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Articles de revues sur le sujet « Craft »

Auteur : Grafiati

Publié le 4 juin 2021

Mis à jour le 25 juillet 2025

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1

Väänänen, Niina, and Katja Vilhunen. "Exploratory factor analysis of sustainable craft theory among Finnish craft hobbyists." Craft Research 15, no. 1 (2024): 13–40. http://dx.doi.org/10.1386/crre_00117_1.

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This study explores how Finnish craft hobbyists view their craft practice in a sustainable craft theory context. We collected the data for this study through an online survey in February and March 2021. We analyse the survey questionnaire data (N = 929) using exploratory factor analysis. The findings of the study show detailed information about craft hobbyists’ perceptions towards sustainable craft and reveal how craft hobbyists find sustainable crafts to be well-being-related activities that enhance meaning-making in their leisure time. This study also provides a sustainable craft measure fra

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Makhitha, K. M. "Understanding The Organisational Buyer Behaviour Of Craft Retailers In South Africa." Journal of Applied Business Research (JABR) 31, no. 2 (2015): 501. http://dx.doi.org/10.19030/jabr.v31i2.9149.

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<p>The purpose of the study was to investigate the buyer behaviour of craft retailers in South Africa (SA). Specifically, the study investigated the stages in the buying process craft retailers go through when buying crafts from the craft producers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of craft retailer and buyer behaviour is a necessity for craft producers who want to sell their product

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Vartiainen, Leena, and Minna Kaipainen. "TEXTILE CRAFT STUDENTS’ PERCEPTIONS OF SUSTAINABLE CRAFTS." Problems of Education in the 21st Century 43, no. 1 (2012): 131–40. http://dx.doi.org/10.33225/pec/12.43.131.

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Future teachers have an important role in education for sustainable development. This article describes textile craft teacher students’ perceptions of sustainable textile craft. The data derives from a survey of craft teacher students of the University of Eastern Finland (N = 20). The questionnaire included open-ended and multiple choice questions about sustainability of textile craft education and the relevance of sustainability in the students’ lives. The study reveals textile craft teacher students’ conceptions as consumers, craft makers and future textile craft teachers. The open-ended que

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Zhong, Yiming, Shukun Tang, and Mei Lan. "Research on the Inheritance Path and the Branding Inheritance Model of Traditional Crafts." Sustainability 15, no. 7 (2023): 5878. http://dx.doi.org/10.3390/su15075878.

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The inheritance of traditional crafts has contemporary value in the economy and socio-culture and, hence, the development of human civilization. China is well known for its traditional crafts and is the main subject of international traditional craft research; the Chinese government is the first leading force in traditional craft inheritance. This paper employs the grounded theory to analyze the content of 79 national policies on traditional crafts in China from 1960 to February 2022, and induces, compares, refines, and formulates an inheritance path for traditional crafts under the guidance o

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Rausch, Anthony S. "Representing craft as cultural commodity in its cultural economy." Craft Research 15, no. 2 (2024): 247–65. http://dx.doi.org/10.1386/crre_00133_1.

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Defining craft has proven troublesome in craft-related research, with existing definitions either failing to reflect the expanse and variety of crafts or creating artificial boundaries, which constrain the fullest extent of how crafts can be recognized, viewed, interpreted, preserved and promoted. This research presents an examination of a place-based lacquerware craft of rural Japan, which offers an alternative approach to representing craft based on the idea of conceptual and operational space for both craft categories and craft items. Such a combined way of viewing craft – conceptually and

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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We ho

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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We ho

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Jõeste, Kristi, Madis Rennu, Ave Matsin, and Kadri Tüür. "Pärandtehnoloogiline käsitööuurimus: lähenemised ja väljavaated / Craft research and traditional technologies: practices and perspectives." Studia Vernacula 12 (November 5, 2020): 16–45. http://dx.doi.org/10.12697/sv.2020.12.16-45.

