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Journal articles on the topic 'Artisanat textile'
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Martial, Emmanuelle. "Exploitation des végétaux et artisanat textile au Néolithique final sur les sites de la vallée de la Deûle (Nord -." Les Nouvelles de l'archéologie, no. 114 (December 30, 2008): 33–41. http://dx.doi.org/10.4000/nda.611.
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Ramkumar, Bharath, and Rebecca M. Dias. "Sustaining traditional textile art among the Indigenous Nongtluh women of north-eastern India: An interpretative phenomenological analysis." Fashion, Style & Popular Culture 00, no. 00 (March 30, 2021): 1–28. http://dx.doi.org/10.1386/fspc_00075_1.
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Indigenous textile artisans have, for centuries, maintained traditional methods of textile making that is central to their livelihood and cultural identity. However, the increasing commodification of indigenous textiles around the world has threatened the preservation of traditional, eco-friendly methods of textile production, making it imperative to learn how indigenous groups that have successfully sustained their traditional textile art, have done so. This ethnographic study peers through the lens of indigenous Nongtluh women textile artisans belonging to the Ri-Bhoi district in the state of Meghalaya in the north-eastern region of India, with the aim of understanding how their traditional textile art has been sustained. An interpretative phenomenological analysis (IPA) of in-depth interview, focus group, field observation and photographic data uncovered two overarching themes that represented internal and external factors that have contributed to the sustenance of the Nongtluh women’s traditional textile art. Internal factors signified the artisans’ deep love for their textile art through inheritance, passion, ingenuity and pride. External factors revealed the role of government, economic prospect and convenience in the sustenance of the traditional textile art in this region. An interpretive framework is presented, representing these factors through the tree of sustenance. Implications and limitations are discussed.
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Antaki, Berea, and Katalin Medvedev. "Bolivian textile crafts and the subversion of institutionalized sustainability." Clothing Cultures 7, no. 1 (March 1, 2021): 91–100. http://dx.doi.org/10.1386/cc_00031_1.
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This article describes the tensions between institutionalized and grassroots forms of sustainability and their subsequent effects on textile artisans in La Paz, Bolivia. Principles of the indigenous cosmology Suma Qamaña are applied to the twenty-first-century challenge of environmental degradation and governmental corruption in the description of craft practices at two artisan collectives in La Paz. Suma Qamaña is an expression of the harmonious and respectful coexistence of humans with nature, which entails communal values and reciprocal resource management principles. The study highlights grassroots, practical solutions that encourage economic and environmental sustainability for textile cooperatives in Bolivia. Through extensive participant observation and in-depth interviews, this study seeks to understand how the lives of artisans are affected by the Bolivian government’s appropriation of the Suma Qamaña cosmology. The current political party, the Movimiento al Socialismo, has gained popular support in Bolivia partly by institutionalizing the inherent rights of nature in the national constitution. Despite this, the government continues to pursue extractive natural resource policies. To counter this, Bolivian textile artisans practise their own version of bottom-up sustainability, which does not rely on government institutions to enforce change. The artisans’ situated practices, traditional knowledge base and the inherently sustainable characteristics of craft production ‐ flexible, small-scale, localized and resilient ‐ reflect potential trends and alternatives for apparel production.
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Enríquez Salas, Porfirio. "La alpaca suri, de la extinción a la conservación de la biodiversidad de colores y la importancia de la bioartesanía textil en el distrito de Nuñoa (Melgar-Puno)." Revista Investigaciones Altoandinas - Journal of High Andean Investigation 17, no. 3 (December 30, 2015): 291. http://dx.doi.org/10.18271/ria.2015.140.
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<p>Se reflexiona la importancia de la crianza de alpacas en la región Puno, incidiendo en el proceso de extinción de las alpacas suri de color y las acciones llevadas a cabo para la recuperación de la citada raza en el distrito de Nuñoa (Melgar-Puno), mediante la implementación del proyecto “Evaluación, recuperación y conservación del germoplasma de la alpaca raza suri de color”, con el propósito de salvar de la extinción a las alpacas suri de color, por iniciativa de los criadores de alpacas del citado distrito. Se precisa que los resultados más importantes de este proyecto, se reflejan: a) en el establecimiento de centros familiares de repoblamiento y la generación de una estrategia sustentada en el criador de alpacas-artesano textil, destinada al aprovechamiento sostenible de las alpacas suri de color y su fibra; b) el incremento de capacidades textiles de las mujeres artesanas y criadoras de alpacas suri, para la transformación la fibra mediante el hilado y tejido a mano; y c) la propuesta de la bioartesanía textil por las mujeres criadoras organizadas en la Asociación de Artesanía suri Paqucha, como un nuevo enfoque sobre el proceso de elaboración de la artesanía textil en Puno, la misma que se basa en el biocomercio, que promueve la rentabilidad económica sustentada en procesos de conservación y uso sostenible de la biodiversidad con bajos impactos ambientales.</p><p> </p><p align="center"><strong>The suri alpaca from extinction biodiversity conservation colors and the importance of bio textile crafts in the district of Nuñoa (Melgar-Puno)</strong></p><p><strong><br /></strong></p><p><strong>ABSTRACT</strong></p><p>The importance of raising alpacas in the Puno region reflects, focusing on the process of extinction of suri alpacas color and the action taken for recovery of that race in the Nunoa district (Melgar-Puno) by implementing the project "Evaluation, restoration and conservation of germplasm of race color suri alpaca", with the purpose of saving from extinction the color suri alpacas initiative of alpaca farmers of that district. It states that the most important results of this project are reflected: a) in the establishment of family centers repopulation and generating a sustained by the breeder of alpacas-artisan textiles, aimed at sustainable use of suri alpacas color strategy and fiber; b) increasing capacities textile craftswomen and brooders Suri alpacas, for processing fiber spinning and weaving by hand; c) the proposed textile bio textile crafts brooders women organized by the Association of Craft Paqucha suri as a new approach to the process of development of the textile craft in Puno, the same that is based on the bio, which promotes profitability economic processes supported by conservation and sustainable use of biodiversity with low environmental impacts.</p><p> </p>
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De la Cruz Velasco, Laura, Juliana Chamorro Mejía, and Carlos Cordoba-Cely. "Characterization Physico-chemical and mechanical of 4 vegetable fibers used as artisanal raw materials in the Department of Nariño." DYNA 88, no. 216 (February 23, 2021): 96–102. http://dx.doi.org/10.15446/dyna.v88n216.87958.
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Nowadays there is very little information about the properties of the main vegetable fibers used in artisanal production in southern Colombia. The present comparative study analyzes the physical-chemical and mechanical properties of Fique (Furcraea macrophylla), Tetera (Stromanthe stromathoides or Stromanthe jacquinii), Totora (Schoenoplectus californicus) and Iraca or Toquilla Palm (Carludovica palmata), with the intention of identifying its strengths and weaknesses like an artisan raw material. The study found that fibers with higher elasticity such as Fique can be used for items such as clothing, while stronger fibers such as Tetera can be used to create items such as baskets that require more resistance to weight and rigidity. It was also found that Iraca and Totora could be better applied in the textile industry, and that the high moisture content in all fibers can affect their technological characteristics and the quality life cycle of artisan products.
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Ramya Sri, G. "A Study on Standard of Living Kalamkari Artisans." Shanlax International Journal of Management 7, no. 2 (October 3, 2019): 89–95. http://dx.doi.org/10.34293/management.v7i2.722.
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The birth place of textiles, India has always been known for its art, crafts, tradition and culture. The soothing weaves, vibrant colours, intricate embroideries, decorative motifs, and elaborate costumes have been most sought after inspirations and possessions. The integration of tradition with methods and techniques denotes the fact that work is treated as worship, and thus has been followed with great devotion and reverence. Keeping in tune to its cultural traditions is one such textile craft, kalamkari, the hand painted and block printed textile of India. Hand painted and block printed kalamkari also known as the Machilipatnam kalamkari is widely used in clothing, home decor and lifestyle products today. The objective of this research is to understand the evolution of hand painted and block printed kalamkari and the artisans, their life style, their standard of living . Secondary data was largely collected through books and also from blogs, newspapers, articles and various websites. To understand the standard of living of the artisans, a visit was paid to Machilipatnam. The research was exploratory and the findings were mainly qualitative in nature. After collecting the sufficient information, the paper analyses issues and challenges faced by the kalamkari artisans and then introduces possible solutions. Some conclusions are developed on the basis of this analysis.
