Traditional Crafts Research Articles

Modern Tools, Ancient Skills: An Attempted Dialogue between AI, Design and Traditional Craft

Modern Tools, Ancient Skills: An Attempted Dialogue between AI, Design and Traditional Craft

Fostering innovation in Algerian artisanal crafts: The impact of cluster development in Constantine and Batna

This article explores the cluster approach as a lever to stimulate innovation and entrepreneurship in the artisanal crafts sector in Algeria, focusing specifically on the clusters of brass artisans in Constantine and jewelry artisans in Batna, two departments in Algeria. Drawing on Richard Florida's „3Ts“ model (Technology, Talent and Tolerance), the study analyzes how belonging to a cluster can enable artisans to acquire innovation capabilities and undertake collective projects. The methodology used in this research is a field survey conducted during the 21st International Traditional Crafts Fair in Algeria. The sample consists of 228 artisans, representing 30% of the fair's participants, with a distribution of 46% women and 54% men. Data were collected using a structured questionnaire based on the three key innovation factors defined by the „3Ts“ model. The data were then analyzed using descriptive analysis and cross-tabulation techniques. The results indicate that while artisans remain attached to traditional methods, they recognize the importance of innovation in preserving and promoting their craftsmanship. However, the adoption of information and communication technologies is limited, highlighting a need for increased training. The study also demonstrates the potential of clusters to enhance collaboration among artisans, facilitate knowledge exchange and improve their competitiveness in the global market. Finally, the article underscores the importance of protecting artisanal creativity through collective marks and geographical indications.

The elegance of lacquer: Unveiling traditional lacquer techniques in East Asia

This research delves into the intricate world of lacquer art in East Asia, aiming to unravel the relationships among artisan perspectives, aesthetic values, and the contemporary relevance of this ancient craft. The purpose is to provide a comprehensive understanding of how historical development, apprenticeship traditions, and evolving aesthetic values shape the intricate landscape of lacquer artistry. Employing a qualitative approach, this study conducts in-depth interviews with artisans and experts in the field of lacquer art. The research involves a comparative analysis of past literature, drawing upon historical and contemporary works to contextualize the findings within the broader trajectory of lacquer art. Thematic analysis is also applied to unravel the nuances of artisan perspectives, the transmission of knowledge through apprenticeship traditions, and the cultural and aesthetic dimensions embedded in lacquer paintings. This mixed-methods approach enriches the study by providing a holistic and nuanced exploration of the identified variables. The findings illuminate the enduring significance of apprenticeship traditions in preserving traditional lacquer techniques, with artisans actively navigating challenges posed by globalization and digital platforms. Aesthetic values, including symbolism and visual harmony, are revealed as integral components contributing to the narrative richness of lacquer paintings. The study uncovers the dynamic relationships among these variables, emphasizing the adaptive nature of lacquer art in a contemporary context. The implications extend to cultural preservation, heritage management, and educational initiatives, offering valuable insights for practitioners, policymakers, and educators involved in the realm of traditional crafts. The study contributes to theoretical frameworks on cultural continuity, knowledge transmission, and the socio-cultural dynamics of artistic practices.

Traditional Craft Meets Contemporary: Exploring the Potential of Kelarai Bertam Weaving Technique in Modern Furniture Construction

Kelarai Bertam is a traditional weaving method that has been used for ages to make comprehensive weaves for usage both indoors and outdoors in Malaysian homes. This traditional practice, however, is being explored as an innovative method to build modern furniture in response to the increasing need for unique and environmentally friendly designs. Using this detailed weaving technique, designers construct patterns and motifs that combine aesthetic appeal with practicality out of organic materials like rattan, bamboo, and pandan leaves. When applied to contemporary furniture, the outcome's combination of traditional craftsmanship and modern style is fascinating. This combination provides an opportunity to preserve and acknowledge traditional techniques while also emphasising the strength of Malaysian innovation in the present era.

