This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections, and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization techniques towards similar preservation and outreach goals.
{"title":"Preserving cultural craft heritage: Digitizing a traditional Syrian clothing collection","authors":"Monica Sklar, Katherine Hill McIntyre, S. Autry","doi":"10.1386/crre_00055_1","DOIUrl":"https://doi.org/10.1386/crre_00055_1","url":null,"abstract":"This project explores the importance of the preservation of diverse private collections of crafted artefacts, and specifically improving digital access. The focus is on the transformation of an assemblage of 100 Syrian garments held in the United States into a museum-quality, publicly\u0000 accessible archive. Private collections that are not financially endowed face various challenges, including their culturally valuable content being inaccessible and underseen. The goal of archiving and exhibiting this collection of garments is to share Syria’s dress and craft history\u0000 as a form of identity, community, economy, artistic expression and technological development. Each item is unique, representing an everyday life that no longer exists. As people moved to new geographical locations, craft traditions were not always carried with them. Consequently, the garments\u0000 and accessories in this collection feature dyeing techniques, metalwork and symbolic representations of different generations of Syrian people from this ancient to present civilization. Throughout the research process, we learned to synthesize the core issues of contemporary craft heritage\u0000 management, with an initial goal to build a new digital archiving method and template to benefit small or private collections outside of institutions. First, we determined how to do so using affordable and accessible tools, in line with manageable industry standards. Digital photography, metadata\u0000 development, object labelling, and anecdotal interviews complement the existing collection information. The long-term goal is the dissemination of the collection through exhibitions, interactive websites, symposiums and publications. Museums are working harder to diversify their collections,\u0000 and many private collections represent marginalized cultures or do not fit within the established parameters of public institutions. This study touches upon the disparate and specific needs of private versus public collecting, and how to bridge some of the gaps using standardized digitization\u0000 techniques towards similar preservation and outreach goals.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48386656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Addie K. Martindale, Charity Armstead, E. McKinney
As the COVID-19 pandemic emerged, a widespread shortage of personal protective equipment (PPE) specifically N95 face masks were exposed. This need was quickly answered by home sewers who did not hesitate to answer the request of medical professionals to help fill the PPE shortage. As the United States entered a national quarantine, home sewers turned to social media, specifically Instagram to share their participation and communicate the need to recruit others to join them in their mask sewing efforts. This research aimed to interpret the Instagram post messages shared to understand the motivations of participation in mask sewing efforts. Social media hashtags were used to identify the messages related to home sewing face masks for the pandemic. A netnographic qualitative research approach uncovered five overarching themes: this is helping me, call to action, do it right, rising to the occasion and I’m ready for this.
{"title":"‘I’m not a doctor, but I can sew a mask’: The face mask home sewing movement as a means of control during the COVID-19 pandemic of 2020","authors":"Addie K. Martindale, Charity Armstead, E. McKinney","doi":"10.1386/crre_00050_1","DOIUrl":"https://doi.org/10.1386/crre_00050_1","url":null,"abstract":"As the COVID-19 pandemic emerged, a widespread shortage of personal protective equipment (PPE) specifically N95 face masks were exposed. This need was quickly answered by home sewers who did not hesitate to answer the request of medical professionals to help fill the PPE shortage. As\u0000 the United States entered a national quarantine, home sewers turned to social media, specifically Instagram to share their participation and communicate the need to recruit others to join them in their mask sewing efforts. This research aimed to interpret the Instagram post messages shared\u0000 to understand the motivations of participation in mask sewing efforts. Social media hashtags were used to identify the messages related to home sewing face masks for the pandemic. A netnographic qualitative research approach uncovered five overarching themes: this is helping me, call to action,\u0000 do it right, rising to the occasion and I’m ready for this.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47994629","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study investigates the background of Paitker painting in Jharkhand, India, and the role of the state in saving it. Paitker painting is more than 500 years old. It is exclusively practised by the Chitrakar community in Amadobi village, a tradition that had been encouraged by the emperors of the Dhalbhum dynasty (1300 ad). Today, Paitker painting is on the verge of vanishing as there are only 45 families left in the Chitrakar community of whom only two are keeping this rare art practice alive. Most have left their community and practice, and migrated to cities to find a more sustainable livelihood. The study adopted an exploratory research design using a qualitative research approach and oral narrative analysis. Four officials of Jharcraft, artisans and policy-makers were interviewed to understand the progress made by the government in saving Paitker painting. Additionally, secondary data was collected to better understand the cultural significance of Paitker painting, the socio-economic value of Paitker for the Chitrakar community and handicraft marketing processes within and outwith India. The main findings of the study reveal that clarity was lacking in the conservation approach and that additional government policy support was needed. The most significant initiatives of the state to date include training and e-retailing through the Jharcraft web-platform. The study found that improving the infrastructure and better promotional efforts to improve marketing, nationally and internationally, could improve the sustainability of Paitker painting in an effort to save it.
