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Felt, one of the primary handicrafts of the Turks, stands as a significant cultural relic for the enduringly nomadic Kyrgyz populace. The art of felting to be up-to-date and popular in today's Kyrgyz society with its variety of uses by adapting to the dynamics of the modern age. Therefore, it is important to examine the evolution of felt in Kyrgyz culture from the past to the present and explore the areas where the tradition of felting is sustained in the modern era. Felt is one of the oldest handcrafts in Kyrgyz culture, and it plays a crucial role in preserving tradition, sustaining culture, and promoting cultural diversity and sustainability. Moreover, embroidery on felt items conveys information about Kyrgyz history, philosophy, lifestyle, mentality, and values. In this context, the present research endeavors to shed light on the role of felt in Kyrgyzstan's cultural economy and tourism, tracking its evolution from the past to the present day. In other words, it examines the significance of felt within Kyrgyz culture, the transformation of felt-based items, and their impact on contemporary Kyrgyz culture, economy, and tourism. To effectively investigate these aspects, printed sources related to the study were reviewed. Then, the data obtained through field research were analyzed in order to show the current appearance of felt. The findings underscore that the tradition of felting serves diverse practical functions in Kyrgyz society, thus explaining the continued usage of felt to this day. Furthermore, it was observed that the evolution and transformation of the felting tradition have made substantial contributions to the nation's cultural economy and tourism sector. [ABSTRACT FROM AUTHOR]

Coppersmithing, which constitutes an important part of our handicrafts from past to present, is one of Gerede's oldest professions. With the decrease in demand for copper items today for different reasons, the art of coppersmithing in Gerede has started to decline and even has begun to disappear. In the past, there were more than 50 coppersmith shops, and now there are 4 shops and a few masters left. In these shops, which are mostly aimed at meeting the needs of the rural areas, aluminum items are also sold as well as copper items. The masters who make tin and work on order in the workshops are trying to continue the copper work under difficult conditions. In this article, the general situation of the coppersmithing of Gerede District of Bolu Province has examined. The tools and equipment used in coppersmithing, the production stages of Gerede's famous ewer (Gerede Upruğu) and tin making have been mentioned. In addition, the opinions of coppersmiths and masters in Gerede, information about the types of products produced and marketed in the region have been given. Suggestions have been made on how to keep coppersmithing, which is a lost profession today, in our small regions. [ABSTRACT FROM AUTHOR]

Handcrafts are as old as human history and they are the manifestation of our creativity which differentiates us from other living creatures on earth. Handcrafts are the reflections of specific cultural worlds since each society leave their peculiar marks on them. They are artifacts that enrich and produce new meanings within the culture where they were born and having been fed. The technique of oya lace, produced with the help of tools such as a needle, crochet needle and shuttle, and silk threads has a particular place in Turkish folk culture. The handcraft of oya stands as a tool for non-verbal communication signifying togetherness and collective productivity. However, due to the adoption of global economic policies, the increase in the industrial production, ruralurban migration, and changes in the social structure taking place in the last forty years, oya culture has become a practice that's been limited with rural areas. Urbanized and well-educated women are losing their interest in oya culture. While the interest of urbanized women in oya production is decreasing, it is observed that they are eager to adorn themselves with oya. The reason of this is related with the integration of design culture and traditional oya lace production in recent years. There are three agents that play a major role in the prevention of interest to oya lace and sustain the culture of collective production in Turkey; productive cooperatives that emphasize social collectivity and productivity, corporate design brands and online websites developed by the practitioners. The aim of this article is to analyze these agents and discuss their efficiencies in the transfer of our cultural heritage oya lace to further generations. At the outset a literature review has been done on oya lace. Then, three samples were selected for each category to observe cooperatives, design brands and online platforms. In order to do situation analysis about oya lace cooperative directors, participants, and design brands employees were interviewed. Moreover, a case analysis was conducted with a sample group composed of five participants to evaluate the effectiveness of online platforms on learning oya production. The feature that distinguishes this study from the other studies within the field is that it raises concern over the current and future condition of oya culture and it is among the the first studies to approach the topic over the correlation of oya and design culture. Thereby, the transformation of oya culture peculiar to the 21st century has been depictured. According to the results of the research cooperatives and design brands make a great contribution to professionalization of design and production of oya culture instead of being "a spare time activity" by taking the lead in marketing, branding and praising organized womanly production. Design brands promote collaboration among producers and designers, while cooperatives bring different classes together to generate and enhance social interaction. Moreover, thanks to design culture artifacts embellished with oya gain functionality and generate a new culture. [ABSTRACT FROM AUTHOR]

