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Syftet med den här avhandlingen är att skapa förståelse för den textila konstens kunskapscirkulation med utgångspunkt från Konstslöjdanstalten vid Kulturen i Lund 1897–1932, med inriktning på dess historiska kontext, organisation och textila produktion. Avhandlingen belyser hur Sveriges utbredda textila kunskapskapital och traditioner samt idéer och utbildningsambitioner kring konst och hantverk skapade ett textilt kunskapslandskap kopplat till dåvarande kulturhistoriska idéer. Vidare visar avhandlingen hur ett omfattande textilt kunskapssystem bildades, genom vilket aktörer främjade idéer som stödde och utvecklade den textila konsten. I detta kunskapssystem framstår hushållningssällskapen som en betydande agent för kunskapscirkulationen. Konstslöjdanstalten har dessutom synliggjorts som en aktör i det samlade textila kunskapslandskapet. Dess textilverksamhet fungerade på liknande sätt som andra textilproducenter men utifrån Kulturens kunskapssystem – den treenighet som utgjordes av Kulturens museum, Sydsvenska konstindustrilotteriet och Konstslöjdanstalten. Kunskapen om kulturhistoria omformades genom verksamhetens textila konst och bidrog till folkbildningen: vad gäller kulturhistoria, textilteknik och konst. I avhandlingen tolkas både arkivkällor och bildmaterial – Konstslöjdanstaltens textila konst – för att beakta aspekter av hur kunskap verkade, cirkulerade och kopplade samman kulturhistoria, konst och hantverk. Olika aktörers kunskapsfärdigheter (episteme, techne, fronesis) och kunskapshandlingar (theoria, praxis, poiesis) analyseras i samband med de textila kunskapsprocesserna. Genom de sammanvävda analyserna av arkiv, bilder och kunskapscirkulation har det varit möjligt att urskilja såväl kunskapsprocesser som aktörers färdigheter och handlingar., The purpose of this dissertation is to create understanding of the circulation of knowledge in textile art from the vantage point of Konstslöjdanstalten (School of Arts and Crafts) at the Kulturen (Museum of Cultural History) in Lund, 1897-1932, addressing its historical context, organisation, operations, and textile production. The thesis highlights how Sweden’s widespread textile knowledge-capital and traditions as well as ideas and educational ambitions concerning arts and crafts created a textile knowledge landscape linked to ideas of cultural history current at the time. The thesis demonstrates how a comprehensive textile knowledge system was formed, through which actors were promoting ideas that supported and developed textile art. In this knowledge system, the Swedish Federation of Rural Economy and Agricultural Societies stand out as a significant agent of the circulation of knowledge. In addition, Konstslöjdanstalten has been made visible as an actor in the overall knowledge landscape of textile art. Its textile activities operated in a similar manner to other textile producers but based on the Kulturen knowledge system – a trinity that constituted the Kulturen museum, the Arts and Crafts Lottery of Southern Sweden and Konstslöjdanstalten. Their knowledge of cultural history was thus transformed through the textile art and contributed to public education: in terms of cultural history, textile technology and art. In the dissertation interprets both archival sources and visual material – the textile art of Konstslöjdanstalten – to consider aspects of how knowledge functioned, circulated, and linked cultural history, art, and crafts. The knowledge skills (episteme, techne, phronesis) and knowledge actions (theoria, praxis, poiesis) of various actors are analysed in connection with the textile knowledge processes. Through the interwoven analyses of archives, images, and the circulation of knowledge it has been possible to discern knowledge processes as, Denna digitala version av avhandlingen har jämfört med den trycktaversionen före publicering kompletterats med licensinformation och medgivanden i vissa bildtexter och i bildförteckningen.

Modernist propositions long have been understood as atemporal—somehow outside of time—or insistently hailing the future. This temporal framework suppresses the contributions of those excluded from modernist canons, particularly Black women. In this article, visual and material analysis of sculptural works produced in the 1970s and 1980s by U.S. Black women artists Beverly Buchanan, Senga Nengudi, and Betye Saar reveal how Black feminists have engaged with modernist protocols in order to redress cultural erasures of Black women. These practices exemplify Black feminist modernisms, or creative practices that unsettle the racist and sexist logics of dominant cultural institutions. Each of these artists utilizes haptic surfaces as a method for defying institutional modernism’s obfuscation of the past. The analysis focuses on Buchanan’s defiance of memorial erasures, Nengudi’s reenactment of labor, including in its historical forms, and Saar’s adaptation of generational memory-making processes. Ultimately, these artists’ rejection of a “timeless” modernism demands that viewers understand the present moment in relationship to a still-evolving past. In this way, Buchanan, Nengudi, and Saar position the present as an accumulation, rather than transcendence, of historical occurrences.

Art is not just a part of life; for some, it’s life itself! and this life is being lived to the fullest by the women artisans who not only nourish the art like their own kin but also help in promoting the GDP and shaping the economy of the country. According to the International Trade Centre, women make up for 70% of the global handicraft workforce. Here, through this exhaustive research, we shall analyze the contributions, challenges, solutions and outcomes of the voice of women artisans in India and how In- dia’s GDP has got a boost indirectly with women artisans taking the center stage. A KPMG study estimated that approximately 7.3 million people depend on handicraft and allied activities for livelihood. The handicraft and handloom sector in India is a Rs 24,300-crore industry and contributes nearly Rs 10,000 crore annually in export earn- ings. Women Artisans of India and the tribal communities gearing up with their act is tru- ly inspiring amidst the brand market of the world where handmade threads and knots are giving a run for the money to the machine made and robotic assembled goods. Vocal for local and its impact which not only promotes self reliability in the tourism sec- tor but even sustainability and is environment friendly is another feature that is touched upon with reference to Indian handicrafts and emergence of new startups promoting an-cient Indian techniques is another interesting feature. Self help group and NGOs sup- porting the economic development especially during the COVID pandemic times where this industry was the worst hit has been he life savior of this massive Industry. Digital empowerment ensuring higher market reach and faster market capture is the tool that does the trick with women artisans voicing in their concerns and asking for a leading hand not for their support from the masses but an indirect upliftment via awareness generated in the market. This awareness is the gateway to Education.

