Dissertations / Theses: '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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Lee, Ruth Lorna, and mikewood@deakin edu au. "Our fingers were never idle: Women and domestic craft in the Geelong region, 1900-1960." Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.122114.

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This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning. The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of womens handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In making do, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time. Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.

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Lee, Judy, and University of Lethbridge School of Health Sciences. "Weaving phenomenology : the lived experience of home-based client-centred occupational therapy." Thesis, Lethbridge, Alta. : University of Lethbridge, School of Health Sciences, 2007, 2007. http://hdl.handle.net/10133/541.

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The metaphor of weaving and the methodology of phenomenology are used to expose eight ordinary people’s lived experience of receiving client-centred occupational therapy at home. This qualitative study reveals the themes of Thread, Weave and Texture interlocking to create the phenomenological structure of the lived experience. The two threads of being acknowledged and being respected are used with the five weaves of listening, taking time, demonstrating, having knowledge, and projecting a positive attitude, building four simple textures. The four textures -- having opportunity for choice, receiving support, getting information, and being cared about -- blended to form the participants’ lived experience. Their stories have inspired me to weave a tapestry of words, something that in its beauty celebrates the delivery of client-centred occupational therapy but also teaches these principles.
ix, 111 leaves ; 29 cm.

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Sugee, Nadia. "Increasing South Africa's contribution to global trade in craft." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/6171.

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Thesis (MBA (Business Management))--Stellenbosch University, 2008.
ENGLISH ABSTRACT: This study proposes to deal with the challenge of getting craft products efficiently and sustainably to the market.The objective of the study is to suggest an integrated framework for interventions led by the state to ensure that the right products reach the right markets at the right price at the right time, thus ensuring that South Africa's contribution to global trade is increased. The South African Government has recognized the importance of the craft sector from the onset of democracy and has developed a number of policies to ensure its growth and development. These policies range from the economic to cultural to social dimensions. The thesis has largely focused on the economic aspects of these policies. Key amongst these is the Customised Sector Programme (CSP) for Craft, developed by the DTI since it focuses on strategies aimed at commercialising the sector. According to the CSP, South Africa's comparative global advantage and strategic positioning lies with its very strong design and innovation skill; its strong global reputation; combined with a relatively sophisticated communication and IT industry and well established infrastructure and logistics environment. However, SA contributes just less than 1 % of global trade in craft because of a number substantive issues constraining it. These include amongst others: • a weak skills base on the manufacturing enterprise side • high and uncompetitive product prices • poor ability to capitalise on market opportunity • lack of research and development • lack of reliable national sector profile data and up-to-date market intelligence. There are many government departments and entities that currently support the craft sector. They have different objectives and approaches ranging from enterprise support and economic development to social, welfare and cultural support. These objectives and approaches have been translated into a number of programmes. These programmes essentially function as separate units and do not necessarily tie up in creating a continuum of support to ensure the development of globally competitive craft enterprises. The Cape Craft and Design Institute, established as a craft development agency, is the exception. Two case studies were undertaken to demonstrate the fact that the South African craft sector is complex, uncompetitive and unable to capitalize on market opportunities. The products are commercial, while the systems supporting them are not. These systems include internal business systems, infrastructure and logistics, language and communication, business development support etc. The case studies highlighted how these factors undermine the sector's ability to contribute to global trade. This is compounded by the fact that the vast majority of enterprises are rural in origin and the support systems do not adopt a Bottom of the Pyramid approach to development. The thesis makes a case for the integration of support and alignment of objectives of stakeholders involved in the sector. This integration is crucial to the South African craft sector's success in the global arena and is envisaged as follows: • The creation of a craft industry cluster to include both government and private sector stakeholders. • The nucleus of this cluster should be a craft development agency. • This agency should drive an economic agenda, but should adopt a holistic approach to development - the triple bottom line approach with a market driven agenda.
AFRIKAANSE OPSOMMING: Die doel van hierdie verhandeling is om inligting te verskaf ter ondersteuning van 'n geintegreerde mikro-ekonomiese intervensie van die Departement van Handel en Nywerheid (DHN) wat sal bydra tot die ontwikkeling van 'n globale handwerkbedryf en 'n verhoogde bydrae tot wereldwye handel in handwerk. Die Suid-Afrikaanse regering het die belangrikheid van die handwerksektor reeds sedert die aanvang van demokrasie in Suid-Afrika erken en het 'n aantal beleide ontwikkel om groei en ontwikkeling van hierdie sektor te verseker. Hierdie beleide strek oor die ekonomiese, kulturele en sosiale spektrum. Die verhandeling fokus hoofsaaklik op die ekonomiese aspekte van hierdie beleide. Die belangrikste daarvan is die Doelvervaardigde Sektor Program (DSP) vir Handwerk, wat deur die DHN ontwikkel is, omdat dit gemik is op die kommersialisering van die sektor. Volgens die DSP is die vergelykbare globale voordeel en strategiese posisionering van Suid-Afrika gelee in sy sterk ontwerp en innoverende vaardigheid; sy goeie wereldwye reputasie; saam met 'n relatiewe gesofistikeerde kommunikasie en IT - industrie en goed gevestigde infrastruktuur en logistieke vermoe. Nietemin lewer Suid-Afrika net minder as 1 % van die wereld se handel in handwerk. Dit kan toegeskryf word aan 'n aantal beperkende faktore, waaronder die volgende genoem kan word nl.: • 'n swak vlak van vaardighede van vervaardigingsondernemings; • hoe en swak kompeterende produkpryse; • onvermoe om op markgeleenthede te reageer; • gebrek aan navorsing en ontwikkeling; en • 'n gebrek aan 'n betroubare data-profiel van die nasionale sektor en markinformasie, wat op datum is. Daar is baie regeringsdepartemente en entiteite wat tans die handwerksektor ondersteun. Laasgenoemde het verskillende doelwitte en benaderings wat strek van ondememingsondersteuning en ekonomiese ontwikkeling tot sosiale welsyn en kulturele ondersteuning. Hierdie doelwitte en benaderings het ontwikkel tot 'n aantal programme. Hierdie programme funksioneer essensieel as aparte eenhede en sluit nie noodwendig bymekaar aan om kontinuum-ondersteuning te bied wat ontwikkeling van globale handwerkondernemings verseker nie. Die Kaapse Handwerk- en Ontwerpinstituut wat as 'n handwerkontwikkelingsagentskap gevestig is, is 'n uitsondering. Twee gevallestudies is ondemeem om die feit te illustreer dat die Suid-Afrikaanse handwerksektor ingewikkeld en nie mededingend is en nie die vermoe het om op markgeleenthede te kapitaliseer nie. Die produkte is kommersieel lewensvatbaar, maar die ondersteuningsstelsels is nie. Hierdie stelsels sluit in interne sake-stelsels, infrastruktuur en logistiek, taal en kommunikasie, en sakeontwikkellingsondersteuning. Die gevallestudies werp lig op hierdie faktore, en hoe dit die sektor se vermoe om globaal mee te ding ondermyn. Dit word vererger deur die feit dat die groot meerderheid van die ondernemings landelik van aard is en dat ondersteuningsstelsels nie besigheid doen aan die onderkant van die inkome-piramiede - van onder tot bo - nie. Die verhandeling maak 'n saak uit vir die integrasie van ondersteuning en doelwitgerigtheid van alle spelers wat betrokke is by hierdie sektor. Hierdie integrasie is van die uiterste belang vir die Suid-Afrikaanse handwerksektor se sukses op die wereldarena en word as volg gevisualiseer: • Die vestiging van 'n handwerkindustriegroep wat beide regerings- en privaatsektorspelers insluit. • Die kern van hierdie groep moet 'n handwerkontwikkelingsagentskap wees. • Die agentskap moet 'n ekonomiese agenda navolg met 'n holistiese benadering tot ontwikkeling, - die drievoudige-onderstelyn benadering met 'n markgedrewe agenda.

