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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]

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The article presents the art of producing terracotta, part of an important cultural heritage in Medet, Tavas region, Denizli province (Turkey). The case study examined the works of Hasan Hüseyin Savçı's family, the only representative of the terracotta art in Denizli. The aim of the undertaken research is to describe, analyze and evaluate the importance of the handicraft for the preservation of the cultural heritage of the region. The research used document analysis, which is one of the qualitative research methods, and additionally a partially structured questionnaire as a data collection tool. The field research was conducted in the Medet District. The undertaken research and analysis of the collected material confirm the great importance of the works of successive generations of the Savçı family for the preservation of the cultural heritage of the region dating back to the early Bronze Age. The handicraft of Necip Savçı, reconstructions and reinterpretations of the works are characterized by exceptional artistry. Research on the local raw material, a structured interview allowed for the documentation of terracotta production techniques and the problems related to their sale. The results of the research emphasized the importance of cultural heritage, such as terracotta, for the preservation of local identity, and at the same time being an important tourist attraction.

Mosaic knitting is a method of two-colour knitting that has become popular in recent decades. Our analysis begins with the mathematical rules that govern stitch patterns in mosaic knitting. Through this characterization, we find the total number of mosaic patterns possible in a given size of fabric and bound the number of patterns that are practical to knit. We proceed to a classification of the symmetry types that are compatible with mosaic designs, including theorems that enumerate which one- and two-colour frieze and wallpaper groups are and are not attainable in mosaic knitting. Our discussion includes practical information for knitwear designers and a multitude of sample patterns. [ABSTRACT FROM AUTHOR]

The article presents the art of producing terracotta, part of an important cultural heritage in Medet, Tavas region, Denizli province (Turkey). The case study examined the works of Hasan Hüseyin Savçı's family, the only representative of the terracotta art in Denizli. The aim of the undertaken research is to describe, analyze and evaluate the importance of the handicraft for the preservation of the cultural heritage of the region. The research used document analysis, which is one of the qualitative research methods, and additionally a partially structured questionnaire as a data collection tool. The field research was conducted in the Medet District. The undertaken research and analysis of the collected material confirm the great importance of the works of successive generations of the Savçı family for the preservation of the cultural heritage of the region dating back to the early Bronze Age. The handicraft of Necip Savçı, reconstructions and reinterpretations of the works are characterized by exceptional artistry. Research on the local raw material, a structured interview allowed for the documentation of terracotta production techniques and the problems related to their sale. The results of the research emphasized the importance of cultural heritage, such as terracotta, for the preservation of local identity, and at the same time being an important tourist attraction. [ABSTRACT FROM AUTHOR]

Los museos y archivos de cultura tradicional popular conciernen intensamente a la memoria material de los trabajos reproductivos que sostienen la vida realizados por mujeres, pero también a los lazos intelectuales y profesionales que muchas de ellas, con relativa frecuencia, establecieron con el campo de la etnología y la etnografía y sus instituciones. En el marco de los estudios culturales, este artículo explora estos museos considerados menores, invisibles o irrelevantes para el presente, a menudo almacenados, dispersos y subalternizados, sino desaparecidos. Específicamente, se analiza el caso del malogrado Museo del Pueblo Español (1934-1993) y el papel que en él desempeñaron distintas mujeres, en especial Carmen Baroja y Nessi (1883-1950). Sus memorias autobiográficas invitan a explorar cómo una experiencia de modernidad y feminista puede vincularse a una sensibilidad interclasista en torno a la cultura popular tradicional de manera no esencialista o identitaria, sino material y vital. Un enfoque que puede ser inspirador a la hora de pensar alternativas al orden androcéntrico del mundo, útiles en el trabajo de imaginar, no solo un museo feminista, sino también una nueva sociedad. Abstract Folk museums and the archives of traditional culture are intensely related not only to the material memory of the reproductive and life-sustaining work carried out by women, but to the intellectual and professional links that many women quite often established both with ethnology and ethnography, and their respective institutions. Within the framework of cultural studies, this article addresses these minor and ‘ghost’ museums of folk culture, those either considered irrelevant to the present, or otherwise hidden away, dispersed, subalternized, and, ultimately, disappeared. Specifically, this study focuses on the case of the Museum of The Spanish People (1934-1993) and the women professionals who played a direct role in its curation, with special attention placed on the figure of Carmen Baroja y Nessi (1883-1950). Her autobiographical memoirs invite us to explore the question of how a modern and feminist experience can be linked to an interclassist sensitivity for traditional popular culture that is neither essentialist nor identity-based, but, rather, material and vitalistic: an approach which could inspire us to think of alternatives to the androcentric order of the world, and which remains useful for the work of imagining, not only a feminist museum, but a new society as well.