{"title":"The role of the state in saving Paitker painting in Jharkhand","authors":"G. Kumari, Abhaya Ranjan Shrivastava","doi":"10.1386/CRRE_00041_1","DOIUrl":"https://doi.org/10.1386/CRRE_00041_1","url":null,"abstract":"This study investigates the background of Paitker painting in Jharkhand, India, and the role of the state in saving it. Paitker painting is more than 500 years old. It is exclusively practised by the Chitrakar community in Amadobi village, a tradition that had been encouraged by the emperors of the Dhalbhum dynasty (1300 ad). Today, Paitker painting is on the verge of vanishing as there are only 45 families left in the Chitrakar community of whom only two are keeping this rare art practice alive. Most have left their community and practice, and migrated to cities to find a more sustainable livelihood. The study adopted an exploratory research design using a qualitative research approach and oral narrative analysis. Four officials of Jharcraft, artisans and policy-makers were interviewed to understand the progress made by the government in saving Paitker painting. Additionally, secondary data was collected to better understand the cultural significance of Paitker painting, the socio-economic value of Paitker for the Chitrakar community and handicraft marketing processes within and outwith India. The main findings of the study reveal that clarity was lacking in the conservation approach and that additional government policy support was needed. The most significant initiatives of the state to date include training and e-retailing through the Jharcraft web-platform. The study found that improving the infrastructure and better promotional efforts to improve marketing, nationally and internationally, could improve the sustainability of Paitker painting in an effort to save it.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46564266","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years we have witnessed an emergence of various do-it-yourself (DIY) activities in urban spaces. This article aims to shed light on these DIY activities in Helsinki, particularly within the textile and garment sector. Six DIY groups were selected, their organizers interviewed, and their respective activities were examined. The aims of this investigation are to understand these activities, the motivations behind them and the implications of making for well-being. The research interest focuses on the collectives and communities Doing It Together (DIT) and Doing It With Others (DIWO) more than individual activities. The main findings indicate that these activities aim to influence well-being at individual, community and societal levels by activating and integrating individuals into the community and society. DIY activities in the current study are based on sustainability-oriented values; they indicate how consumers enter into slower fashion consumption and how designers exercise more meaningful and fluid expertise in design practice. We argue that DIY activities, while niche, are strongly embedded locally, can drive change towards enhanced sustainability and well-being in urban contexts and can even contribute to the aspect of more connected societies.
{"title":"Emerging DIY activities to enable well-being and connected societies","authors":"K. Niinimäki, Marium Durrani, C. Kohtala","doi":"10.1386/CRRE_00038_1","DOIUrl":"https://doi.org/10.1386/CRRE_00038_1","url":null,"abstract":"In recent years we have witnessed an emergence of various do-it-yourself (DIY) activities in urban spaces. This article aims to shed light on these DIY activities in Helsinki, particularly within the textile and garment sector. Six DIY groups were selected, their organizers interviewed, and their respective activities were examined. The aims of this investigation are to understand these activities, the motivations behind them and the implications of making for well-being. The research interest focuses on the collectives and communities Doing It Together (DIT) and Doing It With Others (DIWO) more than individual activities. The main findings indicate that these activities aim to influence well-being at individual, community and societal levels by activating and integrating individuals into the community and society. DIY activities in the current study are based on sustainability-oriented values; they indicate how consumers enter into slower fashion consumption and how designers exercise more meaningful and fluid expertise in design practice. We argue that DIY activities, while niche, are strongly embedded locally, can drive change towards enhanced sustainability and well-being in urban contexts and can even contribute to the aspect of more connected societies.