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Telford, N. J. M. "Making stories : an investigation of personal brand narratives in the Scottish craft microenterprise sector." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21910.

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This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An empirical methodology is proposed which takes a narrative phenomenological approach, generating narrative texts from depth interviews with creative producers which is subjected to a Grounded Theory approach and narrative analysis in view of craft producer typologies (Fillis 1999; Fillis 2010). The stories of makers are used to generate meaning and outputs to contribute to theory, practice and recommendations for policy. Care is taken to ensure that the testimony of participants is co-created and not entirely the result of the researcher’s interpretation even though this study is interpretive in nature (Rae & Carswell 2000; McAdams 2008; MacLean et al. 2011). Similar to other entrepreneurs or producers in the creative industries, the craft worker in the current era is typified as an individual sole trader who operates in a wider culture, society and economy of increasing complexity and competition (Fraser 2013). This thesis selects those owner/ managers whose businesses rely upon craft practice and are operating in Scotland as its focus, but aims its findings at a wider reach to establish themes for future research to understand how its participants build value into their market offerings by creating personal narratives within larger narratives of craft sector and creative industries discourse. A range of participants from new starts to well-established craft practitioners is featured in the text in order to give depth and breadth to the understanding of current practice in a diverse sector which increasingly interacts with other creative industry sectors (Yair & Schwarz 2011). This thesis posits that creative producers build value through their unique ‘auratic’ persona through their personal brand narrative. This is what differentiates their work and outputs from large corporatized mass-manufacturing systems. The products of individuals’ hand skill may be categorised and classified in many ways – from fine contemporary craft to the vernacular, the utile and that which pays homage to others’ designs. What remains constant, however, is that it emanates from personal identity and the identity of the maker mixing self with story (Leslie 1998). The thesis contributes to the gap in academic marketing literature on microenterprise brand development using the topics of personal narrative, business development, product development, marketing competency/ orientation, and technology use in production and marketing. Additional emergent themes of Microenterprise Social Responsibility, the role of life-work balance of makers parenthood which further ideas of career management in the creative industries are also revealed in the course of this research (see also Summerton 1990; Burroughs 2002; Neilson & Rossiter 2008; McDowell & Christopherson 2009; Banks & Hesmondhalgh 2009). Methodologically, this thesis is hybrid but crucially uses the equipment of story and narrative analysis to offer both insights into practice for the academy and a method that practitioners can use to further marketing development and their brand identity. Through the careful gathering and presentation of various stories – of biography, making and marketing, this thesis presents a current view of craft as created, communicated and exchanged by those working in the field in Scotland today. These case stories act as both informative examples that demonstrate how individual producers create value in their work. The findings are consistent with - but also develop - a maker typology offered by Fillis (1999; 2010) and Burns et al. (2012) thus contributing a methodological and conceptual approach and framework to understand the marketing and branding behaviours of Scottish craft microenterprises (McAuley 1999; Creative and Cultural Skills 2009) but which may also be applied to other types of microenterprise.