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Van Den Eeckhout, Patricia. "Family Income of Ghent Working-Class Families Ca. 1900." Journal of Family History 18, no. 2 (March 1993): 87–110. http://dx.doi.org/10.1177/036319909301800205.
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Using an extensive inquiry into the family income of Ghent artisans and cotton, linen, and metal workers around 1900, the research reported in this article examines the level and the composition of family income at different phases of the life-cycle. In the Belgian textile center Ghent, which was characterized by a low male wage level, married women made a substantial contribution to the family income, especially in the years before children started to earn a living. The family income per person of textile workers approached or even exceeded the income of metal workers and artisans despite the fact that heads' wages were lower: the textile families' strategy, consisting of an increased work effort of women and children, was successful in bridging the income gap. On the other hand, the wives of metal workers and artisans came closer to the realization of the domestic ideal.
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ROSENTHAL, DAVID. "‘Every sort of manual type, and mostly foreigners’: migrants, brothers and festive kings in early modern Florence." Urban History 37, no. 3 (November 15, 2010): 360–71. http://dx.doi.org/10.1017/s0963926810000507.
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ABSTRACT:In 1522, the artisan festive ‘kingdom’ of the Biliemme put up the biggest street tabernacle in Florence. German textile workers were behind the tabernacle and this article argues that, at a time of crisis for German workers, these men looked to reassert their place in Florence through their participation in a citywide artisan festive subculture. Forty years later, Germans in the Biliemme district had largely been replaced by textile migrants from other parts of Italy. Nonetheless the kingdom remained a important vehicle for creating neighbourhood solidarities and for incorporating these new migrants into the artisan and civic world.
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Breu, Marlene R., and Ronald T. Marchese. "Armenian Religious Textiles in Istanbul." Journal of Interdisciplinary Studies 13, no. 1 (2001): 175–96. http://dx.doi.org/10.5840/jis2001131/210.
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This essay examines extant religious textile artifacts in the Armenian churches of Istanbul. The churches are not only social links, but also repositories for highly perishable material expressions of religious life, which enhanced the community. The pieces, most of which were donated to individual churches by the resident Armenian community, feature intricate designs and rich embellishment. They exhibit a remarkable level of technical sophistication and skill both within the professional artisan class and the lay community, especially Armenian women. The textiles are significant in the study of late Byzantine and Ottoman art, and the movement of Amtenians in the Diaspora The Armenian Orthodox Apostolic Church has long been an anchor of a minority people, and the caretaker of its artistic expression. It continues as an important link between the religious, cultural, and civil life of Armenians in Istanbul and all Turkey,
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Mishra, Jagriti. "Aavaran: creating niche through contemporary traditional textiles." Emerald Emerging Markets Case Studies 3, no. 2 (May 24, 2013): 1–12. http://dx.doi.org/10.1108/eemcs-aug-2012-0143.
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Subject area Marketing. Study level/applicability The case is aimed at Business Administration students. Case overview Udaipur based Aavaran – the echos of rural India – is a concept by COS-V, a leading non-governmental organization (NGO), which aims at connecting the tribal women of rural India with the mainstream. The NGO, set up in 1988 by Smt. Girija Vyas, was initially involved in imparting vocational training to the rural poor. Later, COS-V was taken up by Alka Sharma, a graduate from the Indian Institute of Crafts and Design, Jaipur, who completely changed the direction of the NGO. Her interest in textiles and crafts led to the genesis of the concept “Aavaran”. Aavaran is a retail outlet which was opened with a vision to provide the Indian market with traditional yet contemporary textiles and clothing. It offers a collection of women's and children's clothing and home textiles using a variety of traditional textiles and crafts. It is an artisan driven concept where the supply chain incorporates the essence of Indian textiles and crafts at every level. From the dyeing, printing, sampling and assembly of garments everything is done by the local women trained by COS-V with the support of DC-Handicrafts. The raw materials – the textiles, grey fabrics, etc. – are sourced directly from the rural weavers and artisans across India. The case study discusses how Aavaran developed the unique positioning of a retail platform for contemporary products made from traditional techniques, skills and hand-based processes; how it could revive the diminishing arts of Dabu and Phetia and how it carved a niche through its channelized marketing efforts. Expected learning outcomes The case will familiarize management students with the concept of niche marketing with Udaipur based firm Aavaran as an example which developed a unique positioning through its traditionally developed products. It will also acquaint students with a basic understanding of a supply chain with a cooperative firm in focus. Supplementary materials Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.
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Vicerial, Jeanne. "Print the body. Clothes printing project." Temes de Disseny, no. 34 (November 26, 2018): 44–47. http://dx.doi.org/10.46467/tdd34.2018.44-47.
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Skin has become the main fabric of the 21st century, enabling the body itself to become the new customised apparel. Over the last three years of my studies, my research was based not only on style considerations, but also on moving away from contemporary industrial constraints and going towards a new clothing production method. My research was focused on developing an artisanal process that makes clothing comparable to 3D printing.
I drew on my research of human anatomy and the body to rethink the construction of clothing. My work is an analogy between body and clothing. My designs are based on human muscular weaves. All my patterns are extracted from human anatomy to create a new, wearable skin. This method of construction allows people to wear their own anatomies, exposing the internal construction of their bodies. Each piece is entirely made of a single recycled thread. This experimental method is hand-crafted, without the use of a sewing machine. Because this process is handmade, the goal is to develop a machine that is capable of sewing customised apparel based on a 3D body scan. While doing my PhD in fashion textiles, I have collaborated alongside engineers to produce this new technology. This method both eliminates textile waste and proposes a different form of industrial customised clothing production.
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Swarnalatha, Potukuchi. "Revolt, Testimony, Petition: Artisanal Protests in Colonial Andhra." International Review of Social History 46, S9 (December 2001): 107–29. http://dx.doi.org/10.1017/s0020859001000347.
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This paper examines the form, content, and role of petitions in the context of protests occasioned by the handloom weavers of colonial Andhra, particularly the northern districts of the northern Coromandel region, between 1770 and 1820. Minor and major protests and revolts by weavers erupted with increasing frequency from around the middle of the eighteenth century, whenever their socioeconomic structures and conditions of work and trade were under threat from the old and new elites, as well as from the commercial interests of the colonial state. On these occasions, weavers expressed their grievances through petitions and representations, either in combination with other strategies or independently. These petitions therefore offer opportunities to study and identify the economic and social conditions that prompted weavers to resort to collective action. Careful analyses of the petitions yield considerable insights with respect to the causes of the protests; their spatial and social diffusion; the social profile of contending parties, and their mentalities; the changing organizational structure of the textile industry; the petitions' consequences; and, finally, the attitude of the colonial state towards these petitions.
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Trejo, Helen X., and Tasha L. Lewis. "Evaluating New York raw fiber-to-retail." Local Economy: The Journal of the Local Economy Policy Unit 35, no. 8 (December 2020): 787–807. http://dx.doi.org/10.1177/02690942211007119.
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Inspired by the slow fashion movement, this is an exploratory case study focused on New York’s raw fiber-to-retail value chain for local clothing and textiles. New York has over 470 diverse sheep, alpaca, goat farms, fiber processing mills for product development, and fiber festivals for retail. A survey with farmers presents their motives for establishing a fiber farm business, diverse fibers available, fiber products, income, and their multiple retail venues. Interviews were conducted with farmers, fiber mill owners, and artisan designers. Primary research objectives included: (1) determining how fiber farms, mills, artisans, fiber festivals, and fiber agro-tourism intersect to sustain the current fiber community; (2) evaluating the major challenges the fiber community faces; (3) determining if stakeholders of the fiber community have benefited from any policies; and (4) understanding future goals New York raw fiber-to-fashion stakeholders have to sustain the local fiber community. Interviews reveal several leadership initiatives developed by fiber farmers to address challenges of finding a market, limited income, and fiber mill closures. This study uses the five key dimensions of slow fashion as a framework to evaluate New York raw fiber-to-retail.