In interaction between students and vocational teachers, technical artefacts constitute an essential part for the development of vocational students’ future professional knowledge. Although vocational learning has been an under-researched area, there has been an increased interest within the vocational education research to examine the teaching and learning processes that take place when vocational students and teachers interact in vocational school settings. The presence of physical objects such as tools, machines and material in the teaching and learning processes within vocational education, which encompass a central aspect of a vocational subjects’ specific characteristics, is a dimension which is often overlooked. In the Handicraft programme (specialization hair- and makeup stylist) at Swedish upper secondary vocational education, a large part of the practical work that students are engaged in is to view their work through the mirror. Therefore, the focus in this study is what learning content is made relevant when teacher and student(s) are interacting in front of the mirror. The data for the study consists of video recorded lessons from the Handicraft Programme, and the study is based on CAVTA (Conversation Analysis and Variation Theory). Based on CAVTA, the process of learning includes what is being learned and how learning is done in interaction between the teacher and student(s) in the authentic and enacted teaching session. At the conference, we will present results from detailed analysis of sequences when the teacher and the students interact in front of the mirror and what vocational knowledge is made possible to learn in these interactions., Yrkeslärande

Department: Fashion and Textile Studies: History, Theory, Museum Practice, Advisors: Montegut, Denyse, Committee members: Davidson, Hilary; Carlson, Brooke, This qualifying paper traces the most recent quilting revival in America from the 1970s through modern-day and examines the circumstances of early and late Revival quilters, with exploration into whether early and late Revival quilters are indeed part of the same quilting movement. Investigating the factors that sparked the revival in the Seventies, and the evolution of the quilting industry that grew around Revival Quilters in the years that followed, characteristics of quilters are defined as the decades progress and the nature of Revival Quilting changes. Quilters’ dialogs with the growing quilting industry affect commercially available products in the hobby market, as well as the output of those who engage with the craft and how quilts are created. As new tools and technologies change, the ways in which quilters engage with the craft evolves dramatically. While post-millennium quilters find their foundations in the quilting revival of the Seventies, increasing developments in technology and the internet give them unprecedented access to peer dialog and educational materials. New avenues to careers in quilting, grounded in YouTube, social media, and e-commerce, begin to emerge. In light of this exceptional level of access to the quilting community, sewing supplies, and pattern material, the author seeks to redefine post-millennium quilters, proposing a new term scholars may use to refer to them: Connected Quilters., Keywords: Craft; Material culture; Quilting; Quilts; Sewing; Textile arts

This master’s thesis aims to illuminate how the textile cultural heritage such as textiles and the documentation about textiles is currently preserved in archives. This is a field of study that is currently absent in the research of archival science and research in general. Three archives with material connected to textile cultural heritage were interviewed for this study. To answer how textile cultural heritage is preserved in archives I examined which appraisal practices are used, connecting this with the organizations' respective views of cultural heritage. I also studied how the organizations store a variety of different materials, and whether the materiality of the objects affects whether the archives follow the Principle of Provenance, which is the custom in Swedish archives. Lastly, I examined how the archival holdings are used and made accessible, this is analyzed through the Records Continuum model, as well as theories of material culture. The results show that textile cultural heritage is preserved in archives in a variety of ways. The archives store actual textiles, as well as documentation about textiles that represent society from different angles. Some archives are purely driven by interest, while others are preserved by law. The results also illuminate that the organizations' respective views of cultural heritage, as well as the history behind the collecting of the archival collections, are closely connected to the current appraisal practices of the archives. None of the studied organizations follow the Principle of Provenance. Instead, my research indicates that archives with varying materials seem to be returning to the Principle of Pertinence, which was used up to the 19th century before the Principle of Provenance became the norm. Lastly, the results show that all interviewed organizations mean for the archival collections to be studied and used. They all work with outreach in different ways to make the archival collections available. This can be

This article's main objective is studying the conceptual relationships that intertwine between the tourist phenomenon and the appreciation of local culture in the city of São Luís/MA. Having as object of study the development process of the production, exhibition and sale of handicrafts in the Center for Craft Production of Maranhão (CEPRAMA). Focusing on broader concepts such as: culture, experience tourism and cultural tourism, unfolding into more specific concepts such as: heritage, cultural facilities, crafts and identity. The research is relevant for studying an activity of great importance to the city's economy, cultural tourism, which seeks to value local culture through the acquisition of knowledge from the tourist and the community. For the discussion to develop, authors such as: Eagleton (2011), Barreto (2003), Fernandes (2015), Hall (2006), Panosso Netto (2010), Tuan (1983), among others were used. This is a bibliographical and documentary research (since it is characterized as one of the chapters of the Master's Thesis, it will analyze instrumental aspects of the research in loco), where the discussion seeks to maintain an interdisciplinary and transversal dialogue between the concepts, focusing on the importance the cultural appreciation and the gains that the tourist phenomenon can provide to the city of São Luís/MA.

In literature on tourism in northern or 'Arctic' areas and on regions and places in northern areas, terms such as 'indigenous' and 'non-indigenous' are often used to distinguish people and places from each other. The aim of this paper is to deconstruct the 'indigenous'/'non-indigenous' categories as well as the geographical categories to which they are linked, using examples from tourism in northern Fennoscandia and northwest Russia, selected as areas with circumstances that vary greatly both locally and regionally. Specific focus is on the construction of labels and restrictions of use, particularly regarding handicrafts/souvenirs as a specific object of indigeneity to separate it from other objects. The study reviews the processes in tourism for constructing, labelling, and valuing - and thereby also exerting power upon - specific conceptions, and thereby also on the contesting of such processes amongst broader, but often unacknowledged, local groups.

[ES] depARTEde consiste en el diseño de una página web del mismo nombre dirigida a personas que buscan asesoramiento para hacer un regalo a alguien. Se trata de la aplicación profesional de una vieja práctica personal: hacer regalos. Con este proyecto me propongo hacerlo no solo con familiares, amig@s y conocid@s, sino también con personas totalmente ajenas a mí. La manera de conectar con ellas es ofreciendo mi ayuda a la hora de pensar y llevar a cabo el regalo perfecto. Mediante un breve análisis de los gustos, intereses y necesidades del receptor@ y de la relación que mantiene con la persona que contacta conmigo, la idea es diseñar, elaborar y enviar un detalle adecuado. Aunque las técnicas utilizadas son variadas, la confección siempre sigue un patrón artesano y personalizado que convierte los artículos en únicos y que da al proyecto un carácter multidisciplinar. Además, depARTEde incluye una colección permanente de joyería que consta de diez piezas inspiradas en diez especies de flora valenciana en peligro de extinción. Mi propuesta se incluye dentro del ámbito del ecodiseño porque cumple con todos los requisitos que hacen que se pueda considerar que un producto tenga el menor impacto ambiental posible. Asimismo, el trabajo incluye una parte conceptual extensa y fundamentada que analiza a fondo el movimiento ecosocial y sus diferentes aplicaciones en el mundo del arte y el diseño., [EN] depARTEde is the design of a website of the same name aimed at people who are looking for advice on how to give someone a present. It is the professional application of an old personal practice: making gifts. With this project I intend to do it not only with family, friends and acquaintances, but also with people totally unrelated to me. The way to connect with them is to offer my help in thinking and carrying out the perfect present. By means of a brief analysis of the tastes, interests and needs of the recipient and the relationship they have with the person who contacts me, the idea is to design, elaborate and send a suitable gift. Although the techniques used are varied, the making always follows a handmade and personalised pattern that makes the articles unique and gives the project a multidisciplinary character. In addition, depARTEde includes a permanent collection of jewellery consisting of ten pieces inspired by ten endangered species of Valencian flora. My proposal is included in the field of eco-design because it meets all the requirements that make it possible to consider a product as having the least possible environmental impact. The work also includes an extensive and well-founded conceptual part that analyses in depth the eco-social movement and its different applications in the world of art and design.

