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Relevant bibliographies by topics / Art and handicrafts

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Academic literature on the topic 'Art and handicrafts'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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Journal articles on the topic "Art and handicrafts"

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Upadhyay, Manali, and U. C. Jain. "MANAGERIAL CHALLENGES OF HANDICRAFT INDUSTRY: AN INDIAN PERSPECTIVE." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 122–26. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3719.

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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.

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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.

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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.

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Rautray, Priyabrata, and Boris Eisenbart. "ADDITIVE MANUFACTURING – ENABLING DIGITAL ARTISANS." Proceedings of the Design Society 1 (July 27, 2021): 323–32. http://dx.doi.org/10.1017/pds.2021.33.

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AbstractNew technologies have always been disruptive for established systems and processes. Additive Manufacturing (AM) is proving to be one such process which has the potential to disrupt handicraft and its manufacturing processes. AM is customisable, adopt multiple materials and is not restricted by the manufacturing process. Our research discusses this global phenomenon with case studies to highlights the growth of a new kind of professionals known as ‘Digital Artisans’. These artisans will assimilate the latest technologies with the cultural practices of the societies to create a new genre of products. The evolution of such artisans will be majorly led by people who have an equal inclination towards art and science and can act as the bridge between the handicrafts and technology. The development of such artisans will be supported by academics that will serve as a cradle and expose them to AM, design and handicraft. Its will also help in paving the growth of contemporary artisans who will utilise the strength of algorithms, artificial intelligence, CAD software and traditional aesthetics to create handicrafts of the future.

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Yandri, Yandri. "TENUN SONGKET PANDAI SIKEK DALAM BUDAYA MASYARAKAT MINANGKABAU." Humanus 13, no. 1 (June 30, 2014): 28. http://dx.doi.org/10.24036/jh.v13i1.4094.

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The art of songket woven handicraft Pandai Sikek is a cultural product of collective creation and traditional heritage Pandai Sikek. Songket first created to meet human needs for traditional ceremonies such as wedding ceremony of Minangkabau. The symbolic meanings in the art of songket are constantly evolving in accordance with the change of time. The art of songket weave Pandai Sikek is one of the traditional handicrafts, which is used for wedding ceremony. In traditional wedding, the groom wears songket for ‘saluak’, ‘sisampiang’, and ‘cawek’, all of them accessories for the traditional costume, while the bride wears gloves, scarves, and tingkuluak, accessories for female constume. The use of songket is customary responsibility and each of the songket patterns contains symbolic meanings. Various decorative patterns of Minangkabau songket are inspired from the concept of "alam takambang jadi guru" (learning from nature). The beauty of songket can be seen visually from the decorative patterns as well as the functions, styles, and structures. Songket handicrafts are able to survive and compete with factory-made textile products. The succes can not ignore the socio-cultural factors that the existence of this woven fabric remained in the middle of the supporting community.Key words: songket, woven handicraft, traditional wedding ceremony

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Upadhyay, Prakash. "Handicraft Tourism in Pokhara: Connecting the Past Tradition to the Present." Journal of Nepalese Business Studies 12, no. 1 (December 31, 2019): 33–44. http://dx.doi.org/10.3126/jnbs.v12i1.28181.

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Although the importance of handicraft has been widely recognized, the literature regarding the role of handicraft in tourism market is scarce. Based on empirical data, the present article aimed to explore the interplay between handicraft and tourism, the contribution of handicraft in tourism promotion and the challenges faced by handicraft sector in Pokhara, Nepal. This study identifies that there is a significant level of correlation and dependency between handicraft and foreign tourist arrivals, job creation and the increase in income and social status of handicraft shop proprietor. As a harbinger of past tradition, handicraft tourism/souvenir items has created a unique experience for tourist, enriched nation’s pride, belief and identity and connected the past tradition to the present. Lack of effective advertisement/marketing, inequitable price, scarcity of raw materials, intrusion of foreign goods, ineffective government policies are the key challenges of handicraft tourism. Policy improvement, increase in source/supply of raw materials, supply of handicrafts as per demand, creative production and marketing are the ways that can promote handicraft market. Handicraft tourism is not just about displaying and selling products, it is about allowing tourists to truly understand the skill/craft at rear and realize handicrafts unique tradition, linking tourists to artisans to facilitate them understand and appreciate the art. It is necessary recognizing the importance of local handicraft in sustainable tourism development and the importance of tourism as an agent for protection and preservation of traditional crafts, methods of production and cultural milieu.