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Poblome, Jeroen. "Comparing Ordinary Craft Production: Textile and Pottery Production in Roman Asia Minor." Journal of the Economic and Social History of the Orient 47, no. 4 (2004): 491–506. http://dx.doi.org/10.1163/1568520042467163.
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AbstractI present in this paper a framework of description for pottery and textile manufacturing in Roman Asia Minor. The research forms part of a wider debate on the speci fic, but generally underestimated contribution of the production of artisans to the ancient economy. The regulatory factors and production organisation of both crafts are remarkably similar and are placed against the agricultural background of a pre-industrial society.
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Yurchisin, Jennifer, and Sara B. Marcketti. "Collectors behaving ethically: an emerging consumption constellation." Social Responsibility Journal 6, no. 1 (March 9, 2010): 45–61. http://dx.doi.org/10.1108/17471111011024540.
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PurposeThis study aims to examine the characteristics of ethnographic textile collectors and compare them with the literature regarding fair trade consumers to explore the existence of a possible consumption constellation between collecting and fair trade purchasing.Design/methodology/approachPurposive sampling was used for the study as it maximized the attainment of significant information related to ethnographic textile collecting. Qualitative data from ethnographic textile collectors (n=12) were collected.FindingsResults suggested that collectors were interested in purchasing high quality, authentic products that expressed their identity and individuality. These are similarities shared with fair trade consumers. Furthermore, collectors' motives to help artisans overcome poverty were evident; a similar value guides fair trade purchasing.Research limitations/implicationsThe predominantly female sample of academics may not be representative of the average ethnographic textile collector.Practical implicationsUnderstanding the multiplicity of products and activities representative of one consumer group's lifestyle is beneficial to both for‐profit and non‐profit organizations in terms of product promotion or donation solicitation. The understanding of these consumers' lifestyle can, in turn, help marketers design and implement effective advertising and fundraising campaigns that improve the livelihood and wellbeing of excluded and disadvantaged people in developing countries.Originality/valueThe paper furthers the knowledge base and understanding of these different consumer segments by providing evidence of a consumption constellation between ethnographic textile collectors and fair trade consumers.
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Zarinebaf-Shahr, Fariba. "The Role of Women in the Urban Economy of Istanbul, 1700–1850." International Labor and Working-Class History 60 (October 2001): 141–52. http://dx.doi.org/10.1017/s0147547901004495.
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This article examines the role of women in manufacturing and the urban economy of Istanbul during the premodern period. It shows that Ottoman women engaged in a variety of economic activities, and invested in the real estate market. They participated in the textile industry of Bursa, Ankara, and Istanbul as weavers, dyers, and embroiderers. Their labor, however, remained marginal to artisanal production through the guilds. Very few women were accepted into the guilds. They were hired by the putting-out merchants to produce secretly at home. Their input to manufacturing increased in the second half of the nineteenth century when the guilds were losing their monopoly over production.
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García Valdez, Miguel Ángel, and Arcelia Toledo López. "Purchase intention of ethnic textiles: The mediating role of the attitude of Mexican middle-class consumers." Contaduría y Administración 64, no. 3 (November 5, 2018): 106. http://dx.doi.org/10.22201/fca.24488410e.2018.1441.
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<p>This research analyzes how behavioral attitude mediated the relationship between ethnical identity and intention to purchase ethnic textiles. We selected a sample of 405 postgraduate students from five different universities who fulfilled the following criteria: (1) they belong to the Mexican middle-class with an income ranging from 479 to 638 dollars a month; (2) they are part of the potential consumer market because they are under 30 years-old on average; and (3) they are familiar with the dynamic of handmade ethnic textiles because they live in a State that has native handicraft communities. Using the mediation model from Baron and Kenny (1986), the results showed that purchase attitude mediated the relationship between ethnical identity and intention to purchase ethnic textiles. Moreover, we found that ethnic identity influenced the intention to purchase ethnic textiles. This article provides information on the purchasing behavior of ethnic textiles by middle-class consumers in Mexico to allow artisans develop marketing strategies for this market segment and increase their sales.</p>
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PRAKASH, OM. "From Negotiation to Coercion: Textile Manufacturing in India in the Eighteenth Century." Modern Asian Studies 41, no. 6 (January 11, 2007): 1331–68. http://dx.doi.org/10.1017/s0026749x06002563.
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The paper first provides a broad overview of the structure of textile manufacturing and procurement in India in the seventeenth and the first half of the eighteenth century. It then takes up for a detailed analysis the changes in this structure in the second half of the eighteenth century as a result of the assumption of political authority by the English East India Company in the subcontinent with special reference to the case of Bengal where such authority was exercised most intensively. A market-based system was replaced by one embedded in coercion of the intermediary merchants and the manufacturing artisans. In the concluding section, the paper makes a plea for a distinction being made between the distributive justice dimension and the implications for output dimension of the changed scenario and argues that the picture of a ruined textile industry in Bengal might be in need of substantive revision.
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Iyengar, Sushma. "Reviving a Heritage in Peril: India’s Endangered Traditions of Cotton and Wool." Journal of Heritage Management 6, no. 1 (June 2021): 25–39. http://dx.doi.org/10.1177/24559296211008231.
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This article traces the journey of two indigenous textile fibres—Kala cotton and Desi Oon—and the efforts of farmers, pastoralists, craft artisans and Khamir, to conserve, sustain and promote the natural and cultural heritage that have nourished these fibres. It recreates the revival of these fibres in Kutch, a semi-arid region of India, and unfolds the technical, cultural and creative challenges that have accompanied this process—from land to the loom. Large-scale shifts in Indian agriculture have marked a significant breakdown of the value loops and deep interdependent economies between farmers, spinners, weavers, dyers and tailors. First, in the nineteenth century, when the cultivation of short staple indigenous varieties of cotton shifted to long staple cotton, which could feed the mills of Britain; and then in the late twentieth century when a global push towards hybrid, genetically modified varieties of cotton strode over the farming of more resilient local cotton varieties. Similarly, across India, vast genetic resource of sheep, yak and camels, in particular, have, for centuries, been conserved and bred by the nomadic pastoral communities of these regions. Even two and a half decade ago, the animal’s fibre was used extensively by the pastoralists themselves and fetched them a market price for the wool that was almost equal to that of meat. However, with India becoming a major sheep meat producing country, accompanied by the relaxation of tariffs on wool imports in the early nineties, the Indian wool market has moved completely to softer, longer staple wool from New Zealand, Australia and the Middle East. Today, this is the only natural fibre in which India is deficient despite having the third largest number of sheep in the world! The process of conserving indigenous cotton seeds, sheep breeds, their fibres and a range of associated textile crafts, challenge all the essential premises on which the political economy of contemporary textiles rest. However hope comes in many forms—the intense climatic variabilities and growing vulnerabilities to climate change, is compelling farmers and pastoralists to revisit the choices they have been compelled to adopt by a globalized market economy. Their growing understanding and need to revive their local cotton seeds and animal breeds, which are more adaptable and resilient to climatic variabilities, hold out a tremendous opportunity to transform the landscape of indigenous textile fibres. Through her experiences, the author stitches together a story of localization wherein Khamir attempts to restore a lost heritage and the bonds between farmers, pastoralists, spinners, weavers and dyers.
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Andrae, Gunilla, and Björn Beckman. "ASR FORUM: ENGAGING WITH AFRICAN INFORMAL ECONOMIES." African Studies Review 56, no. 3 (November 20, 2013): 191–208. http://dx.doi.org/10.1017/asr.2013.85.
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Abstract:In January 2012 a broad spectrum of popular groups staged an unprecedented protest against the removal of what has been termed a “subsidy” on fuel prices by the Nigerian government. The participation of tailors in this national political event suggests that self-employed artisans were prepared to transcend their narrow nonpolitical agenda to promote their interests and demands for decent social and economic conditions. Interviews with participating organization representatives in Lagos indicate the supportive role of alliances with labor unions and organized informal workers at large. We see current global developments in the textile industry as conducive to this outcome.