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Stevenson, Charles Blair. "Modern indigenous curriculum : teaching indigenous knowledge of handicraft at Sami colleges in Finland and Norway = Oddaaigasaš eamialbmoga oahppoplanat : arbevealuš diedu oahpaheapmis duoddji oahpaheapmi Sami allaskuvlaiid." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33931.

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The Sami people have struggled for centuries to maintain their culture in spite of pressures against it from colonialism. The formal education systems of Norway and Finland have acted in discord with Sami decision-making since their inception. In response to this lack of decision-making power, there is a dynamic internal process at work; Sami people have begun to take control of their own schooling.
This thesis qualitatively examines the processes of curriculum development and implementation for wood handicraft programs at the Sami colleges in Guovdageaidnu, Norway and in Anar, Finland, and details the most significant educational and political factors involved in the transmission and production of indigenous knowledge associated with Sami handicraft. Factors associated with the teaching of Sami handicraft in the form of increasing commercialization, generalization and mechanization in formal duodji education and the stereotyping of Sami cultural imagery pose potential risks to appropriate transfer of Sami cultural knowledge. This thesis will show that the teaching of Sami handicraft (duodji) is an educational and political tool that helps develop and define modern Sami culture. Accordingly, attempts by the Sami colleges to incorporate greater indigenous knowledge have resulted in the implementation of modern indigenous curriculum that promotes cultural knowledge through the teaching of Sami handicraft.

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Cunha, Henry Belchior da. "Estética, técnicas de composição e sistemas construtivos na confecção artesanal do grupo de trabalho Cia do Bambu." Universidade Tecnológica Federal do Paraná, 2012. http://repositorio.utfpr.edu.br/jspui/handle/1/449.

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Esta dissertação trata de trabalho manual artístico, em particular da confecção artesanal de um grupo de trabalho nos aspectos estéticos, compositivos, e construtivos. O objetivo principal foi incorporar as melhorias formais em peças artesanais, pela leitura de meios gráficos, com base nas teorias da linguagem visual, percepção, forma, sistemas construtivos e contribuições históricas oriundas do movimento modernista na arquitetura. O trabalho está dividido em seis capítulos. Após a introdução, foi apresentado o marco teórico, o grupo de trabalho, a análise das peças e a conclusão. A metodologia foi essencialmente de natureza qualitativa e exploratória, com uso de recursos da pesquisa-ação. Foram realizadas oficinas com os artesãos, dirigidas pelo pesquisador instrutor. As peças confeccionadas em bambu espelharam a interpretação formal dos participantes. No texto, a análise comparativa das peças considerou o compartilhamento entre saberes acadêmicos do arquiteto e vivências do grupo de trabalho nomeado Cia do Bambu. As considerações finais apontaram para uma apreensão de noções de conceitos da arquitetura relativos à proporção, à linguagem plástica, à estrutura da peça, à ampliação do imaginário e à incorporação de novidades. Os modelos rígidos, “tal qual a arte egípcia”, foram abandonados e substituídos por protótipos criados, discutidos e projetados especialmente em casos para atender demandas externas de trabalho. Foram reforçados os ideais do belo cultuados pela arte grega. Os atos de concepção e os mecanismos de funcionamento estrutural das peças artesanais passaram a sugerir características do movimento da arquitetura moderna. Consequentemente, o grupo de trabalho Cia do Bambu se apoderou das potencialidades de suas imaginações, de seus saberes e conhecimentos adquiridos para criar novas peças.
This dissertation deals with artistic handiwork, particularly of a craft working group, on aesthetic, compositional, and constructive aspects. The main objective was to incorporate formal improvements in handcrafted pieces by reading graphic means, based on visual language theories, perception, form, construction systems and historical contributions coming from the architectural modernist movement. The work is divided into six chapters. After the introduction, come the theoretical framework, the working group, the pieces analysis and the conclusion. The methodology was essentially qualitative and exploratory, with resources of action research. Workshops were held with the artisans, led by the researcher instructor. It was fabricated bamboo pieces that mirrored the formal architectural interpretation of the participants. In the text, the pieces comparative analysis considered the sharing between the architect academic knowledge and the working group Cia do Bambu experiences. The final considerations pointed out to an apprehension of architectural concepts notions related to proportion, visual language, piece structure, imaginary expansion, and novelties incorporations. The rigid models, "just like Egyptian art," were abandoned and replaced by created, discussed and projected prototypes, especially in situations to answer external work demands. It was reinforced the beauty ideals cultivated by the Greek art. The conception acts and the structural functioning mechanisms of the handcrafted pieces suggested characteristics of modern architecture movement. In consequence, the working group Cia do Bambu seized their imagination potentialities, their knowledge and expertise acquired to create new pieces.

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Totten, Kelley D. "Crafting memories in the Mantaro Valley of Peru : performance and visual representation in craftswomen's souvenir production /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/10081.

