Problems of restoration and development of urban environment of old industrial centers]

The paper considers the urban development and reconstruction of industrial centers on the example of different cities. Design proposals are given for the renovation of the Russian factories and landscaping of industrial historic cities. Examples are given for the reconstruction of silk weaving enterprises near Moscow. Many factories are now in a derelict condition, and for the normal urban development need revitalization of enterprises and comprehensive improvement of adjacent areas. Thanks to the development of cloth production, small settlements in central Russia became industrial city-forming centers more than two hundred years ago. Small manufactories were transformed into large industrial complexes, and the unique exquisite fabrics surpassed the best European ones in price and quality. Russian fabrics were universally welcomed at international exhibitions, awarded with medals and long-term orders. Cities were growing, the economy was developing, housing construction helped to solve social problems, transportation and infrastructure of cities and settlements were developing. Early in the 21st century, glorious weaving factories became an integral part of historic cities, their decoration and pride. Architectural ensembles of industrial enterprises became not only monuments of the Russian cultural heritage, but also an important component of the Russian cities.

Innovation for Economic Resilience and Sustainability: A case study of Sambalpuri Ikat Handloom Cluster of Bargarh in India

Employing more than three million people, handloom weaving is one of the largest economic activities after agriculture. It constitutes 15% of the cloth production in India and 95% of the global handmade fabric. However, the return on investment in the sector remains low and the industry is under constant threats from power-loom and other substitutes. Nonetheless, the Sambalpuri Ikat is an unrivalled example, which has flourished over the years because of a series of innovations diffused by the weavers without compromising on the traditional Ikat artistry. Predominantly consisting of micro-enterprises, this cluster demonstrates that technological innovations have enhanced the income of the weavers by more than 300%, and ensured better occupational health and gender equity. The cluster ecosystem has enabled the adoption of innovations in more than 8,000 units, over 13 years. This article highlights learning from the Bargarh Sambalpuri Ikat Handloom cluster on how a traditional cluster could maintain its growth trajectory despite being threatened by several shocks and challenges.

Menginpehn lien Pohnpei: A poetic ethnography of urohs (Pohnpeian skirts)

<p>This thesis perpetuates a legacy of menginpehn lien Pohnpei (the handiwork of Pohnpeian women) through a poetic ethnography of urohs, Pohnpeian appliquéd and machine embroidered skirts. I trace the “social life” of these valuable textiles and their relationships to the women who make, sell, wear, gift and love them on two Micronesian islands, Pohnpei, Federated States of Micronesia (FSM), and the U.S. Territory of Guam where there is a small Pohnpeian migrant community. As a lien Pohnpei poet, this reflexive multi-sited research project is rooted in an “oceanic imaginary.” It is indigenously framed within the scholarship and creativity of Pacific Studies and critical ethnography that responds to the creative, which is so important to urohs and the lives of Pohnpeian women. I explore a genealogy and evolution of women’s nting (writing) from pelipel, tattoos, that marked Pohnpeian bodies to cloth production, including dohr, likoutei (wraparounds), as well as contemporary urohs, to my poetry, another kind of dynamic, textual and textured “writing.” Pacific Literature evolved from the visual, and in Pohnpei this included various forms of menginpehn lih, which this thesis seeks to continue through experimental ethnographic and poetic practice on the sensual textile art of urohs. Thus, it made sense not only to take photographs to “capture” these stunning textiles, but to visualize my thesis as an urohs—the central design or mwahi are my poems, essential to the making of an urohs kaselel (beautiful urohs), appliquéd or embroidered to the scholarly, academic writing or likou, the fabric, that forms the larger skirt, all sewn together with a misihn en deidei (sewing machine), the theory and methodology, on which this thesis runs. My seven months of ethnographic “homework” consisted of oral history interviews, koasoai (conversations), and time spent experiencing urohs with the women whose lives are so entangled in them. The voices of lien Pohnpei are privileged in this Pohnpei-centric study written bilingually in English and Pohnpeian to best reflect our worldviews and the skirts that often function as our “second skins,” threading us in complex ways to other lien Pohnpei at home and in our homes away from home, such as Guam. Lastly, this thesis-skirt reveals what our urohs do for us as lien Pohnpei, how they create meaning in our lives, as opposed to having an essentialist “meaning”—urohs are an unacknowledged force in Pohnpei’s and FSM’s economy; these textiles are “women’s wealth,” dipwisou kesempwal (valuable goods) that give women power and agency within Pohnpeian culture, tiahk, and allow them to support their families; urohs are one of the most expressive ways for women today to display their identities as lien Pohnpei at home and in the diaspora. The poetry I write in response to these innovative, colorful textiles reflects the multilayered ways women articulate our relationships with urohs within the social fabric of Pohnpeian lives, which perpetuates our creativity through the labour of our “fine-hands” and minds.</p>

Menginpehn lien Pohnpei: A poetic ethnography of urohs (Pohnpeian skirts)

