Traditional Crafts Research Articles

KAJIAN ETNOMATEMATIKA PADA PEMBUATAN TENUN IKAT KABUPATEN SINTANG

Tenun ikat is one of the traditional crafts of the Sintang Dayak community, which is often made by Dayak women from generation to generation from a young age to old age. Tenun ikat is used in traditional activities, weddings, and so on. This study aims to examine the philosophy of Tiang Belumbah motifs and Pelangka motifs, ethnomathematical activities, and mathematical concepts contained in tenun ikat in the Sintang district. The research method used in this study is a qualitative method with an ethnographic approach. Data was obtained by using interview and documentation methods. The subjects in this study were the women of the village Dayak tribe who made ikat in Ensaid Panjang Village, Kelam Permai District, Sintang Regency. Based on data analysis, it was found that the philosophy of the Tiang Belumbah motif symbolizes security and the Pelangka motif symbolizes prosperity, the ethnomathematical activities identified in Sintang district tenun ikat are explaining, counting, measuring, and designing. While the mathematical concepts contained in tenun ikat are flat shapes, transformation geometry, simple graphs, and special regular graphs.

Pottery from Tell Khaiber: A Craft Tradition of the First Sealand Dynasty By Daniel Calderbank (Archaeology of Ancient Iraq 1). Ludlow: Moonrise Press 2021. Pp. xii + 282. £ 35. ISBN 978-1-910169-02-5 (cloth).

<i>Pottery from Tell Khaiber: A Craft Tradition of the First Sealand Dynasty</i> By Daniel Calderbank (Archaeology of Ancient Iraq 1). Ludlow: Moonrise Press 2021. Pp. xii + 282. £ 35. ISBN 978-1-910169-02-5 (cloth).

"Co-design is an inclusive approach for fashion designers working with traditional crafts": Exploring ethics of craft collaborations in design education

"Co-design is an inclusive approach for fashion designers working with traditional crafts": Exploring ethics of craft collaborations in design education

Innovative application of Diancui technology in modern jewelry design

Diancui craft is a traditional Chinese handicraft, which has a history of more than 2000 years. Because of its complex production process and special materials, it has gradually faded out of the stage of history. In addition, due to the impact of western culture, many traditional Chinese handicrafts are facing the loss. This paper will study and analyze the history and development of Diancui craft, the production process of Diancui jewelry, and the application of Diancui craft in modern jewelry design. Combined with the relevant characteristics of modern jewelry design, we will find the commonness between traditional and modern, and provide new inspiration for the application of traditional crafts in modern jewelry design. How can we better inherit and develop the traditional Chinese Diancui craft.

Spatial Distribution of The Leather Industry in Turkey

Türkiye’de dericilik faaliyetlerinin kökeni geleneksel bir zanaat kolu olarak Selçuklu ve Osmanlı Dönemi’ne kadar gitmektedir. Cumhuriyetin ilk yıllarında ağırlıklı olarak İstanbul’da yürütülen faaliyetler, 1950’den sonra İzmir, Gaziantep, Eskişehir, Antakya, Balıkesir, Bursa, Bolu ve Denizli gibi şehirlerde de gelişmiştir. Günümüzde Türkiye’de deri sanayinin coğrafi dağılışı incelendiğinde, faaliyetlerin büyük bölümünün güçlü ulaşım altyapısı ve geniş pazar olanaklarına sahip Marmara ve Ege bölgelerinde, daha küçük bölümünün ise ulaşım alt yapısı ve pazar olanakları açısından zayıf olan İç Anadolu, Akdeniz ve Karadeniz bölgelerinde yer aldıkları görülmüştür. Bu mekânsal dağılış kalıbının oluşmasında; pazar, ulaşım, işgücü, sermaye, enerji kaynakları, kişisel kararlar, devlet politikaları ve şehirleşme gibi çeşitli faktörlerin etkisi olmuştur. Bu çalışmanın amacı, Türkiye’de deri sanayi faaliyetlerinin coğrafi dağılışını belirlemek ve bu dağılışa etki eden faktörleri incelemektir. Deri sanayi ve bağlantılı faaliyetlerin yer seçiminde etkili olan faktörleri belirlemede çeşitli coğrafi yöntem ve teknikler kullanılmıştır.