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48188429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Jonathan Wallis: jwallis@moore.edu Surrealism, for its first two decades, is bookended by war. That fact wasn’t loss on André Breton, who acknowledged war’s persistent historical relevance to Surrealism in 1942 during a lecture at Yale University. Speaking on the one-year anniversary of the bombing of Pearl Harbor, during his own period of self-exile from the conflict of World War II, Breton told his audience: “I insist that Surrealism can be understood historically only in relation to war; I mean—from 1919 to 1939— in relation at the same time to the war from which it issues and the war to which it extends.”1 For Breton and his fellow Surrealists who served in the First World War such as André Masson and Max Ernst, close and personal experience of physical conflict and unimaginable slaughter was a tragic but necessary ingredient and catalyst for the formation of surrealist philosophy. But the “war to end all wars” didn’t achieve its desired result, and by the mid-1930s the rumblings of nationalist politics in Europe would haunt the minds of the Surrealists. Hitler’s rise to power in 1933 and the spread of Fascism, the internal strife and eventual outbreak of civil war in Spain, and an inevitable Second World War that extended its reach globally, threw all those involved with the cause for total revolution of mind and society into sobering external realities comprised of physical horror that rivaled those conjured up within the unconscious. The result, according to Oliver Shell and Oliver Tostmann, who cocurated the exhibition, “Monsters and Myths: Surrealism and War in the 1930s and 1940s,” was an outpouring of the monstrous in Surrealist art. Oliver Shell, associate curator of European painting and sculpture at the Baltimore Museum of Art, and Oliver Tostmann, Susan Morse Hilles curator of European Art at the
{"title":"Exhibition review","authors":"Jonathan Wallis","doi":"10.1386/crre_00019_5","DOIUrl":"https://doi.org/10.1386/crre_00019_5","url":null,"abstract":"Jonathan Wallis: jwallis@moore.edu Surrealism, for its first two decades, is bookended by war. That fact wasn’t loss on André Breton, who acknowledged war’s persistent historical relevance to Surrealism in 1942 during a lecture at Yale University. Speaking on the one-year anniversary of the bombing of Pearl Harbor, during his own period of self-exile from the conflict of World War II, Breton told his audience: “I insist that Surrealism can be understood historically only in relation to war; I mean—from 1919 to 1939— in relation at the same time to the war from which it issues and the war to which it extends.”1 For Breton and his fellow Surrealists who served in the First World War such as André Masson and Max Ernst, close and personal experience of physical conflict and unimaginable slaughter was a tragic but necessary ingredient and catalyst for the formation of surrealist philosophy. But the “war to end all wars” didn’t achieve its desired result, and by the mid-1930s the rumblings of nationalist politics in Europe would haunt the minds of the Surrealists. Hitler’s rise to power in 1933 and the spread of Fascism, the internal strife and eventual outbreak of civil war in Spain, and an inevitable Second World War that extended its reach globally, threw all those involved with the cause for total revolution of mind and society into sobering external realities comprised of physical horror that rivaled those conjured up within the unconscious. The result, according to Oliver Shell and Oliver Tostmann, who cocurated the exhibition, “Monsters and Myths: Surrealism and War in the 1930s and 1940s,” was an outpouring of the monstrous in Surrealist art. Oliver Shell, associate curator of European painting and sculpture at the Baltimore Museum of Art, and Oliver Tostmann, Susan Morse Hilles curator of European Art at the","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141228312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This article reflects upon a pilot project crafting textile samples/prototypes for people who are visually impaired. It explores the role that sensorial empathy and further understanding of the language of touch play in the textile crafting process for makers working with people who are visually impaired, and that aesthetic and experiential textiles (while important to all) are especially important to people who are visually impaired. The project undertakes craft research in an area that is generally overlooked by textile designers. The makers/participants were sighted second-year undergraduate textile design students at Nottingham Trent University and the end users, who acted as informants, were service users at My Sight Nottinghamshire (a charity in the United Kingdom addressing visual impairment). The project is situated within human-centred design, with a focus on physically intuitive designs crafted for people with visual impairments. The application and usage of the samples/prototypes are aimed at inclusivity, with engagement centred primarily around haptic touch, and so looking at the textiles may not reveal their potential application, which becomes more apparent through physical engagement. The project was inspired by work within sensory studies, including the concept of sensorial empathy, and research relating to the language of touch through tactile encounters with art objects from a visually impaired perspective. The methods used in the project drew upon empathic design processes, which were informed by sensory ethnography ‐ particularly 'emplacement' and the holistic consideration of mind, body and place ‐ and selected aspects of social haptics, particularly 'environmental description'. Recommendations include further development of the language of touch to support textile craft when working with people who are visually impaired and further consideration of 'grounding' as a concept regularly described by the informants.