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Rustiadi, Sony, and Nina Arina. "INDONESIAN WEAVING CULTURE INNOVATION: A STUDY OF COLLABORATION AND INDIVIDUAL ACTORS." Jurnal Kewirausahaan dan Bisnis 24, no. 14 (March 13, 2020): 66. http://dx.doi.org/10.20961/jkb.v24i14.35638.
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<p class="abstract-header"><em>The contribution of Indonesia's economic creative subsector to total Gross Domestic Product (GDP) increased for about 7.38 percent in 2015. To support it, Indonesian Agency for Creative Economy continuous to improve its performance conducting a capacity building plan; two of them is through product innovation and skill development. The purpose of this study is to see the approaches, analyze the stakeholders, and observe the practice of innovation induced collaboration in two contexts. The first is collaboration between an emerging contemporary Indonesian fashion brand by the name Noesa and a group of rural textile artisans of Watubo. The second is individual wavers of Lepo Lorun. The method used in this research is explorative analysis using short ethnography and deep interview. The analysis begins with a description of the products and services offered. Analysis then conducted with 3Cs Model and 'The Condition' model from Drucker (1993). The analysis of this research concluded that there are different ways of innovating through collaboration with different individual stakeholders. Each party has its own role in the community and targets its own objective in accordance with the provisions established. However, what interesting is that these two types of capacity building have the same goal, namely to re-learn weaving through different approaches. The results of this study are also expected to be a consideration to find out an effective and efficient way to promote Indonesian waving culture.</em></p><p class="katakunci"><em>Keywords:<strong> </strong>Creative economy, innovation, ikat weaving, collaboration, local brand, rural artisan</em></p>
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Franceschi, Franco. "Big Business for Firms and States: Silk Manufacturing in Renaissance Italy." Business History Review 94, no. 1 (2020): 95–123. http://dx.doi.org/10.1017/s0007680520000100.
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Silk manufacturing began in Lucca in the twelfth century and by the fifteenth century Italy had become the largest producer of silk textiles in Europe, nurtured by extensive domestic and foreign demand for the luxurious fabric. This essay explores the market for silk textiles, the organization of the silk industry, and the role played in it by guilds, entrepreneurs and their capital, and highly sought after artisans. Just as silk manufacturing was an important and lucrative business for entrepreneurs, this article argues, so was it a crucial strategic activity for the governments of Italy's Renaissance states, whose incentives, protections, and investments helped to start up and grow the sector with the aim of generating wealth and strengthening their respective economies.
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Bano, Razia. "Role of Handicrafts in Economic Development: A Case Study of Carpet Industry of India." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 4, no. 3 (September 28, 2016): 512. http://dx.doi.org/10.21013/jmss.v4.n3.p1.
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<div><p><em>Handicrafts industry of India has a great potential in economic development of the country. The present study is an attempt to assess the potential of carpet industry in India. Indian handmade carpet of handicrafts industry is perhaps the only sector over in rural India that almost 100% export oriented and providing direct employment to the millions, generating opportunities to rural unemployed artisans. At present, carpet sector is contributing US$ 932 million from export to the government exchequer and providing livelihood over and above to the million weavers and artisans. Indian handmade carpets has recognized worldwide for its elegant design and vibrant color craftsmanship. Present study is an attempt to show the potential of handmade carpet industry of India in accelerating the growth and development of Indian Economy. The present study is based on secondary data collected through the reports from textile ministry, various organization and magazines. The data has analyzed on the basis of simple method and presents by charts, table and diagram.</em></p></div>
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Ó Gráda, Cormac. "Did Science Cause the Industrial Revolution?" Journal of Economic Literature 54, no. 1 (March 1, 2016): 224–39. http://dx.doi.org/10.1257/jel.54.1.224.
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The role of science and technology in the First Industrial Revolution is still contested. Some scholars, focusing on the textiles sector, argue that skilled and talented artisans with no scientific training were mainly responsible for the key inventions; others, with steam power in mind, hold that the links between science and the crucial inventions of the period were fundamental. Margaret Jacob has been a leading contributor to the debate for nearly four decades. The publication of her The First Knowledge Economy offers an opportunity to review the issues. (JEL J24, L26, N13, N73, O31, O33)
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Conrad, James Lawson. "Artisans, Entrepreneurs, and Machines: Essays on the Early Anglo-American Textile Industries, 1770-1840s (review)." Technology and Culture 41, no. 4 (2000): 799–801. http://dx.doi.org/10.1353/tech.2000.0146.
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Navarro Espinach, Germán. "Los genoveses y el negocio de la seda en Valencia (1457-1512)." Anuario de Estudios Medievales 24, no. 1 (April 2, 2020): 201. http://dx.doi.org/10.3989/aem.1994.v24.971.
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On étudie ici la présence de nombreux soyeux génois à Valence a la fin du XVe siècle: marchands, artisans, travailleurs. Cette présence signifiait un transfert technologique crucial pour la traditionnelle industrie de la soie valencienne d'origine musulmane, qui reconvertit de cette façon son offre générale de textiles et entraina son essor commercial. Mais à l'arriere plan, l’immigration internationale et l'importance des affaires génois dans le domaine de la soie, sont en plus un autre exemple de mobilité sociale du bas Moyen Age et contribuent à faire comprendre la formation du système européen moderne de relations dans la Méditerranée.
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Berg, Maxine. "Craft and Small Scale Production in the Global Economy: Gujarat and Kachchh in the Eighteenth and Twenty-first Centuries." Itinerario 37, no. 2 (August 2013): 23–45. http://dx.doi.org/10.1017/s0165115313000466.
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India's production of fine luxury and craft goods for world markets was discovered and exploited by Europeans in the seventeenth and eighteenth centuries. Textile producers in Gujarat, the Coromandel Coast, and Bengal applied fine craft skills to European designs, colour codes, and textile lengths and widths. Through the intervention of the East India Companies and private traders as well as their intermediaries, brokers and local merchants, weavers, and printers produced the goods to satisfy Western markets just as they had done for Eastern and African markets in the centuries before.Today Indian craftspeople are engaging in a new phase of production for global markets. They are using traditional techniques of the kind that attracted Western buyers in the seventeenth and eighteenth centuries: hand weaving, hand block printing, and natural dyes. Accessing the niche national and international markets needed to provide a future for these crafts is a major challenge. This article focuses on the artisans, skills and markets in one area of India—the region of Kachchh in northern Gujarat, even now considered a remote part of the new global India. It sets this within a wider context of Gujarat and the earlier and more recent history of its textile industries. Douglas Haynes's recent book, Small Town Capitalism in Western India (2012) provides a framework for the study of small-scale industry, and the article will address his subject and methods. The new sources used are a collection of oral histories of craftspeople in a range of industries. These oral histories address skills and training across generations, and how these crafts have adapted and continue to adapt to the demands of national and world markets.
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HERNÁNDEZ-RAMOS, Lyzbeth, Rosario GARCÍA-MATEOS, Ma Carmen YBARRA-MONCADA, and María T. COLINAS-LEÓN. "Nutritional value and antioxidant activity of the maguey syrup (Agave salmiana and A. mapisaga) obtained through three treatments." Notulae Botanicae Horti Agrobotanici Cluj-Napoca 48, no. 3 (August 29, 2020): 1306–16. http://dx.doi.org/10.15835/nbha48311947.