Exploring Indigenous Craft Materials and Sustainable Design—A Case Study Based on Taiwan Kavalan Banana Fibre

For a long time, local craft traditions were passed on through apprenticeships. Consequently, new generations of designers and industries cannot easily intervene or produce new designs. This inability to integrate craft traditions in a modern context and changing cultural environment has resulted in the stagnation, decline, or even elimination of such crafts. This study focused on the use of banana fibres in the craft traditions of the Kavalan people of Taiwan, and research-through-design concepts were applied to the creative study of materials that are essential to ecological sustainability and cultural heritage. The method, Material Driven Design (MDD), was implemented through participation to experience traditional processes and explore the visible properties of craft materials. The goal was to gain a holistic understanding of materials and leverage the participants’ expertise in determining which steps in the methods could be improved. This process was supplemented with grounded theory, which was used to analyse and summarise the data in order to understand the factors influencing the creations of participants. Lastly, in addition to producing semifinished and finished products in our experiment, we believe that our findings regarding the examined materials and material tinkering to develop a material-tinkering loop based on the MDD can be (i) combined with the unique insights and technical expertise of designers and (ii) used alongside contemporary technical and digital aids to effectively support the continued development of innovative craft designs.

Exploring the impacts of traditional crafts on microbial community succession in Jiang-flavored Daqu

The usage of traditional crafts during the fermentation process has a great influence on the quality of Jiang-flavored Daqu. This study focused on exploring the impacts of traditional crafts on Daqu microecology through high-throughput sequencing and statistical analyses. These results show that traditional crafts modulated microbial community succession through the regulation of temperature, moisture, and acidity. High temperatures (66 ± 1 °C) were conducive to the growth of microbes that produced flavor compounds, such as Bacillus and Thermoactinomyces. Low moisture content (correlated with 22 genera) and high acidity (8 genera) were mainly responsible for the decreased microbial diversity. Two flipping processes showed significant effects on the internal microecology and microbial metabolism. The first flip of Daqu may assist in regulating the microbial community structure and promoting the enrichment of flavor-functional microorganisms. The second flipping was reasonable for the enrichment of esterifying functional microorganisms, thus enhancing the esterifying power of Daqu with reduced acidity. Furthermore, analysis of the metabolic pathways at different stages of the process showed that the levels of flavor precursors and secondary metabolites within Jiang-flavored Daqu significantly increased during fermentation.

TRADITIONAL CRAFTS OF DAGESTAN IN THE CONTEXT OF HISTORICAL AND CULTURAL RELATIONS WITH THE REGIONS OF RUSSIA, COUNTRIES OF THE CAUCASUS AND THE MIDDLE EAST

The present study examines the formation and mass development of artistic crafts in Dagestan for the past millennium. The evolution of traditional arts and crafts of Dagestan can be seen through the history of their formation, contacts of the inhabitants with foreign cultures. The leading approach in the study of the problem that combines historical-cultural, historical-comparative and artistic-descriptive methods, which allow for a comprehensive consideration of the cultural influences of neighboring (Transcaucasia, Russia) and the Middle Eastern countries on the development of arts and crafts in Dagestan over the past millennium. The article shows that the spread of Islam, close contacts of Dagestan with the peoples of Transcaucasia, Iran, the Middle East, the accession of Dagestan to Russia, foreign cultural influences of the Soviet era provided prerequisites for the development of professional and folk arts and crafts in Dagestan. At the same time, the craftsmen of Dagestan not only borrowed, but also redesigned many other cultural and ethnic traditions, creating new artistic forms and phenomena, often of a world and regional level. The historical development of Dagestan, associated with the spread of Islam, the influence of the Transcaucasian, Iranian, Middle Eastern, Russian-European, Soviet traditions of artistic culture, contributed to the formation in Dagestan of the traditions of religious architecture, ordinary, glazed and painted ceramics, carpet weaving, weapons, jewelry, coppersmithing, decorative stone and wood carvings, embroidery with gold and silk thread, etc. The provided material is of great scientific value for historians of culture and art, ethnographers, practitioners of arts and crafts and fine arts, for specialists engaged in educational practice in schools and universities.