Probe into the Symbolic Significance of Cultural Symbols and Traditional Crafts of Huizhou Lacquerware

Through the analysis of the development course and regional characteristics of Huizhou lacquerware, this paper reveals its unique artistic characteristics and the profound cultural value behind it. This paper introduces the whole process of Huizhou lacquerware from raw material selection to finished product production in detail, and discusses the inheritance status and challenges of this process in contemporary society. It is found that Huizhou lacquerware is not only a fine work of art, but also an important medium to convey the essence of China culture.

Cross-Cultural Histories and Traditions Between the Cut and Engraved Glass Scenes of the UK and Japan

Recent research conducted by Heritage Crafts, a prominent national advocacy organisation dedicated to preserving traditional heritage crafts in the UK, has unveiled a concerning trend: several traditional craft skills teeter on the edge of extinction within the UK. This revelation stems from the Heritage Crafts Red List of Endangered Crafts, an initiative which identifies crafts facing the risk of endangerment. In their recent 2023 publication, Heritage Crafts highlighted the distressing decline of cut and engraved glass craftsmanship in the UK, categorising and placing both brilliant cutting (as endangered) and copper wheel engraving (as critically endangered) on the Red List of Endangered Crafts in the UK. This means that these crafts pose the risk of not being actively practised. In December 2023, the alarming downturn of these crafts in the UK was explored and discussed during a conference held at Edinburgh College of Art (ECA), entitled Edo-Kiriko: The Art of Japanese Cut Crystal. This event explored the cross-cultural connection and exchange that exists between Scotland and Japan, drawing upon a rich historical exchange that saw the transmission of Western-style glassmaking from Scotland to Japan in the 1870s–1880s. It also details the more recent exchange that has been in place between Edinburgh College of Art (ECA) and the Horiguchi Kiriko glass studio in Tokyo, Japan. This modern-day exchange has seen the recent transmission of glass-cutting skills through a masterclass led by Toru Horiguchi at ECA. This paper presents this conference, introducing the invited speakers and creating a commentary on the proceedings and the plenary discussions that unfolded. Focus and discussion will be given to the factors that have contributed to the current decline of cut and engraved glassmaking in the UK and the possible measures that could be taken to support and safeguard this field. The final part of this paper will offer a reflection on the conference proceedings and will conclude by making an urgent call for the future of cut and engraved glass craftsmanship in the UK. It is hoped this paper will draw attention to the urgent need for support from education and funding bodies, to safeguard and protect these vital heritage crafts, which boast a rich history in the UK.

Reviving Tradition Through Design: Exploring Telepuk Craft Woodblock Design

The traditional textile craft in Malaysia has yielded a plethora of remarkable fabrics. Among the most exquisite Malay textiles is Telepuk Textile. However, the Telepuk craft has dwindled in popularity and demand over time. The laborious production process reliant on Telepuk woodblocks has impeded the development and revival of this craft. No woodcarvers currently produce Telepuk woodblocks as part of their repertoire. Artisans also grapple with the challenge of producing Telepuk cloth in substantial quantities and introducing innovative designs without new Telepuk woodblocks. This study delves into the design strategy to rejuvenate the declining Telepuk craft. Employing a mixed-method research approach, we collected primary data through semi-structured interviews with experts. We conducted a quantitative survey to evaluate proposed designs and analyse pertinent secondary data. In summary, this research yields three critical findings for revitalising the Telepuk craft: (i) Harnessing the intrinsic value of traditional crafts like Telepuk can heighten awareness among the younger generation. (ii) Collaboration between designers and artisans emerges as the linchpin of the craft's revitalisation strategy. (iii) Transforming the production process and introducing innovative designs for Telepuk woodblocks can expedite the development of Telepuk craft production using current technology. The forces of globalisation and escalating demand for mass-produced, homogeneous items have fuelled a yearning for more meaningful products, particularly those imbued with cultural significance. The revival of lost crafts, such as Telepuk textiles, aligns with sustainable design principles. This study contends that the resurrection of traditional crafts like Telepuk necessitates incorporating appropriate technology and pragmatic design to uphold cultural heritage, enhance production processes, and cater to contemporary demands. The new Telepuk woodblock designs have been rigorously tested and developed based on survey results. The resulting designs must strike a practical balance between contemporary technology and artisanal craftsmanship. The suggested revitalisation strategies can be adapted incrementally and selectively, contingent upon the capabilities of the artisans.