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During the Pre-Colombian period magueys were used in Mesoamerica for their sap, which is named “aguamiel” (literally “honey water” in Spanish). Aguamiel is then fermented into “pulque”, followed by (in order of importance): textiles, apparel, different thicknesses cords, food (sweetener, syrup, vinegar, flower buds, and cooked immature flowering stalks), firewood and construction materials. The maguey syrup is a product that is traditionally obtained by concentrating the aguamiel by means of an artisanal evaporation treatment (high temperatures, atmospheric pressure and prolonged times). The nutritional and nutraceutical value of this concentrate is unknown despite its wide consumption since pre-Hispanic times in various regions of Mexico. The objective of this work was to evaluate the nutritional value and the content of antioxidant compounds of the maguey syrup obtained from the aguamiel (Agave salmiana and A. mapisaga) through three elaboration treatments (artisanal evaporation, evaporation under reduced pressure and lyophilization). The best species for the production of maguey syrup turned out to be the aguamiel of the A. salmiana due to its nutritional and nutraceutical attributes, higher content of reducing sugars and lower sucrose compared to that of A. mapisaga. The maguey syrup is a sweetener with a higher content of protein (3320 mg 100-1) in comparison to bee honey (152.7 mg 100 g-1). The maguey syrup obtained by lyophilization (LYT) retained the nutraceutical value; but its antioxidant activity was statistically equal to the syrup obtained by evaporation under reduced pressure (RPT), and the artisanal evaporation treatment (AET) had a decrease in vitamin C content in comparison to LYT and RPT. The syrups obtained by RPT and AET presented different degrees of non-enzymatic darkening, possibly due to the formation of melanoidins (dark pigments). The darkest syrup obtained by AET had the highest antioxidant capacity (987.24 μM TE 100 g-1) associated to a higher content of phenolic compounds (593.74 mg GAE 100 g-1).
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Campos Ayala, Jennifer, Samantha Mahan, Brenan Wilson, Kay Antúnez de Mayolo, Kathryn Jakes, Renée Stein, and Ruth Ann Armitage. "Characterizing the Dyes of Pre-Columbian Andean Textiles: Comparison of Ambient Ionization Mass Spectrometry and HPLC-DAD." Heritage 4, no. 3 (August 7, 2021): 1639–60. http://dx.doi.org/10.3390/heritage4030091.
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The complex and colorful textiles of ancient Peru have long been a focus of technical study, particularly to characterize the sources of the wide variety of dyes utilized by these Andean artisans. This manuscript describes the characterization of the dyes of both primary (red, blue, and yellow) and secondary (purple, orange, and green) colors sampled from textiles spanning five major civilizations: the Paracas Necropolis, the Nazca, the Wari, the Chancay, and the Lambayeque, all from Peru. All but the Paracas Necropolis samples were part of technical conservation studies of the ancient South American textiles collections of the Michael C. Carlos Museum. Analysis of the dyes was carried out utilizing direct analysis in real time time-of-flight mass spectrometry (DART-MS) and paper spray MS. To validate these ambient ionization MS methods, the samples were further investigated using high-performance liquid chromatography (HPLC) with ultraviolet-visible diode array detection (DAD). These results show that ambient ionization MS methods are simple and fast for characterization of the general classes of dyes, e.g., plant reds vs. insect reds, and indigoids in blues and greens. Due to the myriad possible sources of yellow dyes and their tendency to undergo oxidative decomposition, positively identifying those components in these yarns was difficult, though some marker compounds and flavonoid decomposition products were readily identified by ambient ionization mass spectrometry.
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Randles, Sarah. "Labours of Love: Gender, Work and Devotion in Medieval Chartres." Emotions: History, Culture, Society 4, no. 2 (December 9, 2020): 374–97. http://dx.doi.org/10.1163/2208522x-02010101.
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Abstract The medieval cathedral of Notre-Dame of Chartres is famous for the depictions of artisans in its thirteenth-century stained-glass windows. Using gender as a lens through which to view these images makes clear that the work they depict is overwhelmingly undertaken by men. In contrast, women’s work, in the form of preparing textile fibres, is depicted in a series of stone carvings on the exterior northern portal of the cathedral. Here physical labour is juxtaposed with acts of reading and prayerful contemplation. Miracle tales from Chartres emphasise connections between gendered work and devotion to the Virgin Mary. This article considers these visual and literary depictions of labour at Chartres in the contexts of historical gendering of work, medieval ideas of divine cosmic order, and the role of work as religious devotional practice within a prevailing emotional regime.
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Vallières, Marc, and Yvon Desloges. "Les échanges commerciaux de la colonie laurentienne avec la Grande-Bretagne, 1760-1850." Dossier Québec 61, no. 3-4 (October 17, 2008): 425–67. http://dx.doi.org/10.7202/019126ar.
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Résumé Le port de Québec a joué un rôle majeur dans l’important commerce colonial transatlantique avec les métropoles française et britannique. L’historiographie canadienne a depuis longtemps mis l’accent sur le volet exportation des ressources naturelles de ces échanges, tant les fourrures que les produits du bois, mais a rencontré des obstacles à cerner la place des importations des produits autres que les alcools et certaines denrées taxées. Se fondant sur un dépouillement et une analyse statistique critique des importants registres de la douane britanniques (Archives nationales du Royaume-Uni, séries CUST), cet article fait ressortir la prédominance des produits industriels britanniques, essentiellement les textiles, ainsi que d’une multitude de produits métallurgiques, alimentaires et autres reflétant tout l’éventail des milliers de produits arrivés sur le marché de consommation canadien de 1760 jusqu’à 1850. Il amorce dans deux cas (textiles et métallurgie) une étude plus approfondie de la composition de ces importations et de leurs retombées sur la production locale, tant artisanale qu’industrielle. Globalement, il en ressort aussi que la valeur des importations surpasse nettement celle des exportations pour cette période, une conclusion surprenante et controversée.
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Armstrong, Charles I. "Poetic Industry: The Modernity of the Rhyming Weavers." Review of Irish Studies in Europe 2, no. 1 (March 19, 2018): 139–48. http://dx.doi.org/10.32803/rise.v2i1.1717.
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The so-called “Rhyming Weavers” were artisan poets, mainly writing in the 18th and 19th centuries. John Hewitt’s Rhyming Weavers & Other Country Poets of Antrim and Down (1974) has played a crucial role in defining this group of writers, both in terms of who they were – Ulster-Scots poets of a particular region in the North of Ireland – and with respect to their achievement. This paper addresses the modernity of the Weaver poets, countering a tendency to see their work as merely nostalgic or belated manifestations of pre-modernist belonging and harmony. The singular dimension given to the work of the Rhyming Weavers by the combination of the vocations of writer and weaver is scrutinized, as close readings show how poems by James Orr, Thomas Beggs, and David Herbison self-reflectively engage with the mechanization of the textile industry.
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Griffen, Clyde. "Community Studies and the Investigation of Nineteenth-Century Social Relations." Social Science History 10, no. 3 (1986): 315–38. http://dx.doi.org/10.1017/s0145553200015479.
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The recent popularity of community studies among investigators of nineteenth-century social history in the United States owes much to convergence of interests since the early 1970s among four broad groupings of historians: labor and radical historians concerned with class-formation; historians of women and the family; immigration historians; and urban historians concerned with the transformation of spatial and social structure. Stressing the importance of the interrelationships between their subjects, historians with these interests have tended to see the community study as the best means of describing the interrelationships fully and concretely. Howard Chudacoff expressed this perception when he characterized books on the artisans of Newark and on the iron and textile workers of Troy and Cohoes as “community studies of the best type, for they combine working class history with perspectives on family, ethnicity, mobility, stratification, ideology, technology, politics, and … show the importance of interactions between place and behavior” (Chudacoff, 1979: 535).
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Smail, John. "The Stansfields of Halifax: A Case Study of the Making of the Middle Class." Albion 24, no. 1 (1992): 27–47. http://dx.doi.org/10.2307/4051241.
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Between the Civil War and the Industrial Revolution, four generations of the Stansfield family lived in Halifax—an upland parish in the West Riding of Yorkshire. Although its politics were calm, the century and a half between England's two great “revolutions” was not devoid of change in other respects. Significant social, economic, and cultural developments during this period laid the foundations for the ferment of the Industrial Revolution. The history of the Stansfield family is an excellent illustration of these changes, for there was a world of difference between the great-grandfather, Josias Stansfield, who was in his prime at the Restoration, and his great-grandsons, George and David Stansfield, who were in their primes a century later.For his part, Josias was recognizably a man of the middling sort. A yeoman engaged in farming and small-scale textile production, his economic activities and his social standing place him in the ranks of families who fell between the few gentlemen who lived in the area and the mass of simple artisans and laborers who had to struggle just to survive. Josias's great-grandsons, George and David Stansfield lived in a different world. By the mid-eighteenth century, Halifax's textile industry was increasingly dominated by large-scale production of which George's large putting-out concern and David's substantial export business were typical. George and David's social position was also quite different. No longer merely comfortable, these two second cousins were among the wealthiest residents of their respective townships, and they had assumed an appropriately significant share of the political and social leadership in the parish.