Developing countries are constantly looking for the best feasible way to protect their traditional knowledge and traditional cultural expressions because in several past experiences they have realized that if this valuable knowledge remains unprotected, custodians of such knowledge will lose ownership over the same. Assam, a North Eastern state of India is a rich biodiversity hotspot. Due to the close association with nature, indigenous people of Assam have excellent traditional ecological or medicinal knowledge, traditional agricultural knowledge, traditional fishing, and hunting knowledge, and traditional cultural expressions or folklore. But due to the lack of awareness among the people and in the absence of a proper mechanism to preserve and protect this valuable knowledge several traditional knowledge are on the verge of extinction. In the quest of protecting traditional knowledge from misuse and at the same time recognizing those age-old custodians of such knowledge as the owner of such knowledge, Geographical Indication has evolved as a potential mechanism. It is because geographical indication as an instrument possesses some specific characteristics such as community ownership; which are relatively more suitable for the customary traditional knowledge of indigenous people.

The main aim of this article to give a brief explanation about the development of handicraft production in Central Asia. Because handicraft was important in the economic life of the cities of Central Asia

In this project a collection of clothing, based on the handicraft of knitting and crocheting, has been developed. Today most garments are produced on industrial machines, cheaply, fast and with a low quality. An alternative to this is slow fashion which aims for long-lasting, locally manufactured clothing, primarily made from sustainably sourced fair-trade fabrics. The aim of this project is to raise awareness of slow fashion by working with the handicraft of knitting and crochet. The work has a slow process of making, and the items are carefully made by hand which raises the value of the garments and is a more sustainable way of using the materials. Traditional flat pattern construction is based on symmetrical squares and vertical and horizontal lines. This work's construction is based on diagonal lines around the women's body, as a suggestion that it fits the knitted fabric property and the women's body better. Design decisions were made by looking at renaissance fashion and paintings. To highlight an older way of making fashion and to push the expression in knitwear and show the potential in the craft.

This bachelor’s thesis traces the life and career of textile designer Wanja Djanaieff, in particu- lar the collections she designed for the Swedish Olympic team for the games in Munich 1972 and Innsbruck 1976, in order to investigate the hypothesis that the social and political climate in Sweden shaped and constrained the stylistic choices available to textile designers at the time. Through the use of a biographical method, including an interview with Wanja, her works are placed within a broader cultural and political context, and the ways in which her art was influenced by historical developments, such as the decline of the Swedish textile industry from the 50’s onwards, are highlighted. Additionally, it is investigated which constraints were imposed on her designs by her clients, and how Wanja faced these constraints. It is argued that presence of irony and androgynous designs in Wanja’s work mirrors contemporary social developments, lending support to the notion that art reflects broader societal trends.

This dissertation seeks to introduce digital fabricated crafts in South-Africa through the development of a craft college at The Old Tannery in Wellington Western Cape. With the investigation of a post-phenomenological approach to this historical site. The Old Tannery provides the perfect opportunity for a new vocational craft college to become a synergy proposed as a way to render an ensemble. A lively educational-commercial space that will attract and serve both locals and tourists. As such, the semi-industrial nature of the site will not interfere with the commercial interests on the rest of the site. Ultimately, the craft college will contribute to the new ensemble by providing many students who could use the other facilities if they wish to do so to start their own businesses. The project aims to have a positive impact within a neglected context by promoting new ways of crafting. This ultimately aims to uplift the local community and allow people from the community to become involved and perhaps start their own trade businesses.

There is a whole wide diversity regarding how people adapt to the natural environment conditions and how they value or relate to their everyday objects and products; outside aesthetics or functionality, users appreciate utilitarian artifacts according to assorted perspectives and factors, including traditional, emotional, and cultural approaches. This paper is envisioned to propose a reflection regarding the value and significance of utilitarian handcrafted objects as a fundamental element of popular culture, associated with tradition, heritage, and folkloric preservation. Based on direct experience, photographic record, and assorted theoretical approaches, it was viable to generate a conceptual review and reflection considering the consumers’ appreciation of traditional handcrafted artifacts, understanding these implements’ value and significance beyond their form and function, as the cultural significance of handcrafted utilitarian, decorative and traditional products, as a crucial component of tangible and intangible heritages and identities in the American context., Existe gran diversidad respecto a cómo las personas se adaptan a las condiciones del entorno natural y cómo se relacionan con sus objetos y productos cotidianos. Por encima de su estética y su funcionalidad, los usuarios valoran los artefactos utilitarios de acuerdo con diversas perspectivas y factores, incluyendo aproximaciones tradicionales, emocionales y culturales. Este artículo busca proponer una reflexión frente al valor de los artefactos utilitarios y artesanales, como elemento fundamental de la cultura popular, asociado a la tradición, el patrimonio y el folklore. Con base en la experiencia directa, registro fotográfico y diversas aproximaciones teóricas, fue posible proponer una revisión conceptual y una reflexión frente a la aprecia-ción de los consumidores hacia sus artefactos cotidianos, más allá de la forma y la función, como el signifi-cado de los artículos artesanales y tradicionales, decorativos o utilitarios, componentes fundamentales de la identidad y el patrimonio material e inmaterial, en el contexto americano.