Report on Visit to the Yuki City Traditional Crafts Center

Report on Visit to the Yuki City Traditional Crafts Center

Research on design thinking of pleated clothing inspired by fractal geometry

PurposeThis paper summarizes the design thinking of pleated clothing, uses virtual software to simulate the pleated clothing process and clothing effect and applies the fractal geometry principle to conduct relevant experiments, which verifies the possibility of simulation software assisting pleated clothing design, improves research and development efficiency, lays a foundation for future process parameter collection to upgrade the pleated clothing database and realizes the diversity of digital innovative design of pleated clothing.Design/methodology/approachAccording to the principle of self-similarity and fractal dimension in fractal geometry, the design thinking of pleated clothing is put forward and the simulation folding of 3D digital technology is expanded. The design method takes traditional craft and digital technology as an example. The two-dimensional design thinking of pleated clothing is geometric crease thinking of fabric swatch and geometric expansion of basic clothing pattern. Three-dimensional modeling design thinking, such as based on the human body shape, geometric shape and folding mode. As well as digital design thinking, such as the angle of the fabric element and the perspective of garment pattern change.FindingsThis paper analyzes the Y structure of the similar shape “binary tree” in origami art, the principle of infinite folding with 45? As the unit and the point set capacity theory of Cantor concentric circles in the fractal dimension principle expands the design thinking of pleated clothing, applies a large number of experimental cases of design thinking inspired by the fractal geometry of pleated clothing and validates the possibility of simulation software assisting pleated clothing design.Research limitations/implicationsWe argue here that digital technology should continue to be used in a similar way for research and development in other clothing design-related processes in the future. When it comes to the possibilities for digital innovation in relation to pleated clothing, there is a lack of data for modeling the characteristics of such clothing and establishing the processing requirements. Thus, there is scope here for innovation breakthroughs in terms of both the art and the technology associated with clothing design, not to mention how the two are integrated. This paper has laid some potential foundations for this through its elaboration of fractal-inspired design in the context of pleated garments.Practical implicationsNumerous experiments were undertaken and digital simulation software was used to explore various potential designs in the paper. This confirmed the possibility of using simulation software to assist in the design of pleated clothing, which offers the scope for improved research and more efficient development. However, if the processing parameters for changes in the pleated fabric are not set in the software, it is impossible to automatically generate auxiliary clothes. The collection of processing parameters and the creation of a more comprehensive pleated clothing database should therefore be the focus of future research.Social implicationsThe paper is oriented toward future clothing design. There is some impact on research, practice and/or society. This opens up the possibility of using fractal geometry in the design of the folds and dimensional energy in pleated clothing. On the whole, the innovation point is clear and the idea is novel. By seeking the principles of science and technology, sensing the infinite possibilities, improving the design efficiency and inspiring innovative design thinking methods, in order to meet the diversity and personality needs of the external shape of the human body.Originality/valueThe concave and convex texture of pleated fabric is geometric and decorative. It has a direct reference value for pleated clothing design by using the concepts of partial and whole in fractal geometry and the quantity and energy conversion in fractal dimension space. Due to the influence of clothing intelligent manufacturing policy, there is a lack of data sorting for the modeling characteristics and process requirements of pleated clothing, and there is innovative design thinking that needs to be integrated with technology and art, which lays a foundation for the future collection of process parameters to upgrade the pleated clothing database.