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Chaudhry, Jyoti Bhasin. "Animal and bird motifs of Murshidabad’s Baluchari silk of India." Global Journal of Arts Education 7, no. 1 (June 12, 2017): 7–11. http://dx.doi.org/10.18844/gjae.v7i1.1034.
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The present study was conducted to document the animals and birds motifs as design enrichment on Murshidabad’s Baluchari silk of India. The study emphasized that varied animals and birds motifs were used in Murshidabad’s Baluchari silk in order to beautify the fabric from past till present day. The documentation of motifs is very vital and it will assist as a guide to craftsmen, as they represent the mastermind of unique talent effortlessly synthesized from time to time to new cultural influences. Through documentation, this collective variety of animal and bird motifs used on Baluchari textiles will be accessible to designers, artisans, academician and students. It can also involve conserving a way of life and attitudes in addition to a set of techniques passed down through the generations.
Keywords: Baluchari, animals, birds’ motifs, design, documentation
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Amanat, Mehrdad, and Roy P. Mottahedeh. "Medieval Kashan: Crossroads of Commerce and Culture." Eurasian Studies 16, no. 1-2 (December 7, 2018): 395–429. http://dx.doi.org/10.1163/24685623-12340058.
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AbstractThis essay first attempts to explain why the Iranian city of Kashan is where it is and then how it came to grow.Extensive use of irrigation allowed an adequate and perhaps abundant agriculture in the surrounding region. The arrival of substantial numbers of Arab immigrants in Kashan in the early Islamic period played an important role in the city’s development and its continuation as a center of Shiʿism. A strong educational tradition produced many talented Kashani officials, who served in the Saljuq and later administrations and sent some of their wealth back to Kashan.It was also in the Saljuq period that Kashan gained a reputation for its production of luxury ceramics. Artisanal traditions were passed from generation to generation and contributed to exports of brass, and especially of textiles, which continued for centuries. Wealthy Kashanis (probably including a fair number of sayyids) invested heavily in charitable endowments, which served the poor and furthered learning in general. In the Timurid period, investments in mathematical education produced several outstanding mathematicians and astronomers. Tax yields from the medieval period may indicate the increasing prosperity of Kashan.
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Roy, Tirthankar. "Home Market and the Artisans in Colonial India: A Study of Brass-ware." Modern Asian Studies 30, no. 2 (May 1996): 357–85. http://dx.doi.org/10.1017/s0026749x00016504.
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Studies on Indian artisans in the recent times have tended to be guided by the notion of a world market which, it is believed, drove them towards obsolescence through changing tastes or productivity. This framework, however, is not without problems. First, the presence of older industries in modern India, or their long continuance, tends to be seen in terms of ‘survivals’ or ‘revivals’, which terms deny them any inherent dynamics. On the other hand, the impression that many of them ‘survive’ today in strikingly modernized forms, utilizing production and marketing institutions vastly different from those that prevailed a hundred years ago, would demand of historians an account of how old industries evolve, and become integrated into the rest of the economy. Secondly, the crux of the world market story is the economy's opening up to trade. That foreign trade had a critical impact on crafts such as textiles, partially decimated by imports, or leather, where trade commercialized an erstwhile custom-bound exchange, is indisputable. But there are other notable examples where the effect of trade was benign, minor, or indirect, where artisans remained producers of a mass consumable; and where neither did they face significant competition from imported goods, nor were reduced to fodder for metropolitan industrialization. Yet they changed profoundly. In a way, their history reflects not the play of a dominant exogenous process, but the totality of the economy's structural change. Crafts history does not yet provide us with prototypes of this endogenous transformation.
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Mazzarella, Francesco, Val Mitchell, and Carolina Escobar-Tello. "Crafting Sustainable Futures. The Value of the Service Designer in Activating Meaningful Social Innovation from within Textile Artisan Communities." Design Journal 20, sup1 (July 28, 2017): S2935—S2950. http://dx.doi.org/10.1080/14606925.2017.1352803.
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Aragon, Lorraine V. "Copyrighting Culture for the Nation? Intangible Property Nationalism and the Regional Arts of Indonesia." International Journal of Cultural Property 19, no. 3 (August 2012): 269–312. http://dx.doi.org/10.1017/s0940739112000203.
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AbstractThis article analyzes how intangible cultural expressions are re-scripted as national intellectual and cultural property in postcolonial nations such as Indonesia. The mixing of intellectual and cultural property paradigms to frame folkloric art practices as national possessions, termed “intangible property nationalism,” is assessed through consideration of Indonesia's 2002 copyright law, UNESCO heritage discourse, and the tutoring of ASEAN officials to use intellectual and cultural property rhetoric to defend national cultural resources. The article considers how legal assumptions are rebuffed by Indonesian regional artists and artisans who do not view their local knowledge and practices as property subject to exclusive claims by individuals or corporate groups, including the state. Producers' limited claims on authority over cultural expressions such as music, drama, puppetry, mythology, dance, and textiles contrast with Indonesian officials' anxieties over cultural theft by foreigners, especially in Malaysia. The case suggests new nationalist uses for heritage claims in postcolonial states.
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Shcherban, A. L. "DIGTYARI WEAVING PROFESSIONAL SCHOOL IN 1926-1929." Sums'ka Starovyna (Ancient Sumy Land), no. 56 (2020): 5–20. http://dx.doi.org/10.21272/starovyna.2020.56.1.
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For the first time, the activity of the weaving vocational school in the village Digtyari (modern Chernihiv region) is analyzed. It was the leading educational institution of the middle level of vocational education of the Ukrainian SSR in the second half of the 1920s, in which the creators of traditional textiles studied. The students learned the skills of making carpets, embroidered shirts, and kerchiefs. On the basis of archival sources, the histories, educational process, composition of the teaching and student groups of the school during 1926-1929 are covered. Established in the fall of 1926, the institution was to train qualified master practitioners for the factory and handicraft arts industry, who had formed an artistic taste. The teaching staff initially consisted of local general education teachers and visiting instructors and teachers of special subjects (O. Reisfeld and M. Dyachenko). The institution was headed by uneducated communists Yu. Kozelev and S. Lutayenko. The students of the first set were mostly non-locals, orphans. But the second set already consisted mostly of children of local peasants and artisans. The school had a significant material base, which remained from the textile educational institutions that operated in Digtyary during the first quarter of the twentieth century. The main rooms were located on the right-wing of the main building of the palace complex of the Galagan estate. As a result of the study of the materials of the minutes of the meetings of the school council, the conflict situations that constantly arose between the managers and their supporters and visiting specialists and led to the departure of the latter from Digtyary were analyzed. The initial stage of the existence of the Digtyari weaving professional school, problems in relations between staff, and the originality of the contingent of the first set of students influenced the quality of their training. As it is clear from the available sources, during the first and the beginning of the second school year students worked both theoretically and practically, but due to lack of raw materials they could not produce a significant amount of full-fledged products. The school’s workshop worked on “factory” and, in part, “peasant” raw materials. At the end of the second year of study, students were already making work suitable for sale. The school operated in two directions. The visiting instructor, an experienced artist M. Dyachenko brought a new vision of teaching graphic literacy into the educational process. Weaving and embroidery instructors who either graduated from the textile schools previously existing in Digtyary (A. Reisfeld, V. Nikolskaya) or worked there for a long time (G. Tsybuleva) broadcast local traditions. During the years under study, about 100 students studying at the institution, and one graduation took place. Troubles in the personal relationship between teachers and school management and insufficient funding have affected the quality of education. But even in such conditions, students not only mastered special and general education subjects but also participated in exhibitions, made marketable products, engaged in research work. Curricula developed by M. Dyachenko and O. Reisfeld became a model for other craft educational institutions. And the textbook was written by O. Reisfeld - the first Ukrainian-language textbook on the technology of folk weaving. Keywords: Digtyari weaving professional school, Mykhaylo Dyachenko, Pryluky region.
