativity Studies 18, no. 1 (March 28, 2025): 150–70. https://doi.org/10.3846/cs.2025.20796.

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Culture and creativity are integral to European cultural and creative industries, pivotal in shaping Europe’s identity and global prominence. The focus on crafts within the cultural and creative industries ecosystem underscores their cultural significance. However, classifying crafts as artistic or traditional needs more systematic indicators. This article addresses this gap by proposing a methodology to evaluate the artistry of crafts. Twelve indicators were identified based on literature and in-depth interviews with Czech craft organizations to evaluate the artistry of the particular craft. Chosen respondents (legal entities and natural persons) self-evaluated these indicators, assigning weights based on importance. Results revealed varying weights, with mastery of the craft and originality deemed most significant. The proposed methodology offers a scalable approach to determining the artistry of crafts and aiding enterprises and policymakers in supporting cultural and creative industries. This study contributes to theory as well as practice by providing a comprehensive framework for identifying and evaluating artistic craftsmanship within the cultural and creative industries.

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Richards, Greg. "DEVELOPING CRAFT AS A CREATIVE INDUSTRY THROUGH TOURISM." Brazilian Creative Industries Journal 1, no. 1 (July 1, 2021): 03–22. http://dx.doi.org/10.25112/bcij.v1i1.2671.

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This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing at the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tourism, including case studies from Brazil, Finland, and Thailand, to examine how tourism can support the creative development of crafts. This analysis indicates that craft can be an important aspect of creative tourism development in different contexts and can provide a strong basis for placemaking initiatives.

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Hilman, Iman, Miftahul Habib Fachrurozi, and Laely Armiyati. "Integrated Tourism Model Based on Crafts and Culture Potential to Encourage Quality Tourism." Journal of Lifestyle and SDGs Review 5, no. 1 (January 30, 2025): e04878. https://doi.org/10.47172/2965-730x.sdgsreview.v5.n01.pe04878.

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Objectives: The primary objective of this research is to promote quality tourism to develop regions with rich local culture and craft potential. Specifically, the study aims to create an integrated tourism model that enhances cultural and craft tourism in Tasikmalaya, Indonesia. By focusing on the local heritage, arts, and crafts, the study seeks to identify and leverage these resources for tourism development. Methods: This study employs qualitative research with a field research approach. The research was conducted at various cultural and craft tourism attractions across Indonesia, particularly in Tasikmalaya. The fieldwork involved identifying and categorizing local tourism attractions to explore the region’s cultural and craft tourism potential. Results: The research identified 43 potential cultural and craft tourism attractions in Tasikmalaya, which were categorized into four main types of tourism: Heritage tourism, Arts tourism, Creative tourism, and Crafts tourism. These attractions were then grouped into seven distinct clusters, forming an integrated tourism model. This model aimed to bring together different tourism elements for the development of a cohesive and sustainable tourism ecosystem in the region. Conclusion: The integrated tourism model can be implemented through strategic actions focused on strengthening social capital, promoting cultural preservation, creating a sustainable investment-friendly environment, and developing infrastructure that connects leading tourism attractions. These actions will help enhance the overall tourism experience and ensure sustainable growth for cultural and craft tourism in Tasikmalaya.

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Ilhami, Akmillah. "PENGARUH BERMAIN SENI KRIYA DAN KECERDASAN VISUAL SPASIAL TERHADAP PEMAHAMAN GEOMETRI." JISPE: Journal of Islamic Primary Education 2, no. 1 (September 6, 2022): 35–48. http://dx.doi.org/10.51875/jispe.v2i1.33.