Contemporary Kazakh Crafts in the Focus of Ethno-Symbolism: Methodological Aspects

The issues of studying symbolism and symbol-creativity in the art of contemporary Kazakh crafts have made the methodological potential of Anthony Smith’s ethno-symbolic concept topical. Relying on the scholar's belief that national traditions are based on a set of stable ethno-cultural symbols that ensure their longevity and vitality, contemporary Kazakh craft can be studied in the aspect of national identity. Anthony Smith’s ethno-symbolic discourse allows us to consider objects of national culture in their historical dynamics as a reconstruction of stable symbolic structures that preserve the national identity core. The study raises the conceptual issue of “ethnicity” and “nationality”, as Anthony Smith’s very position is conceptually opposed to the ideas of both constructivists and supporters of primordialism. The scholar believes that the cultural basis of a nation, its current state depends on “previous development”, on cultural traditions, language and ethnic symbols. Thus, the issues of cultural and national identity appear to be correlated in the aspect of tradition and modernity problem. Craft as a cultural phenomenon of one or another nation bears the stamp of ethnogenesis, in which the whole complex of social dynamics, conditioned by the ontological nature of various forms of human community, participates. Pierre Bourdieu’s theory of socio-analysis on the two-structure society, consisting of production practices and “symbolic matrices” involved in sociogenesis, allows us to use its principles as a methodological approach to the study of both traditional crafts and their modern forms in the aspect of issues of cultural identity, the modernization of the past, the revival of traditional experience, etc. The analysis of some trends in contemporary Kazakh craft has shown that the aspiration for identity to a cultural “pattern” is oriented towards established ethno-cultural symbols. Ethno-symbolic discourse makes the semiotic attitude to traditional symbolism topical. It can be said with confidence that the ethno-symbolic approach opens up new opportunities to consider craft and traditional art as factors influencing the formation and preservation of cultural identity. This article was prepared as part of the Ministry of Education and Science of Kazakhstan project AR09259862 “Research of Traditional Crafts of Modern Kazakhstan: State and Search for Preservation”.

Strategi Pengembangan Usaha Kerajinan Alat Musik Tradisional Pada UKM ‘Ardi Laras’ Sebagai Produk Unggulan Kabupaten Kutai Kartanegara

Abstract: In the District of Kutai Kartanegara sector of business that has great potential to be harnessed, that is the traditional musical instrument crafts "Ardi Laras". This is a very great opportunity attempts, because we know the Kutai Kartanegara region has a very high art culture among others dances, music, theatre, Kroncong music community they need roads and musical instruments. The purpose of this research is to find the location of the position of Traditional musical instrument Crafts quadrant ' Ardi Laras ', and CSF analysis to find out the factors of traditional musical instrument crafts victories.Based on the results of the research of the development strategy of SWOT analysis has been performed on the Traditional musical instrument Crafts ' Ardi Laras ' position matrix on the strategy of aggressive on quadrant i. Then a strategy can be done that is to put forward the values of tradition, partnering with agencies and schools so that will add to the number of musical instrument production, improve product quality, and more enterprising introduce products.Further on the results of the analysis of the CSF (Crtical Success Factor) benchmark the success of Traditional musical instrument Crafts ' Ardi Laras’ is a. Product safety of instrument design that made such timber should pay attention to the smooth so as not to injure the hand as well as the installation of a neat nails and other supporting materials. b. For durability of a product that must be considered is the raw material used must be strong and not easily broken when used. c. The similarity of price with the quality of the product provided it means Crafting Traditional Instruments ' Ardi Laras' more attention to comfort, security, durability, and design the product so that the price offered did not disappoint the consumer.Keywords: traditional music instruments, strategies, SWOT, CSF.