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Tunstall, Alexandra. "Beyond Categorization: Zhu Kerou’s Tapestry Painting Butterfly and Camellia." East Asian Science, Technology, and Medicine 36, no. 1 (August 13, 2012): 39–76. http://dx.doi.org/10.1163/26669323-03601003.
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This paper introduces the technique of kesi or tapestry weave in China through one example, Butterfly and Camellia, attributed to Zhu Kerou, a woman artist of the twelfth century. This particular weaving is attributed to a time period when tapestry weavings began to imitate the visual language of painting. The relationship between kesi and painting is explored, examining the early use of kesi as wrappers for paintings. At the same time that the basic technology of kesi weaving is discussed, the gendered nature of weaving as work in Song-dynasty China as well as the techniques of connoisseurship of kesi during the Ming and Qing dynasties are also illuminated. The motives of such connoisseurs are examined, as their writing and collection practices framed this work for all future viewers and scholars. Sources used include inscriptions on works of art, most notably one inscription mounted next to Butterfly and Camellia by the eminent Ming painter, Wen Congjian; painting and textiles catalogues; as well as early writing on kesi weave; and the weavings themselves, which tell us most clearly the artisans' intentions and concerns.
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Buat, Camille. "Segmented Possibilities: Migrant life Histories of Hindustani Workers in Post Colonial India." International Labor and Working-Class History 97 (2020): 134–58. http://dx.doi.org/10.1017/s014754792000006x.
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AbstractStarting in the late 19 th century, workers from north India came to constitute the backbone of the urban and industrial labour force in Calcutta and neighboring mill municipalities. As they settled in and around the colonial metropolis, these Hindustani workers maintained strong connections with their rural homes. One generation after the other, they reproduced this dual settlement over the following decades. This bi-local structure of labour circulation, which linked village and city through the constant coming and going of men and women, progressively broke down from the late 20 th century onwards, following the closure of the large textile, engineering and paper industries which underpinned the economic vitality of the Calcutta region. The article sketches out the history of this socio-spatial configuration over the second half of the 20 th century, through the life histories of two migrant Hindustani workers. Born around 1940, Siraj Prajapati and Mohan Lal both spent the greater part of their working lives in Calcutta's industrial suburbs. Siraj, a potter by caste, was engaged in the artisanal production tea-cups in Howrah. Born into one of the most marginalized sections of north Indian society, Mohan managed to train as a mason, and was employed in the Titagarh Paper Mill through the 1960s and 70s. Both have now settled back in their respective villages of eastern Uttar Pradesh. Teasing out the contradictory ways in which both men frame their life trajectories, the article contributes a micro-perspective to the social history of rural-urban migration in post-colonial north India.
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Dumolyn, Jan, and Bart Lambert. "A Chemical Compound in a Capitalist Commodity Chain: The Production, Distribution and Industrial Use of Alum in the Mediterranean and the Textile Centers of the Low Countries (Thirteenth-Sixteenth Centuries)." Journal of Early Modern History 22, no. 4 (August 3, 2018): 238–58. http://dx.doi.org/10.1163/15700658-12342574.
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AbstractAccording to Immanuel Wallerstein, the sixteenth century saw the emergence of a capitalist world economy in which labor was organized on a global scale, and the production, distribution and use of goods and services were integrated across national boundaries. This article argues that, though exceptional, an integrated, hegemonic division of labor on an international scale did occur before 1500. Adopting one of Wallerstein’s conceptual tools, the commodity chain approach, it analyzes the production, distribution and industrial use of alum, a chemical compound, from the thirteenth to the sixteenth centuries. The high-quality cloth industry of the Low Countries, the most prominent artisanal sector of the period in Europe, strongly relied on alum as a mordant to fix colors. Yet the best varieties of alum could only be won in Asia Minor until the middle of the fifteenth century and in central Italy after 1450. The combination of the inflexible demand structure and the mineral’s limited supply resulted in the creation of commodity chains that crossed national and even continental boundaries and allowed those in control of the alum mines to establish exactly those dependency relations that were particular to Wallerstein’s world economy of the sixteenth century. If the aim is to study the conditions in which economic actors lived and worked and the ways in which they organized their labor, a focus on the production contexts of specific commodities, rather than on comprehensive world systems, might therefore be more revealing.
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Soly, Hugo. "The Political Economy of European Craft Guilds: Power Relations and Economic Strategies of Merchants and Master Artisans in the Medieval and Early Modern Textile Industries." International Review of Social History 53, S16 (December 2008): 45–71. http://dx.doi.org/10.1017/s002085900800360x.
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Fischer, Thomas. "Craftsmen, Merchants, and Violence in Colombia: The Sucesos de Bucaramanga of 1879." Itinerario 20, no. 1 (March 1996): 79–99. http://dx.doi.org/10.1017/s0165115300021549.
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The development of Colombia's import/export economy was accompanied by numerous violent conflicts from the second half of the nineteenth century onward. Craftsmen were among those who fiercely opposed the model of ‘outward-looking development’ (desarrollo hacia afuera). With independence this group initially increased in number during the first half of the nineteenth century. Around 1870, their proportion of the gainfully employed male population may have come to about ten per cent. More than sixty per cent of all working women were involved in handicraft activities. Artesanos, as craftsmen were listed in Colombian population statistics, were one of the most wide-spread occupational classes until the turn of the century. In nearly all towns and cities there were tanners, shoemakers, weavers, dyers, tailors, blacksmiths, bricklayers, carpenters, joiners, and potters, as well as the newly introduced trades of lithographers and letterpress printers, to provide for the local consumers’ demands. However, artisans differed from region to region in terms of quantity (absolutely and as a percentage of the total population), composition of professions, proportion of women and children, as well as in their ethnicity. Moreover, a largely rural textile industry (based on family concerns) developed near Pasto as well as in Santander and Boyacá and became famous beyond these regions. In contrast to urban manufacture in Bogotá and Bucaramanga dominated by mestizoes, and that of Cali and the Atlantic coast dominated by mulattos, these weavers were mainly of Indian descent. In Tolima and in parts of Antioquia and Santander palm straw hats (‘Panama hats’) were produced - mainly by Indian women. This headgear was priced so reasonably that the hats were exported in large quantities to the West Indies and the USA.
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Jha, Banhi. "Institutional resource centres and design education." Library Review 65, no. 8/9 (November 7, 2016): 625–32. http://dx.doi.org/10.1108/lr-11-2015-0110.
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Purpose The physical environment of education is not contained within the classroom but extends to the library and archival resource centres in higher education institutes of design. The institutional resource centre (RC) includes textual and material repository sections which support institutional objectives by creating space and opportunity for interface between the learner and theoretical–practical aspects of the curriculum. This purpose of this paper is to highlight the role of the RC where the viewing of exhibits enhances the pedagogy of design education. Design/methodology/approach This paper uses the participant observation method to construct a case study of the experiential learning process in an institutional setting. It analyses how students make use of specialized design-related resources in libraries and adapt their approach to learn with, from and about objects as cultural artefacts. Findings The institutional resource centre provides opportunities for haptic experiences in design education that may be unavailable within the classroom. Design students make their own connections between the objects and the embedded lifeworld of the creator-artisan to create personalized meaning. The resultant combination of cognition and emotional responses to the exhibits stimulates diverse learning trajectories. Originality/value The collections of displayed design objects in the institutional RC enable students to appreciate cultural history by developing the understanding of fashion, textile and handcrafting traditions in India, thus stimulating cognitive and sensory learning. This is a manifestation of constructivism with the potential for diverse learning trajectories for design students. Thus it acts as an adjunct to classroom teaching-learning by facilitating a multi-faceted and holistic learning experience driven by a spirit of enquiry that supplements and supports pedagogic practices, enabling and encouraging self-learning.
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Jagla, Jowita. "From a Noble Substance to an Imitative Body. The Image and Meaning of Wax Figures in a Votive Offering." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 59–79. http://dx.doi.org/10.18290/rh.2019.68.4-3en.
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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014).