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Rahayu, Kania Sofiantina, and Anida Shafa Salsabila Putri. "PERANCANGAN PROGRAM EKOWISATA KERAJINAN TANGAN KOTA PALEMBANG PROVINSI SUMATERA SELATAN." Jurnal Sains Terapan 10, no. 2 (July 31, 2021): 1–13. http://dx.doi.org/10.29244/jstsv.10.2.1-13.

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ABSTRAKKota Palembang memiliki keanekaragaman sumberdaya budaya. Kesenian merupakan salah satu unsur budaya yang mencerminkan ciri khas suatu daerah asal kesenian. Kerajinan tangan merupakan salah satu kesenian Kota Palembang yang berpotensi sebagai daya tarik wisata. Ekowisata kerajinan tangan memiliki pengaruh dalam melestarikan produk kerajinan, meningkatkan perekonomian dan mensejahterakan para pengrajin tradisional di Kota Palembang. Tujuan penelitian ini adalah menginventarisasi dan mengindentifikasi sumberdaya kerajinan tangan di kota Palembang agar dapat dijadikan objek dalam rancangan program ekowisata di Kota Palembang Provinsi Sumatera Selatan. Metode yang digunakan yaitu studi literatur, wawancara, observasi langsung dan penyebaran kuisioner. Sumber daya wisata kerajinan tangan yang diinventarisasi terbagi menjadi dua klasifikasi yaitu kerajinan bahan keras dan bahan lunak. Terdapat empat kerajinan tangan di Kota Palembang yaitu terdiri dari satu kerajinan bahan keras dan tiga kerajinan bahan lunak. Sumber daya kerajinan tangan dianalis berdasarkan tujuh indikator penilaian Avenzora (2008) untuk mendapatkan hasil penilaian potensi sumber daya kerajinan tangan unggulan. Potensi kerajinan unggulan di Kota Palembang yaitu kerajinan Laker, Kain Songket, Kain Jumputan dan Ukir Kayu. Berdasarkan hasil identifikasi menunjukkan bahwa stakeholders setuju dan siap jika kerajinan tangan kota Palembang dimasukan ke dalam objek program ekowisata. Program Ekowisata dirancang dengan konsep eksplorasi kerajinan tangan yang melibatkan interaksi antara wisatawan dengan para pengrajin. Adanya program ekowisata kerajinan tangan ini diharapkan dapat merangsang pertumbuhan ekonomi kawasan dengan kapasitas masyarakat untuk mengelola sumberdaya. ABSTRACTPalembang City has the diversities of cultural resources. Art is the cultural element that reflects the characteristics of an area. The Handicraft is one of Palembang City's arts which has the potential as a tourist attraction. Handicraft ecotourism has the influences in preserving the handicraft products, improving the economy, and the welfare of traditional craftsmen in Palembang City. This research purpose is to inventory and identify the handicraft resources in Palembang city so that they can be used as objects in the ecotourism program design in Palembang City, South Sumatra Province. The method used is literature study, interview, direct observation, and the questionnaire distribution. The handicraft tourism resources that are inventoried are divided into two classifications, namely the handicrafts with hard materials and soft materials. There are four handicrafts in Palembang City, consisting of one hard material handcraft and three soft material handicrafts. The handicraft resources were analyzed based on the seven assessment indicators from Avenzora (2008) to get the results of the superior handicraft resources potential assessment. The superior handicrafts potentials in Palembang are Laker, Songket, Jumputan, and the wood carving. Based on the identification results, it shows that the Stakeholders agree and are ready if Palembang handicrafts are included in the ecotourism program object. The Ecotourism program is designed with the handicraft exploration concept that involves interaction between the tourists and the craftsmen. The handicraft ecotourism program is expected to stimulate regional economic growth through the resource arranged by the community.

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Ergasheva, Sayora A. "POTTERY ART OF SURKHAN OASISIN 1950-80s." JOURNAL OF LOOK TO THE PAST 4, no. 6 (June 30, 2021): 77–82. http://dx.doi.org/10.26739/2181-9599-2021-6-11.

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The article tells about the history of ceramics and its features, which is one of the types of crafts in Surkhandarya. A scientific analysis of the social and spiritual basis for the development of crafts in Uzbekistan in the traditional national context and the thousand-year experience of folk crafts are given. Pottery is one of the national handicraft traditions of the Uzbek people, which has long been valued as one of the crafts. At the beginning of the twentieth century, various techniques and mechanisms began to be used in the production of handicrafts. This has had a significant negative impact on the quality of art production. By the 1950s and 1980s, ceramics had made many items disappear. Nevertheless, the oasis potters continued their work, remaining true to the tradition of the master apprentice

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Rzuqi, Assist Inst Baidaa Anwar. "Educational bag in the art of crochet and effectiveness in the development of handicrafts skills." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 3 (March 1, 2018): 273–92. http://dx.doi.org/10.36473/ujhss.v224i3.300.