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Nord, Olsson Kristina. "För Wanja – i tiden : En studie av Wanja Djanaieffs klädkollektion till den svenska olympiatruppen i München 1972 och i Innsbruck 1976." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-435954.

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

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Paringatai, Karyn Ailsa, and n/a. "Poia mai taku poi: Unearthing the knowledge of the past : a critical review of written literature on the poi in New Zealand and the Pacific." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.110817.

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The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.

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Gerdemark, Ida. "Papper! : En studie om materialet papper ur ett konsthantverksperspektiv." Thesis, Linköpings universitet, Estetiska avdelningen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-93663.

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Denna studie syftar till att belysa papper som konsthantverksmaterial. Studien aktualiserar hur konsthantverkare som arbetar i papper beskriver sin relation till materialet och hur konsthantverkare som arbetar i papper upplever att deras val av material påverkar deras arbetssituation. Uppsatsen bygger på kvalitativa intervjuer med sex konsthantverkare som arbetar professionellt i Sverige med att på olika sätt skapa objekt i papper eller på olika sätt skapa materialet papper. Resultatet visar att konsthantverkare som arbetar i papper har en relation till materialet som genomsyras av trygghet, närhet, glädje och kontroll. Genom utbildning och/eller experiment har konsthantverkarna stärkt sin relation ytterligare till materialet. Pappret upplevs billigt, lättillgängligt och enkelt att bearbeta vilket medför att informanterna kan vara flexibla i deras arbeten och djupt utforska materialet. Papprets förgänglighet medför att konsthantverkarna kan uppleva det svårt att sälja sina produkter, men denna egenskap anses även korrelera med deras pappersprodukters avsedda funktion. Uttrycksmedlet papper har gett konsthantverkare en bättre arbetssituation än vad de tidigare upplevt när de till exempel tecknat eller målat då det innebär färre problem och ger fler idéer till gestaltning, de menar att pappret innehar stora möjligheter. I den nuvarande trenden som råder för pappershantverk, som bland annat kan ses på internet, kan arbeten i materialet bli särskilt uppmärksammade. Att arbeta med papper innebär också att konsthantverkarna ibland möter oförstående reaktioner från andra människor vad gäller materialet och den använda tekniken, vilket tyder på att föremål i papper normalt inte är särskilt vanligt och medför att de med tal behöver förklara sina arbeten. Arbetet i papper betyder även att konsthantverkarnas insats i form av tanke, kreativitet och tid blir viktig i det anspråkslösa materialet.

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Hutchinson, Kelly Anne, and kellyhutchinson@gmail com. "Mapping the dynamics of social enterprise and ICTs in Cambodia: a study of perception, use and benefit of ICT in development of the social enterprise space." RMIT University. Business Information Technology, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.144134.

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As Information and Communication Technology (ICT) and social enterprises become drivers of economic growth, the nexus provides opportunities for new models of business to bring benefits to communities in developing countries. Recognising the complex dynamics and range of actors in this diverse and emerging sector, this study chooses to document the external influences, use and impact of ICT on social enterprises. The problem investigated is the potential gap between the rhetoric of the 'promise of e-business' versus the dynamics of enactment and impacts of ICT in practice in the social enterprise sector. The methodology consists of a mixed-method data collection strategy to triangulate data sources from a diverse cross-section of organisations in the social enterprise sector in Cambodia. These include a cross-sectional survey, interviews, observations, document analysis and review of artefacts. It is unclear whether the Cambodian social enterprise sector represents a unique case or is representative of other countries. Regardless, the rich dynamics of the sector and the current lack of understanding of ICT use by this sector in developing countries per se warrant such a study. It fills a significant gap in the field of ICT and development by providing an in-depth overview of the social enterprise sector in one developing country, which may also be applicable in other developing country contexts. The research maps the e-business status of Cambodian social enterprises along a continuum from precursor activity to fully integrated e-services. It finds that Cambodian social enterprises believe ICT adds value to their operation; however access to affordable and reliable local ICT resources is an important factor determining long-term uptake. It also shows that external support is seen as vital to the success of ICT uptake by social enterprises in Cambodia. Donors have the most significant influence on social enterprises' framing of ICT, whilst NGOs, associations and the private sector are also important institutional players in shaping understanding and uptake of ICT. The main contribution of the research is to identify the real development impact of ICT use by social enterprises by measuring the role of ICTs in achieving their goals. Its major finding is that social and business missions are inextricably linked within these organisations, so to measure one in isolation of the other denies the new paradigm that social enterprises present. The most active sub-sector explored that best reflects this unique value proposition is the emerging social outsourcing potential of the IT services sub-sector. The handicraft and processing sub-sectors have yet to fully engage and use ICT to their maximum benefit. The outlook for these sub-sectors is likely to require further support to best harness the potential that ICT can bring developing countries.

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Ribeiro, Ana Luisa Carmona 1984. "Exposições de Lina Bo Bardi." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279760.