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The article provides an overview of the practices and perspectives related to craft research and traditional technologies as studied and taught in the Estonian Native Crafts Department in University of Tartu Viljandi Culture Academy. Academic craft research is discussed in the context of neighbouring disciplines in the humanities, such as ethnology, semiotics, archaeology, art history, and conservation, amongst others. Against this background, the distinctive traits of craft research are foregrounded. The article also aims to position Estonian craft research amongst its peer disciplines. We ho

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Stefanidi, Evropi, Nikolaos Partarakis, Xenophon Zabulis, Ilia Adami, Stavroula Ntoa, and George Papagiannakis. "Transferring Traditional Crafts from the Physical to the Virtual World: An Authoring and Visualization Method and Platform." Journal on Computing and Cultural Heritage 15, no. 2 (2022): 1–24. http://dx.doi.org/10.1145/3484397.

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Visualizing human motion is a topic that has gained increasing attention in the domain of cultural heritage, due to the need for capturing intangible dimensions, existing for example in theatrical performances, dances, and crafts. In this respect, virtual humans are typically employed to re-enact human motion, executing movements reproduced through predefined animations, or physics simulation engines. In the case of traditional crafts, a defining point is how to model the interaction of virtual humans with craft-related objects and how to transfer it from the physical to the digital world. Tow

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Guo, Jingyan, and Byunghak Ahn. "Tacit Knowledge Sharing for Enhancing the Sustainability of Intangible Cultural Heritage (ICH) Crafts: A Perspective from Artisans and Academics under Craft–Design Collaboration." Sustainability 15, no. 20 (2023): 14955. http://dx.doi.org/10.3390/su152014955.

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The tacit nature of craft forms a barrier to the sustainability of intangible cultural heritage (ICH) crafts in craft–design collaboration that makes facilitating knowledge sharing across domains challenging. Hence, the discussion of tacit knowledge becomes a significant topic in university-based craft–design collaboration. However, there is still a lack of a systematic tacit knowledge-sharing structure for guiding academics and artisans in interacting beyond superficial manifestations in collaboration with the consideration of sustainability. This study aims to seek the relationship between c

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elem

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elem

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz-Høgseth, and Pirita Seitamaa-Hakkarainen. "Käsitöö uurimise meetoditest Soomes, Rootsis ja Norras / Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Studia Vernacula 13 (November 18, 2021): 14–36. http://dx.doi.org/10.12697/sv.2021.13.14-36.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative elem

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Utami, Silvia, and Etmi Hardi. "Perkembangan Usaha Kerajinan Anyaman Bambu di Nagari Koto Baru Simalanggang Kecamatan Payakumbuh Tahun 1990-2022." Al-DYAS 3, no. 2 (2024): 754–78. http://dx.doi.org/10.58578/aldyas.v3i2.3032.

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This research examines the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang, Payakumbuh District, 1990-2022. The research aims to discover the development of woven bamboo craft businesses in Nagari Koto Baru Simalanggang and its impact on the socio-economic life of the local community. The method used in this research is a historical method with four stages of research methods, namely heuristics, source criticism, interpretation and historiography. Based on the research results, it can be seen that the bamboo woven craft business in the village of Koto Baru Simalan

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Groth, Camilla, Katherine Townsend, Tina Westerlund, and Gunnar Almevik. "Craft is ubiquitous." Craft Research 13, no. 2 (2022): 211–20. http://dx.doi.org/10.1386/crre_00076_2.

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This Special Issue presents a selection of contributions that seek to extend the idea of what craft practice and research can be. They stem from the conference presentations in the 1st Biennial International Conference for the Craft Sciences (BICCS), held online during 4‐6 May 2021. This conference was initiated by the Craft Laboratory in Mariestad city, which is affiliated with the Department of Conservation, University of Gothenburg, Sweden. What counts as craft, and what does not, has been discussed with the general consensus that craft often evades definitions and instead thrives as an adh

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Hart, Imogen, and Jorunn Veiteberg. "Today’s Anthology for Tommorow’s Crafts CRAFT." Journal of Modern Craft 14, no. 1 (2021): 107–11. http://dx.doi.org/10.1080/17496772.2021.1926744.

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Breen, Laura. "Sloppy craft: postdisciplinarity and the crafts." Journal of Modern Craft 10, no. 3 (2017): 341–43. http://dx.doi.org/10.1080/17496772.2017.1394522.

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Gao, Fei. "Visualization Study of Traditional Artistic Crafts of “Kao Gong Ji” Based on Digital Simulation and Reconstruction." Journal of Global Humanities and Social Sciences 5, no. 7 (2024): 234–39. http://dx.doi.org/10.61360/bonighss242016560701.