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Modern technology, including educational bags has a role in increasing the efficiency of teaching and learning through various levels of students' skills and reflects a new idea that is set in easy way. The study aims to ((prepare educational material handicraft in the art of crochet bag, as well as identify the impact of the instruction in the development of the bag for second grade students’ average skills. And the researcher to build an educational portfolio in the material handicrafts to teach students the art of crochet through the booklet educational steps, as well as disc CD where everything related to the art of crochet steps as well, and formed the research sample of 48 female students and the use of the test Altaia (t) researcher found that there are very effective in teaching the students the art of crochet.

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Lovtsova, Irina V., and Lyudmila A. Burovkina. "Preservation of nonmaterial cultural heritage through the implementation of additional educational programs in the field of folk crafts and handicrafts." Tambov University Review. Series: Humanities, no. 184 (2020): 107–13. http://dx.doi.org/10.20310/1810-0201-2020-25-184-107-113.

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We substantiate the importance of preserving the nonmaterial cultural heritage, folk culture and the development of traditional handicrafts, the need to integrate culture and education. We prove the effectiveness of measures to preserve the nonmaterial cultural heritage through the development of children’s traditions and technologies of folk art crafts and handicrafts in additional education. We analyze the implementation of additional general educational programs in the field of decorative and applied arts and activities to preserve folk art crafts and handicrafts are being conducted in the regions of the Russian Federation. We make proposals for the development of educational programs in the field of folk crafts.

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Garcerá Ruiz, Javier. "Ver desde el Hacer: Materia, Tiempo y Silencio en el Arte Contemporáneo." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 204. http://dx.doi.org/10.17583/brac.2020.4227.

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Using as a starting point the artwork from a group of contemporary artists whose language is grounded on handicraft techniques, this article puts forward several reflections on the art production process and its impact on the act of seeing—in particular, creative processes which, by dissolving the watertight categories of arts, handicrafts, and design, focus on the sensory qualities of materials, rein in rational control on the act of making, and result in artwork which can only be understood beyond discourse. Drawing from ideas that are central to the writings of Juhani Pallasmaa, Richard Sennett, Byung-Chul Han, and Doris von Drathen, this article discusses various theoretical questions underlying the work of the aforementioned artists. They all point towards the possibility of an artistic practice that represents an ethics rooted in detachment and silence.

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Dissertations / Theses on the topic "Art and handicrafts"

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Tabaza, Khalil Nemer. "A theoretical model for preserving the Jordanian traditional folk handicrafts through art education /." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487590702991244.

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Betiol, Carmen Fabiana. "Ensino e aprendizagem na ceramica popular figurativa : a experiencia de Taubate." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285144.

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Orientador: João Francisco Duarte Junior
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa se propõe a realizar um estudo dos ceramistas do município de Taubaté/SP, com enfoque na tradição de ensino que se estabelece entre as gerações, mantendo, assim, acesa a produção há mais de 150 anos. A cerâmica popular figurativa taubateana nasceu em meados do século XIX com a imigração européia, tendo sido a devoção católica decisiva para os artesãos da cidade se dedicarem à criação de presépios e imagens sacras. Muito contribuiu para esse trabalho com o barro o fato de Taubaté ser banhada pelo rio Itaim, originalmente fonte de sua matéria-prima. Outros fatores contribuíram e contribuem para essa arte existir há mais de um século, como o ensinamento de fazer essas figuras dentro das famílias. Além das relações de parentescos permearem a constituição do grupo, surgem também as relações de ensino entre os vizinhos. Atualmente, o aprendizado também é transmitido para as pessoas fora dessa comunidade, o que ocorre principalmente desde a abertura da Casa do Figureiro, local de produção e venda dessa cerâmica. A criação desse espaço ampliou as possibilidades de geração de renda, outro fator fundamental para tal prática. As figureiras, mulheres que fazem as figuras de barro, representam, hoje, um grupo significativo de manifestação da cultura popular, expressando-se, criando e ensinando às novas gerações o seu ofício. Nesse sentido, a pretensão deste projeto é: descrever e analisar os processos de ensino e aprendizagem presentes nessa tradição. O como são vivenciadas as formas de aprendizagem para essas pessoas a partir de processos (ou métodos) de ensino, criados pelas gerações anteriores, é o grande foco deste trabalho. Nessas ações estão as experiências de ser aprendiz e também de ser o mestre do ofício em fazer figuras. Este estudo procura compreender e registrar essas vivências, como são desenvolvidas e se transformam para constituir também uma tradição de ensinar e aprender. Procura-se, pois, pensar as relações existentes nesse processo, por isso o texto se intitula: ensino e aprendizagem na cerâmica, diferentemente de ensino e aprendizagem da cerâmica. Aqui, não se encontra um manual de como fazer figuras de barro, por isso não são amplamente evidenciadas as técnicas, que são somente citadas com o intuito de exemplificar as situações e relações de ensino e aprendizagem desses sujeitos. Neste trabalho de registro e discussão, enfoca-se como essas pessoas ensinam, aprendem e apreendem o ofício de ser figureiro.
Mestrado
Mestre em Artes