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Orientador: Silvana Barbosa Rubino
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-27T12:39:56Z (GMT). No. of bitstreams: 1 Ribeiro_AnaLuisaCarmona_M.pdf: 71970188 bytes, checksum: 7d254fa81b03eed7f0820f730f2eb2db (MD5) Previous issue date: 2015
Resumo: Nascida em Roma e graduada arquiteta na Itália, Lina Bo Bardi transferiu-se para o Brasil em 1946. Desde a chegada ao país e marcadamente após a inauguração do Museu de Arte Assis Chateaubriand, em São Paulo, Lina Bo Bardi desenvolveu projetos expográficos em fluxo quase constante, incluindo mostras no MASP, no Museu de Arte Moderna da Bahia (MAMB), em Salvador, do Museu de Arte Popular do Unhão (MAP), também na capital baiana, e posteriormente atuando como diretora de programação no Serviço Social do Comércio (SESC), no bairro paulistano da Pompéia. Apoiando-se na pesquisa realizada sobre a documentação o do acervo pessoal e profissional da arquiteta que perpassa o período de 1947 a 1985, assim como na análise de plantas expográficas, material impresso, clipping jornalísstico e fotografias referentes as exposicições organizadas por Lina, esta dissertação investiga deslocamentos e desenvolvimentos no discurso expográfico de Bo Bardi sempre perpassado pelas seguintes temáticas recorrentes: a relação entre arte popular, design e arte erudita; o papel pedagógico das instituições museais; e a influência das inovações expográficas italianas e a busca por uma linguagem expográfica auto?ctone, vinculada a um projeto de desenvolvimento nacional
Abstract: Born in Rome, Lina Bo Bardi began her career as an architect in Italy before the break of World War II, immigrating to Brazil in 1946, where she lived until her death in 1992. Among a multidisciplinary array of works in the fields of design and architecture, Bo Bardi also organized and designed several exhibitions in the Museu de Arte de Sa?o Paulo (MASP), the Museu de Arte Moderna da Bahia (MAMB) and the Museu de Arte Popular do Unha?o (MAP), both in Salvador, and in SESC Fa?brica da Pompe?ia, in Sa?o Paulo. Relying on drafts, sketches, and correspondence from Bo Bardi¿s personal and professional archives, mostly unpublished, and also on exhibition plans, printed matter, news clipping and photographs from the architects exhibitions, our investigation focuses on Bo Bardi¿s expographic activity, its attained discourse and its developments between the late 1940s and mid 1980s. During this period she dwell with some recurring debates: the relationship between folk art, design and Art; the pedagogical role of the museum institutions; the influence of Italian expographic design from the 1940s and 50s in her brazillian work; and the quest for an indigenous language for her exhibition designs, which she also envisioned as a tool for the economical, social and cultural development of Brazil
Mestrado
Politica, Memoria e Cidade
Mestra em História

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Brisart, Thomas. "Un art citoyen: recherches sur l'orientalisation des artisanats en Grèce proto-archaïque." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210339.

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Cette thèse cherche à mettre en évidence les raisons qui ont amené une large part des ateliers grecs à orientaliser leurs productions durant la "période orientalisante" (VIIe siècle avant J.-C.). La méthode déployée pour répondre à cet objectif consiste en une contextualisation sociale des artisanats orientalisants, laquelle s'effectue par le biais de l'analyse d'un certain nombre de contextes archéologiques et de textes. Une fois le rôle des objets orientalisants dans la société proto-archaïque mis en évidence, leurs raisons d'être apparaissent plus clairement.

Le développement de la citoyenneté en Grèce à partir de la seconde moitié du VIIIe siècle avant J.-C. a donné lieu à une extension du pouvoir politique et militaire à une part plus importante de la population des cités. La propagation de ce qui constituait autrefois les principaux modes de reconnaissance a amené les élites à développer de nouvelles façons de se distinguer dans le paysage social. Dans un même temps, les citoyens de chaque cité ont développé des institutions communales, telles que les cultes civiques et les repas en commun, afin d'unifier le groupe qu'ils formaient et de renforcer le fossé qui séparait celui-ci du reste de la société. Le travail de contextualisation entrepris dans cette thèse a montré que l'art orientalisant constituait un outil facilitant la mise en place de ces deux évolutions.

D'une part, parce qu'ils faisaient explicitement allusion aux cultures du Proche-Orient, dont les richesses exerçaient une réelle fascination sur les Grecs de cette époque, les objets orientalisants permettaient de rehausser le prestige de leurs propriétaires. Autrement dit, ils constituaient des modes de reconnaissance sociale particulièrement efficaces. De nombreuses données archéologiques et textuelles ont permis de confirmer ce point de vue, mettant en évidence que les objets orientalisants étaient utilisés lors de banquets prestigieux, comme offrandes ostentatoires aux dieux et aux morts, ou encore pour contenir de précieux parfums.

D'autre part, en tant qu'esthétique nouvelle, complètement libérée des formes géométriques utilisées durant les siècles précédents, l'art orientalisant figurait également au rang des pratiques censées unifier la citoyenneté. Cette seconde conclusion a été mise en évidence au travers de l'étude du cas de la Crète, où, au VIIe siècle, l'art orientalisant a en grande partie été utilisé dans le cadre d'institutions civiques :les banquets publics, les cultes civiques, et les guerres.

This dissertation aims at the understanding of the reasons lying behind the orientalization of artefacts in Greece during the so-called "Orientalizing period" (i.e. the 7th cent. BC). In order to achieve this goal, the author focused on archaeological contexts and textual information. They allowed him to replace the orientalizing objects back in their original social context and to understand their initial purposes.