This article is based on a case study of the totomoxtle project; a covering material obtained from corn leaves and developed in the state of Puebla by the Mexican designer Fernando Laposse. In the following pages, on the one hand, we describe how farmers have learned to master the technical gestures, tricks, and know- how invested in the production processes, from the harvesting of the corn leaves to the use of prototypes created by the designer. On the other hand, we aim to highlight the cultural, economic, political, ecological, and symbolic relations that are at work in this project and the way in which it allows the emergence of new chains of cooperation linking a creative actor (a designer) to civil society (the inhabitants of the village), design productions to a new form of handicrafts and to agricultural techniques. This project puts us in a strategic position to understand how a global change —the hybrid corn crisis and its consequences— affects a small community in southeastern Mexico and how, in this collaboration with a designer, is reinvented a way of resisting the capitalist exploitation of nature., Este artículo se basa en un estudio de caso del proyecto totomoxtle , un material de recubrimiento obtenido a partir de hojas de maíz, desarrollado en un pueblo del estado de Puebla y concebido por el diseñador mexicano Fernando Laposse. Por un lado se describe cómo los agricultores han aprendido a manejar los gestos técnicos y los saberes hacer artesanales empleados en los procesos de producción, desde la recolección de las hojas de maíz hasta el uso de los prototipos creados por el diseñador. Por otra parte, queremos destacar las relaciones culturales, económicas, políticas, ecológicas y simbólicas que están en juego en este proyecto y la forma en que este permite la aparición de nuevas cadenas de cooperación que vinculan a un actor creativo (un diseñador) con la sociedad civil (los habitantes del pueblo), las producciones de diseño con una nueva forma de artesanía y con las técnicas agrícolas. Este proyecto nos sitúa en una posición estratégica para entender cómo un cambio global —la crisis del maíz híbrido y sus consecuencias— afecta a una pequeña comunidad del sureste de México y cómo, en esta colaboración con un diseñador, se reinventa una forma de resistir a la explotación capitalista de la naturaleza.

Relevance. The paper seeks to explore how small and medium handicrafts can successfully compete in the globalized market. It questions, in particular, the relevance of the territory, of industrial districts and of the use of information technology to create innovative approaches to production and marketing, and consolidate the territory’s competitive position in global value chains. It highlights actual viable strategies for small and medium businesses operating in particularly complex sectors like those that are part of the “fashion system”. Thus, the article deals with an important part of the national industry in the moment of world-wide crisis. Research Objective. The article discusses successful strategies of small firms in clothing and fashion industry. Its purpose is to verify if and how handicrafts operating in the sectors particularly exposed to international competition succeed in competing effectively in international markets. The study tests the thesis that local dimension does not necessarily represent a disadvantage in the age of globalization and that even handicrafts can play at the international level. The study also verifies the role of territory in granting unique competitive advantage in the global market. Data and Methods. The methodological approach combines analysis of statistical data with four case studies. The work combines analytical and empirical approaches to highlight how a single business can reach levels of excellence in troubled markets. Results. The study demonstrates that handicrafts can find spaces for growth in such declining sectors as cloth production in developed countries, provided that they succeed in focusing on niche markets through process, product, and marketing innovations; in using up-to-date technology; and in exploiting territorially embedded values. In this context technology emerges as a strategic tool as it lowers transaction costs and entrance barriers, offers innovative opportunities for re-organizing production, Актуальность. Статья посвящена изучению того, как малые и средние ремесленные изделия могут успешно конкурировать на глобализированном рынке. В ней рассмотрены, в частности, роль территории, промышленных районов и использования информационных технологий для создания инновационных подходов к производству и сбыту, а также для укрепления конкурентоспособности территории в глобальных цепочках создания стоимости. Освещены актуальные жизнеспособные стратегии для малого и среднего бизнеса, работающего в особенно сложных секторах, таких как те, которые являются частью «системы моды». Таким образом, статья посвящена важной части итальянской промышленности в момент мирового кризиса. Цель исследования. В статье рассматриваются стратегии малых фирм в индустрии одежды и моды. Цель исследования состоит в том, чтобы проверить, успешно ли эти фирмы конкурируют на международных рынках. В исследовании проверяется тезис о том, что размер фирмы не обязательно является недостатком в эпоху глобализации и что даже ремесленные фирмы могут эффективно играть на международном уровне. Статья также подтверждает роль территории в предоставлении уникального конкурентного преимущества на мировом рынке. Данные и методы. Методологический подход объединяет теоретическое обсуждение выбранной научной литературы и статистических данных с углублённым анализом четырёх фирм. Работа сочетает в себе аналитические и эмпирические подходы, чтобы подчеркнуть, успешные стратегии отдельных фирм. Результаты. Исследование показывает, что ремесленные фирмы могут найти пространство для роста в таких сокращающихся секторах, как производство одежды в развитых странах, при условии, что им удастся сосредоточиться на нишевых рынках с помощью инноваций в процессах, продуктах и маркетинге; в использовании современных технологий; и в использовании территориально заложенных ценностей. В этом контексте технология становится стратегическим инструментом, поскольку она снижает операционные издержки и входные барьеры, предлагает ин

This report is a practical report of a “SEMORI” embroidery experience program for parents and children, which was conducted envisioning a community-based family and child life skills education program. Participants in the two programs included 36 children, 30 parents, 31 high school students, and 12 university teachers and students. Most of the children who participated had positive opinions about the program, such as “I had fun” and “I want to do more.” Parents also shared positive feedback, such as “It was good to be able to concentrate” and “It was nice to be able to make it with the children.” As for the changes parents and children felt after participating in the first and the second program, the following answers were obtained: “I became to think strongly about my children,” “I had become more active in housework,” and “The number of conversations between parents and children had increased.” Therefore, the life skills education program could be expected not only to help acquire skills, but also to promote communication between parents and children, and make the former feel positive about childrearing and housework., 本研究は，JSPS科研費JP20Ｋ02811（代表者 梶山曜子）の助成を受けたものである。

This article explores the significance of students' encounters with materiality in general and with crafting materials in particular when learning for sustainability. The aim of the explorative study is to illustrate a research approach that can show what students and the material do in correspondence and what stories emerge from this activity. An explorative analysis is conducted via video recordings of a remake project in a Grade 8 handicrafts class in Sweden. The stories that the students recognise are the material's texture, shape and construction, which emerge from the materiality intrinsic to the crafting process and the intentions of the students, as these are visible in action. These stories provide possibilities, as well as set limits for, what is possible to remake. The stories are elaborated on by threading back to materiality concerns found in historical remake practice to recognise the educational possibilities for remaking pedagogy.

