Craft Culture Research Articles

Craft culture of guild crimean tatar master of manufacturing traditional leather shoes (on the manuscripts and published materials of

Adstract: The authors consider the scientific works of the famous turkologist V.A. Gordlevsky (1876-1956), which are largely preserved in handwritten form, in particular, in the Archive of the Russian Academy of Sciences, and other archives. On the basis of the scientist’s work, there is carried out the comparative analysis of the guild organization of artisans in the Crimea and in Asia Minor, with the study of craftsmanship of the Crimean Tatar masters, who produced casual leather shoes on the territory of the Crimean peninsula in the late 18th - early 20th centuries. There is emphasized the leading role of the scientist in studying this problem. The authors point out the features of his life and scientific activity, which affected the formation of his fundamental and profound knowledge of this issue. There are formulated the conclusions reflecting the main aspects of the craft culture in the Crimea. The brotherhood of Akhi appeared and functioned in the Crimea as a voluntary union of the local professional and religious associations of guild craftsmen from the 13th century. In the opinion of V.A. Gordlevsky, these professional organisations played the leading religious, political and economic role in the region thanks to a “futuwwa”, the statute of the craft unions, which in Crimea were called “selef-name” and included ethical and moral codes, such as generosity, honesty and modesty. In the Crimea, there also was a hierarchy of guild craftsmen; it included three main levels of the craftsmen (the student “shekird”, apprentice “kalfa”, master “usta”) as well as administration headed by the supreme spiritual mentor of the guild “nakib” and the main masters “usta-bashi”.

The Preservation of Traditional Knowledge and the Cultural Expression of Craft Rumah Gadang’s Walls as the Intellectual Property Of West Sumatera

This study discusses the problems of the preservation of Minangkabau craft culture, especially the problem of Intellectual Property Rights in the form of traditional knowledge that is on the craft of Rumah Gadang’s walls. The method of this research is qualitative. The informant of this study is determined by using purposive sampling. The chosen informants that are people involved in crafting of Rumah Gadang’s walls and the Department of Tourism of West Sumatra Province. This research was conducted at Minangkabau representative area of Luhak Nan Tigo (Agam, Tanah Datar, Lima Puluh Kota). The results of the study shows the extinction of craft of Rumah Gadang's walls was caused by the development factor of modern society's mindset, thus eliminating the value of a local culture of desire to learn old local culture. Moreover, the history and the topic of craft of Rumah Gadang's walls are deleted from Muatan Lokal Subject from the elementary to college level. Besides, the absence of efforts of local governments in trying to preserve the cultural values contained in traditional of craft of Rumah Gadang’s walls.

台湾における工芸に関する意識と工芸文化の展開 : 伝統と近代との均衡的発展をめぐって(2)

台湾における工芸に関する意識と工芸文化の展開 : 伝統と近代との均衡的発展をめぐって(2)

Study on Craft Culture and Features of Shandong Lu Brocade of China

China is one of the nations producing manual textiles at the earliest. With a history of a thousand years in southwest area of Shandong in China, Lu brocade is mainly distributed in Jining, Heze and other areas. As a kind of folk manual cotton textile in Shandong, Lu brocade takes cotton as main raw material, and adopts manual spinning, manually dyeing, and manual weaving, achieving colorful cloth, just like brocade and embroidery. This is why it is called Lu Brocade. The reason for Lu brocade to be passed on from generation to generation concerns a lot of the folk marriage of Shandong area. There are eight parts in its main process: spinning, dyeing thread, starching thread, wrapping, healding, crossing column, spindling, and weaving. Each process is divided into several sub-processes. Technically it can be mainly categorized into jersey technique, jacquard technique, tuck stitch technique, incision-making technique and package flower technique. For Lu brocade, jersey is the basic technique and jacquard is the core technique. Lu Brocade has distinct local specialty and practical value. Currently intangible cultural heritage protection is widely concerned, we should develop market, plan package, and conduct publicity and marketing for Lu Brocade, so as to promote the industrialized operation of the splendid traditional culture. Practice of several decades proves that the R&D and promotion of Lu Brocade products have affected the quality of Chinese manual textiles and people’s life in a positive manner.