The birth of the citizenship in Greece at the end of the 8th cent. BC gave rise to the extension of the political and military power to a wider part of the population. This created a need for the former elite to develop other means of social distinction. Conversely, the communities of citizens developed communal institutions, like civic cults, communal dinners, etc. meant to cement and to level the group, and to reinforce the gulf that separated it from the rest of the society. This thesis showed that orientalizing art contributed to the setting up of these changes.

On one hand, because Greek orientalizing artefacts explicitly alluded to Near Eastern cultures, that were indeed perceived as being particularly rich at that time by the Greeks, they could enhance the individual prestige of the people using them. Archaeological research confirmed this hypothesis, showing that Greek orientalizing objects were used during conspicuous banquets, as lavish offerings for the dead and the gods, and for containing precious perfumes.

On the other hand, as artefacts decorated in a new style, completely freed from the geometric aesthetics displayed in the previous centuries, orientalizing objects also figured among the practices developed for strengthening the citizens’ corps. This second conclusion was reached through the study-case of Crete, where orientalizing art of the 7th cent. seems nearly exclusively used in a context of civic institutions :public banquets, civic cults and festivals, and wars.

Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Jagell, Elisabet. "Förebilder i slöjd : en undersökning om vem som kan ses som förebild i nutida pedagogisk slöjd." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-352379.

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

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Offensend, Elizabeth Gillette. "Crafting a Space: A Feminist Analysis of the Relationship Between Women, Craft, Business and Technology on Etsy.com." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/892.

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In recent years, craft fairs, shows and markets where crafters sell their handmade goods such as pottery, jewelry, handmade clothes and needlework have grown in popularity across the United States. A common intent among individuals in this community echo political statements made by the turn of the century Arts and Crafts movement, while there are political aspects of the community that can also be seen as an extension of the third wave feminist do-it-yourself (DIY) ethic of the late 1990s. This newly enlarged community of crafters that congregates in person also has a strong online presence. Etsy.com plays a large role in this community. The introduction of websites such as Etsy.com to the communities they serve has widespread impacts. The aim of this study is to analyze how Etsy.com impacts the lives of women who use the website to earn income. Following ethnographic traditions, the researcher interviewed five community members. The focus was on thick description of the DIY community and thematization of interview narratives. To meet participant observation criteria, the researcher also volunteered at the Independent Publishing Resource Center (IPRC) in Portland, Oregon for 4 months. Additionally, the researcher conducted a textual analysis of blogs, websites, artwork, and other sources of data collected from the online hand crafting community. The study presents and discusses the themes that emerged from the data, including women's work, feminism and technology, the crafters' political statements, the crafters as owners of legitimate businesses, and Etsy.com's impact on local economy. The results paint a picture of the community (both on and offline) and how Etsy.com helps to shape this. The researcher then discusses how to assess the impacts tools such as community websites will have on the communities they serve.

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Ivarsson, Linnéa. "Memento Mitten : Re-Collecting Human Hair as a Material." Thesis, Linnéuniversitetet, Institutionen för design (DE), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99175.

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

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Willman, Lisa Anne. "Employing handicrafts to communicate the course of trauma : a test in using handicrafts as an explanatory method." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1437.

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This report contains discussion of four design projects aimed to investigate the ability of handicrafts to communicate complicated subject matter. In this exploration, handicrafts are used to present the experience of recovering from a traumatic experience by challenging commonly held stereotypes about handicrafts. By breaking the trauma and recovery process into four distinct stages, each stage can be discussed in detail via the corresponding design piece. Consequently, each stage also allows for new opportunities to apply handicraft practices in new ways. Through this line of questioning, the four pieces expand upon the imagery, materiality, subject matter, and formal creation techniques typically used in handicraft projects. This collection adds to a greater body of work that intersects traumatic experiences with art and design and that explores the power of design as a communication tool. It opens the door for further investigation into the application’s potential as a teaching tool for trauma victims, nontraditional applications of the craft, its ability to aid in the recovery process, and the potential risk and benefit victims have from such work being done and from creating such pieces themselves.
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Chen, I.-Fan, and 陳以凡. "Enlightening the Art in Life: Shui-long Yen’s Formosa Handicrafts Movements from the 1930s to the 1950s." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/68484522196646138268.

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碩士
國立臺灣大學
藝術史研究所
101
Shui-long Yen (1903-1997) was a Taiwanese oil painter, who was borned and received education during Japanese colonial period (1895-1945). Through the 1920s Yen went to Tokyo and Paris for the academic discipline of oil painting, whereas he devoted the rest of his life to the flourishing of Taiwanese handicrafts. Considering painter as a kind of reputed job in the period of colonial Taiwan, the motivation for Yen to put aside the identity as a painter and become a handicrafts advisor is hard to understand, especially when handicraft was seldom being recognized in the matrix of Art at that time. Until now the overall effect of Yen’s educational guidance on the Taiwanese handicrafts industry remains unclear, indicating the need for a more complete research of Shui-long Yen’s Formosa (old name of Taiwan) handicrafts movement. 　　Therefore, this thesis is not concerned about the various Taiwanese handicrafts themselves, nor does it aim at constructing a general history of Taiwanese handicrafts. This thesis focuses on the thoughts that Shui-long Yen poured into Formosa handicrafts, and finds out the meaning of Formosa handicrafts to Yen. Also, through the reconstruction of a personal history, the thesis is going to provide an example to a puzzle that how a Taiwanese artist under Japanese rule faced his own cultural identity. 　　The first chapter of the thesis explains the transformation of Yen, from his oil-painting background to an advisor of the handicrafts industry, and addresses the relationship of Yen’s “handicrafts industry” with the idea of “Industrial Art” in the modern Japan. The second chapter aims at the reconstruction of the field of Formosa handicrafts at the end of Japanese colonial period that Yen was involving in, including his relationship with archeologist Kanaseki Takeo and Yanagi Muneyosi, the leader of Mingei movement in Japan. The third chapter discusses Yen as a handicrafts educator in the 1950s, a period that Taiwanese handicrafts exportation has just formed under the American aid to East Asia.