Handicrafts in Honduras represent an important economic factor for many Honduran families, particularly jewelry such as earrings, necklaces and bracelets using nuts and seeds, however there is very little systematized information on the species most used in this over time. Based on the above, this study aimed to identify taxonomically fruits and seeds of plant species used in jewelry in Honduras, using as reference the scientific collection of the Laboratory of Plant and Ethnobotany Histology "Sonia Lagos-Witte" of the National University Autonomous of Honduras. Twenty plants were identified, being mostly native species belonging to the family Fabaceae, among them are Cassia fistula, Erythrina spp., Ormosia spp. and Enterolobium cyclocarpum. The use of jewelry and the processing of nuts and seeds, as well as other potential uses of the species, are recorded. The handicraft is traditional and is mostly made by artisan groups from the rural communities of the country using seeds mostly for jewelry and collecting the raw material directly from the natural environment. [ABSTRACT FROM AUTHOR]

This research has concerned the crochet craft and the related values to the know/how of the artificer, focusing on the work of women crocheters from the southern region of the State of Minas Gerais, Brazil, by the intangible heritage bias, establishing interdisciplinary between heritage, art, crafts and fashion. It has been assumed the principle that the valuation of the know/how of a community contributes to the continuity of tradition, to the construction of identity, the affirmation of the individual and its culture, as well as to the valuation of the product coming from this craft. Under an approach of action research and semi-structured interviews, it has investigated how the know/how can value a group of women artisans from the South of Minas Gerais. The results show the importance of the encounter between these women, favoring the exchange of knowledge and the permanence of tradition, and also reveal economic aspects related to income generation through the commercialization of artisanal production. [ABSTRACT FROM AUTHOR]

In the development and the increase of tourism opportunities of cities cultural values and handicrafts are very important. Today, cities are obtained most of their economic opportunities through cultural and artistic activities. At this point, the awareness and responsibilities of local governments are of great importance. The fact that in terms of economic development of the city Kütahya City' rich cultural and artistic identity is the most important factor. Especially, Kütahya is known in Turkey and in the world as the art center with its tile and ceramics and also a large part of the city's economy is provided through this art which are increases the responsibility of local governments. In this research, the role and the importance of Kütahya local governments' in the protection and transferring the handicrafts of Kütahya to future generations will be mentioned. For this purpose, the activities carried out by local administrations in the province and objectives will be investigated. [ABSTRACT FROM AUTHOR]

This paper details a specific procedure to conceptualize and measure environmental strategy of handcraft businesses. The conceptualization and operationalization is studied from the perception of the artisan to the operating procedure of a variable. As a result of the process, the statistical validity of the study is presented using an exploratory factorial analysis, and the environmental strategy variable is explained with four factors with a reliability on the scale of .88 according to Cronbach's alpha. [ABSTRACT FROM AUTHOR]