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“Kao Gong Ji” is a major work of handicraft technology in early ancient China, which recorded in detail the handicraft methods and craft information of the pre-Qin era in China, summarized the industrial production technology and construction system at that time, and embodied the advanced social ideological concepts at that time. It plays an important role in studying the history of science and technology, crafts, and culture in China. The technical concept of “Heaven has time, earth has gas, material has beauty, and work has skill, and when these four are combined, then it can be made into a

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and pr

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Almevik, Gunnar. "Mõtteid teadmussiirdest traditsioonilise käsitöö valdkonnast / Reflections on Knowledge Transfer within Traditional Crafts." Studia Vernacula 7 (November 4, 2016): 27–51. http://dx.doi.org/10.12697/sv.2016.7.27-51.

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This article concerns knowledge transfer within traditional crafts. Setting out from documented encounters with craftspeople, enterprises and craft communities, the objective is to reveal different notions of traditional craftsmanship and how ways of thinking about crafts affect knowledge transfer. The article focuses on a few general questions derived from surveys and interviews. What is the nature of craftsmanship? What constitutes a tradition? How can this knowledge be documented and passed on in a meaningful way? Particular interest is placed on relations between amateur communities and pr

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Kokko, Sirpa. "Orientations on studying crafts in higher education." Craft Research 13, no. 2 (2022): 411–32. http://dx.doi.org/10.1386/crre_00086_1.

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Crafts in higher education (HE) are scattered and typically lack departments of their own, instead being integrated in art, design, technology, education or culture-oriented departments. The purpose of this research is to shed light on the orientations of crafts in HE programmes that have crafts as their foci. Based on document analysis of the curricula of one American and four European (Finland, Sweden, Estonia and United Kingdom) craft study programmes and fieldwork observations, the following five orientations were identified: educational crafts, traditional crafts, critical crafts, cultura

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Zabulis, Xenophon, Nikolaos Partarakis, Ioanna Demeridou, et al. "A Roadmap for Craft Understanding, Education, Training, and Preservation." Heritage 6, no. 7 (2023): 5305–28. http://dx.doi.org/10.3390/heritage6070280.

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A roadmap is proposed that defines a systematic approach for craft preservation and its evaluation. The proposed roadmap aims to deepen craft understanding so that blueprints of appropriate tools that support craft documentation, education, and training can be designed while achieving preservation through the stimulation and diversification of practitioner income. In addition to this roadmap, an evaluation strategy is proposed to validate the efficacy of the developed results and provide a benchmark for the efficacy of craft preservation approaches. The proposed contribution aims at the cataly

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Härkki, Tellervo, Henriikka Vartiainen, and Marja-Leena Rönkkö. "Three approaches to multi-materiality through co-taught learning projects." Techne serien - Forskning i slöjdpedagogik och slöjdvetenskap 31, no. 3 (2024): 16–32. https://doi.org/10.7577/technea.5921.

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Three approaches to multi-materiality through co-taught learning projects This study examines the implementation of multi-material crafts in Finnish basic education from the viewpoint of utilizing co-teaching to enhance craft education. With the removal of gender-segregated craft subjects and the merger of textile and technical subjects into a common craft subject, room for new pedagogical strategies has emerged. The study involved 17 teachers who had participated in a national development program aimed at integrating multi-material and co-teaching methods into the learning process in crafts.

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Lenskjold, Tau, Anders V. Munch, and Vibeke Riisberg. "Crafting platforms: Student rebellion, gender struggles and collectivism in Danish crafts 1969–77." Clothing Cultures 10, no. 2 (2023): 177–93. https://doi.org/10.1386/cc_00077_1.

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During the 1960s and 1970s, Denmark experienced a significant shift in arts and crafts, driven in particular by younger women. This paper examines how such upheavals took place across different platforms, such as the 1969 student rebellion at the Copenhagen School of Arts and Crafts, the initiation of a collective crafts shop, and the staging of an international feminist art exhibition. Despite challenges posed by patriarchal hierarchies in art and craft, female practitioners, especially in textiles, leveraged these platforms to foster collaborative practices, reshape their status and secure l

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Juliana, Netty. "Development of Outerwear Handicraft Industry Technique in the Application of Simalungun Pinar Hurungguan Ornaments." International Journal of Research and Innovation in Applied Science VIII, no. XII (2024): 183–93. http://dx.doi.org/10.51584/ijrias.2023.81217.