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Zahra, Samreen Mrs. "Virsa: The Contemporary Value Chain." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3833.

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"Handicraft" means a useful or decorative object made by a craftsman who has direct control over all stages of production. Handicrafts have always had a greater value, an identity of their own that is reflective of their place, culture and materials, as well as a sense of belonging to a particular place and time. With the ever-growing mass production that followed the Industrial Revolution, we lost those crafts to multiple reasons: one being cheaper, industrial-made products reducing the demand for handicrafts, and another being a shift in consumer tastes. Most craftspeople hardly earn enough to survive and fulfill their basic needs, and naturally seek greater economic stability. In hopes of making a better future for their children, they send them to schools to gain knowledge that could help them gain employment and be able to make better livings for themselves and their families, halting the passing of knowledge. Hence, the heritage of skills that had been passed for generations in a family comes to end. This risks the loss of a craft that once was a source of pride and joy for these artisans – and for the larger community There are a number of efforts going on around the globe to preserve the indigenous crafts of different cultures, and to allow that knowledge to be passed down to new generations. My focus in this paper is a specific object (the charpai) from the Jandi craft, and its preservation through innovation. My work seeks to advance and preserve the skills and traditions of the artisans, while designing a new set of products inspired by the craft that hope to reconnect more artisans to the craft and empower them in terms of knowledge and finance.

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SILVA, Ronaldo Cardoso da. "A arte ind?gena como instrumento para o ensino da geometria." Universidade Federal Rural do Rio de Janeiro, 2016. https://tede.ufrrj.br/jspui/handle/jspui/2146.

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This dissertation portrays a research carried out with students of the Integrated Technical Course on Agropecu?ria PRO-EJA Indigenous of the Federal Institute of Amazonas - IFAM, in the Municipality of Tabatinga, located in the western part of the state of Amazonas. It has, among others, the purpose of proposing didactic strategies for the teaching and learning processes of Geometry, based on the relation of the contents of geometry with geometric patterns observed in the confection processes and handicrafts of the Ticuna indigenous peoples of the Umaria?? Indigenous Community, as well as suggest some pedagogical activities to be worked using these elements. The methodology of this work consists in the application of a questionnaire to evaluate the level of understanding and the importance of geometry for the students and for the course, in detailed observations of the student?s presentation during the seminars where the students presented results of their researches. The realization of craft workshops aiming to establish a relationship between the geometric patterns studied and those found in this process, and their possible application in problems of their daily life. During the seminars and in the confection activities it was noticed that the handicrafts facilitated the understanding of the basic contents of geometry because they are part of the socio-cultural context of the student. The satisfaction and motivation for the recognition of their culture were evidenced in the evaluation. In this way, it can be said that indigenous handicrafts can facilitate the teaching and learning processes of geometry for these students. This work also intends to make a modest contribution to the mathematics teachers of the indigenous schools with some suggestions of activities that can be developed by the students of the community with the intention of making the learning more meaningful and pleasant for the students and also to strengthen the traditional culture of the Ticunas
Esta disserta??o retrata uma pesquisa realizada com alunos do Curso T?cnico Integrado em Agropecu?ria PRO-EJA Ind?gena do Instituto Federal do Amazonas ? IFAM, situado no Munic?pio de Tabatinga, localizado no oeste do estado do Amazonas. Tem, entre outras, a finalidade de propor estrat?gias did?ticas para os processos de ensino e aprendizagem da Geometria, baseada na rela??o dos conte?dos de geometria com padr?es geom?tricos observados nos processos de confec??o e nos artesanatos dos povos ind?genas da etnia Ticuna da Comunidade ind?gena Umaria??, bem como sugerir algumas atividades pedag?gicas para serem trabalhadas utilizando esses elementos. A metodologia deste trabalho consiste na aplica??o de um question?rio para avaliar o n?vel de entendimento e a import?ncia da geometria para os alunos e para o curso, em observa??es detalhadas da apresenta??o dos alunos durante os semin?rios onde os discentes apresentaram resultados de suas pesquisas. A realiza??o de oficinas de confec??o de artesanatos visando estabelecer rela??o entre os padr?es geom?tricos estudados com os encontrados nesse processo, e sua poss?vel aplica??o em problemas do seu cotidiano. Durante os semin?rios e nas atividades de confec??o percebeu-se que os artesanatos facilitaram o entendimento dos conte?dos b?sicos de geometria por fazerem parte do contexto sociocultural do discente. A satisfa??o e motiva??o pelo reconhecimento de sua cultura foram evidenciados na avalia??o. Desta forma, pode-se afirmar que os artesanatos ind?genas, podem facilitar os processos de ensino e aprendizagem da geometria para estes discentes. Este trabalho pretende ainda dar uma modesta contribui??o aos docentes de matem?tica das escolas ind?genas com algumas sugest?es de atividades que podem ser desenvolvidas pelos alunos da comunidade com o intuito de tornar a aprendizagem mais significativa e prazerosa para os discentes e tamb?m fortalecer a cultura tradicional dos Ticunas.