Olgunlaşma Institutes, first established in 1945, are one of the prominent vocational education institutions for women. Even giving lectures on a broad range of craft training in various provinces of Turkey, Olgunlaşma Institutes are observed as having a corporate image of training on traditional handicraft. Olgunlaşma Institutes, considered as the continuation of the Institutes for Girls, have a remarkable place in Turkish fashion history even at present they have lost their historic influence. One of the fundamental qualifications of the products of Olgunlaşma Institutes is being braced by the tradition. Olgunlaşma Institutes have characterised themselves as one of the state institutes responsible for transmitting traditional handicraft in a way of institutional base. This feature is one of the most significant characteristics that distinguishes Olgunlaşma Institutes from other vocational education institutions. Olgunlaşma Institutes express themselves as an organization of performing scientific research on handicrafts through using the word "institute" in their names. In this article, based on the data accumulated from the semi-structured and in-depth interviews with the teachers of Olgunlaşma Institutes located in Ankara and in Trabzon provinces, the following issues raised at Olgunlaşma Institutes are discussed i.e. what is understood from the tradition, how the tradition is rendered a part of a discourse and how the traditional handicrafts are distinguished. Modernisation of tradition is one of the notions introduced frequently by the Olgunlaşma Institutes. Lecturers of the Institutes believe that they maintain the tradition by means of abiding by its authenticity and suggest that the tradition can be maintained in proportion to the accordance with today's conditions and credit within "certain criteria". To what extent the adaptation of tradition to time for sure depends on the handicrafts themselves. Olgunlaşma Institutes suppose that they modernize the tradition based on "certain criteria" resulting in sustaining the living tradition by this means. [ABSTRACT FROM AUTHOR]

This paper explores migration from Argentina to Mexico, along with the passage from philosophy to anthropology. Also covered is the promotion of indigenous cultures and crafts in the capitalist market, and the resulting globalization, as is the production of traditional cultures and their consumption. Other topics include the anthropology of readers; borders, migrations and transnationalization, along with intercultural tensions. It also answers the question: What do we discover when studying young people and their thoughts on the precariousness in capitalism? [ABSTRACT FROM AUTHOR]

The purpose of this paper is to analyze the effect of the factors of innovation on the economic performance, the craft workshops of the metropolitan area of Zacatecas, for this a questionnaire was administered to 124 artisans, a multiple regression analysis was subsequently performed. A restriction of exclusion tests was used to examine a group of variables - linked to different types of innovation- influencing revenues that the artisans in this area perceived. The results showed that variable innovation states effect on the product, organization and marketing with monthly incomes of these artisans. [ABSTRACT FROM AUTHOR]

Plant fibers have been used for over 2,000 years to make paper. When the process of hand papermaking paled, I set out to find a way to use cellulosic fibers as paint. A decade of experimenting led to the choice of 3 main fibers that worked best. Methods of cooking, preparing, coloring, and drying were tested and refined. Using pulp as paint brought me the innovative techniques I developed in this new craft medium and led to recognition as a Tennessee Master Craft Artist. I continue to experiment with new ways to use pulp as paint. [ABSTRACT FROM AUTHOR]

This article investigates the change in the textile products made by handcraft practitioner women in Mardin located in southern Turkey when supplied with outside product design "expertise." The group of participants of this research have no formal design education, yet they have been making products with techniques used to prepare trousseau pieces such as lace making, felt making, sewing and crocheting since they were teenagers. Now, they wanted to incorporate new ideas to their designs to reach contemporary markets. With this aim, the designer (also the author) constructed two workshop series because instead of giving new design ideas to the participants, the designer spent extensive amount of time during these workshop series to teach the participants how to develop new ideas without imposing her own ideas. In the course of two workshop series, the designer developed a facilitation procedure to enable practitioners to pursue self-sufficient design innovation aimed at reaching contemporary markets more effectively. In the workshops, interactions between a university-educated designer and traditional handcrafts practitioners focused on collaborative learning as well as process for new product development. The subsequent work produced by the handcrafts practitioners was deemed by a panel of independent academics and professionals to have improved when compared to their initial work. In addition to this, the procedures followed by the designer have been elicited from the documentation of the workshops. These procedures formed as a research-based guideline may be repeated by designers and researchers who are pursuing similar community economic development projects especially in developing countries where handwork is still practiced. [ABSTRACT FROM AUTHOR]