The traditions of rural architecture have formed and developed for centuries, taking into account the natural and climatic conditions of the territory, living conditions of the local population of the Republic of Uzbekistan. Preservation of pilgrimage places, mosques, bathhouses, national houses, historic architectural masterpieces in rural areas, which is consisted by almost half the population of the country, require a wider study of this area. Because architectural masterpieces are our national cultural heritage, our value and identity. The article gives an overview of the traditional methods as well as the harmony of modern architecture

The two-decade civil war in northern Uganda, which lasted from 1986 until 2006, Gulu district experienced violence that wrecked the rest of Acholiland.  After the war, Gulu District witnessed rapid growth in slums where social conditions have worsened. There is a new population that is mostly young and extremely poor. Many of them are the new landless, unable to leave town and move back to rural areas, and thus without the hope of return that had sustained many of the wartime displaced, but also without hope of employment in town.  A handful of these vulnerable groups have been engaged in handicraft production, unfortunately, in Uganda training in handicraft production has often been given little attention. Largely training in handicraft production is purely informal, often results into a skills mismatch between trainee and the world of work and lack of serious quality control standards. Umbrella of Hope Initiative (UHOPI) a local NGO operating in Gulu came up with the intervention of training these vulnerable groups in handicraft production with the aim that beneficiaries would be able to be self-reliant after acquiring the skills. The trainees were expected to venture into handicraft business with the hope that this would be a source of their livelihood. In order to ensure that handicraft business would bring sustainable development to the vulnerable groups, UHOPI commissioned a market survey in handicraft products in Gulu City. Questionnaires and interview guides were the tools that was used to collect the data. The Respondents indicated their views on; basic information on handicrafts, market for handicraft products, profitability of handicraft products and obtaining trainers in handicraft production. Descriptive statistics was used to analyze the data. Qualitative responses were coded into themes and their frequencies obtained and triangulated in the aspects under study. The findings revealed that handicraft shoes and bags are the most demanded items

Memento Mitten is a project about seeing human hair from the perspective of sustainability as a viable alternative material. The project also aims to question our reluctance in Western Europe to use it in projects and innovations. It explores the process of transforming hair from waste into a functional piece (a mitten) by using traditional handicraft (hand carding, hand spinning and nålbinding) as a change agent in order to alter our perception of hair. Relating anthropologist Mary Douglas’ theory on dirt to the Freudian definition of ‘Das Unheimliche’ (The Uncanny) the project further examines and dissects the emotional aspects of Uncanniness and the anxiety we perceive when in contact with disembodied hair. Leaning on Douglas’ theory on dirt I developed a framework for action that could potentially have the transformative ability to, when applied to creative practices, recontextualize hair from uncanny waste into an emotionally safe material. Utilizing auto-ethnographic documentation, physical exploration and participatory elements (through design interventions), four phases were identified: rejection (identifying hair as waste), re-collection (collecting hair), dissolution (taking apart the hair through acts like hand carding) and assimilation (putting the hair into a new context). These phases, which I titled The Altered Phases of Dirt, showed that they had the potential to move our inner margins of comfort beyond Uncanniness through the physical engagement found in handicraft.

The paper examines the work and production of Swedish ceramist Isak Isaksson (born 1949) from the aspects of emotional connection to materials, work processes, development and perceived meaning in relation to extraordinary craftmanship and the production of crystalline glazes. Isaksson has worked as a ceramist since the mid 1970s, starting with basic, functional stoneware goods but gradually moving towards the creation of art objects. His works, consisting of simple, traditional vessel shapes thrown to perfection – in combination with highly advanced crystalline glazes, have earned him recognition in Sweden and internationally. While investigating Isaksson’s love for the intuitive, ancient technique of throwing, the paper also highlights his use of sophisticated chemical glazing methods and digital technique for creating, learning, inspiration and communication. Five of Isaksson’s contemporary pieces with crystalline glazes are studied with a combination of semiotics, associations and open senses.

Reckoning is a body of sculptural work that explores the emotional resonance contained within memory through a combination of personal ephemera and handcrafted objects. The physical presence of this work underscores the importance of its materiality, in both the handmade and collected objects, in emphasizing their ability to conjure a memory. Reckoning evokes the intangible emotions and overwhelming sensations that accompany the act of remembering, and an inability to forget., 2020, Includes bibliography., Degree granted: Thesis (M.F.A.)--Florida Atlantic University, 2020., Collection: FAU Electronic Theses and Dissertations Collection

From its establishment in 1942, the Sami folk high school included crafts as an important part of its education program. The Swedish Mission Society, who founded the school, not only wanted to educate Sami youth to better their chances on the labour market but also to give them the opportunity to get acquainted with their Sami culture. Thus Sami crafts had a crucial role in educational activities at the folk high school. With the help of Gert Biesta’s concepts, the article shows that crafts had a socializing function. The teaching strengthened the students’ collective identity and provided them with traditional skills and knowledge. However, Lennart Wallmark, the school principal (1942-1972), stressed the importance of learning crafts for other purposes. Influenced by religious thinkers, he stated that the students would also be strengthened as individuals: a process of subjectification. Moreover, the crafts lessons had a third function: qualification. Though the studies were not vocational as such, they could simplify the process of procuring the quality label bestowed by the Sami organization Same Ätnam to crafts of especially high quality. Wallmark and the teachers in crafts were important for the development of craft education at the folk high school. However, Same Ätnam’s ideas of Sami handicraft and government regulations were also influential. These inner and outer forces contributed to the teaching so that it, on one hand, did not change much but, on the other hand, was congruous with the rest of the society., Special Issue: History of Education

This research tried to analyze the existing casting process of ganto recycled brass by varying the liquid pressure parameters of different induction metals, followed by the pouring of liquid metal into the mold. The method used in this research was descriptive qualitative with aesthetic analysis. As a result, metal casting can be defined as the process of molten metal, poured into a mold, then allowed to be cool and freeze. In conclusion, Ganto is one of the objects of brass casting that continues to produce the brass handicrafts in Jorong Kapalo Koto, especially the production center of Zikri ganto

Department: Fashion and Textile Studies: History, Theory, Museum Practice., Advisors: Kelly, Rebecca., Patchwork was an important textile trend in the late 1960s, reflecting the self-suffiency and handcraft ideals of the influential hippie movement. Haute Couture designers were not out of the reach of these trends. In his spring/summer 1969 collection, Yves Saint Laurent featured several patchwork garments, including silk patchwork evening dresses. Other young designers were also experimenting with a variety of handcraft techniques in their collections. However, these techniques had been perfected by others for generations. When a few women from the Appalachian Mountains of West Virginia noticed the fashion taste for patchwork and appliqué, they capitalized on the trend to help their own poverty-stricken community. One woman realized that fashion garments were faster to make, required fewer resources upfront, and fetched higher returns than traditional quilts. Mountain Artisans began by making hostess skirts, but throughout the maker's tenure they branched into home furnishings, mini-skirts, midi-skirts, pants, blouses, jackets, tennis dresses and racquet covers, evening wear, bridal clothes, tote bags, and quilted toys for children. Mountain Artisans had a mission larger than just creating a profit; they were giving people who were willing to work hard the opportunity to do so. The brand started as a non-profit cooperative to provide living wages to needle workers. Although Mountain Artisans only survived for the better part of a decade, in that short time they helped over 300 women support their families in a meaningful way and stimulated the economy in struggling area.