Who Is in Handicrafts: Tooth Morphology and Age Determination as Tools to Assess Vulnerable Dolphins Sotalia spp. Supplying the Trade of Artisanal Charms in Brazil

In Brazil, dolphins’ body parts are commonly used as traditional amulets, named as love-charms, while dolphins’ teeth are commercialized in handcrafted necklaces and bracelets. Recent studies on forensic genetics confirmed the Guiana dolphin,Sotalia guianensis, as the principal target of the love-charms trading, with specimens incidentally captured in gillnets suggested as the primary source. As additional support for these investigations, we characterized tooth morphotypes and ages of dolphins used in the construction of traditional crafts, with the main objective of detecting the dolphin species and population groups most affected by this trade. Teeth collected from necklaces, bracelets, and earrings, sold in public markets from three major cities of Northern and Northeastern Brazil (Belém = 99, São Luís = 4, and Fortaleza =15), were analyzed using four morphological measurements: tooth total length (TL), root diameter (RD), crown length (CL), and cingulum diameter (CID). An unweighted pair group method using arithmetic means (UPGMA), with Euclidean distances as a measure of dissimilarity, multivariate analysis of variance (MANOVA), and principal component analysis (PCA) were used to detect tooth morphotypes in the samples. Ages were obtained by counting the growth layer groups (GLGs) deposited in dentine. Two different groups of teeth were detected presumably belonging to the speciesSotalia guianensisandS. fluviatilis. Handicrafts showed a diverse age composition, ranging from 2 to 30 years, with a multimodal distribution (Mean =11 ± 7 SD, Median = 10, Mode = 4, 8, 19), similar to dolphin populations affected by fishery interaction. Results suggested that juveniles individuals and adults younger than 20 years, from bothSotaliaspecies, probably incidentally captured, are the principal source of handicrafts, and raise concern about the greater vulnerability of young age categories presented in this trade.

Do you dig your grave with your teeth? Potential interest of the elementary analysis of ancient ceramics regarding public health (Pre-Columbian era, Ecuador)

Following several studies considering the potential toxicity of food-type containers, we hypothesized elemental analysis would help us test and classify a collection of Ecuadorian ceramic sherds from Andean and Amazonian sites. μ-XRF spectrometer analyses were carried out on 48 ceramic sherds coming from 4 different archaeological sites. Major elements values were transformed into oxides and data were constrained to 100%, making our results semi-quantitative. A principal component analysis (PCA) was then performed on the additive log-ratio (ALR) transformed data to identify main compositional axes and plot the sherds. Besides, a hierarchical cluster analysis (HCA) was applied on the coordinates of the individuals from the PCA to estimate the chemical similarity between the ceramic samples. The lead detected on the internal face of the ceramics locally produced in Quito was generally below the limit of quantification, while the lead concentration mean in the Cosanga ceramics was 180 ± 34 μg/g. The lead concentration values in the Pucará ceramics and the type labelled Mango Montaño were of the same order. Arsenic, mercury, cobalt, chromium and antimony values proved to be below the quantification limits. The PCA on the ALR transformed data evidenced 2 main axes. The first main axis PC1 made it possible to graphically distinguish the “local Quito” ceramics from the “Cosanga” ceramics. The second main axis PC2 made it possible to refine the distribution of the samples. Three of four samples from Pucará were close to the ceramics locally produced in Quito. The HCA was applied on the first five factors to take into account about 80% of the total variance of the sample set. The dendrogram discriminated two main clusters, demonstrating a significant clustering pattern of certain fragments belonging to the same craft tradition, essentially the Cosanga ceramics vs. the Local Quito ones. No particular hazard was identified regarding the exposure of past populations to potentially toxic pottery. We managed through elemental analysis followed by a principal component analysis and a graphic representation to clearly identify 2 groups of pottery out of 4 different locations, 3 different periods and 4 cultural traditions corresponding to 4 different populations. We aim in the near future at testing the samples we presented for lead leachability and comparing them with ceramic samples from other locations.