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The engineering development of the outer fashion craft industry in the application of the Pinar Hurungguan Simalungun ornament is a research on the creativity of students in Medan-North Sumatra. The development of creativity applies an explosive qualitative method, which is to produce new designs that have never been designed by someone, through a critical thinking process to create new inspiration. The stages of the activities carried out in creating women’s outerwear crafts are as follows: 1) theoretical presentations about fashion craft art; 2) craft concept maps; 3) drawing sketches; 4) de

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Rönkkö, Marja-Leena, and Virpi Yliverronen. "Examining the Views of Student Teachers on the Meaning of Crafting." Research in Arts and Education 2024, no. 3 (2024): 108–21. http://dx.doi.org/10.54916/rae.132054.

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The purpose of this study was to examine the views of student teachers on the meaning of craft hobbying. This study employed a qualitative case study approach and used essay submissions from a sample of craft student teachers enrolled in a craft-related course. The study findings suggest that making crafts plays a significant role in both their personal lives and academic pursuits. Their perception of craft making transcends mere recreational activity and is viewed as a means of expressing their creativity, honing their skills, and promoting sustainability. It seems that crafting is culturally

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Pontsioen, Robert. "When heritage laws and environmental laws collide: Artisans, guilds and government support for traditional crafts in Tokyo." Craft Research 10, no. 2 (2019): 211–36. http://dx.doi.org/10.1386/crre_00003_1.

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Abstract This article examines the legislative basis and operational effectiveness of the national and prefectural systems for designating and promoting traditional crafts in Tokyo. Traditional artisans participate in these systems primarily through their involvement in kumiai ('artisan guilds'), whose historical background and organizational structure are briefly summarized. To evaluate the usefulness of government support for contemporary craft practitioners, four broad and interrelated categories of kumiai activities are examined: promoting craft business, maintaining and enhancing craft sk

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Laraqui Hossini, Chakib El Houssine. "SS12-04 CRAFTING THE FUTURE: MOROCCO'S VISION FOR A MODERNIZED AND SUSTAINABLE ARTISANAL ACTIVITY." Occupational Medicine 74, Supplement_1 (2024): 0. http://dx.doi.org/10.1093/occmed/kqae023.0109.

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Abstract Craftsmanship provides a range of very varied products of artistic or utilitarian value. The arts and crafts professions are classified into five groups depending on the product and its basic raw material: wood, metals, earth, leather, textiles. The Ministry of Tourism, Crafts, Social and Solidarity Economy is responsible for supervising and supporting craft professionals. The 2021-2030 craft development strategy aims to create a modernized, value-creating, competitive and structured craft industry. It will be based on four axes: the structuring and support of stakeholders, the modern

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Rakhbar, E. Kholikova. "FEATURES OF CRAFTS IN THE BUKHARA EMIRATE." LOOK TO THE PAST 5, Special issue 1 (2022): 5. https://doi.org/10.5281/zenodo.6758046.

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This article discusses the development of many types of crafts in the Emirate of Bukhara: textile, ceramics, joinery, leather, jewelry, blacksmithing, and other types of crafts, the operation of craft centers in many cities of the emirate, the role of local raw materials, cotton and cocoon in the development of textiles. Also about the fact that the leather craft was considered the most welldeveloped network, about that. that leather artisans made various consumer goods from wellprocessed leather, pottery was considered one of the leading branches of ceramic and handicraft craft, about the pro

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Makhitha, Khathutshelo Mercy. "Marketing Of Craft To Retailers: Understanding Their Buying Process, Supplier Selection Criteria And Information Sources Used." International Business & Economics Research Journal (IBER) 14, no. 6 (2015): 791. http://dx.doi.org/10.19030/iber.v14i6.9486.