Through a comparative and multi-sited ethnography in Cusco (Peru) and Bolivia, the article shows how, by mobilizing Andean textiles, local actors are weaving social change(s) while also changing the way of weaving. These two ideas are interwoven: 1) Andean textiles contribute to local population to weave social change(s) by bringing alternative economic opportunities; 2) weaving practices are changing, since new fashionable, industrial, and “hybrid” production has been created and adapted to an urban-oriented/tourist-oriented market which provides money to make the social change(s) possible.

The principal aim of this dissertation, Rhetoric and Practice: A Study of the Handicraft Society of Gestrikland 1912-1930, has been to investigate how the rhetoric of the Society – in its early years, as well in the subsequent writings which relate the Society’s history – compares to its actual practices, and to undertake a critical review of the meaning and practical application of the Society’s official slogans. One area of focus is the way Gestrikland’s Handicraft society employed the motto of “helping people to help themselves” – the idea, that is to say, of generating income for the poor. Another focus is the concept of “local character” as applied to the most typical handicraft products for a particular region. Both concepts were central to the Swedish handicraft movement. The study of archivial records as well as the analyses of textile objects, conducted from the point of view my own practical expertise, has led to significant new knowledge which clearly shows the discrepancy between the rhetoric and the reality of the early Handicraft movement. By problematizing and analysing the central concepts of the movement, “helping people to help themselves” and “local character”, I have been able to give a more relevant understanding of the practice. Specifically, I show that the origin of “local character” does not derive from the qualities of the surrounding natural environment, but rather from the creative initiative of particular individuals. Similarly, the idea of “helping people to help themselves”, which in the official rhetoric was understood to describe an initiative to supplement the income of the poorer folk of the countryside, has also in practice been shown to create occupation also for the women of the elite, and to help them find a place in public life. The handicraft movement thus became an organisation of middle-class women for women of all classes. One might say the organisation even existed to “help one’s own people help themselves”.

Digital fabrication technologies such as 3D printers entail a radical change to the traditional consumer-producer paradigm. Combined with other recent developments, self-styled Makers design and fabricate sophisticated devices and interactive technologies that would otherwise never have existed. However, stopping the uninitiated novice from making use of this potential is complex CAD software, and a high barrier to entry. In this study a series of workshops explore the potential of combining traditional handicraft materials – such as clay, paper and fabric – with 3D scanning to enable novices to work with 3D printers. Based on the results a set of instruction were created detailing the process of making three types of practical objects, covering the entire process from the making and subsequent 3D scanning of a physical object, to the software clean-up and final 3D printing. The results suggest that whilst the explored method can enable novices to create 3D printable models, a certain mindset is required for the novice to do so effectively., Innovation +

Uppsatsens frågeställning är vilka formgivare, konsthantverkare, hantverkare, slöjdare eller andra personer skulle kunna ses som förebilder i pedagogisk slöjd i en nutida kontext. Metoden för att undersöka frågan var en webbenkät riktad till ett urval av grupper som berörs av slöjd på olika sätt. Den vanligaste förebilden bland mina respondenter visade sig vara en svensk man som är släkting. På andra och tredje plats kom två etablerade och, i slöjdkretsar, kända professionella slöjdare; Jögge Surolle Sundqvist och Beth Moen. Respondenterna beskriver sina slöjdförebilder som kreativa, nyfikna och generösa. Bristen på kända förebilder inom slöjd kan i hög grad påverka den pedagogiska slöjdens status och ställning. Ett större fokus på att lyfta fram en bredd av förbilder för slöjd i undervisningen skulle kunna öppna upp för förbättrade möjligheter att arbeta mot det grundskolans kursplan i slöjd tar upp., The essay's question is what designers, artisans, craftsmen, people working with sloyd or other people could be seen as role models in educational sloyd in a contemporary context. The method of investigating the issue was a web survey targeted at a selection of groups related to sloyd. The most common model among my respondents turned out to be a Swedish man who is a relative. Second and third place came two well-known professional craftsmen; Jögge Surolle Sundqvist and Beth Moen. Respondents describe their role models as creative, curious and generous. The lack of known models in sloyd can greatly affect the status and position of the educational sloyd. More focus on highlighting a width of rolemodels in sloyd teaching could open up for improved opportunities to work according to the elementary school's curriculum in sloyd.

This article explores indigenous art-crafts of the Ye’kuana society of the Venezuelan Amazon. In particular, it focuses on its basketry: its mythical meaning as well as its importance as a mediator with the criollo or Westernized world. We aim to show how these oral traditions and their visual languages have permeated their myths and bodies of ancestral knowledge over time and resisted abrupt changes, such as their contact with the European or “Western” world. In this way, we contrast the valuation of their craftwork by the criollo or Westernized market with the value given to it by the cultures which produce them. This study shows the extent to which oral cultures are capable of shaping and adapting themselves to new contingencies and sociocultural exigencies, without losing their ancestral knowledge., Resumo: Este artigo esboça um percorrido pelo artesanato da sociedade indígena ye’kuana da Amazônia venezuelana; em particular, foca-se na cestaria, seu significado mítico e sua importância atual como mediadora com o mundo crioulo ou ocidentalizado. Pretendemos demonstrar a capacidade que as tradições orais e suas linguagens visuais têm para permear seus mitos e conhecimentos ancestrais pelo tempo e por mudanças inesperadas, como foi o contato com o mundo de tradição europeia ou “ocidental”. Desse modo, contrastamos a valorização que tem, por um lado, o artesanato para o mundo do mercado crioulo ou ocidentalizado com os significados que esta tem para as culturas que a produzem. Com isso, esperamos verificar até que ponto as culturas orais são capazes de serem moldadas e adaptadas a novos tempos e exigências socioculturais, sem perder seus conhecimentos ancestrais., Resumen: El siguiente artículo esboza un recorrido por la artesanía de la sociedad indígena ye’kuana del Amazonas venezolano; en particular, se centra en la cestería, su significado mítico y su importancia actual como mediadora con el mundo criollo u occidentalizado. Deseamos demostrar la capacidad que tienen las tradiciones orales y sus lenguajes visuales para permear sus mitos y conocimientos ancestrales a través del tiempo, y de cambios abruptos, como lo ha sido el contacto con el mundo de tradición europea u “occidental”. De este modo, contrastamos la valoración que tiene, por un lado, la artesanía para el mundo del mercado criollo u occidentalizado con los significados que esta tiene para las culturas que la producen. Con ello esperamos verificar hasta qué punto las culturas orales son capaces de moldearse y adaptarse a nuevos tiempos y exigencias socioculturales, sin perder sus conocimientos ancestrales.