Traditional Crafts. What About?

Abstract The (re)connection of contemporary society with traditional knowledge and its expression, traditional crafts, is a contradictory endeavor in itself. On one hand, traditional crafts are socially perceived as a burden, as a useless part of social life, and in the best case, as an exotic remanence of the past, good only for the hobbyists. On the other hand, as UNESCO and WIPO stated, traditional knowledge, and, by extension, traditional crafts are (or should be) an essential part of humankind’s history, part of the present, and the potential keepers of answers for future challenges. The presented paper aims to point out, mainly for general public use, the characteristics of traditional crafts and their richness. Traditional crafts might possess valuable answers for the present and future, related to sustainable use of natural resources; techniques and technologies for restoration and preservation of cultural heritage; holistic approaches in education; social and economic cohesion, especially for challenged communities. One of the main challenges in the active preservation of traditional crafts is that their protection and further acceptance at a social scale are connected with communities and not with individuals. In this respect, societies must find those instruments to address the communities of knowledge bearers and not companies or individuals. This understanding of the exceptional significance of communities in the present and future of traditional crafts is part of the solution for a desired sustainable life on this planet. Modern technologies will not offer all the answers to a dramatically fast-changing environment.

Traditional Crafts. A Literature Review Focused on Sustainable Development

AbstractWe witness a revival of the crafts due to complex changes in mentalities and society, but also related to the benefits and positive implications that traditional crafts could offer to contemporary societies and economies. Also, traditional crafts are compatible with the concept of sustainable development, which gives them another boost. The present paper represents one of the very few literature reviews in the field of traditional crafts aiming to map the knowledge we possess on traditional crafts. It documents a significant gap between professional and academic research, with the former being visible at local/national levels, but also an increased interest in the field, especially in understanding the future role that traditional crafts could play in communities and economies.

Traditional Crafts: Incentive of Sustainable Rural Development. The Contribution of the ASTRA Museum

Abstract Although there is a renewed interest in contemporary society in the simple and natural life in rural areas, the rural intangible heritage, including the traditional crafts, is slowly disappearing. Craftsmen get old and the younger generations seem not to be too open to continuing the craftsmanship. Therefore, stimuli of various types are necessary to action for the revival of traditional crafts. The present contribution presents the strategy of ASTRA Museum, one of the most important open-air museums in Romania, regarding the sustainable development of traditional crafts. It argues how a museum could educate and stimulate cultural tourism through crafts, but also determine and support entrepreneurship in the domain of traditional crafts.

Role of Traditional Crafts in Sustainable Development and Building Community Resilience: Case Stories from India

Abstract Concepts of sustainability build on slow fashion, local production, recycling, and reuse. These principles are quite inherent in traditional crafts. The paper shares examples of how traditional crafts can support the transition into a more sustainable and resilient way of living. It shares how a quilting tradition called Kantha has been developed, refined, and transmitted to rehabilitate women refugees and has over a span of a few decades led to women’s empowerment and the promotion of sustainable fashion. It also examines the potential of developing a traditional craft-based green economy for fostering inclusive, resilient, and sustainable development. Natural fiber-based crafts for making mats and basketry based on locally sourced raw materials reflect the long-term relationships between people and their environments. The paper shares how strategies for safeguarding a fine mat weaving tradition based on a kind of water reed called Madurkathi contributed to Sustainable Development Goals (SDGs).

Siberian Animal Style as a Conceptual Basis for the Conversion of Traditional Artistic Heritage into Cultural Industries