REVIEW OF TEXTILE PRINTING: DIFFERENTIATION OF BLOCK, SCREEN & DIGITAL PRINTING

In India is well known for its traditional culture and art features. Hand block printing techniques are practiced in Rajasthan. Hence, the block printing is a slow process. Printing process of desired pattern is defined and repeated. The various styles for block printing are significant of the country in rich culture and heritage. It is a unique of each region will have a different variations of traditional craft. That was crafted for propagating Hindus mythology of depicted folk style story transform of imagination forms of God and goddess in literature. In this article, we will discuss about block printing, the development digital printing and manual of screen printing. The comparison of these three styles of textiles printing. It is a oldest method of art craft. The economics of ink jet printing are the main driver of digital printing technique. The costs of ink jet printing are lower for short run lengths than in traditional screen printing. This switches for longer runs production. Short-run textile printing commissions are the main source of jobs for small to medium scale textile producers in Ghana. And manual screen printing is the main process employed by these small-scale textile printers. These layers of limitations negatively affect the overall outcome of the prints. This is because, the large-scale textile factories in Ghana can print a minimum of 2400 yards due to their machine settings, calibration and running cost to make the least returns. KEYWORDS: Hand block printing, natural dyes, screen printing, techniques, digital printing.

Review on Sustainable Fashion: Innovations and Challenges

Sustainable fashion is evolving through advanced technology, innovative business models, and progressive education. Technologies like AI, 3D printing, and blockchain reduce waste and boost efficiency, supporting a shift to greener practices. Emerging business models, such as the circular economy, are redefining industry norms, though application remains complex. Educational initiatives like challenge-based learning (CBL) equip students with critical problem-solving skills. Reviving traditional crafts and using eco-friendly materials—like bamboo, recycled fibers, and organic cotton—are vital for reducing environmental impact. These advancements help the fashion industry address both ecological and social challenges.

An Examination Of Traditional Craft As A Component Of Tsangaya System Of Education In North Central Zone Nigeria

An examination of traditional craft as component of tsangaya system of education in north central zone Nigeria. A survey research approach and a Multi-Stage Cluster Sampling procedure. Data was gathered from 297 respondents drawn from tsangaya schools from 3 selected states in north-central Nigeria, kwara, Nasarawa and Niger State. The collection of data was using a questionnaire that was structured and well-validated. Descriptive and inferential statistics were used for the data analysis. The outcome revealed the overall mean score of 3.93 for the ten skills needed as agreed by the respondents. The overall mean score of 3.71 of the five attitudinal items as agreed. The overall mean score of 4.05 of the four awareness statements listed as agreed. The cluster mean score of 3.46 shows serious challenges towards Traditional Craft Skills. The findings show that awareness has the highest Beta value (B=0.729, P<0.05). The findings supported the formulated hypothesis, therefore, we reject H0. Followed by attitude with (B=0.400, P<0.05) the findings also supported the hypothesis, therefore, we reject H0. The challenges had the lowest Beta value of (B=0.022, P<0.05) and also have a significant impact on the traditional craft skills. The findings equally supported the formulated hypothesis, therefore, we reject H0. In conclusion, attitude and awareness had a serious impact on entrepreneurship skills acquisition program. Hence, Adj.R2 of 98.6% as shown on Table 5 is an indication of another 1.4% unexplained factors that are not considered in this study. Therefore, its recommended that Governments at all levels (Federal, State and Local governments) should come up with more effective means of supporting the traditional craft in Tsangaya School’s system in north central Nigeria

Arts And Crafts Of The Singpho Tribe Of Assam: An Empirical Study

Each tribe has its unique style and traditions, contributing to the rich tapestry of global indigenous art and craft. In tribal societies, daily living, cultural identity, and arts and crafts are intricately entwined. These artistic manifestations frequently convey spiritual beliefs, narratives, and communal values in addition to having utilitarian functions. Natural dyes, textiles, wood and bamboo are among the materials that tribal obtain locally. Their relationship with nature is reflected in their connection to the environment. Generations of people pass along traditional skills, which include weaving, carving and making of bamboo basket. Every technique could have a unique cultural meaning. Numerous pieces of art have motifs and symbols that allude to social rank, tribal heritage, or spiritual beliefs. Crafts like clothes, baskets for carrying things all have useful applications. They combine practicality with artistic expression. Many tribal crafts are integral to rituals and ceremonies, such as textile used in dances or ceremonial clothing that signifies important life events. Arts and crafts foster a sense of community and belonging. This paper has been tried to explore the arts and crafts of the Singpho tribe of North-East India based on empirical study. The Singpho tribe, primarily lived in North-East India, particularly in Arunachal Pradesh and parts of Assam, has a rich tradition of arts and crafts that reflects their cultural identity and way of life. The findings revealed that arts and crafts of the Singpho tribe is a reflection of their rich cultural and heritage.