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The purpose of the study was to investigate the buying process, supplier selection criteria and information of craft retailers in South Africa (SA). The information collected about the buying process, supplier selection criteria and information sources used were to propose a marketing strategy for craft producers wanting to target retailers. Craft retailers play a dominant role in the craft industry value chain yet craft producers face difficulties selling to this market. Instead, they resort to selling directly to end consumers and not through craft retailers. An understanding of the retailer

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Saputra, Darman, Maya Yusnita, Indah Noviyanti, Nanang Wahyudin, Sumar Sumar, and Echo Perdana Kusumah. "Creative Economy Competitiveness Improvement Program for MSMEs in Pangkalpinang City." MOVE: Journal of Community Service and Engagement 2, no. 6 (2023): 184–90. http://dx.doi.org/10.54408/move.v2i6.215.

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Deshanda Craft is one of the craft businesses in East Kace Village which has been established since 2018. So researchers want to carry out research with the aim of analyzing the value of the creative economy of craft crafts at Deshanda Craft. The results of the study show that the value contained in Deshanda Craft begins with the creation stage where at this creation stage seeks innovative ideas from the internet and then modifies it to make craft patterns, then the production stage where this production stage manages input or materials in the form of nipa palm sticks as raw materials and into

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Makhitha, Khathutshelo Mercy, Melanie Wiese, and Gené Van Heerden. "Informing craft producers in South Africa." Communicare: Journal for Communication Studies in Africa 33, no. 2 (2022): 1–24. http://dx.doi.org/10.36615/jcsa.v33i2.1634.

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Craft producers struggle to access the retail market because of their inability to communicateeffectively. Understanding craft retailers’ buying behaviour, particularly with regard to thecommunication channels used, could potentially assist craft producers to create better awarenessof their crafts. The purpose of this article is to investigate the communication channels used byformal craft retailers when searching for craft suppliers and craft products. A survey of formal craft retailers resulted in a total of 233 useable questionnaires. Principalcomponent factor analysis was used to identify

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Indrahti, Sri. "Keterampilan Turun-Menurun di Kalangan Perajin Monel Jepara." Endogami: Jurnal Ilmiah Kajian Antropologi 2, no. 2 (2019): 150. http://dx.doi.org/10.14710/endogami.2.2.150-157.

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Monel handicrafts grow and develop in Jepara district. It has characteristic that the skill of making monel art is preserved from generation to generation. Its ability to survive was influenced by how much the support of community. Community care and love for the craft can support the existance and development of monel handicraft. The process of descending monel crafts has the advantage that each family as a monel craft business unit has its own characteristics and competitiveness. On the other hand, there is no formal container for learning these skills. This makes monel crafts less open to a

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Wisdiarman, Wisdiarman, Ariusmedi Ariusmedi, Erwin Erwin, and Suib Awrus. "EMPOWERING THE JUNIOR HIGH SCHOOL TEACHERS IN BUKITTINGGI TO OVERCOME THE PROBLEMS IN LEARNING CRAFTS." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 19, no. 2 (2018): 159. http://dx.doi.org/10.24036/komposisi.v19i2.101776.

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Crafting in junior high school consists of some learning materials such as handcrafting, processing, engineering, and cultivating. The learning material that must be given junior high school students in Bukittinggi is crafting because it is appropriate with the conditions of the area that is close to the centers of handicrafts. In fact, the problem found from the observation was that the teachers generally (82,73%) are not from the art and craft education. The teachers who are from art or craft education will be easier to teach crafts than those who are not. Those who are not from art educatio

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Kokko, Sirpa, Gunnar Almevik, Harald C. Bentz Høgseth, and Pirita Seitamaa-Hakkarainen. "Mapping the methodologies of the craft sciences in Finland, Sweden and Norway." Craft Research 11, no. 2 (2020): 177–209. http://dx.doi.org/10.1386/crre_00025_1.

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The craft sciences have emerged as a field of academic research in Finland, Sweden and Norway since the early 1990s. In Finland, craft research has examined various aspects of crafts using a multidisciplinary approach, adapting a range of methods from other academic disciplines according to the research topic. Another source has been the schools of domestic sciences in which craft research has been a recognized field. In Sweden and Norway, craft research has developed strongly in architectural conservation and cultural heritage with a focus on traditional craftsmanship and the performative ele

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Niedderer, Kristina, and Katherine Townsend. "Luues käsitööuurimust: emotsiooni ja teadmiste ühendamine / Designing craft research: joining emotion and knowledge." Studia Vernacula 15 (December 31, 2023): 40–63. http://dx.doi.org/10.12697/sv.2023.15.40-63.