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ABSTRACT The purposes of this research were to know the effect of playing art-crafts and visual-spatial intelligence toward children's geometry understanding of kindergarten B (average age of 5 until 6 years). The method in this research used experimental research with treatment design by level 2x2. The sample of this research were 120 students. The procedure of collecting data used stratified multistage cluster random sampling technique. Analysis data in this research used two-way ANOVA. The results of this research were: 1) The geometry understanding of children who given playing the art of origami craft has a higher impact than who playing the art of collage craft (Fhitung = 7,78 > Ftabel = 3,97); 2) There is an interaction effect between children that given playing art-crafts and visual-spatial intelligence toward their understanding of geometry (Fhitung = 14,15 > Ftabel = 3,97); 3) The geometry understanding of children who have high visual-spatial intelligence given playing the art of origami craft have a higher scores impact than children who given playing the art of collage craft (QhitungA1B1-A2B1 = 6,55 > Qtabel = 3,74); and 4) The geometry understanding of children who have low visual-spatial intelligence given playing the art of collage craft have a higher scores impact than children who given playing the art of origami craft (Qhitung A1B2-A2B2 = 0,97 < Qtabel = 3,74)).

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Iqbal Maulana Irsyadi and Defrizal Saputra. "Film Dokumenter Talempong Sungai Pua." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (February 13, 2024): 220–38. http://dx.doi.org/10.55606/jurrsendem.v3i1.2658.

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The Talempong River craft is located in the West Sumatra region, l. Lukok No.125, Sungai Pua, Kec. Pua River, Agam Regency, West Sumatra province. The Talempong Sungai Pua craft does not yet have documentation starting from history, the beginning of the founding of the Talempong Sungai Pua craft and others which make people unaware of the unique history. The design of this documentary film aims to collect various explanations that can be seen by the public, especially the millennial generation, early communities or people living outside West Sumatra who want to know about this craft. The design of the film uses the 4D method which consists of 4 stages, namely define, design, develop, and disseminate. The data analysis method used in this final work is the 5w+1h method. Taking the object of the Pua River talempong craft, there is no history that has been filmed and not many people know about the history, production or what the talempong craft is, in the form of a documentary film, everything is summarized, this documentary film will later be of interest to both historians and the public. laypeople, the millennial generation have minimal knowledge about the history and production methods of Talempong Sungai Pua crafts and want to know the history and uniqueness of crafts. 

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Srivastava, Ankita, and Ankur Saxena. "Pattu Weaving: A Sustainable Fabric Manufacturing Technique." Journal of Sustainability and Environmental Management 1, no. 2 (May 26, 2022): 299–305. http://dx.doi.org/10.3126/josem.v1i2.45382.

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Sustainability is the need of the hour and the world is now looking for the environment-friendly options while choosing the materials, techniques, processes and disposal systems. In textiles, handloom weaving is considered as the sustainable way of fabric manufacturing. Many ancient crafts clusters are still existing and re-inventing themselves to create sustainable products. The craft of ‘Pattu weaving’ is one of them which is known as a traditional weaving technique. Pattu weaving is a traditional craft using extra weft weaving technique which is widely practised by the weavers in India. The study has reviewed the materials, tools, techniques and processes used in this craft, along with the challenges and opportunities for the upliftment of the craft. A comparative study of traditional and contemporary materials, colour palette, motifs and product range of the craft are also covered in this paper. Major part of the information and images have been collected during craft research documentation activity while visiting the craft cluster at Bhojasar and Karwa villages in Rajasthan where Pattu craft has been practiced by the weavers since ages. Along with this, secondary research has also been included in this document to strengthen the study.

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Ma'ruf, Muhammad Anas, and Irma Handayani. "Penerapan Teknologi Augmented Reality Pada Produk Kerajinan Rotan Sebagai Media Promosi Berbasis Android." Journal of Information System Research (JOSH) 5, no. 2 (January 7, 2024): 355–62. https://doi.org/10.47065/josh.v5i2.4571.