Current state of tourism services for tourists: a study in Hanoi City, Vietnam

Assessing tourist satisfaction has become a hot topic for tourism research in recent years. Many studies have shown that improving tourist satisfaction not only has a positive impact on service providers and destination reputation, but also increases tourist loyalty, lowers price elasticity, lowers future transaction costs, and increases production efficiency (Chen et al., 2012; Nguyen Trong Nhan et al., 2014). Some other studies have also shown that improving tourist satisfaction will stimulate word-of-mouth advertising (Ekinci, 2004; Gonzalez et al., 2007; cited by Chen et al., 2012). Therefore, assessing tourist satisfaction is very important, it helps to find out the existing problems, limitations or strengths of service quality from the perspective of tourists, thereby finding solutions to contribute to improving the ability to provide better and better services. Hanoi as the capital, the economic - political - social center of Vietnam. Therefore, the tourism - hotel industry not only attracts tourists but also diplomatic, business and economic - political - social event participants. Hanoi has great potential for tourism - hotel with hundreds of famous landscapes, historical and cultural relics, traditional craft villages, festivals. In terms of natural tourism resources, Hanoi is famous for Huong Tich as "Nam Thien De Nhat Dong". A series of lakes such as West Lake, Hoan Kiem Lake, Dong Mo, Suoi Hai, Quan Son, not to mention the potential of mineral water resources. Hanoi also has many scenic spots around the foot of Ba Vi mountain, creating branded eco-tourism resorts such as Ao Vua, Vua Ba, Khoang Xanh, Suoi Tien, Thac Da, Thac Nga, Ba Vi National Park, etc. Keywords: Satisfaction, Tourists, Service Quality.

Nigerian Traditional Craft for Self-Reliance and Cultural Tourism Development: Inyi and her Pottery Production

Nigerian Traditional Craft for Self-Reliance and Cultural Tourism Development: Inyi and her Pottery Production

THE ETHNOCULTURAL ASPECT IN THE ARTICLES OF THE NEWSPAPER “ALBANIA”

The state of the Albanians in the end of the XIX century became even more worse from the Otoman Empire which not only kept their territories under their rule but also stand a more rigorous rule by not letting anything national. This made that a good Albanian elite to start their attempts to raise national consciousness outside of Albanian territories, such case was the publishing of the newspaper “Albania” from Faik Konica in Brussels. In this capital work from Konica, whole chapters are dedicated to spiritual culture of Albanians, of material culture and the way of living. Konica talked about “Besa”, the hospitality, the bravery feud of the Albanians, few traditional crafts, the way of eating, traditional clothes and very other everyday issue of Albanians which he considered national treasure. The purpose of this research was to highlight Konicas’s attempts as a connoisseur to the core of Albanian character by analyzing every virtue of them by believing that the nationality should be protected not only in the battlefields, but also by defending and appreciating more and more the deep meaning of the national traditions because their preservation is part of saving the national identity.

The Industrial Design Model in Italy at the Stage of Formation. The Aemilia Ars Group