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Rankin, Carin. "Development by design - an example in the South African craft industry the Due-South travel guide /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10082008-094907.

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Dowsett, Kathleen Joan. "The Women's Art Association of Canada and its designs on Canadian handicraft, 1898-1939." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ37947.pdf.

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Berma, Madeline. "The commercialisation of handicraft production among the Iban of Kapit division in Sarawak, Malaysia : constraints and potential." Thesis, University of Hull, 1996. http://hydra.hull.ac.uk/resources/hull:4923.

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This study is concerned with Iban involvement in commercial handicraft production (CHP). Its aim has been to examine the possibilities of employment expansion through small-scale rural industrialisation in Sarawak, Malaysia and to discuss differential Iban involvement and "success" in CHIP. The pertinent questions are: why do some Iban craftspersons take up CHP, while others do not; and under what conditions do Iban craftspersons succeed in CHIP? By undertaking this research, it is hoped to establish whether rural industrialisation based on craft production is "desirable" and 'feasible" for the rural Iban. Survey methods were employed from 200 Iban craftspersons from 10 longhouses in Kapit Division, Sarawak supported by participant observation in addition to in-depth interview with government personnel and selected entrepreneurs (such as tour operators, Chinese towkays). The thesis argues for a reinterpretation of Iban economic history because previous research on the Than economy has tended to ignore Iban involvement in non-agricultural activities, particularly in commercial activities. Although the Iban have become increasingly oriented to the market, there has been very little attention to the evolving landscape of the Iban economy. The study shows that Iban involvement in commercial activities does not occur in linear evolutionary phases; it is a variable and fluid response to changes in the social, economic, cultural and political environment. The study also shows that CI-[P provides the rural Iban with employment and income earning opportunities which, in turn enables them to sustain their livelihood whilst regenerating interest in Iban culture. Some craftspersons have succeeded in CHIP and have even managed to market their products beyond their local region. The majority, however, have been unable either to initiate, or once involved, to survive in CHIP because of constrains identified in marketing, availability of raw material, capital, labour, lack of entrepreneurship and institutional support, and certain cultural obstacles. Despite these problems, the majority of those Iban surveyed are willing to take up CHIP in the future suggesting that there is potential for the development of rural industrialisation in Sarawak. This study is a first step towards understanding the nature, extent and effects of Iban involvement in commercial activities, which is a neglected subject in development studies in Malaysia and the interplay of factors that promote or hinder their role in economic development.

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Walker, Sue. "Resurgence this exegesis is submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2008." Click here to access this resource online, 2008. http://hdl.handle.net/10292/372.

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Exegesis (MA--Art and Design) -- AUT University, 2008.
Includes bibliographical references. Also held in print (111 leaves : col. ill. ; 22 x 30 cm.) in the Archive at the City Campus (T 746.92 WAL)

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Makhado, Zwoitwa. "Crafting a livelihood: local-level trade in mats and baskets in Pondoland, South Africa." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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This study explored the dynamics of local-level trade in plant-based mats and baskets in Khanyayo village, Eastern Cape. These dynamics include social aspects of harvesting, resource tenure and trade. It also includes institutional issues such as legislation that enhances or restricts the degree to which local people could benefit from the trade or direct use. The study also explored the contribution of the trading in mats and baskets to the livelihoods of the Khanyayo people.