The process of acquiring the author’s style, its semantic distinctive features, and the creation of the author’s identity is a fundamental problem for artists. The paper is devoted to the analysis of the artist’s native culture code influence on the creative concept and artistic language. Artistic inversion is important ‒ the inverse representation of the cultural code in the artist’s work. We consider artistic, pictorial inversion as a form of the artistic conceptualization. It contributes to the successful understanding of the connotations and intentions of the artist’s work by his audience. An analysis of Namdakov’s work allowed us to conceptualize the representation problem of the cultural code in Far East peoples’ contemporary art and describe artistic strategies that represent the influence of such semantic aspects of the cultural code as the influence of the artistic worldview, the strategies elevation of original interpretation and transformation of the animal style, the influence of the academic background. We define the artistic paradigm of the style as a style-forming factor in contemporary creative industries of artists who emerged from traditional crafts communities. The phenomenon of ethnic artistic tradition has been widely studied in the art history literature (T. M. Stepanskaya, A. V. Edokova, L. I. Nekhlyadovich). We believe, however, that attention should be focused on the content of “cultural code of artistic paradigm”, because ethnic artists consciously transform national artistic images and techniques through integration of their heritage into contemporary artistic language, culture and art background. This is particularly relevant for artists who institutionalize their style into a recognizable contemporary art language strategy. The main research question addressed in this paper is the representation peculiarities of the Namdakov’s artistic strategy semantic forms. He creates innovative ways of shaping, applies illogical, provocative and asymmetrical compositional solutions, creates fresh artistic metaphors, overcomes visual and figurative traditions and transforms ethnic artistic traditions into the leading artistic world-class trends of contemporary art. It has been proved that the animalistic style acquired a new modern dimension with the development of the creative industry in the regions of South-East Asia: the north of modern China and the art workshops of D. Namdakov and Zhigzhit Bayaskhalanov in the Russian Federation. It was the original interpretation of the animalistic style that became a powerful source for the development of traditional folk craft culture and brought the Far East peoples’ modern art to a new level of development, contributed to the evolution of the artist’s creative potential and gave many artists hope for creative expression.

CRAFT, CULTURE AND ENTREPRENEURSHIP: WEAVING TRADITION IN CHANDERI

The art of weaving has been one of the oldest occupations in the +world over and is deeply associated with the culture of production in terms of both material and non-material dimensions. This traditional craft combines both the utilitarian and aesthetics aspects rather intrinsically often providing a vantage point in the study of modernization of tradition. In this article an effort has been made to locate the intersection of culture and business in a rurban setting thus exploring the ambit of business anthropology in Indian context. The study highlights the tradition of craft, the life-world and worldviews of weavers, their trade, toil and transforming lifestyles. It also highlights their impoverishment, exploitation and the wind of change brought through by globalization that is slowly and surely changing the dynamics of market and man-management skill even in the hinterlands.

Modeling craftspeople for cultural heritage: A case study

AbstractIntangible heritage is often linked to human actions and performances. The use of digital humans (DHs) for its digital representation and therefore its preservation, allows reframing the way to transmit and deal with content that is difficult to visualize. To that end, the digital human becomes an important element establishing the connection between the action, the objects, the knowledge, and the environment. In this article, we describe the development of DHs acting as practitioners and storytellers for traditional craft processes within virtual environments. We present the process and the tasks involved in modeling, designing, and animating DHs, detailing the underlying technological background. Animations were completely based on real humans' motion extraction while working on the corresponding craft. As a result, we present the different DHs models created for three specific heritage crafts: mastic cultivation, glass blowing, and silk weaving as well as an AR application, built to augment exhibits of the Chios Mastic Museum. This article is a practical description of the steps to model and animate virtual humans. The work aims to bring a methodology for achieving DHs creation for CH applications.

Экономика прибрежных территорий Арктики: анализ состояния и тенденции развития

The article deals with the issues of economic development of the coastal territories of the Russian Arctic (blue economy). The author assesses the state and development of certain sectors of the blue economy, including marine (coastal) biological resources, mineral resources and hydrocarbons, renewable energy, seaports and infrastructure, coastal tourism. He shows the influence of the economy of coastal territories on socio-economic development, the creation of new jobs, the investment attraction, the traditional crafts of the indigenous peoples of the North and the improvement of the population living standards. The author identifies the development trends of the Arctic coastal territories, which consist in the complex nature of industrial development of the territory taking into account the requirements of environmental protection, the development of renewable energy sources (solar, wind energy), modernization of port infrastructure, creation of a network of specially protected natural Arctic territories.