The article considers the formation of the industrial design model in Italy in the peculiarity of socio-political conditions at the turn of the 20th century. Orientated towards the prospects of the design industrial culture, the progress of new art tended towards two vectors of development: a strong influence of traditional heritage of the great classical past and passion for modern examples of European design schools. The design, formed within the boundaries of the Italian regional version of the Art Nouveau style, stile Liberty, became a product of a specifically Italian design and artistic culture with a strong designer’s original creative beginning. It allowed freedom of experimentation in the search for its own unique means of expression. The industrial model of design was determined by the experience of the great craft heritage in addition to the influence of the artistic traditions of the new style. The new “revival” of the artistic industry of Italy took place in symbiosis of the activities of an artist-designer and artistic craft and industrial production. The Aemilia Ars group, as a regional design and production association, became an exemplary model of industrial design in Italy. The multidisciplinary structure of the association, which included a collaboration of architects, designers, and artisans specialising in various areas of the art industry, allowed the implementation of interdisciplinary tasks: from architectural restoration to interior design solutions. The group was an example of a unique design culture focused on a scientifically based approach, regional craft artistic traditions and an original style of a creative experiment. The great design-artistic and technological heritage as well as design potential of the Aemilia Ars craft traditions can still be found in the practice of a number of local associations of embroiderers of modern Bologna.

Learning design for short-duration e-textile workshops: outcomes on knowledge and skills

AbstractE-textiles provide an interesting field of research as they “blend traditional craft with modern science” (Peppler, 2016) and help learners “broaden their own perceptions of computing” (Searle et al., 2016). Despite the promising findings by primarily long-term interventions structured around e-textiles, educational curriculum reform has been slow to materialize. Educators who embrace a STEAM philosophy are more likely to endorse short workshops, integrating them in existing courses or initiatives; this could serve as a steppingstone for longer interventions and bottom-up curriculum reform. This study examines whether shorter e-textile workshops (lasting four hours) can result in significant gains in understanding. We present an investigation of e-textiles with 22 young children who have no prior experience with e-textiles or working with microprocessors. We present details of our learning design, as well as findings related to circuitry knowledge and computational making skills. We find that the children advanced their circuitry knowledge and practice a range of computational making skills. We further document a series of emerging challenges, including the children’s unwillingness to engage or lack of adeptness with software, a tension between aesthetics and construction, creativity limited by samples of previous e-textile projects, and the difficulty in grasping the materiality of e-textiles. We propose that some direct instruction and facilitation is not incompatible with the making ethos; the approach can help address these challenges, allowing young children to benefit from their participation in short-duration e-textile workshops.

Dyeing with Natural Colorants

This paper explores the use of dyeing with natural dyes in research, as well as a tool for retaining normality of life in crisis situations. Nowadays craftsmanship skills, and especially traditional crafts can double as a research object and a research tool. Dyeing fabrics with natural dyes is a traditional crafts skill which entails a high potential for creativity, and which is still practised in Latvia today. In the past, this skill often became a creative way for retaining the quality of daily life during wars and other crisis situations. Nowadays natural dyeing is not only a means of creative self-expression through traditional crafts, but the process also helps to study the value of colours, through understanding the complexity or simplicity of obtaining a particular colour, as well as the resulting colour palette, etc. The author of this paper has used her dyeing skills in researching various ethnographic sources from the 18th – 20th centuries. Dyeing experiments help to adequately assess descriptions of fabric colours in written sources from various historical periods, and to interpret historical guides about ancient dyeing techniques and methods.

Renovating Traditional Craft

This review article evaluates theories and on the entanglement of matter and meaning, elaborating and exploring the potential outcomes of craft in research processes. Exemplified through a collaborative exploration between me as a silversmith and programmers at the Mechatronic Innovation Lab (MIL) in Grimstad, Norway, I explore, through these theories, how renovation work served as a diffraction apparatus in exploring the relation between traditional craft and emerging mechatronic technologies in light of the concept of sustainability. Renovation work is, in this setting, understood as cutting, filing, grinding and polishing, often the final but nevertheless essential step in a production process. This type of surface work accentuates here how it is possible to not only see traditional crafts as carriers of intangible value linked to identity but also as a type of knowledge powerful of providing insights into the entanglement of matter and meaning. Through uniting different knowledge systems, like the subjective knowledge in the situated understanding of material, tools, setting and processes, and more objective knowledge, typically for observation, readings and purely cognitive activities, renovation work exposed, in this case, some of the limitations of automation and provided unexpected findings on the relationship between body and machine.