<p>This thesis perpetuates a legacy of menginpehn lien Pohnpei (the handiwork of Pohnpeian women) through a poetic ethnography of urohs, Pohnpeian appliquéd and machine embroidered skirts. I trace the “social life” of these valuable textiles and their relationships to the women who make, sell, wear, gift and love them on two Micronesian islands, Pohnpei, Federated States of Micronesia (FSM), and the U.S. Territory of Guam where there is a small Pohnpeian migrant community. As a lien Pohnpei poet, this reflexive multi-sited research project is rooted in an “oceanic imaginary.” It is indigenously framed within the scholarship and creativity of Pacific Studies and critical ethnography that responds to the creative, which is so important to urohs and the lives of Pohnpeian women. I explore a genealogy and evolution of women’s nting (writing) from pelipel, tattoos, that marked Pohnpeian bodies to cloth production, including dohr, likoutei (wraparounds), as well as contemporary urohs, to my poetry, another kind of dynamic, textual and textured “writing.” Pacific Literature evolved from the visual, and in Pohnpei this included various forms of menginpehn lih, which this thesis seeks to continue through experimental ethnographic and poetic practice on the sensual textile art of urohs. Thus, it made sense not only to take photographs to “capture” these stunning textiles, but to visualize my thesis as an urohs—the central design or mwahi are my poems, essential to the making of an urohs kaselel (beautiful urohs), appliquéd or embroidered to the scholarly, academic writing or likou, the fabric, that forms the larger skirt, all sewn together with a misihn en deidei (sewing machine), the theory and methodology, on which this thesis runs. My seven months of ethnographic “homework” consisted of oral history interviews, koasoai (conversations), and time spent experiencing urohs with the women whose lives are so entangled in them. The voices of lien Pohnpei are privileged in this Pohnpei-centric study written bilingually in English and Pohnpeian to best reflect our worldviews and the skirts that often function as our “second skins,” threading us in complex ways to other lien Pohnpei at home and in our homes away from home, such as Guam. Lastly, this thesis-skirt reveals what our urohs do for us as lien Pohnpei, how they create meaning in our lives, as opposed to having an essentialist “meaning”—urohs are an unacknowledged force in Pohnpei’s and FSM’s economy; these textiles are “women’s wealth,” dipwisou kesempwal (valuable goods) that give women power and agency within Pohnpeian culture, tiahk, and allow them to support their families; urohs are one of the most expressive ways for women today to display their identities as lien Pohnpei at home and in the diaspora. The poetry I write in response to these innovative, colorful textiles reflects the multilayered ways women articulate our relationships with urohs within the social fabric of Pohnpeian lives, which perpetuates our creativity through the labour of our “fine-hands” and minds.</p>

Cultural history of the Pacific and the bark cloth making in Central Sulawesi

Archaeologists, anthropologists and linguists are now in general agreement about the prehistory of the Austronesian-speakers, but most details are still obscure. The Philippines and the eastern part of Indonesia have received very little attention in research into the cultures of the Pacific region and the settling of the area by the Austronesian peoples. Based on ethnographical and linguistic evidence, bark cloth making has generally been regarded as a common feature of early Austronesian culture. Ethnography informs us that bark cloth making was known in large areas of Southeast Asia and Oceania, and also in Africa and Central and South America. The importance and position of bark cloth as part of the culture of the Austronesian people is illustrated by the persistence of its manufacture in many places. In this paper I examine in some detail the bark cloth production of the Kaili-Pamona speakers in Central Sulawesi (Celebes) and discuss how the study of their bark cloth may add to research into the cultural history of the Austronesian peoples. I argue that the vitality and important position of bark cloth as part of the culture of the Austronesian peoples is largely due to its central role in religious rituals and social practices. Thus, it is associated with the most sacred powers which represent the continuity and immortality of the society.

Pengembangan Industri UMKM Batik Khas Kabupaten Malang melalui Digitalisasi Marketing Mix dan Teknologi

The development of SMEs is still one of the development priorities in Indonesia. One example is the Dewandaru Batik industry in Malang Regency. The business, which was started in 2017 and is engaged in batik cloth production, carries out the production process manually with limited tools. The price that is determined tends to be very cheap compared to batik marketed through the market and online galleries. Moreover, every month's limited production is the impact of the lack of technology used and little marketing. Marketing and utilization of appropriate technology are still the main obstacles faced; therefore, the solution to this problem is digitizing the marketing mix and proper technology. The method used is identifying problem-solving and assistance for increasing industrial innovation and digital marketing. The result of this activity was an increase in Dewandaru's batik industry's productivity with the help of a batik stamp tool and a dipping tub used for the coloring process. Furthermore, increasing quality makes for a broader marketing market. Batik Dewandaru also experienced improvements in business management because it made simple financial reports on the results of business management training.

Practice and Transmission of Batik in Wukirsari Village, Yogyakarta -Safeguarding Intangible Cultural Heritage in Indonesia-

The target of this research is to figure out the state of practice and transmission of Batik, an Indonesian textile dyeing Intangible Cultural Heritage, and necessary angles for its conservation. Knowledge related to Batik is shared and transmitted in craftspeople communities in Wukirsari Village, which is one of Batik centers in Indonesia. What&rsquo;s more, Batik cloth production organizations play an essential role in the transmission of Batik technique through creating job opportunities, establishing selling systems and so on. Apart from that, these organizations also hold mutual aiding activities, which build strong relationship among craftspeople and support daily life of craftspeople financially. So it is can be concluded that 3 points are necessary for the transmission of Batik culture: building a knowledge-sharing environment, making Batik practice an occupation, offering values beyond financial benefits.

Transformation in homespun: Power and creativity in early nineteenth-century Hawaiian cloth manufacturing

Between 1837 and 1840, governor and chief John Adams Kuakini engaged in cotton farming and cloth production, the first Hawaiian to ever do so. His success in running a cloth-making operation was not done alone, however, but with the guidance from New England Congregationalist missionaries who introduced homespun to Kuakini and hired foreigners and makaʻāinana men and women labourers. This article explores Kuakini’s motivations for investing in cloth-making through the lens of his chiefly power, with special attention to the ways in which Kuakini asserted dominance over those who challenged him and those he believed were subservient to him. I examine Kuakini’s motivations and foray into cloth-making, which differed greatly from Congregational Christian ideas about cloth-making, further demonstrating how Kuakini’s power in the early Hawaiian Kingdom extended over both native and foreign bodies.