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De, Barcza Gladys Mary Alice. "Art heritage perpetuation in contemporary Fijian culture." 1988. http://catalog.hathitrust.org/api/volumes/oclc/27993992.html.

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Hutchinson, Elizabeth West. "Progressive primitivism race, gender and turn-of-the-century American art /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/42215482.html.

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Thesis (Ph. D.)--Stanford University, 1998.
UMI copy paged continuously. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 320-325).

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Wang, Yu-Xiang, and 王裕翔. "A Study on the Index System of Intellectual Capital Measurement in the Cultural Creative Industry – Evidences from Handicraft Industry and Music and Performance Art Industry." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/e7jj3n.

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碩士
逢甲大學
企業管理學系
104
In the coming era of knowledge economy, the value of the assets from tangible assets into intangible assets, and the value of the business also changed to intellectual capital based. How to measure intellectual capital of the enterprise, still no definite way to measure. Therefore, this study views resource-based theory to explore the characteristics of knowledge to explore the cultural and creative industries has their own resources, and how to use and configure. Through citation analysis and factor analysis to organize and construct the index to measure the cultural and creative industries. Cultural and creative industries sixteen categories, and this study to explore the performing arts category and handicraft category. The reason for this, the handicraft of cultural and creative industries in the class is the only one but no more oriented toward industrial industry characteristics and process industry. The product is a tangible handicrafts products combine intangible cultural characteristics and innovative ideas. And performing arts class usually combined with the idea of intangible cultural characteristics and innovation intangible limb performances. It was chosen as the research object of the two types of research. In AHP questionnaire actual interviews CCIs industry. By results of the analysis questionnaire to establish a representative measure index of cultural and creative industries. And cultural and creative industries so that the industry can measure the allocation of resources to do their own business and future development through these representative.

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Miller, Rebecca Leah. "Digital craft : handmade craft meets digital design." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3466.

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Digital Craft is a project that explores the interface between three-dimensional (3-D) computer technology and costume technology. I combine seasoned millinery techniques with modern methods of object construction and design to diversify the costume artisan’s toolbox and encourage practical and useful ways of moving between the virtual and physical world. Through a series of theoretical projects the dichotomy of modern artistic process is explored. The task of this thesis project is to explore the impact of 3-D imaging software on design and construction methods by applying them to the sculptural process of hat making. I collaborate with designers and technicians to develop methods of hat making for performance culminating in an exhibition presented at the University Co-op Cohen New Works Festival, April 2011. This research is applied to cultivate new methods of hat making, by exploring new media and expanding creative possibilities. Craft objects are created directly through the hand of the maker; it is thorough technique that the hand informs the craft object (Risatti, 108). Furthermore, the traditional notion of tools and craft objects is that they are conditioned, controlled and limited by the hands. In order to update and improve methods of object construction, this project will expand the traditional concept of craft, combining hands-on methods with machining. I hope to improve efficiency and decrease the cost of realizing authentic and original hat designs by exploring alternative digital spaces that can be used to communicate, develop and actualize ideas.
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"小學美勞科教師的美術教育信念." Thesis, 2007. http://library.cuhk.edu.hk/record=b6074142.

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This phenomenon might show that every teacher has some underlying beliefs, which could be made clear by narration. Lack of "traditional" art making experience, Helen thought the "Visual Learning" in art education could help students "unwrap packaging" and get to understand the hidden truth. On the other hand, other three teachers who love drawing from their very young age, focused more on different media of art making. To some extent, reflecting an "art for art sake" attitude, which shows quite a distance from the orientation of recent curriculum changes.
This study is an exploratory narrative research, focusing on the beliefs and their formation process of those teachers who regard themselves as art teachers. Hong Kong society seems ignore the importance of art education. Most teachers teach in primary school can have a share on having a few Art & Craft lessons, including those who even don't understand what is art. In this context, there are still some teachers who regard themselves as art teachers. Why? What beliefs do they hold towards art or art education? How are these belief constructed? Are these teachers conscious of their own beliefs? Are these beliefs related to their teaching experience and seniority?
Through "synthesis text" interview, teachers are provided with the opportunity to reflect their beliefs and discover the unaware "existential presumptions". It was a good chance for them to clarify their blurred perspectives, even to make change of them.
Through four interviewees' sharing of their "life stories" towards art or art education as well as "how" and "why" they transmitted such teaching activities, the researcher found that regardless their teaching seniority, they all showed that art teachers should possess drawing ability. Interactive interviews and self-evaluation of their own "synthesis text" were delivered. The researcher found that during their late phase of teaching life, Wangyi and Zhongliang were aware that they haven't thought seriously about the relationship between art and art education. Hyde, during her early phase of teaching life, thinks that the one who love drawing can be an art teacher. Helen, in her middle phase of teaching life, did not seem to be very clear of what she believed towards art education. Only through several interviews could let her rethink and reconstruct some clues of belief.
第1冊. 一項敘述性研究 A narrative study -- 第2冊. 四個「全貌的」故事 Four life stories.
Di 1 ce. Yi xiang xu shu xing yan jiu A narrative study -- di 2 ce. Si ge "quan mao de" gu shi Four life stories.
黃素蘭.
呈交日期: 2005年12月.
論文(哲學博士)--香港中文大學, 2006.
參考文獻(p. 249-266, v.1).
Cheng jiao ri qi: 2005 nian 12 yue.
Adviser: Chi Chung Lam.
Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4070.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
School code: 1307.
Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006.
Can kao wen xian (p. 249-266, v.1).
Huang Sulan.

