Relevant bibliographies by topics / Handicraft Movement

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Academic literature on the topic 'Handicraft Movement'

Author: Grafiati
Published: 4 June 2021
Last updated: 4 February 2022

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Journal articles on the topic "Handicraft Movement"

1

Hanani, Silfia. "RUHANA KUDDUS PELOPOR GERAKAN ENTERPRENEUR PEREMPUAN DI MINANGKABAU." Marwah: Jurnal Perempuan, Agama dan Jender 19, no. 1 (June 20, 2020): 1. http://dx.doi.org/10.24014/marwah.v19i1.9619.

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Ruhana Kudus is one of the developer of women’s economic movement in Minangkabau in colonial era. One of the movement is establish an economic organization which can motivate the women to have entrepreneur spirit. The economic organization that established by Ruhana Kuddus is Amai Setia handicraft. In this organization, the women get guidance to make many handicrafts that earn and run the economy, then those handicrafts will be sold in the market. The profit of the handcraft selling will be used as women prosperity strengthening and also as one of the helper in running life at economic section. The Economic activities that established by Ruhana Kuddus is in handcraft skill, so it mastered by the women, then it becomes one of house hold trading that still exist till now.
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Hanani, Silfia. "RUHANA KUDDUS PELOPOR GERAKAN ENTERPRENEUR PEREMPUAN DI MINANGKABAU." Marwah: Jurnal Perempuan, Agama dan Jender 19, no. 1 (June 20, 2020): 1. http://dx.doi.org/10.24014/marwah.v19i1.9619.

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Ruhana Kudus is one of the developer of women’s economic movement in Minangkabau in colonial era. One of the movement is establish an economic organization which can motivate the women to have entrepreneur spirit. The economic organization that established by Ruhana Kuddus is Amai Setia handicraft. In this organization, the women get guidance to make many handicrafts that earn and run the economy, then those handicrafts will be sold in the market. The profit of the handcraft selling will be used as women prosperity strengthening and also as one of the helper in running life at economic section. The Economic activities that established by Ruhana Kuddus is in handcraft skill, so it mastered by the women, then it becomes one of house hold trading that still exist till now.
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3

Tran, Son Doan, Son Truong Tran, and Minh Van Doan. "RESEARCH ON SHAPPING VEINS OF NET WRAPPER BASED ON THE COMBINATION OF ELEMENTS MOVING AND MODELING THE PROCESS OF KINETIC BY TWO STARCH CANS." Science and Technology Development Journal 12, no. 4 (February 28, 2009): 47–54. http://dx.doi.org/10.32508/stdj.v12i4.2231.

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Net wrapper is a traditional product of Viet Nam. The domestic and foreign markets have been liked it for a few marketing years. Net wrapper is one of the girdle type which has intermingled vein. Net wrapper makes a spring roll, this is also a traditional production of Viet Nam. Vietnamese produce 20 tons net wrapper daily, such as Vissan company produces 4 tons/day to satisfy the domestic market demand. Net wrapper product is liked specially. Nowadays, net wrapper is still made by a handicraft, therefore, the productivity is low, it has irregular vein and insanitary. In order to replace for handle movement in the handicraft of method by using machine movement process the kinetics simulation and motion of net wrapper are one of the great important process. In this paper we have described a kinetics shaped veins of net wrapper by the combined effects of the curved motion with rotated motion. This method allows the surmounted defect of handicraft and improving the capacity and quality of net wrapper, specially there is specifications supporting for process the designing.
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Makhrachev, Georgiy S. "Handicraft industry in Tambov Governorate: from military communism to NEP." Tambov University Review. Series: Humanities, no. 191 (2021): 215–23. http://dx.doi.org/10.20310/1810-0201-2021-26-191-215-223.

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We consider the peculiarities of the development of handicraft industry in Tambov Governorate during the military communism and NEP. A decrease in fishing activity is noted during the period of military communism, especially in northern counties. The leather, cobbler and textile industries that were able to meet military needs developed during this period. The process of cooperation between the handicraftsmen began. However, while the original field cooperation was based on local government principles, in 1920 it was transferred to the management of the consumer cooperative society. An interesting phenomenon was the departure of workers from factories to handicraftsmen. During the NEP’s years, there was a revival in the handicraft industry. According to statistics, the number of handicraftsmen in the governorate almost doubled by 1925, but was still smaller than in the pre-reform period. The textile industry was the most developed in the NEP’s years. In 1921, trade cooperation was introduced from the consumer sector and merged into the governorate union of handicraft industry. There was an active work of governorate instructors, who trained handicraftsmen in new production technologies, identified problem areas of cooperation, and strengthened the ties between artels and the county union of handicraft industry. Master classes were also organized for handicraftsmen, and handicraft exhibitions were held. However, the cooperative movement has also faced a number of major problems – lack of sufficient raw materials, delays in supplying goods, poor quality, and disorganized government orders.
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Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.