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Meyer, Gustavo. "O campo artístico-cultural em terras de Guimarães : uma entrada para o desenvolvimento." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/132962.

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Buscando trazer luzes à relação entre arte, cultura e desenvolvimento rural, investigou-se o campo artístico-cultural no norte/noroeste de Minas Gerais (municípios de Arinos e Chapada Gaúcha). Este espaço é particularizado por uma “efervescência” artístico-cultural que se desdobra como produto ao mesmo tempo cultural, político e contingencial. Tal processo é contextualizado a partir da história recente da região, na qual atores diversos buscam imprimir características modernas em desfavor de uma “época” fundada na administração personalista de fazendas, na relação íntima com os recursos naturais e em modos particulares de vida. Tomando isso por base, (i) a realização de manifestações culturais por ex-residentes de áreas rurais, (ii) a organização de redes de artesanato, (iii) as ações artístico-culturais empenhadas pelas prefeituras e (iv) a ocorrência de festivais de cultura popular constituem pontos investigativos distintos que se integraram em uma etnografia conduzida a partir de uma Perspectiva Orientada aos Atores. De um modo, a pesquisa revela a interligação profunda entre esses temas, a despeito de sua aparente independência. De outro, revela arranjos sociais multimotivados que são usados para problematizar aspectos relacionados à construção de subjetividades, à articulação em redes e à realização de poder; aspectos estes fundados em uma ideia e em um idioma de desenvolvimento amalgamado (político-literário-ambiental-cultural). A análise é tensionada problematizando-se agência enquanto produto situado entre “algo que está saindo” e “algo que está chegando”. Por fim, reflete-se sobre o campo artístico-cultural e sua intersecção com questões de desenvolvimento rural.
Seeking to light the relation between art, culture and rural development, we have immersed the artistic-cultural field in the north/northwest of the State of Minas Gerais (municipalities of Arinos and Chapada Gaúcha), Brazil. This place can be characterizated by its artistic-cultural "spirit" resulted as product simultaneously cultural, political and contingential. Such a process is contextualized considering region’s recent history, in which several actors seek to print modern features despite of an "age" based on personalistic farm management, on people’s proximity to nature and on particular ways of life. Taking this into account, (i) the organization of artistic-cultural events by former residents of rural areas, (ii) the organization of craft networks, (iii) the artistic-cultural activities committed by local prefectures and (iv) the occurrence of festivals of popular culture constituted distinct research points that have been integrated in an ethnography conducted on an Actor-oriented Approach. On the one hand, the research reveals the deep interconnection between these issues, despite their apparent independence. On the other, reveals multimotivated social arrangements that are used to discuss aspects related to constructions of subjectivity, networks articulations and power attainment; these aspects are founded on an amalgamated (political-literary-environmental-cultural) development idea and idiom. The analysis is tensioned by positioning agency as a product located between "something that is coming out" and "something that is just coming." Finally, it is reflected on the artistic-cultural field and its intersection with rural development issues.

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Books on the topic "Art and handicrafts"

1

Liao, Dongfan. Tibetan handicrafts. Beijing: China Intercontinental Press, 2003.

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Liao, Dongfan. Tibetan handicrafts. Beijing: China Intercontinental Press, 2003.

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Folk handicrafts. Beijing: Foreign Languages Press, 2002.

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Su zuo: Handicrafts. Taibei Shi: Yi shu tu shu gong si, 1993.

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Chakraborti, Siten. Handicrafts of West Bengal. Calcutta: Publication Dept., Institute of Art & Handicraft, 1991.

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Swarup, Shanti. Mughal art: A study in handicrafts. Delhi: Agam Kala Prakashan, 1996.

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Viện, Nguyẽ̂n Khá̆c. Arts and handicrafts of Vietnam. Hanoi: The Gioi, 1992.

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Kang, Kanwarjit Singh. Hunar, handicrafts of the north. Patiala: North Zone Cultural Centre, 1989.

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Tribal Art Museum (Tribal Research & Training Institute, Maharashtra, India). Tribal handicrafts of Maharashtra. Pune: Tribal Development Dept., Tribal Research and Training Institute, 1990.

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Kumud. Handicrafts in the Indus Valley civilization. Patna: Janaki Prakashan, 1995.