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Sabda Rattan Furniture & Crafts is a furniture shop that sells various rattan and bamboo craft products. The shop operates in the rattan and furniture craft industry. The shop is located at Jl. Ahmad Jazuli No.21, Kotabaru, Kec. Gondokusuman, Yogyakarta City, Yogyakarta Special Region. The development of increasingly sophisticated technology has made competition in the rattan craft business increasingly fierce, especially competition in marketing products. The promotional media used by the Sabda rattan furniture & craft shop still uses paper containing 2-dimensional images of rattan craft products so it is less interactive and interesting. Based on these problems, this research builds a new promotional media using Augmented Reality technology. This technology can display models of rattan craft products in 3 dimensions using Android. MDLC (Multimedia Development Life Cycle) is a method used in software development. The final result of this research is an application that can display rattan craft models in 3 dimensions by scanning markers or without markers with the help of an Android smartphone.

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Ardiwijaya, Iqbal, Rini Indriati, and Muhammad Najibulloh Muzaki. "Sistem Rekomendasi Pemilihan Kayu Untuk Kerajinan Ukir Indoor dan Outdoor." Jambura Journal of Electrical and Electronics Engineering 3, no. 2 (July 8, 2021): 94–100. http://dx.doi.org/10.37905/jjeee.v3i2.10944.

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Peminat kerajinan dan pengrajin seni ukir masih banyak yang belum memahami kriteria kayu sesuai kebutuhan yang diinginkan. Ketidakpahaman dalam pemilihan kayu yang tepat sangat mempengaruhi kualitas dan kepuasan peminat kerajinan. Jenis kerajinan ukir sendiri dapat dibedakan menjadi 2 yaitu untuk indoor dan outdoor. Kerajinan ukir indoor adalah kerajinan yang diletakkan di dalam ruangan seperti ruang tamu, ruang keluarga, atau di dalam ruangan lainya sedangkan untuk kerajinan outdoor adalah kerajinan ukir yang biasa diletakan di luar ruangan seperti gazebo, joglo, taman, di pantai, teras bagian luar dan lainya. Untuk membantu pengrajin kayu dalam pemilihan kayu untuk kerajinan ukir yang diinginkan maka di butuhkan sebuah sistem atau perhitungan matematis diharapkan memudahkan pengrajin dalam menentukan kayu sesuai kebutuhan peminat kerajinan dan memberi kemudahan dan kepuasan pada peminat kerajinan itu sendiri. Untuk itu, penelitian ini menggunakan metode Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). Tahapan yang dilakukan dalam penelitian ini adalah analisa dan pengumpulan data, penerapan metode, implementasi, dan pengujian. Menentukan kriteria seperti jenis kayu, sifat fisik kayu, kekuatan kayu, harga, berapa lama kayu bertahan, dan juga beberapa alternatif. Dalam penelitian ini, menghasilkan beberapa hasil rekomendasi kayu yang paling mendekati sesuai keinginan peminat kerajinanThere are still many craft enthusiasts and carving craftsmen who do not understand the criteria for wood according to the desired needs. Misunderstanding In choosing the right wood, it can affect the quality and satisfaction of craft enthusiasts. Types of carving crafts themselves can be divided into 2, namely for indoor and outdoor. Indoor carving crafts are crafts that are placed in rooms such as living rooms, family rooms, or in other rooms while outdoor crafts are carving crafts that are usually placed outside such as gazebos, joglos, gardens, on the beach, outside terraces and others. To help craft enthusiasts and wood craftsmen in selecting wood for the desired carving craft, a mathematical system or calculation is needed, which can make it easier for craftsmen to determine wood according to the needs of craft enthusiasts and provide convenience and satisfaction to the craft enthusiasts themselves. This research uses a method Technique For Order Preference By Similarity To Ideal Solution (TOPSIS). The stages in this research are data analysis and collection, method application, implementation, and testing. Determine criteria such as wood type, physical properties of wood, wood strength, price, how long the wood lasts, and also several alternatives. In this study, produced several recommendations for wood that are closest to the wishes of craft enthusiasts.

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Artigos de revistas sobre o tema "Craft"

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