Blogging, craft culture, and women empowerment

The study presents an analysis of the development process that women crafters underwent who began blogging as a hobby and gradually turned their crafts into blog-supported small businesses. The ana...

PROTOTYPE SISTEM PENCARIAN REKOMENDASI LOKASI KERAJINAN LOKAL DI YOGYAKARTA MENGGUNAKAN TRAVELING SALESMAN PROBLEM (TSP) DENGAN ALGORITMA GENETIKA

Local craft industry is now starting to compete with other industries in the process of advancing the region and even the country's economy. Yogyakarta, as a tourism destination known for its traditional cultural values would be more interesting if the culture of local crafts can be more openly introduced. The high interest in the local craft makes tourists want to see, and even to try the process of making of local crafts in Yogyakarta. Traveling Salesman Problem (TSP) with genetic algorithm method works by providing Yogyakarta's local craft location recommendation, from closest to farthest location that can be visited by tourists with the use of Global Positioning System (GPS) on their smartphones. Traveling Salesman Problem (TSP) with genetic algorithm (GA) method provides the best traveling route for tourists who want to find and visit Yogyakarta's local craft location in one hand.

Craft of inauthenticity: Notes on originality, media and craft exhibitions

Abstract This position article argues that authenticity of craft objects hardly matters when we discuss the idea of crafts’ digital representation. Using three recent exhibitions as examples of representation of authenticity and craft in the digital realm the author demonstrates that, while the notions of identity, technique, material and the changes of the objects’ consumption continue to be important in audiences’ and scholars’ understanding of craft culture, the notion of the authentic has become irrelevant. The idea is that authenticity, when related to objects, is always a constructed notion located outside of the craft object. Given that, this article argues that in the era of constant change of the images through digital transformation, the notion of originality and its authenticity is less important while the path of transformation has gained significance.

Understanding the culture of craft: lessons from two police agencies

When it comes to changing American policing, the police culture is invariably a target for reform. However, characterizations of traditional police attitudes and beliefs as suspicious of outsiders, authoritative, and at odds with the law, often overlook what police officers themselves value about the work they do, that is what constitutes its quality. Using survey data from two police departments, this paper seeks to understand the contours of the police craft culture. Our findings suggest a more textured assessment of police culture is warranted than the ‘warrior’ outlook implies. While some of the views of our respondents were consistent with features of the traditional police culture, officers did not display the kind of cynicism about the public, rush to judgment, preoccupation with coercive tactics, indifference to rules and regulations, and deep skepticism about science consistent with this portrayal of the police. We then consider how these insights might be used by those seeking to improve street-level police work.

Broadway North: craft in Canadian creative industry production

This article considers how the autonomy and occupational identities of craft workers are shaped by the organisation of production in culture industry workshops that fabricate theatrical display environments. Representation of craft autonomy in the literature on creative labour is sparse and tends to overlook the fact that craft autonomy is different in some respects from artistic autonomy. Drawing on qualitative semi-structured interviews with craft workers, designers and culture industry workshop owners and managers, this study examines the digitalisation and industrialisation of theatre production work. The article contributes to an understanding of craft autonomy as collective, part of a community of practice in a context in which experiential and practice-based knowledge is mediated by digital fabrication tools and the structural conditions of the work.

韩中漆艺文化比较

Lacquer art of Korea and China are from the same root. Lacquer art has been spread from Chinese inland to korean peninsula since Han dynasty, then it affected Japan and countries in southeast Asia. Korean lacquer art undertook Chinese type and then formed its own special style gradually. "Blue is extracted from theindigoplant,butis bluer thanit".The lacquer art from two countries are growing up and contradictory. Korean lacquer art undertakes civil thought and founds country with culture in modern times, which shows the special craft culture in Korea. On the contrary, Chinese lacquer art mostly continues tradition, and lots of traditional skills are almost lost. It is not good or fast in evolution of lacquer art.There is big difference between two countries. Analyzing the lacquer art difference between Korea and China can show the disadvantageof Chinese lacquer art. Under the background of raising rapid development of culture industry in China, how to promote modern lacquer art, incorporate everything, learn from each other, absorb excellent lacquer art tradition from two countries and speed up the evolution of modern lacquer art in two countries, whichis extremely an urgent theme.