The handcrafts considered as one of the constants of our ancient Egyptian heritage , which cannot be erased from memory, no matter how long it is, as well as being one of the basic components of the national character. It distinguishes the specificity of Arab societies and create their identity. So, caring of handcrafts is a great responsibility for those who are interested in this cultural heritage.The importance of crafts and handcrafts is reflecting the national identity of the state that produces them. In Egypt, many of these handcrafts are inherited by generations bearing the genetic fingerprint of creativity, beauty, precision and mastery. And it is still one of the Egyptian artist creativity marks, which manually formed. Any country that is characterized by these handcrafts can make economic gains as a result of its interest and support. Therefore, it is necessary to study how to promote this industry and benefit from it in the design and production of contemporary furniture, as well as benefiting from successful global experiences in handcraft development to overcome its position in Egypt. Furniture generally considered as one of the most important elements of the interior spaces, including the functional and aesthetic components directly affect the formation of the internal vacuum, which can affect positively or negatively on the inhabitants. So, the problem of this research arose by the reluctance of designers of heritage In general and handcrafts in particular, and their influenced by western design trends, which was the result oflosing many of our cultural heritage and our handcrafts. The problem of research concentrated in the departure of furniture design from handcrafts and not keep up with modernity and contemporary, which led to the decline of the crafts until reach extinction. As a result, the research aims to revive the handcrafts by integrating them with contemporary design lines for their development and continuity throughout the ages. This paper discussed the concept of handcrafts, their importance and the problems they face in the light of contemporary developments, and what are the handcrafts supporting the design of furniture. The paper concluded with a suggested design that demonstrates the effect of handcrafts on enriching furniture design aesthetically, culturally and emotionally.

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]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Desacatos is the property of Centro de Investigaciones y Estudios Superiores en Antropologia Social and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Copyright of Espacio, Tiempo y Forma. Serie VII, Historia del Arte is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In both World Wars, combatant nations, including the United States, Britain, and Germany, learned that inadequate or poorly-maintained footwear produced costly and preventable casualties from trench foot and frostbite. While provision of shoes and boots to troops were major issues in earlier conflicts, no nation before World War I had fully appreciated the significance of warm, dry, well-fitting socks to the effectiveness of soldiers in the field. The large numbers of trench foot casualties in World War I, especially among the French and British, convinced policymakers that this vital commodity must receive a higher priority in military production planning, but few nations in wartime could shift production to knitting mills rapidly enough to make a difference. Thus, in Britain and the U.S, the best policy option proved to be recruiting women and children civilians to knit socks by hand for the military in the first war, and for refugees, prisoners and civilians in the second. This paper discusses the economic and military importance of this effort, including the numbers of pairs produced, and the program's role in supplementing industrial production. The production of this low-technology but crucial item of military apparel is typical of detail-oriented tasks performed by women under conditions of full mobilization for war, in that they have a high impact on battlefield and home front performance and morale, but very low visibility as significant contributions to national defense. Often, both during and after the emergency, these efforts are ridiculed as trivial and/or wasteful. Unlike women pilots or industrial workers, handcrafters of essential supplies are regarded as performing extensions of their domestic roles as makers and caretakers of clothing and food. This was especially true in the U.S. in and after World War II, a wealthy industrialized nation that took pride in its modern - and thoroughly masculinist - military industrial complex. [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]

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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.

Brass is more malleable and has better acoustic properties than pure copper or zinc; consequently, it is used in a variety of musical instruments, including trumpets, trombones, bells, and cymbals. The overall goal of this work is to represent an analytical and conservation study of brass Trumpet from the handcrafts collection of Dhamar museum in Yemen. Metallographic examination and scanning electron microscope were performed to identify the microstructure of the alloy. Energy dispersive spectroscopy EDS and x-ray fluorescence (XRF) were used to identify the alloy composition used for manufacturing the musical instruments and the solder joints. X-ray diffraction (XRD) was used for the identification of the crystalline corrosion products. Finally, exploited the previous info., in a systemic treatment and conservation for the selected object.

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Brass is more malleable and has better acoustic properties than pure copper or zinc; consequently, it is used in a variety of musical instruments, including trumpets, trombones, bells, and cymbals. The overall goal of this work is to represent an analytical and conservation study of brass Trumpet from the handcrafts collection of Dhamar museum in Yemen. Metallographic examination and scanning electron microscope were performed to identify the microstructure of the alloy. Energy dispersive spectroscopy EDS and x-ray fluorescence (XRF) were used to identify the alloy composition used for manufacturing the musical instruments and the solder joints. X-ray diffraction (XRD) was used for the identification of the crystalline corrosion products. Finally, exploited the previous info., in a systemic treatment and conservation for the selected object. [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]