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Khanyile, Isaac Nkosinathi. "A critical evaluation of cloth bead sculptures made by rural female artists in Kwazulu Natal (1970 to 1999)." Thesis, 2002. http://hdl.handle.net/10321/2043.

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Dissertation submitted in partial compliance with the requirements for the Master's Degree in Technology: Fine Art (Sculpture), Durban Institute of Technology, 2002.
Cloth bead sculptures are art objects made by female artists from cloth, beads, wood, wire and other materials that are stitched by hand. They are freestanding representations of the human figure, animals and inanimate objects and have traditionally been important ritual, as well as aesthetic, objects in Zulu communal life. The research for this dissertation was based on qualitative methods which brought together information from the women discussing their life and work. These discussions with individuals and groups looked at the women's own explanations of their work, including its traditional, ritual and communicative functions in rural Kwa Zulu Natal. They also discussed their experiences in selling their artwork in relation to the past discriminatory practices of apartheid South Africa, which was the context for their lives. From the 1970s some rural women brought some of these figures to Durban for sale in the streets to supplement their meagre resources. Later the African Art Centre became the main retail outlet for selling African Art and Craft and white people associated with it became the 'official' spokespersons and interpreters of such their art work. This had the consequence of depriving the rural women artists of their own voice. They were thus not able to give their own interpretation and explanation of their work. Interpretation of these sculptures in the dissertation has taken into account the traditional communicative role of bead figures and the symbolic function of colours, patterns and textures created by the beads and other materials. Cloth bead figures brought in for sale to local and international buyers always represented more than simple decorated figures to the artists themselves. Indeed these bead figures, like other works of art produced by black South Africans, became a vehicle for the
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Mathfield, Damon. "Impacts of accommodation and craft-based tourism on local economic development : the case of the Midlands Meander." Thesis, 2000. http://hdl.handle.net/10413/2147.

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Alkema, Joan. "Craft practised by Afrikaner women during and after the Anglo-Boer War 1899-1902 and the appropriation of similar craft in the work of selected contemporary South African artists." Thesis, 2012. http://hdl.handle.net/10321/762.

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Dissertation is presented in partial fulfilment of the requirements for the award of Masters Degree of Technology: Fine Art, Durban University of Technology, 2009.
This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists. During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed. The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found. The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation. The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works. As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of vi documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa. My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history.

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"Constructing national identity : including local craft in the interiors of selected government buildings in postapartheid South Africa." Thesis, 2014. http://hdl.handle.net/10210/8801.

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M.Tech. (Interior Design)
Commissioned public buildings in post-apartheid South Africa exhibit a synergy between local craft and contemporary design in their interiors. Tasked with the design of buildings representative of a democratic South Africa, architects looked to the surrounding communities, recognizing and incorporating local craft skills and products into their designs. The buildings selected as examples for this study are the Mpumalanga Provincial Legislature (2001) in Nelspruit, the Northern Cape Provincial Legislature (2003) in Kimberley, and the Constitutional Court (2004) in Johannesburg. These have been selected as they are the three buildings commissioned after 1994 by the democratically elected South African government. This research aims to determine how national identity has been communicated and represented in the interior design of these public buildings, through the inclusion of local craft. As key public buildinqs of this time there has been considerable research done based on these examples in the field of architecture, notably by the authors Freschi (2006,2007) and Noble (2011), however, no research has been done in the field of interior design. By taking an interpretivist approach, this qualitative study seeks to find meaning and deeper understanding. Data was collected in transcribed interviews, observations in the field as well as a literature review. Qualitative content analysis was used to initiate a comparison between the interior design of the buildings. Through the use of crystallization as a methodology it attempts to offer a thickly described interpretation of three public interiors undertaken in the development of a national design identity. This study could be of interest to interior design students, interior design and architectural professionals undertaking similar projects and government departments interested in this field.

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Hall, Louise Gillian. "The transformative potential of visual language with special reference to DWEBA's use of drawing as a participatory training methodology in the development facilitation context in KwaZulu-Natal." Thesis, 2006. http://hdl.handle.net/10413/2855.

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Dissertations / Theses on the topic 'Art and handicrafts'

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