Situating the videogame maker’s agency through craft

It is now widely accepted that videogames are a cultural form, and that they generate cultural meaning through the possibilities and constraints through which they shape players’ experiences and choices. However, the cultural processes through which videogames are themselves produced remain understudied and too-straightforwardly imagined. The videogame maker does not simply conceive of a videogame idea and then execute it. Instead, the videogame is produced through processes of negotiation and iteration between videogame maker, software and hardware environments and the broader expectations of the field. In this sense, videogame production can be fruitfully understood through the lens of craft. I argue that in order to politicise agency in digital play, as is this special issue’s goal, videogame research must also consider the agency of the videogame maker, and the iterative, embodied, and social processes through which videogames are produced. This article draws from interviews with videogame makers and existing research on craft production to provide a preliminary consideration of how the agency of the videogame maker as a cultural producer can be accounted for.

Legends of Lace: Commerce and Ideology in Narratives of Women’s Domestic Craft Production

Although a relatively recent invention (c. 1500), many legends have accumulated around the origins of lace, more than have been recorded for other crafts. Almost every region involved in pillow or needle lace had its own origin story: I will concentrate on those circulating in Italy, Catalonia, France, Belgium, and England. Lacemaking was a poorly paid, dispersed and overwhelmingly female occupation, but none the less it had a strong craft tradition, including the celebration of particular saints’ feastdays. The legends drew on elements of this work culture, and especially the strong connections to royal courts and the Catholic Church, but they did not originate among lacemakers themselves. Rather they were authored by persons – lace merchants and other patrons – who in the nineteenth century took on the task of defending homemade lace in its drawn-out conflict with machine-made alternatives. Legends first circulated in print, in lace histories, newspapers and magazines, before transferring to other media such as the stage, historical pageants, even the visual arts. More recently they have continued to propagate on the web. While not originally oral narratives, they behave much like legends in oral storytelling environments: they are usually unsourced; they accumulate and shed motifs; they adapt to new circumstances and audiences. They were told with the intention of creating a special status for handmade lace, and to mobilize protectors and consumers.

Figure 2. Photos of plant fibre products: (A) bamboo baskets; calabash from pumpkin and brooms and chicken poops in Eswatini, (B) cane furniture; floor mats and baskets and palm fibre toys in Malawi and (C) baobab fibre mats; and palm and bamboo baskets in Zimbabwe. (Photo credits: Deepa Pullanikkatil (A,B) and Gladman Thondhlana (C).

<p>The production of plant fibre products is considered a promising pathway for contributing to people’s livelihoods particularly in developing countries, where economic options might be limited. However, there are limited comparative studies across countries on plant fibre products, making it difficult to examine how local and broader biophysical, socioeconomic, cultural and policy contexts influence craft production patterns in terms of primary plant resources used, products made and contributions to livelihoods. Using household surveys for data collection, this paper presents findings from a comparative analysis of plant fibre craft production and income in three southern African countries, Eswatini, Malawi and Zimbabwe.</p>

Table 1. Selection attributes of the different study site

The production of plant fibre products is considered a promising pathway for contributing to people’s livelihoods particularly in developing countries, where economic options might be limited. However, there are limited comparative studies across countries on plant fibre products, making it difficult to examine how local and broader biophysical, socioeconomic, cultural and policy contexts influence craft production patterns in terms of primary plant resources used, products made and contributions to livelihoods. Using household surveys for data collection, this paper presents findings from a comparative analysis of plant fibre craft production and income in three southern African countries, Eswatini, Malawi and Zimbabwe

Plant Fibre Crafts Production, Trade and Income in Eswatini, Malawi and Zimbabwe

The production of plant fibre products is considered a promising pathway for contributing to people’s livelihoods particularly in developing countries, where economic options might be limited. However, there are limited comparative studies across countries on plant fibre products, making it difficult to examine how local and broader biophysical, socioeconomic, cultural and policy contexts influence craft production patterns in terms of primary plant resources used, products made and contributions to livelihoods. Using household surveys for data collection, this paper presents findings from a comparative analysis of plant fibre craft production and income in three southern African countries, Eswatini, Malawi and Zimbabwe

Figure 2. Photos of plant fibre products: (A) bamboo baskets; calabash from pumpkin and brooms and chicken poops in Eswatini, (B) cane furniture; floor mats and baskets and palm fibre toys in Malawi and (C) baobab fibre mats; and palm and bamboo baskets in Zimbabwe. (Photo credits: Deepa Pullanikkatil (A,B) and Gladman Thondhlana (C).

<p>The production of plant fibre products is considered a promising pathway for contributing to people’s livelihoods particularly in developing countries, where economic options might be limited. However, there are limited comparative studies across countries on plant fibre products, making it difficult to examine how local and broader biophysical, socioeconomic, cultural and policy contexts influence craft production patterns in terms of primary plant resources used, products made and contributions to livelihoods. Using household surveys for data collection, this paper presents findings from a comparative analysis of plant fibre craft production and income in three southern African countries, Eswatini, Malawi and Zimbabwe.</p>