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Book chapters on the topic "Art and handicrafts"

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Ning, Ou. "Handicraft, Design, and Art." In Contemporary East Asian Visual Cultures, Societies and Politics, 237–66. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5791-0_12.

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Girard, Muriel. "Istanbul Metropolitan Municipality Art and Vocational Training Courses: A Matrix for Reviving Arts and Handicrafts, Constructing Local Values, and Reworking National Culture." In Turkish Cultural Policies in a Global World, 127–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-63658-0_6.

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Koivunen, Niina, and Kristina Ahmas. "The Ways of the Hand: Knitting and Handicraft as a Method of Research." In Using Arts-based Research Methods, 143–76. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33069-9_6.

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Tjoa, A. Min, and Roland R. Wagner. "The Role of Handicraft Production and Art in Tourism and its Presentation in the Internet." In Information and Communication Technologies in Tourism 1998, 338–44. Vienna: Springer Vienna, 1998. http://dx.doi.org/10.1007/978-3-7091-7504-0_34.

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Wang, Xiuxia, Shanwei Zhang, Siyuan Zhang, and Yuan Chen. "Research on the Regeneration of Endangered Traditional Handicraft Art in Modern Life: Taking the Bamboo Knitting Art of Dongyang as an Example." In Advances in Intelligent Systems and Computing, 581–88. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19135-1_57.

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Mahoney, Dillon. "Negotiating Informality in Mombasa." In Art of Connection. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520292871.003.0004.

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Traders in Kenya’s handicrafts industry, which developed in the 1960s and 1970s with significant government support, often viewed themselves as members of Kenya’s “informal” or jua kali sector. How traders understood their rights and economic opportunities affected their strategies as they negotiated the economic instability and haphazard regulation of the 1990s and 2000s, particularly following the kiosk demolitions. Detailed ethnographic examples and economic histories demonstrate the effects of government attempts to license and tax coastal handicrafts traders and tourism operators. Stories from Mombasa’s North Coast demonstrate the dangers that can accompany making international connections, including the potential for human trafficking. While largely immobile Kenyans were finding new ways to use digital technologies to conduct business and communicate over long distances, they also recognized that new forms of mobility and new connections came with a host of new risks.

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Srivastav, Gaurav, and Pankaj Singh Rawat. "Indian Handicraft and Globalization." In Designing and Implementing Global Supply Chain Management, 175–84. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9720-1.ch009.

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Globalization has made the whole world one compartment and makes a single village a global village. Indian handicraft products have great opportunities both in the domestic and international markets. Main products of handicrafts consist of art metal wares, embroidered and crocheted goods, shawls and art wares, and Zari goods, woods wares, hand printed textiles and imitation jewelry. Indian Handicrafts, which constitutes a significant segment of the decentralized sector of the economy, its export has reached at a commendable height. Indian folk art and crafts which are the integral parts of the Indian culture and tradition are in high demand among the western consumers. A lot of manufacturing units are established in rural and small towns, which generate employment for a million of artisans. Indian exports are showing a growing trend. Like every coin has two sides, globalization is not separate from this point it also not only have positive impact on artisans industry but there are some negative consequences too on which this chapter is trying to put some light.

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Mahoney, Dillon. "From Ethnic Brands to Fair Trade Labels." In Art of Connection. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520292871.003.0007.

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This chapter discusses how the strategies and aspirations of Kenyan traders and the realities of connecting to the global economy have shaped the aesthetics and meanings of Kenyan arts and crafts. These changes demonstrate the ability of connected and savvy Kenyan traders to adapt to an ever-changing and diverse tourist demographic, including Afropolitans. This chapter explores how Kenyan tourist art and handicrafts have been marketed in new and creative ways—as Fair Trade, of a particular tree species, or as representing modern global interconnectedness. Facing ethnic tensions and insecurities that bring instability to their lives and businesses, traders regularly downplay ethnicity in their branding and often de-ethnicize their products. The art of connection motif and its artistic representation are successful on the market because they portray an ideal of egalitarian, transparent, and even Afropolitan-style of human interconnection acceptable to both tourists and Kenyan artisans and traders.

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Taskiran, Nurdan Oncel, and Nursel Bolat. "Visual Discourse of the Ottoman Clove." In Advances in Electronic Government, Digital Divide, and Regional Development, 273–85. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4639-1.ch021.