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This paper considers how both craft and research can be joined in the enterprise of craft research. The rationale is that craft research is still relatively new compared to mainstream design research and that craft, being linked to the creation of artefacts as a source of experience and emotion, is not usually associated with research and the production of knowledge. The paper discusses the emerging need for creative researach in the crafts based on sensibilities of material understanding and human values, which contrast with the current strictures of research. Drawing on current models

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Juliana, Netty. "Development of Patchwork Craft Industry Engineering on Sofa Cushions." International Journal of Scientific Research and Management (IJSRM) 12, no. 12 (2024): 16–23. https://doi.org/10.18535/ijsrm/v12i12.fa01.

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The development of patchwork craft engineering on sofa cushions is a creative activity of students in Medan. The development of sofa cushion crafts uses an explosive qualitative application, namely creating a new design that has never been designed by someone. The purpose of this activity is to increase the creativity and imagination of the younger generation by producing innovative, creative works that have functional value for human life. The concept of developing patchwork sofa cushion crafts starts fro: studying the theory of craft art, literature studies, designing concept maps, shape ske

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Cook, Hadrian, and Kathy Stearne. "Rural Crafts: A study in South Wiltshire." Craft Research 12, no. 1 (2021): 105–25. http://dx.doi.org/10.1386/crre_00042_1.

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Rural Crafts are crafts with agrarian roots, but they are not easily located historically, or within today’s developed markets. This study stresses Rural over Heritage Crafts (based in manual skills and traditional materials, designs and techniques), although the two are not mutually exclusive. Rural Crafts are considered, present and past, through interviews with practitioners based in South Wiltshire. The study embraces networks of crafters, interviews with individuals and a focus for a rural craft event located at the Harnham Water Meadows at Salisbury, a historic location. It is establishe

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Vanderploeg, Jennifer, and Seung-Eun (Joy) Lee. "Factors Influencing Pro-Environmental Behaviors in Craft Businesses." Clothing and Textiles Research Journal 37, no. 1 (2018): 51–65. http://dx.doi.org/10.1177/0887302x18800394.

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Since the Arts and Crafts Movement in the early twentieth century, discourse on craft has revolved around conflicts over industrialization. The current craft movement builds on these same responses to the industrialized world while also addressing environmental issues and sustainability. However, authors of craft literature rarely address the pro-environmental business practices of craft artisans or the motivational drivers of such behaviors. In this study, we aim to rectify this imbalance by contributing to an expanded understanding of value and belief drivers of pro-environmental behaviors.

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Kouhia, Anna, and Sirpa Kokko. "At the Intersection of the Digital and the Material: Teaching and Learning Crafts during the Pandemic." Research in Arts and Education 2022, no. 2 (2022): 47–55. http://dx.doi.org/10.54916/rae.122976.

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Although the value of crafted artefacts and craft activities is recognized in contemporary research and discussion, crafts as a standard school subject is still struggling with stereotypic labels; some consider the subject a relic from the past. This commentary demonstrates that crafts is an innovative school subject that engages students in creative thinking and up-to-date digital-material practices. The commentary relies on Finnish craft teachers’ experiences of learning and teaching crafts during the Covid-19 pandemic. Material was collected in two webinars in autumn 2020.

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SINGLETON, BENEDICT. "Subtle empires: On craft and being crafty." Design Ecologies 1, no. 2 (2011): 249–64. http://dx.doi.org/10.1386/des.1.2.249_1.

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Vadilla, Icha Tyas Nur, and Dhani Ichsanuddin Nur. "PENGEMBANGAN EKONOMI KREATIF PENGRAJIN BAMBU MELALUI WORKSHOP KERAJINAN BAMBU DESA LAWEYAN KABUPATEN PROBOLINGGO." Jurnal Pengabdian Masyarakat Sabangka 2, no. 04 (2023): 409–14. http://dx.doi.org/10.62668/sabangka.v2i04.705.