Eessõna / Foreword

Dear reader.In your hand, you hold the second issue of the Estonian Native Crafts Department of the University of Tartu Viljandi Culture Academy annual periodical Studia Vernacula with the title “Manifest”. The aim of the publication is still to make a contribution to Estonian studies by investigating native manual heritage and creating an academic meeting place for craft culture. As previously, the journal will make its way to its readers in October around the time when working away from home comes to an end and granaries are being inventoried. The time of reflection.
 On behalf of Studia Vernacula I'd like to thank all of the authors and the readers with constructive criticism who have helped to sculpt the journal to become more streamlined. I'd like to bring out the students of the Native Crafts Department whose work has made us believe in the future of crafts. A big Thank You to the entire team of Studia Vernacula and especially to Helen Kästik, Kanni Labi, Madis Rennu, Lembe Lahtmaa and Kristjan Mändmaa for being interested in the contents and the quality and comprehensibility of the journal and for the many hours spent with manuscripts and their authors. Their professional attitude has been an irreplaceable form of support for my work as editor-in-chief.
 We are grateful to the University of Tartu for supporting the publishing of the journal from the budget for ethnic studies, to the Cultural Endowment of Estonia for covering the editing, translating, and printing expenses, and to Männiku Metsatalu for their moral and physical support.Aimla, Viljandi County, September 2015

Under the Mask: Creative Dis/Possessions of Borderlands Remembrance Practices

Each November, thousands of people gather in the small downtown of Tucson, Arizona, for a ritualistic and participatory event known as the All Souls Procession. While the Procession has drawn criticism for the cultural appropriation embedded in many of its crafting practices, its stakeholders are hesitant to acknowledge a meaningful connection to Dia de los Muertos as they frame the procession as an “authentic” multicultural event. Rather than flattening our engagement with the All Souls Procession into an either/or binary by solely condemning its problematic dimensions or praising its creativity, we choose to embrace the event’s complexity by continuing a both/and critical framework: a way of looking at the world that resists two-dimensional, binary categories. Our web-text takes the form of a multimedia scrapbook, a compilation of artifacts, sketches, sounds and snapshots that reflect our layered memories—as well as the layered histories—of the 2014 All Souls Procession. Through our craft, we invite you to explore some of the complexities of craft culture in community practice.

Women’s collaboration for the enhancement of craft culture in contemporary Turkey

Abstract The contemporary fashion system that has been shaped by the global economy provides fast consumables that are the products of a monocultural vision of design. In this system, cultural references, historical and ecological considerations and the notion of quality are ignored. The structure of fast fashion not only perpetuates an identity of women that is homogeneous and deprived of a sense of belonging, but it also creates this identity. Moreover, mechanization and mass production have led to the extinction of a great variety of traditional crafts because the adaptation of pattern, ornament or weaving techniques, indigenous to a particular culture, necessitates simplification for industrial production. In this way they are not only simplified technically, but their cultural meanings are also trivialized. As a result these crafts are no longer passed down to future generations. Disengagement from craft practices causes a cultural misidentification of both consumers and artisans. Placing emphasis on craft culture can prevent the devaluation of these cultural products, especially in economically emerging countries such as Turkey, where a lack of industrialization can become advantageous for the advancement of craft through the integration of local knowledge and labour. This article emphasizes the necessity of institutions, organizations and individuals in the preservation of craft and the handmade. In this regard the Aegean town of Ödemis¸ has been selected as a case study. In 2011, seven women entrepreneurs established Ödemis¸ Women’s Cooperative and built an atelier to support womens’ engagement with crafting. The textiles of Ödemis¸ are the products of a multicultural history. Hellenic, Roman, Byzantine, Selcuk, Ottoman and Turkish transitions have intensely affected the production methods of textiles in the region and have created a unique identity. Colouring methods are as old as the Byzantine Empire, and for more than 1000 years silk weaving and crochet have remained the major source of living for the women of Ödemis¸. This article will reveal the relationship between cultural identity and craft, emphasize the impact of women’s craft practice in this context and assess the importance of the atelier as a collaborative workspace.