This research investigated the women`s interesting to handicraft and skills in the period of prophet Mohammed. During this period? when undeveloped mass production and industrial fabric, satisfying of the essential needs like cloths and home textiles materialized by woman's like today. In addition to this they was also deal with alternative crafts like stitch, painting, spear made which needs handcraft skills. All of this efforts contributed to esthetic and financial development of Islamic civilization in formation stage. [ABSTRACT FROM AUTHOR]

Needlework, a significant and distinct handcraft for cultures of societies, means simply the surface produced by looping and knotting the yarn on the top with the help of needle. Needlework is natural and stylized as if copying the nature, with its two or three dimensional forms of knotted surface. Those kinds of products are usually called in accordance with natural names, and have aesthetical value that may be applied to other areas. Needlework that requires much patience, and that is among original handcrafts of the Ordu province, has gained other functions, and is used not only to decorate scarves, but also to produce touristic souvenirs such as rings, earrings, bracelets, pendants, brooches and accessories like key chain. Needlework products of the Ordu province contribute to development of social and economical life, and constitute an appropriate environment for the emergence of artistic samples. Aim of this study is to find out kinds and styles of needlework in the region, being an important component of the regional cultural heritage, and to develop ideas in order to advertize them in international milieu in the use of textile creations. Thus, the authors contacted with those people dealing with it, and the obtained samples were recorded and visualized. Inspired by those samples, we produced some creations of women clothes, which are given at the end of the paper. One of those designs was sewn as a sample product. This study, dealing with applying Ordu region needlework products to design of clothes, aims at transmitting a significant item of our cultural heritage to the next generations, and offers new perspectives to fashion designers. [ABSTRACT FROM AUTHOR]

During the cultural process of human being, variety in clothing has turned into cultural elements which have been growing constantly although they are in different styles. However, culture of clothing is the most important element which should be concerned to understand the various qualifications of communities as well as individuals. One of the areas, in which the rich cultural values of Anatolia have been exhibited, is traditional clothing, which has been formed according to different beliefs, customs, climate and life styles. Clothes are various because of their color, style, beautification of the material. And those fabrics are weaved for these purposes locally in our country. 'Ehram weaving' is one of the most radical handcrafts mostly in the eastern regions as Erzurum, Erzincan, Gümüşhane, Bayburt, Artvin and Şanlıurfa, etc. Known to be forming the clothing features in those regions, «ehram» is a top cloth for the women to wear at the outdoors, though its use has decreased recently. On account of region>s geographical width and variety of the studies applied on weaving; in this paper, «Ehram Weaving», which forms the clothing culture in eastern region Bayburt, worth as a handcraft as well, is taken into consideration; the production techniques explained in detail, colors, patterns and compositional features of fabrics are introduced with original drawings and photographs. Considering these matters, interviews are made with the people -carrying on this business as an occupation or hobby- laboring in "ehram" weaving in the study, techniques of traditional production are examined, the features of materials and instruments used in "ehram" weavings are determined, composition features of the produced are examined. Gained informations are handled with details under the related title, traditional patterns and compositions of weaving products are illustrated in computer environment and presented with the original samples. The study succeeded as long as it lightens anyone to take interest in the subject. [ABSTRACT FROM AUTHOR]

The aim of this study is to analyze the relationship between hostile environment and business performance in 74 hand-craft businesses. The model tested assumes that the survival strategies used by craftsmen in order to face up to the social, economic and political hostile environment caused by the confrontation between the Governor Ulises Ruiz and the Popular Assembly of Peoples of Oaxaca (APPO ), modify the relationship between hostile environment and hand-craft business performance. A bivariate correlation analysis to test the relationship between hostile environment and performance, and a partial correlation to determine the effect of the survival strategies on such relationship were used. According to the results, the economic system crisis, regulatory pressures and corruption are significantly and negatively correlated with the performance of handcraft businesses. The three survival strategies used by the craftsmen, to counteract the effect of the hostile environment, are: social capital management, management of external relations and competitive behavior. These strategies ensure the decrease on the perception of the negative effect of the economic system crisis and the increase on the perception of profitability and growth in earnings. [ABSTRACT FROM AUTHOR]