In a wealth of votive gifts, the wax ones undoubtedly deserve special attention. They were common as early as in the Middle Ages, and they were used until the 20th century. There was a variety of such votive offerings, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called Boti were produced by sculptors called Cerajuoli or Fallimagini). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the following centuries, the production of wax figures developed ever more dynamically, especially in the north of Europe, with less skilled wax modellers, artisans and gingerbread makers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of items in their form and type reminded of figures made of gingerbread).
Wax votive figures (especially of children aged three to 12) funded in the area of Upper and Lower Franconia (the Bamberg and Würzburg dioceses) from the mid-19th to the mid-20th century are a separate and rather unusual phenomenon. Popularity of this votive offering became stable about 1880, in the years 1900–1910 it reached its climax; and in the 1950s it came to an end. Franconian offerings were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the effigies had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered.
Despite the many features making the Franconian offering deposits different from votive figures from other regions, all these items are joined by a timeless and universal idea, in which—to quote H. Belting—“an artificial body has assumed the religious representation of a living body…”
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Bradbury, Bettina. "The Family Economy and Work in an Industrializing City: Montreal in the 1870s." Historical Papers 14, no. 1 (April 26, 2006): 71–96. http://dx.doi.org/10.7202/030836ar.
Full textAbstract:
Résumé Durant les années 1870, Montréal est une ville en transition ; depuis deux décennies déjà, elle se fabrique un nouveau profil géographique et on assiste à une réorganisation du monde du travail qui va modifier les bases mêmes de la vie familiale. Cet article se propose d'examiner l'économie familiale dans deux quartiers distincts de la ville — Sainte-Anne qui est déjà fortement industrialisé et Saint-Jacques qui est demeuré beaucoup plus artisanal — dans le but de mieux cerner la relation qui existe entre la famille et l'organisation des moyens de production. Selon l'auteur, cette relation est complexe et bi-dimensionnelle. D'une part, la nature du travail disponible va déterminer quels membres de la famille sont plus susceptibles de travailler et ceci peut varier d'un quartier à l'autre ; d'autre part, la démographie et les attitudes culturelles des familles montréalaises vont tout également influencer les moyens de production. Ainsi, parce qu'il y a un grand nombre de femmes et d'enfants disponibles, les industries du textile et de la chaussure atteignent une place de choix dans l'économie de la ville ; par contre, le fait que tant de femmes et d'enfants travaillent dans ces industries fait baisser le salaire et nuit à la main-d'oeuvre spécialisée. Dans la plupart des familles ouvrières, l'insuffisance des salaires, le chômage saisonnier et le surplus de main-d'oeuvre vont faire en sorte qu'il faudra plus d'un travailleur par famille pour assurer la subsistance. Règle générale, on semble avoir préféré mettre les garçons au travail plutôt que les femmes et les filles ; dans le quartier Sainte-Anne, il n'y a que les veuves et les femmes seules qui ont un emploi alors que dans Saint-Jacques, les femmes qui travaillent le font à la maison de par le système du travail au noir. Il arrive également, dans le cas des familles qui n'ont encore que de très jeunes enfants, qu'on tente de boucler le budget en prenant des pensionnaires ou en logeant avec la parenté. En somme, dans la ville qui s'industrialise, le cycle de la vie familiale, la disponibilité du travail et les valeurs culturelles ont, tour à tour, contribué à façonner tant la structure de la maisonnée que le modèle du travail familial.
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De La Cruz Azabache, Mario Ricardo, and Dionicio Adolfo Marcelo Astocóndor. "ELABORACIÓN Y ESPECIFICACIONES TÉCNICAS DEL PISCO PERUANO TERCERA ETAPA-PLANTA PROTOTIPO." Revista Cientifica TECNIA 23, no. 1 (March 13, 2017): 51. http://dx.doi.org/10.21754/tecnia.v23i1.67.
Full textAbstract:
El presente proyecto de investigación aplicada; tiene como objetivo definir las especificaciones técnicas de un producto de bandera como es el pisco peruano. La importancia de esta investigación, radica en el hecho que por ser la producción de pisco en el Perú mayormente artesanal y de poca tecnología, ésta no garantiza niveles estándar de calidad, composición y producción. Este trabajo contempla asimismo la obtención de un proceso estándar para la elaboración de aguardiente de uvas denominado Pisco, con pruebas de investigación a nivel de Reactor Prototipo, el desarrollo de producto a nivel comercial denominado Pisco UNI y la obtención de una Patente de Invención. Los resultados obtenidos a través de un trabajo multidisciplinario; con participación de investigadores y empresarios de instituciones como la Facultad de Ciencias Biológicas de la Universidad Nacional de San Marcos; UNMSM; el Centro de Innovación de la Vid; CITEvid y Bodega y Viñedos La Caravedo de Ica, fueron satisfactorios, obteniéndose un proceso estándar que garantiza la elaboración de un producto de calidad y protegido además con una Patente de Invención. Asimismo, el proyecto tuvo como objetivo suministrar herramientas de innovación tecnológica a los estudiantes de la Facultad de Ingeniería Química y Textil de la UNI; FIQT, a fin que puedan aplicarlos en el desarrollo de su carrera o en la creación de su propia empresa o fuente de trabajo, como una alternativa de desarrollo luego que egresen de la universidad. Palabras clave.-Investigación aplicada, Pisco Peruano. Aguardiente de uvas, Reactor prototipo, Multidisciplinario, Proceso estándar, Patente de Invención. ABSTRACTThe present project in Applied Research has the objective to define the technical specifications of Peruvian Pisco, a traditional drink and patrimony, symbol of Peruvian pride and nationality. The importance of this project lies in the search for a higher standard of quality, composition and production for pisco elaboration in Peru, which is mostly artisanal and low technology. This design also involves obtaining a standardized process for elaboration of the grape liqueur denominated Pisco, with research trials at Prototype Reactor level, the development of a commercial product named Pisco UNI and obtaining an Invention Patent. Through a multidisciplinary group with the participation of professionals from the Facultad de Ciencias Biológicas de la Universidad Nacional de San Marcos; UNMSM; the Centro de Innovación de la Vid; CITEvid and Bodega y Viñedos La Caravedo de Ica; the obtained results were satisfactory, the standardized process guaranties the elaboration of a product of high quality and protected by an Invention Patent. The project also aims to provide technological innovation tools to students from Facultad de Ingeniería Química y Textil de la UNI; FIQT, that they can apply in their career development or creating their own business or work source, as a development alternative after they graduate. Keywords.-Applied research, Peruvian Pisco, Grape liqueur, Prototype reactor, Multi- disciplinary, Standard process, Patent of invention.
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Tselepis, Thea J., Anne Mastamet-Mason, and Alex J. Antonites. "Collaborating to compete: The role of collective creativity in a South African clothing design small business." Southern African Journal of Entrepreneurship and Small Business Management 8, no. 1 (August 31, 2016): 10. http://dx.doi.org/10.4102/sajesbm.v8i1.58.
Full textAbstract:
<p><strong>Background:</strong> The number of apparel manufacturers in the South African clothing and textile industry is diminishing due to competition with importing apparel manufacturers. Nevertheless, South African small and micro-businesses still manufacture clothing products to meet the needs of the local markets.</p><p><strong>Aim:</strong> This study set out to explore and describe the role of collective creativity in the design process of a South African clothing small business that provides innovative clothing to local niche markets.</p><p><strong>Setting:</strong> The small and micro-businesses are typically owned by designers who can be viewed as artisan entrepreneurs. However, the competition for the local market is very competitive, and innovative designs and design processes can promote the competitiveness of the clothing small and micro-businesses.</p><p><strong>Method:</strong> A case study research design was implemented in the study, which included qualitative research methods. Semi-structured interviews, participant observation and analysis of the products against an innovation design framework were done.</p><p><strong>Results:</strong> The findings suggest that a collaborative design process supports the collective creativity of the particular owner-designers. Collective creativity enables innovative clothing products that result from the design process and it also reduced the perceived risk that the owner-designers experienced with regard to launching a ready-to-wear range.</p><p><strong>Conclusion:</strong> It is argued that collective creativity contributes to sustaining innovative design and enhances abductive reasoning for problem solving. Abductive reasoning, which is typically associated with design thinking, could be important for entrepreneurial thinking and recommendations in this regard are made.</p>