Beginning and development of metal craft culture of Baekje from Suchon-ri tombs

이 연구는 개화기 이후부터 2010년까지 국내에 간행된 사전 중에서 한국 무형문화재와 관련된 사전 편찬의 현황을 분석하여, ‘한국 무형문화재 사전’ 편찬의 필요성과 그 사전 편찬의 미래적 프레임을 아래와 같이 제안하고자 한다. 첫째, 한국 무형문화재는 한국이라는 지역적 토대를 기반으로 한 동일한 문화권 속에서 시간의 축적과 함께 전승되어 온 역사성·학술성·예술성·대표성을 지닌 공식화된 고전이라고 할 수 있다. 해당 분야를 다룬 종이 사전은 약 17개 정도이며, 이 중 2개는 검색포털을 통해 온라인으로 제공된다. 둘째, 한국 무형문화재의 분야를 다소 비중있게 다룬 공공기관의 대표적인 사전 3개의 해제를 통해서 내용적인 측면을 살펴보니, 한국 무형문화재의 사적 조망을 가능하게 해 주는 중요한 정보를 제공해주었다. 다만 표제어의 집필내용이 소략하게 제시된 점, 제시된 내용들이 단편적이라는 점, 편집의 완성도가 떨어진다는 점들은 해당 사전편찬의 한계이자, 차후 보완되어야 할 과제들이다. 셋째, 한국 무형문화재에 대한 본질적인 이해 접근을 통해서 무형적 유산들의 진화적인 과정과 그 과정을 작품화시킨 인물들까지 조명할 수 있는 사전 편찬의 미래적 설계가 필요하다. 본고에서는 국가무형문화재 제27호 ‘승무’를 표제어로 선정하여, ‘한국무형문화재 사전’ 편찬의 집필 프레임을 제시한다.

Creating communities: the use of technology in craft and DIY communities of practice

Purpose– The purpose of this study is to gain insight into craft and do-it-yourself (DIY) communities of practice (COPs) and how the use of technology provides ways for participants to connect, share and create. Gaining deeper insights into the practices of these communities may provide new opportunities to utilise within this flourishing domain.Design/methodology/approach– Qualitative methods were adopted to collect data and analysed through an interpretivist lens. Semi-structured interviews were conducted with members of craft and DIY COPs to gain a deep understanding of the broader ethnographic study. Existing theoretical perspectives surrounding COPs have been applied to further current perspectives.Findings– Findings from this study suggest that being part of a COP allows participants to connect to others, build creative enterprise and learn or enhance skills. Insights gained from this study indicate some of the detailed ways in which the application of technology redefines craft and DIY COPs.Research limitations/implications– This study provides a succinct exploration of a vast and fluid domain; if presented with more time and wider resources, the research would include further exploration of virtual COPs.Originality/value– The investigation provides a rich insight into the use of information and communication technologies (ICTs) within craft and DIY COPs. The application of theoretical perspectives from the area of Information Systems (IS) and Technology Management to this domain is regarded as an original research and furthers knowledge in these areas.Originality/value– The investigation provides a rich insight into the use of ICTs within craft and DIY COPs. The application of theoretical perspectives from the area of IS to the domain of craft and DIY culture is original research and extends existing concepts to include skills sharing as a previously unexplored domain.