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In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.
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Farinosi, Manuela, and Leopoldina Fortunati. "Knitting Feminist Politics: Exploring a Yarn-Bombing Performance in a Postdisaster City." Journal of Communication Inquiry 42, no. 2 (January 18, 2018): 138–65. http://dx.doi.org/10.1177/0196859917753419.

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The aim of this article is to explore urban knitting as a worldwide social movement, rather than solely a kind of “inoffensive urban graffiti” made with knitted fabric. Building on the available literature and original research, the article argues that this movement weaves together elements from craftivism, domesticity, handicraft, art, and feminism. It then explores a specific urban knitting initiative, called “Mettiamoci una pezza” (“Let’s patch it”), carried out in L’Aquila, Italy, 3 years after the earthquake that devastated the city in 2009. To analyze the sociopolitical aspects of this initiative, a series of qualitative research studies was conducted over time, to which were added semistructured interviews with the initiative’s local organizers. The findings show that the initiative in L’Aquila clearly exhibits the five original features of the urban knitting movement that emerge from the literature as being characteristic of this movement.
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Hapsari, Nurul Retno, and Noeria Soeditianingrum. "Cultural Factors on Female Entrepreneurship: A Literature Review." E3S Web of Conferences 73 (2018): 11018. http://dx.doi.org/10.1051/e3sconf/20187311018.

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Tourism industry is one of the leading sectors in economic development as create business opportunities, such as hospitality; food; handicraft; etc. However, gender stereotypes are still inherent in running a business so men dominate business ownership even though many women start a business. The low level of female entrepreneurship, based on several studies, identified by culture which limits their movement. It is because women are identical with housework. Given the lack of discussion on this issue, we’ll evaluate what has been studied theoretically and gained deep insight through literature review. A systematic review of the culture on female’s decision making for entrepreneurship will be undertaken in this study.
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Carrillo Martínez, José Ignacio. "The Manufacture of Leather as an Applied Art in the Modernisme: the Factory-Workshop of Miguel Fargas y Vilaseca." Res Mobilis 10, no. 13-2 (June 14, 2021): 204–22. http://dx.doi.org/10.17811/rm.10.13-2.2021.204-222.

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This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress. We will highlight the Miguel Fargas and Vilaseca Factory, which will manage to industrialize this handricraft, becoming one of the few internationally known manufacturers. We will try to illustrate the history of this office by analyzing this case study, since it reveals an interesting part of the panorama of decorative arts in Modernista Barcelona.
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Harrod, William Owen. "The Vereinigte Staatsschulen für freie und angewandte Kunst and the Mainstem of German Modernism." Architectural History 52 (2009): 233–69. http://dx.doi.org/10.1017/s0066622x00004202.

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In 1936, Nikolaus Pevsner asserted at the Royal Society of Arts in London that the Weimar Republic had produced two great modern schools of art: Walter Gropius’ Bauhaus and Bruno Paul’s Vereinigte Staatsschulen für freie und angewandte Kunst (Unified State Schools for Fine and Applied Art) in Berlin. Pevsner was outspoken in commending the ‘atmosphere of youth, conquest, thrill’ that pervaded the Bauhaus in emulation of the passionate and revolutionary spirit of its founder. But he was troubled by the shortcomings of its programme. By contrast, Pevsner praised the Vereinigte Staatsschulen for restoring the essential ‘balance between painting and sculpture on the one hand, and handicraft and design on the other’ (Fig. 1). Unlike the Bauhaus, Pevsner concluded, the Vereinigte Staatsschulen ‘represented a success in almost every respect’. Yet, despite its importance to the dissemination of the Modern Movement, the Vereinigte Staatsschulen has been largely forgotten in the English-speaking world, while the Bauhaus has been long been regarded as the epitome of twentieth-century modernism, and, particularly in popular culture, even of the very concept of modernity. Nevertheless the interwoven stories of the Vereinigte Staatsschulen and the Bauhaus, and of their directors, serve to illuminate the complexity of the unwritten history of the Modern Movement.The Vereinigte Staatsschulen and the Bauhaus were, as Pevsner noted, parallel developments. Both emerged from the artistic reform movements that characterized the final years of the German Empire, and which found their culmination in the Deutscher Werkbund. The faculty of Vereinigte Staatsschulen sustained the unbroken history of its progenitor institutions, reflecting a broad and inclusive Modern Movement that echoed the often-contentious composition of the Werkbund itself. The Bauhaus faculty sought, ultimately unsuccessfully, to effect a clear and decisive break from a similar historical context. Notwithstanding its brilliant achievements, the Bauhaus ultimately represents but a single, exclusive branch of the history of the Modern Movement. The Vereinigte Staatsschulen reflects the broader currents that engendered twentieth-century modernism.
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Nidianita, Elizabeth Widya, and Dewi Puspita Sari. "Peran Kaum Muda Kotagede: Konservasi dan Regenerasi Kelangsungan Usaha Kreatif Perak." Jurnal Studi Pemuda 6, no. 2 (February 21, 2019): 619. http://dx.doi.org/10.22146/studipemudaugm.41394.

