Painted Pomegranates and Needlepoint Rabbis: How Jews Craft Resilience and Craft Community by Jodi Eichler-Levine

2021 ◽  
Vol 105 (3) ◽  
pp. 433-435
Author(s):  
Jenna Weissman Joselit
Keyword(s):  
Craft Community

scholarly journals Exploring traditional thread-making and simple weaving used in OPP lamination film upcycling for ecologically responsible textile craft

2021 ◽  
Vol 905 (1) ◽  
pp. 012030
Author(s):  
R E Santoso ◽  
L A Utami
Keyword(s):  
Design Education ◽  
Design Research ◽  
Raw Materials ◽  
Plastic Waste ◽  
Raw Material ◽  
Environmental Care ◽  
Traditional Technology ◽  
Cradle To Cradle ◽  
Craft Community ◽  
Woven Textile

Abstract Aiming for sustainable eco-friendly craft/design practice, this design research explored upcycling-practice of OPP plastic waste using traditional technology to create an alternative raw material for textile craft. By combining cultural investigation into the textile-making tradition with Cradle-to-Cradle design principles, we identified the potential of traditional technology as an ecologically responsible production process. We also developed upcycling method to process OPP plastic waste material. This research resulted in: (1) thread-making techniques that produce different sizes of thread as raw materials and hand-woven textile, (2) revitalized endangered indigenous technology of craft-making that had been a part of human-nature ecology, (3) eco-design education that can be accepted by local textile craft community, and (4) textile craft products that express the local identity and promote environmental care.

scholarly journals Collaborations and Design Development of Local Craft Products: Service Design for Creative Craft Community

2017 ◽  
Vol 3 (2) ◽  
pp. 1 ◽  
Author(s):  
Rasa Suntrayuth
Keyword(s):  
Design Thinking ◽  
Service Providers ◽  
Service Design ◽  
Service Users ◽  
Design Development ◽  
Local Business ◽  
The People ◽  
Craft Community ◽  
Local Materials

Local craft product is one of the key elements in expressing different identities of local culture in different countries. Local craft communities in Thailand have quite unique skills in producing different craft using local materials and techniques. However, the craft production is later facing the problem of missing their own identity. The products are also unable fit to the demand of international market. This research is a result of the co-creation project on developing local craft products which is a part of the research on a service design for creative craft community: A case study of Phanusnikom district, Chonburi province, Thailand. The benefits of this study will stimulate the development and preservation of local craft products and communities in a more sustainable way. This study aims to explore the possible methods of how designers, local craftsmen, academic institutions and local business clusters can collaborate and raise new opportunities for the communities to become a creative craft space. The study has concentrated on a case study of Phanusnikom District, Chonburi Province, Thailand where most of the people are creating wickerwork from bamboo. The data collected within the research come from ethnographic fieldwork, which consists of basic methods such as site visits and interviews. The research also includes the concept of Service design thinking and tools, which can help to analyze the data into different sets of relationship between service users, service providers, and environment. Groups of product design students, local craftsmen, local business clusters, professional designers, and artists are co – creating new craft products. The results express throughout the process which emphasize on presenting the ability of local craftsmen beyond what they are expected; exchanging knowledge; creating a more comfortable collaboration between the stakeholders; and strengthen the local craft community for more future sustainable developments.

scholarly journals Socially engaged creative practices : a transdisciplinary study of Woza Moya

2021 ◽  
Author(s):  
◽  
Khaya Jean Mchunu
Keyword(s):  
Bodily Pain ◽  
Active Role ◽  
Community Action ◽  
Holistic Health ◽  
Diverse Range ◽  
Community Organisation ◽  
Kwazulu Natal ◽  
Form Part ◽  
Context Specific ◽  
Craft Community

Woza Moya is an arts and craft community organisation which was officially established in 2002. It is one of two economic empowerment projects of the Hillcrest AIDS Centre Trust in KwaZulu-Natal which were initiated to form part of the Trust’s context-specific holistic health care approach. While Woza Moya sells a diverse range of products, it is well known for the Woza beadwork style. The Director of the project coined that term as a tribute to the custom of naming beadwork styles in the KwaZulu-Natal province. The present study investigates the socially engaged creative beadwork practices at Woza Moya. The study is framed by transdisciplinarity and presents eight vignettes that analyse the design and creation processes. The study is positioned in the interpretivist paradigm and draws upon transdisciplinary discourse from scholars such as Nicolescu (2010), McGregor (2015) as well as Ross and Mitchell (2018) and others. The study focuses on integration and collaboration, which are considered core characteristics of the transdisciplinary methodology (Morin 1999; Nicolescu 2010). Vignettes are promoted as a clear and rich way of deepening our understanding of collaborative, heterogeneous and complex design processes. The use of transdisciplinarity as a framework contributes to tracing both open and hidden activities which form part of the design process, and which embrace the transdisciplinary logic of inclusion and transformation, where creative designs form part of a holistic community care model. These vignettes are analysed according to themes. The themes which straddle the vignettes are: (1) interplay of beading, time and bodily pain, (2) creativity as contagious and viral, (3) men’s active role in beadmaking with women as mentors to men, (4) increased community action, (5) transformed and deepened understanding of others, (6) the ikhaya metaphor for the agora, zone of non-resistance and space of the included middle, and (7) building a home as progress and improvement. These themes combine to form a rich and descriptive rendering of the design and creation process. The central thesis presented in this study is that arts and craft community organisations such as Woza Moya are sites of strong and transformative transdisciplinarity (Ross and Mitchell 2018), which fits with McGregor’s (2015) call for transdisciplinary entrepreneurship.