O papel do design na produção e cultura do artesanato com teares e corantes naturais de Carmo do Rio Claro-MG/Furnas

In this study, it was proposed a general objective theoretically analyze the role of design in production and culture of folk crafts. Focused on the creation of popular textile surfaces and their role in the design process of collection and analysis of native natural dyes for the production of regional weavings, the city of Carmo do Rio Claro-Furnas. As a general procedure to map the literature and documentation of local plant species, was reviewed, traditionally used to obtain dyes and weaving application. Sequentially conducted field observations and interviews also employed a questionnaire to understand the popular uses of this raw material from local artisans. The results of analysis showed the sustainable nature of this process and its relevance to the preservation of local and regional cultural identity

Korean Craft-arts Culture of the Modern Era: The Structure of Modern Craft and the Influence of Political and Ideological Elements in the Process of Production

Abstract : Background This paper studies the development of craft culture throughout Korea’s complicated modernization era, during which industrial design and contemporary craft-arts began to see a division. Methods : This study examines the internal and external aspects of modern Korean crafts. The external aspect study includes categorization of the craft products by their intended market, and by types of producers. The internal aspect study analyzes the social and cultural contexts of the political and ideological elements that influenced the crafts. Results & Conclusion : Modern crafts have reflected the social ideologies of their era. Modern-era Korean crafts were influenced by the social environment such as Japanese colonial culture and Confucianist ideologies more than by the creativity of individual producers.

Quiet Activism and the New Amateur

ABSTRACTThis article contributes to debates about the expanded, and expanding, nature of crafts by exploring the activist potential of amateur, domestic crafts and the quiet activism of everyday making. In contrast to much recent work on the resurgence of interest in DIY craft culture, it takes a historical perspective and argues for the emergence of a new, historically conscious, socially engaged amateur practice. The recently exhibited cross-stitch embroideries of Major Alexis Casdagli and my own memories of my grandmother provide a starting point for exploring the lived experience of home crafts in the first half of the twentieth century. Close analysis of home-craft features from 1930s women's magazines offer a framework for understanding how such marginalized spaces promote agency through new feminine imaginaries. Michel De Certeau's notion of la perruque suggests how such devalued activities as crochet and knitting can be envisaged as strategies or tactics that afford agency and shape distinctive social relations, while interviews with two contemporary practitioners provide insight into historical continuities and current responses.

A study on a plasticity analysis for the Gilt-bronze Incense Burner of Baekje -Through a comparative analysis with Chinese Inlaid Gold Boshan Xianglu-

The Baekje Gilt-bronze Incense Burner which was excavated in an ancient temple site in Neungsan-ri, within the City wall of Buyeo-Gun on 23rd December 1993, was a quintessence of the Bakje Arts that people could not have imagined until that time. The Baekje Gilt-bronze Incense Burner transcended 1400 years of time and space. The censer that finally came up to us delivered a kind of a powerful message to us. The power was so strong and mysterious that as if an ancestor who had been sleeping in the grave with a great silent had woken up and become alive to tell us something very precious. Baekje Gilt-bronze Incense Burner, unlike any other existing artifacts, might have a possibility that could provide an insight of the ancients' psych who once lived on our land. This kind of view from several archaeologists, therefore, made our hearts be filled with excitement and flutter. We call 21st century as an era of culture. This era requests that the culture needs to be ethnical but the culture also needs to go beyond that ethnic. In other words, a culture without an ethnic cannot exist, and a culture that puts an ethnic the very first before any other things cannot exist as well. Regaining our identities first and then embracing and harmonizing various cultures can be an wise way overcoming above problem. Hence, through this study, I intend to recognize characteristic of plasticity for Baekje Gilt-bronze Incense Burner, understand the world of Baekje people's spirit and thus provide an opportunity to shed new light on the Baekje Arts. By doing so, I would like to publicize a metal craft of Korea to the world. I also try to seek for an identity of Korea's craft culture which is receding and find a direction for the Korea's craft.

A study on the development of cultural industries craft

Craft culture industry 'crafts and culture made up of industry meaning of' rather than 'as a craft industry'. Culture it is desirable to see Roy. Craft culture industry features, technology, techniques, or by indigenous raw materials to the foundation, which is produced as a plastic product manufacturing process, characteristics of the main part of the craft industry with a means to manufacture products. Historically, over the years, which has been formed by tradition, culture, crafts related to specific industries. Only by looking at the craft cultural industries have unique features and understand the value and no longer making craft activity does not remain only in the dimensions of the production, distribution and development of craft industries and national and ethnic culture has inherited expression traditionality a representative craft, culture as a development plan for the industry through the development of market research is to propose ways.