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In tile art, one of the world-famous Turkish handicrafts, a wide variety of patterns are used on tile objects. The most common of these, after the tulip pattern, is the naturalist clove pattern. Different meanings are assigned to this pattern within the boundaries of form, color, and design. Identification and perception of these meanings has a special place within the frame of the culture that they relay. In this present study, the fields of meaning of the clove pattern frequently used in tile decoration arts among Turkish handicrafts are determined. By taking Greimas' Actantial Model as the theoretical model visual discourse analysis of the clove pattern is made.

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Al-Weshah, Ghazi, Khalil Al-Hyari, Amjad Abu-Elsamen, and Marwan Al-Nsour. "Electronic Networks and Gaining Market Share." In ICT Influences on Human Development, Interaction, and Collaboration, 142–57. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1957-9.ch008.

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This study provides a deep understanding of the current status of electronic networks in the Jordanian handicrafts sector from managers’ perspectives. More specifically, this study enhances utilisation of the e-environment to gain market share in local, regional, and international markets. Four cases of handicraft projects are selected to conduct face to face interviews. The results show that handicraft projects have initial attempts to use E-electronic in their activities, but these attempts are still in embryonic stages, and they do not use E-networks effectively to gain market share. However, project managers believe that there is a direct link between the use of electronic networks and increases in the business’s market share. Furthermore, it is intended that these initiatives be treated as innovative and at the end utilised to enhance the business development of similar enterprises belonging to the small and medium enterprises sector. The study recommends that such projects consider adoption of e-networks in their future plans, enhance their staff skills in terms of improving their IT and English language skills, and develop their own internet website to create new marketing channels.

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Conference papers on the topic "Art and handicrafts"

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Wenying, Dong, and Geng Yien. "Life Aesthetics in Japanese Civil Lacquerware and Its Enlightenment to Chinese Traditional Handicrafts." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.059.

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Sagi, Ms Varnika. "Marketing of Indigenous Handicrafts." In International Conference On Contemporary Researches in Engineering, Science, Management & Arts, 2020. Bonfring, 2020. http://dx.doi.org/10.9756/bp2020.1002/46.

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Zhang, Wanyu, and Muqie Refu. "Handicrafts and Aesthetics of Qiang People's Silver Accessories." In 3rd International Conference on Arts, Design and Contemporary Education (ICADCE 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icadce-17.2017.87.

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Zhiwen, Zhou, Sone Simatrang, Eakachat Joneurairatana, and Ninggang. "Review of Chinese Traditional Handicraft: Fahua Ceramic." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008546401050109.

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Wu, Tong. "Conversion of Handicraftrs Return in Modern Design." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.102.

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Long, Zhou, and Lingxia Zhang. "The qCraftsman Spiritq of Jingdezhen Ceramic Handicraft in the New Normal." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.124.

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Chen, Yuan. "Study on the “Activation” of Traditional Qi-Lu Folk Handicraft in Modern Design Art." In Proceedings of the 3rd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccese-19.2019.84.

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Wang, Wei, and Min Ma. "Research on Traditional Handicraft: The Painting Art of Beijing-style Inside Painting Snuff Bottles." In 7th International Conference on Arts, Design and Contemporary Education (ICADCE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210813.061.

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Putri, Sinta Widiana, and Bambang Prihadi. "Bamboo Handicrafts in the Village of Brajan, Sendangagung, Minggir, Sleman, Yogyakarta: An Analysis of Their Forms and Meanings." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.022.

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Shang, Huanan. "Analysis on the Inheritance Path of Henan Handicraft in the Construction of New Rural Culture." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.142.

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Reports on the topic "Art and handicrafts"

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Ahmed AlGarf, Yasmine. Harnessing the Power of the Collective: The Women’s Handicrafts Production Cooperative in Aswan, Egypt. Oxfam IBIS, August 2021. http://dx.doi.org/10.21201/2021.7857.

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The Women’s Handicrafts Production Cooperative is a success story that has transformed the lives of its members, who had been finding it hard to obtain employment. They are now focused on creating their own enterprise. Started in 2018, today the cooperative’s membership has expanded tenfold and created employment opportunities by using the principles of social solidarity economy and collective business models. The Youth Participation and Employment (YPE) project in Egypt, developed in partnership with the Better Life Association for Community Development (BLACD), provided technical training to the cooperative in handicrafts production, as well as life skills training, to empower the workers to continue despite all the societal pressure for them to give up. Assistance from BLACD came in when it was needed. Particularly during the COVID-19 crisis, with the tourism market shut down, BLACD has provided crucial technical advice and support, supporting the cooperative to brainstorm and identify several parallel income-generating activities. This case study contains some testimonies from members of the cooperative on how their collective strength was harnessed to create employment and income.

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