{"title":"The importance of sensorial empathy and the language of touch when crafting textiles for people who are visually impaired","authors":"K. Hunt, Anna Piper, Georgie Worker","doi":"10.1386/crre_00015_1","DOIUrl":"https://doi.org/10.1386/crre_00015_1","url":null,"abstract":"Abstract This article reflects upon a pilot project crafting textile samples/prototypes for people who are visually impaired. It explores the role that sensorial empathy and further understanding of the language of touch play in the textile crafting process for makers working\u0000 with people who are visually impaired, and that aesthetic and experiential textiles (while important to all) are especially important to people who are visually impaired. The project undertakes craft research in an area that is generally overlooked by textile designers. The makers/participants\u0000 were sighted second-year undergraduate textile design students at Nottingham Trent University and the end users, who acted as informants, were service users at My Sight Nottinghamshire (a charity in the United Kingdom addressing visual impairment). The project is situated within human-centred\u0000 design, with a focus on physically intuitive designs crafted for people with visual impairments. The application and usage of the samples/prototypes are aimed at inclusivity, with engagement centred primarily around haptic touch, and so looking at the textiles may not reveal their potential\u0000 application, which becomes more apparent through physical engagement. The project was inspired by work within sensory studies, including the concept of sensorial empathy, and research relating to the language of touch through tactile encounters with art objects from a visually impaired perspective.\u0000 The methods used in the project drew upon empathic design processes, which were informed by sensory ethnography ‐ particularly 'emplacement' and the holistic consideration of mind, body and place ‐ and selected aspects of social haptics, particularly 'environmental description'.\u0000 Recommendations include further development of the language of touch to support textile craft when working with people who are visually impaired and further consideration of 'grounding' as a concept regularly described by the informants.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46734152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Arts and crafts are widely considered to be psychologically beneficial. Letterpress, as a traditional method of printing, was made redundant by computers in the later twentieth century but has enjoyed a 'rebirth' in recent years. There are a growing number of independent presses, and universities who are recognizing its potential as a pedagogical tool. As a printing method, it is no longer a necessity, so what is its role going forward? The techniques are not lost, but their value has changed. As a craft, letterpress has several distinctive qualities, particularly when compared to digital alternatives. When working with letterpress, students are no longer alone at their desks. Rather, the letterpress workshop is a social, communal space. In this article we reflect on the resurgence of letterpress as a celebration of culture and heritage: a coming together of like-minded individuals in a community of action. What is the value of enabling students to immerse themselves in letterpress, and what are the effects of this immersion on the practitioner and their well-being? There is a shift in focus of letterpress from output ‐ mass-produced printed media ‐ to process. We analyse the unique qualities of this process ‐ its physicality, the restrictions it imposes and the latitude it allows ‐ and explore links to mental and physical health and well-being. This position paper explores the practical, conceptual and emotional dimensions of letterpress as a craft. It draws upon personal reflection, observation and anecdotal accounts collected over years of teaching (V. S.), while offering psychological perspectives on the links between letterpress, craft and well-being (S. R. H.).
{"title":"Under pressure: Psychological perspectives on letterpress, craft and well-being","authors":"Victoria Squire, Sophie R. Homer","doi":"10.1386/crre_00017_1","DOIUrl":"https://doi.org/10.1386/crre_00017_1","url":null,"abstract":"Abstract Arts and crafts are widely considered to be psychologically beneficial. Letterpress, as a traditional method of printing, was made redundant by computers in the later twentieth century but has enjoyed a 'rebirth' in recent years. There are a growing number of independent\u0000 presses, and universities who are recognizing its potential as a pedagogical tool. As a printing method, it is no longer a necessity, so what is its role going forward? The techniques are not lost, but their value has changed. As a craft, letterpress has several distinctive qualities, particularly\u0000 when compared to digital alternatives. When working with letterpress, students are no longer alone at their desks. Rather, the letterpress workshop is a social, communal space. In this article we reflect on the resurgence of letterpress as a celebration of culture and heritage: a coming together\u0000 of like-minded individuals in a community of action. What is the value of enabling students to immerse themselves in letterpress, and what are the effects of this immersion on the practitioner and their well-being? There is a shift in focus of letterpress from output ‐ mass-produced\u0000 printed media ‐ to process. We analyse the unique qualities of this process ‐ its physicality, the restrictions it imposes and the latitude it allows ‐ and explore links to mental and physical health and well-being. This position paper explores the practical, conceptual\u0000 and emotional dimensions of letterpress as a craft. It draws upon personal reflection, observation and anecdotal accounts collected over years of teaching (V. S.), while offering psychological perspectives on the links between letterpress, craft and well-being (S. R. H.).","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41711937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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