This article discusses experiences of women’s organization in the remaining quilombola community, in the municipality of Lamarão/BA, this study is linked to the extension Project “Ser Tão Forte: Desenvolvimento Territorial Sustentável” (Being Strong: Sustainable Territory development) in the formation of Núcleos de Extensão em Desenvolvimento Territorial (NEDET) (Development Extension Centers), developed at the State University of Feira de Santana/BA. The study addresses issues regarding gender relations, rural areas and race/ethnicity, the data was collected through semi-structured interviews and technical visit to another municipality, with the purpose of exchanging knowledge about handicraft manufacture. The interviewees belong to the Associação Comunitária de Artesãs da Comunidade Remanescente de Quilombos do Sítio Santana (Artisans Community Association), where they produce ceramic utensils. Handicraft is a traditional practice in the community, passed on from one generation to the other and women’s participation is predominant in the practice. Therefore, it represents the conservation of tradition/culture, identity and way of life of those social actors., Este artigo versa sobre as experiências de organização de mulheres pertencentes a uma comunidade quilombola, no município de Lamarão/BA, e está vinculado ao projeto de extensão “Ser Tão Forte: Desenvolvimento Territorial Sustentável”, na formação de Núcleos de Extensão em Desenvolvimento Territorial (NEDET), desenvolvido na Universidade Estadual de Feira de Santana/BA. A análise contempla questões referentes às relações de gênero, meio rural e raça/etnia, através de estudo qualitativo, o qual utilizou entrevistas semiestruturadas e visita técnica para outro município, com o intuito de promover a troca de saberes na produção do artesanato. As entrevistadas fazem parte da Associação Comunitária de Artesãs da Comunidade Remanescente de Quilombos do Sítio Santana, na qual produzem utensílios em cerâmicas. O artesanato constitui uma prática antiga na comunidade, transmitida por gerações e com predomínio feminino na atividade. Representa, assim, a manutenção da tradição/cultura, da identidade e do modo de vida dessas atrizes sociais.

India is one of the most important suppliers of various handicrafts to the world market. The Indian Handicraft industries play an important role in world in Handicraft sector. This is one of the oldest cultures and tradition of India which represent different traditional art, of the different part of country. The handicraft products have very wide market in the world due to its growing potential. The Indian handicrafts industry is highly labour intensive cottage based industry and decentralized, being spread all over the country in rural and urban areas. The industry provides employment to over six million artisans who include a large number of women and people belonging to the weaker sections of the society. The Handicrafts Sector plays a significant & important role in the country’s economy. It provides employment to a vast segment of craft persons in rural & semi urban areas and generates substantial foreign exchange for the country, while preserving its cultural heritage. Handicrafts have great potential, as they hold the key for sustaining not only the existing set of millions of artisans spread over length and breadth of the country. But there are various issues associated with wide development of handicraft sector. The paper highlighted the problem and various issues associated with handicraft sector in India.

La Denominación de Origen (D.O) es gran instrumento que ofrece la propiedad intelectual pues permite proteger productos que se han vuelto tradicionalmente reconocidos por ser de una región geográfica o un lugar determinado, adquiriendo unas características específicas y especiales gracias a factores naturales y humanos, atribuyéndole al producto una calidad exclusiva, es decir, que no se da en ninguna otra zona geográfica; es por su exclusividad que son importantes, reconocidos y protegidos -- Las artesanías hoy en día también gozan de este medio de protección legal permitiendo preservar la cultura y la tradición, obteniendo los productores y artesanos, beneficios económicos, sociales y culturales; extendiéndose al consumidor quien es el interesado en adquirir un producto de calidad y de origen -- Es de importancia desarrollar este proyecto sobre Denominación de Origen Artesanal en Colombia, porque se cree que con esta protección se encuentra una gran ventaja económica, social y cultural para las pequeñas comunidades colombianas que han llevado una tradición en la realización de un producto

To write the history of craft and heritage engages with constructing a canon of known practices parallel to deconstructing the differences incorporated in institutions dealing with craft. Craft objects have long since been considered as heritage, but craft is also recognized as ’intangible heritage’. This can be seen in UNESCO’s (2008) designation of ’traditional craftmanship’ as a part of global intangible heritage. However, craft's gendered character is not equally recognized. In this article we will discuss craft, heritage and gender from a performativity perspective on making. The main question is how gender patterns are reflected in the understanding of craft, and in heritage making. The aim is to make visible the gender demarcations in the making of craft. We argue that the making of craft and its heritage status has been highly charged with gender differences. Recognizing this is of importance to be able to understand and to challenge heritage making processes and canons when it comes to craft. After a short theoretical background focusing on performativity and the canon of gender differences, three empirical examples are outlined. The first is about organizational aspects of handicraft, the second concerning the technique of crocheting, and the third considering visual representations of crafting, using empirical archival and published materials from the Home Craft Movement in Sweden., About the book:Gender and Heritage brings together a group of international scholars to examine the performance, place and politics of gender within heritage. Through a series of case studies, models and assessments, the significance of understanding and working with concepts of gender is demonstrated as a dynamic and reforming agenda. Demonstrating that gender has become an increasingly important area for heritage scholarship, the collection argues that it should also be recognised as a central structuring device within society and the location where a critical heritage studies can emerge. Drawing on contributions from around the world, this edited collection provides a range of innovative approaches to using gender as a mode of enquiry. From the politics of museum displays, the exploration of pedagogy, the role of local initiatives and the legal frameworks that structure representation, the volume’s diversity and objectives represent a challenge for students, academics and professionals to rethink gender. Rather than featuring gender as an addition to wider discussions of heritage, this volume makes gender the focus of concern as a means of building a new agenda within the field. This volume, which addresses how we engage with gender and heritage in both practice and theory, is essential reading for scholars at all levels and should also serve as a useful guide for practitioners.