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Creative endevour of silver in Jagalan Village started since the 16th century and 17th and reached the heyday in 1910 and 1970-1980. But after Monetary Crisis (1998), Bali Bombing (2002) and Earthquake (2006) the number of silversmiths were declining continously, making artisans reluctant to share their skills possessed to future generations. This condition brought up response and strategies of youth in applying the concept of 3T (talent, technology and tolerance) toward the sustainability of creative business of Kotagede silver handicraft in Jagalan Village. This research uses qualitative research method and descriptive analysis. Research findings in this research is youth as the actor to potential and capacity as agent of change, starting from motivation, the process, space to the implementation of through movement conservation and efforts to regenerate silversmiths mapping and quarrying of tourism village’s, make video tourism promotion and marketing couple ring to Hongkong, then hold workshop design for makers, Jagalan Festival and a healthy walking. Secondly, movement conservation as an effort to regeneration in which implemented through the application of 3T concept collaboratively. Talents is pertaining to family background, social environment and youngster’s education; tolerance is openness in interaction toward various parties and technology facility for marketing and publication. Variety of initiatives and the ideas are implemented into 6 ( six ), education by providing the space for discussion, marketing for traditional foods and of silver craft products , publication in order to provide a chance silversmiths in accessing the market, innovation make craftsman having the bargaining power as artisan (expert), maintenance and movement to be preservation of cultural heritage ancestors. One of the output of these efforts is Jagalan Tlisih Kampung.
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Dissertations / Theses on the topic "Handicraft Movement"

1

Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.

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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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2

Fortin, Marie-Noël. "La répartition territoriale des produits issus des créneaux du patrimoine québécois /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.

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Hansson, Mikael. "From Matter to Data and Back Again : Enabling Agency through Digital Fabrication." Thesis, Umeå universitet, Institutionen för informatik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-149543.

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Digital fabrication technologies such as 3D printers entail a radical change to the traditional consumer-producer paradigm. Combined with other recent developments, self-styled Makers design and fabricate sophisticated devices and interactive technologies that would otherwise never have existed. However, stopping the uninitiated novice from making use of this potential is complex CAD software, and a high barrier to entry. In this study a series of workshops explore the potential of combining traditional handicraft materials – such as clay, paper and fabric – with 3D scanning to enable novices to work with 3D printers. Based on the results a set of instruction were created detailing the process of making three types of practical objects, covering the entire process from the making and subsequent 3D scanning of a physical object, to the software clean-up and final 3D printing. The results suggest that whilst the explored method can enable novices to create 3D printable models, a certain mindset is required for the novice to do so effectively.
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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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Books on the topic "Handicraft Movement"

1

Miley, Caroline. The arts among the handicrafts: The arts and crafts movement in Victoria, 1889-1929. Banyule, [Vic.]: St. Lawrence Press, 2001.

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2

Handmade for profit!: Hundreds of secrets to success in selling arts & crafts. New York: M. Evans and Company, 1996.

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3

The crafter culture handbook. London: Marion Boyars, 2007.

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Baichtal, John. Hack this: 24 incredible hackerspace projects from the DIY movement. Indianapolis, Ind: Que, 2012.

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Gong yi she ji yan tao hui (2009 Guo li Taiwan yi shu da xue). 2009 nian gong yi she ji yan tao hui lun wen ji: Baohaosi 90 nian de hui gu yu zhan wang = Crafts and design conference 2009 : retrospection and prospection of 90th anniversary of Bauhaus movement. Taibei Xian Banqiao Shi: Guo li Taiwan yi shu da xue Gong yi she ji xue xi, 2009.

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6

Ewald, Chase Reynolds. Arts and crafts style and spirit: Craftspeople of the revival. Salt Lake City: Gibbs Smith, 1999.

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7

Shaw, Robert. America's traditional crafts. New York: Hugh Lauter Levin Associates, 1993.

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Robert, Shaw. America's traditional crafts. [New York?]: Beaux Arts Editions, 1993.

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Beattie, Seán. Cottage industries: Arts and crafts in Donegal. Rock Hill, S.C: Winthrop University, 2009.

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Llewellyn, Claire. Moving pictures. London: Evans, 2006.

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