This paper analyzes Carlos Rojas´ work in the public-private enterprise “Artesanías de Colombia” during the 1970s. During his administration there was a modernization in the way of conceptualizing, producing and putting into circulation the handcrafts in this South American country. The hypothesis of this work argues that Rojas – an important Colombian abstract artist – went across the themes, functions, techniques and materials of rural crafts from modern art language. This art crafts process of modernization – that involves operations of synthesis and condensation of formal elements and the renewal of chromatic aspects – carried out by Rojas from “Artesanías de Colombia” sought a national and international circulation and consumption. This work does not pretend to carry out an exhaustive study of the Colombian craft. Some examples of handcrafts will be analyzed as varnish of the city of Pasto (barniz de Pasto-Department of Nariño), animals figures made from wood (Bogotá) and Tagua seed carvings (Chiquinquirá).

Abstract Ezare, a protective cover for walls with also decorative purposes is used from the ground up, to a height of one meter. This architectural design is observed in most Iranian historic buildings. Its design and structure developed through time according to the period in which it was used. Apart from preventing humidity to inner walls, Ezare was also used as means of beatifying and characterizing the overall theme of buildings. These days skirting’s have walls, such as; decorative stone, wood or any other durable material. replaced the historic Ezare’s. Skirtings come in many forms both on the interior and exterior of building Although in this article, Ezare is introduced with a background to its development, it is also important to stress the artistic and cultural nature of it, and the impact it has had in the progression of skirting’s we see today. The unique characteristics and variety of Ezare’s throughout different periods in history, yet its inevitable replacement with skirting’s, has raised many questions. Research methods used for this study has been carried out using trustworthy and reputable resources such as; library resources along with searching online databases. In conclusion, this study has come to the realization that Ezare’s gradual demise and replacement with skirting’s has been mainly due to the practical nature of skirting’s. The anti-humidity qualities of skirting alongside their economical benefits have outweighed the decorative and the identity and character that Ezare’s used to give. However, with the ever increasing and exceptional quality of Iranian handicrafts, we can now look at the appealing artistic and cultural aspect of Ezare’s when designing new modern skirting’s.

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]

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This research explored teenagers’ use of handcraft apparel in the United States and South Korea. Teenagers were selected for a cross national comparison of youth and their emotional attachment to handcraft apparel in terms of: use of handcraft items compared with purchased products; the relationship between the craft user and creator; and the influence of emotional attachment to handcrafts on the friendship and self-esteem of youths. Responses of US and Korean high school and middle school students acknowledged the value of handcrafts. Handcraft items offer a measure of sustainability not offered by clothing destined for the fast-fashion cycle. Items handcrafted by friends and family have considerable value as objects of everyone design as well as emotional value. In this study, we also conclude that the value of handcraft apparel and crafts in everyday creativity may have a positive influence on peer relationships and self-esteem among youth in the two countries. Comparing the two youth groups in this study, we found that US teenagers have a greater tendency to use handcrafted items compared with their Korean counterparts that may be attributed to the wider popularity of handcrafting in US society. US participants reported a significantly longer period of actual use of handcraft items. Although handcraft items are increasingly overlooked in favor of mass-produced fashion products, handcraft apparel can be expected to endure as an alternative product with recognized sustainability, given the perceived importance of handmade craft and apparel made by loved ones. [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]

El presente trabajo se centra en los saberes y prácticas referidos a la producción artesanal del pueblo Qom en la ciudad de Rosario, provincia de Santa Fe, Argentina. Abordamos distintos rubros productivos, como: cestería, alfarería, tejido, confección de arcos y flechas y realización de collares; formas productivas individuales y/o familiares y; tipos de organización, como: cooperativas, asociaciones y grupos independientes presentes en la mencionada ciudad. La producción y venta de artesanías es parte de las estrategias económicas dentro del contexto urbano, a la vez que motivo de reivindicación identitaria en el conjunto de toda una serie de luchas que incluyen aspectos políticos, sociales y culturales.The present work concentrates in knowledge and practicing referred to handcraft production of Qom people. We approach different productive headings as: basketry, pottery, netting, arch and arrow production and necklace manufacture, individual or domestic ways of production and different sorts of organization as: cooperative activity, associations and independent (free) groups settled en the mentioned City. The production and selling of handcrafts is a part of economic strategies inside the urban context, and at the same time the recovery of identity of a long series of struggles including social, cultural and political aspects.

If indigenous cultures of Latin America have been criticized during decades, they now arise an interest which is an opportunity for some localities. This way, the Boruca community is developing itself by selling touristic handcraft. White cultural entrepreneurs, who have been taking part in designing this production, now use it as a symbol of authenticity and autochthony in various arena, for the constitution of a new imagined political community and its representation in the tourism market.

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]

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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]