Осуществляется попытка декодирования ценностно-смыслового содержания, присущего российскому ремесленничеству, и перевода его в плоскость практического использования в современной профессиональной школе, The article attempts to decode the value-semantic content inherent in Russian artisanship and transfer it to the practical application in a modern vocational school

[EN] In this study, we have employed the prospective method as the basis upon which to design and develop innovative policies and strategies, which can lead to the fulfilment of the objectives which all-Spanish companies in the handicraft industry share. Therefore, we herein propose and develop a new model for the observation of the environment, in order to provide support to the small and micro-companies, which make up the industry, using a prospective approach. This essentially consists of visualising the future in a way, which is more than a simple prolongation of the past. This visualisation requires that we take into account the whole range of possible futures, each of which is represented by a particular scenario. Each scenario is a situation, which could occur in the future as a result of human action or through the development of current events.

Joan Flasch Artists' Book Collection

The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments., The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments.

Craft productions, developed solidarily and collectively by the social groups, are very important for the projection of their quality of life, mainly, through the generation of jobs and income. To the artisans, this practice raises their self-esteem and promotes an independent and creative occupation, particularly due absorption by the tourist and commercial markets. Ornamental, utilitarian and gastronomic products based on butiazeiros - the palm trees and its fruit butiá (butiá capitata) - in Santa Vitória do Palmar, Rio Grande do Sul State, Brazil, represent a concrete example of the use of handmade creativity in improving quality of life, socioeconomic perspective, personal development, cultural recovery and financial restructuring of its producers. Local artisans are distinguished by the production of several articles based on the used of the palm tree and its fruit (including fibers and seeds). These developed products attract visitors and locals due their aesthetic quality and food value. Moreover, for its natural and cultural composition, the products end up representing local identity. Analyze the reality and the tourist and commercial potential of craft production is the main objective of this work, which research methodology was qualitative, divided into the following research methods: theoretical-bibliographic; documentary; virtual (internet); and field research with direct observation of the phenomenon investigated, As produções artesanais, desenvolvidas coletiva e solidariamente pelos grupos sociais, são de suma importância para a projeção de sua qualidade de vida, principalmente, através da geração de trabalho e renda. Aos produtores artesanais (artesãos), essa prática eleva a sua autoestima e promove uma ocupação independente e criativa, sobretudo diante de sua absorção pelos mercados turístico e comercial. Analisar a realidade e o potencial turístico-comercial dessa produção artesanal é o objetivo central desse trabalho, cuja metodologia de pesquisa foi de ordem qualitativa, dividida nos seguintes métodos: teórico-bibliográfico; documental; virtual (internet); e de campo, com observação direta do fenômeno investigado. Os produtos artesanais ornamentais, utilitários e gastronômicos com base nos butiazeiros – palmeiras do fruto butiá (butiá capitata) – no município de Santa Vitória do Palmar, Estado do Rio Grande do Sul, Brasil, representam um exemplo concreto de uso da criatividade artesanal na melhoria da qualidade de vida, da perspectiva socioeconômica, do desenvolvimento pessoal, da valorização cultural e da recomposição financeira de seus produtores. Os artesãos locais se destacam pela produção dos mais diversos artigos a base da palmeira e seu fruto (incluindo fibras e sementes). Esses produtos desenvolvidos atraem visitantes e moradores locais diante de sua qualidade estética e valor alimentar. Além disso, por sua composição natural-cultural, os produtos acabam por representar a identidade local.

In this paper we analyze how the qom handicraft form Fortin Lavalle —Chaco-Argentina— interacts with the market. We conceive handicraft not only as an object but as a process that takes place over a series of stages. Here we will focus on the stages of organization and sale. This process is based on the commercial potential of the handicraft. Then, from the involvement of state, NGO and merchant a series of techno-scientific, preliminaries or disciplinary techniques are put in place in order to contribute to the construction of a space of calculation, to enhance the interchangeability of the object. By reviewing the application of such disciplinary techniques, we see the tensions that appear at the time of the commodification process. Tensions that are not resolved throughout the process but that are being regulated by the actors involved in it., Neste artigo analisamos a forma em que o artesanato qom de Fortin Lavalle —Chaco-Argentina— interage com o mercado. Para fazer isso, concebemos o artesanato não só como objeto, mas como um processo que ocorre ao longo de uma série de etapas. Aqui vamos nos concentrar nas etapas de organização e de vendas. Este processo repousa sobre o potencial comercial do artesanato. Então, a partir da participação do Estado, ONG e comerciante são operados uma série de técnicas tecno-científicas, preliminares ou técnicas disciplinares que contribuem para a construção do espaço de cálculo para maximizar a permutabilidade do objeto. Ao rever a aplicação destas técnicas disciplinares vemos as tensões ao mercantilizar. Tensões que não são resolvidas ao longo do processo, mas que vão sendo reguladas pelos atores que nele se encontram., En este trabajo analizamos el modo en que la artesanía qom de Fortín Lavalle —Chaco-Argentina— interactúa con el mercado. Concebimos a la artesanía no sólo como un objeto sino también como un proceso que transcurre a lo largo de una serie de etapas. Aquí nos enfocaremos en las etapas de organización y venta. Este proceso se apoya en el potencial mercantil de la artesanía. Luego, a partir de la participación de Estado, ONG y comerciante se ponen en funcionamiento una serie de instrumentos tecno-científicos, preliminares o técnicas disciplinarias que contribuyen a la construcción del espacio de cálculo para potenciar la intercambiabilidad del objeto. Al revisar la aplicación de dichas técnicas disciplinarias vemos las tensiones que se ponen de manifiesto al mercantilizar. Tensiones que no se resuelven a lo largo del proceso, sino que van siendo reguladas por parte de los actores involucrados en el mismo.

"Whanaketanga | Evolution, focused on technical construction and application using various materials. As art evolves, we find new ways to express concept, thought and imagination. This Exhibition Report is aimed at maintaining customary concepts and techniques using new materials, not customarily associated with Māori weaving such as cane, chain, screen mesh, perspex and plastic. Whilst the customary use of Māori woven taonga serves a utilitarian purpose, the challenge was to show new ways of thinking aimed at creating new forms of art not necessarily seen before. This biography of a decade of practice as a weaver begins with works completed over the past two years, submitted and exhibited as part of the Master of Māori Visual Arts journey. The exhibition is supplemented by previous works to demonstrate a personal evolution into new works employing non-customary materials."--Foreword

The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments., The purpose of this paper is to present the phenomenon of Tibetan jewellery, its history, characteristics, styles, applied patterns and ornamentation. The work focuses on traditional jewellery, its application, execution methods, tools and materials used by jewellers, as well as on the symbolism, mainly Buddhist one, with broad meaning and often used during execution of the ornaments.