Multicultural Connections: Craft & Community

Art Education ◽  
1995 ◽  
Vol 48 (1) ◽  
pp. 8 ◽  
Author(s):  
Eldon Katter
Keyword(s):  
Craft Community

Shifting balances in a ‘craft community’

2006 ◽  
Vol 40 (1) ◽  
pp. 63-89 ◽  
Author(s):  
Soumhya Venkatesan
Keyword(s):  
Craft Community

scholarly journals “The Way We Build”: Craft, Innovation, and Sustainability in Japanese House-Carpentry

2021 ◽  
Vol 15 (2) ◽  
pp. 63-87
Author(s):  
Gregory Clancey
Keyword(s):  
Small Firms ◽  
Raw Material ◽  
High Tech ◽  
Property Value ◽  
Old Growth ◽  
Production Sector ◽  
Industrial Economy ◽  
Innovative Process ◽  
Craft Community ◽  
Significant Production

Abstract This article expands and complicates the literature on “craft” by examining the seeming anomaly of a craft community dominating a significant production sector within an advanced industrial economy, and despite the existence of cheaper high-tech and labor-saving alternatives. Japanese house-carpenters, organized into very small firms with very local markets, and producing “traditional” house-frames in small batches, have long held prefabrication and other alternatives at bay through a process of conservative innovation. The primary goal of their innovative process has been the protection and continuance of house-carpentry as a relevant and marketable skill, and of its practitioners as a self-sustaining community. This craft is not an exemplar of sustainability in other ways, however, despite its association with the traditional and organic. Its house-products have unnaturally short lives given Japanese methods of accounting for property value, and its raw material, foreign-sourced old-growth forests, are increasingly subject to global conservation efforts.

scholarly journals Community-based tourism and its contribution to poverty reduction in Viet Nam

2016 ◽  
Vol 19 (4) ◽  
pp. 5-12
Author(s):  
Cuc Thi Hong Pham ◽  
Loan Thanh Ngo
Keyword(s):  
Poverty Alleviation ◽  
Poverty Reduction ◽  
Local Community ◽  
Tourism Development ◽  
Active Part ◽  
Living Standard ◽  
Viet Nam ◽  
Community Based ◽  
Sustainable Tourism Development ◽  
Craft Community

The paper recapitulates some characteristics of tourism which make this activity convenient to the contribution of poverty alleviation. Concrete examples in Viet Nam show that efficient participation of local community in tourism can help to improve their living standard. Through community-based tourism, benefits gained by local people are innumerable such as income raise, stable work, enrichment of knowledge, etc. Simultaneously, they enhance their responsibility to tourist activities, protection of environment, preservation of local culture and traditional craft. Community-based tourism not only takes an active part in poverty reduction, but also proves to be a good approach towards sustainable tourism development in Viet Nam.

scholarly journals Online matters: Future visions of digital making and materiality in hobby crafting

2020 ◽  
Vol 11 (2) ◽  
pp. 261-273 ◽  
Author(s):  
Anna Kouhia
Keyword(s):  
Everyday Life ◽  
Online Communities ◽  
Digital Technologies ◽  
The Internet ◽  
The Past ◽  
Digital World ◽  
The Future ◽  
Digital Material ◽  
Leisure Pursuit ◽  
Craft Community

Over the past twenty years, hobby crafting has experienced a revival of interest, as people have started to seek new ways to engage with crafts as creative leisure in an increasingly digital world. Along the way, emerging, digital technologies have provided new tools and ways to engage in hobby crafting. Indeed, today’s hobby crafts are frequently concerned with material mediated via the internet and accomplished with the aid of software, which also affects our understanding of maker identities in online communities. This article argues that digitalization has not only revolutionized hobbyist craft making with new tools and technologies, but has also paved new ways for practising creative skills, which has had a significant impact on makers’ engagements with craft materials, objects and communities of practices. This is demonstrated through netnographic explorations on Facebook’s leisure craft community where digital material practices are increasingly prevalent in hobbyists’ everyday life. As a conclusion, the article speculates on visions of the future of hobby crafts and its relevance as a leisure pursuit.

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