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Laweyan Village, Sumberasih District, Probolinggo has a good geographical location with bamboo potential. So it is necessary to utilize the potential of bamboo so that it can develop optimally and has a beneficial value to the people of Laweyan Village. Through creative economic development related to bamboo crafts, bamboo craftsmen can create new innovations and creativity in bamboo crafts. This research aims to develop the potential of bamboo crafts and re-generation of Laweyan Village bamboo craftsmen through bamboo craft workshops. The research method used is descriptive qualitative analys

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Rydvalová, Petra, Tereza Michalová, and Lucrezia Škaloudová Puchmajerová. "Perception and definition of artistic craft within cultural and creative industries based on the qualitative data analysis." Creativity Studies 18, no. 1 (2025): 150–70. https://doi.org/10.3846/cs.2025.20796.

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Culture and creativity are integral to European cultural and creative industries, pivotal in shaping Europe’s identity and global prominence. The focus on crafts within the cultural and creative industries ecosystem underscores their cultural significance. However, classifying crafts as artistic or traditional needs more systematic indicators. This article addresses this gap by proposing a methodology to evaluate the artistry of crafts. Twelve indicators were identified based on literature and in-depth interviews with Czech craft organizations to evaluate the artistry of the particular craft.

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Richards, Greg. "DEVELOPING CRAFT AS A CREATIVE INDUSTRY THROUGH TOURISM." Brazilian Creative Industries Journal 1, no. 1 (2021): 03–22. http://dx.doi.org/10.25112/bcij.v1i1.2671.

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This paper examines the position of crafts within the creative industries and considers how this has been affected by the growing links between the creative industries and tourism. A review of the creative industries concept indicates that crafts occupy an ambiguous position between art and tradition, which problematises their relationship with the creative industries. This is gradually changing at the creative and tourism sectors become more closely linked, and craft has become an important element of the development of creative tourism experiences. We review the role of craft in creative tou

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Hilman, Iman, Miftahul Habib Fachrurozi, and Laely Armiyati. "Integrated Tourism Model Based on Crafts and Culture Potential to Encourage Quality Tourism." Journal of Lifestyle and SDGs Review 5, no. 1 (2025): e04878. https://doi.org/10.47172/2965-730x.sdgsreview.v5.n01.pe04878.

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Objectives: The primary objective of this research is to promote quality tourism to develop regions with rich local culture and craft potential. Specifically, the study aims to create an integrated tourism model that enhances cultural and craft tourism in Tasikmalaya, Indonesia. By focusing on the local heritage, arts, and crafts, the study seeks to identify and leverage these resources for tourism development. Methods: This study employs qualitative research with a field research approach. The research was conducted at various cultural and craft tourism attractions across Indonesia, particula

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Ilhami, Akmillah. "PENGARUH BERMAIN SENI KRIYA DAN KECERDASAN VISUAL SPASIAL TERHADAP PEMAHAMAN GEOMETRI." JISPE: Journal of Islamic Primary Education 2, no. 1 (2022): 35–48. http://dx.doi.org/10.51875/jispe.v2i1.33.

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ABSTRACT The purposes of this research were to know the effect of playing art-crafts and visual-spatial intelligence toward children's geometry understanding of kindergarten B (average age of 5 until 6 years). The method in this research used experimental research with treatment design by level 2x2. The sample of this research were 120 students. The procedure of collecting data used stratified multistage cluster random sampling technique. Analysis data in this research used two-way ANOVA. The results of this research were: 1) The geometry understanding of children who given playing the a

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Iqbal Maulana Irsyadi and Defrizal Saputra. "Film Dokumenter Talempong Sungai Pua." Jurnal Riset Rumpun Seni, Desain dan Media 3, no. 1 (2024): 220–38. http://dx.doi.org/10.55606/jurrsendem.v3i1.2658.

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The Talempong River craft is located in the West Sumatra region, l. Lukok No.125, Sungai Pua, Kec. Pua River, Agam Regency, West Sumatra province. The Talempong Sungai Pua craft does not yet have documentation starting from history, the beginning of the founding of the Talempong Sungai Pua craft and others which make people unaware of the unique history. The design of this documentary film aims to collect various explanations that can be seen by the public, especially the millennial generation, early communities or people living outside West Sumatra who want to know about this craft. The desig

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Srivastava, Ankita, and Ankur Saxena. "Pattu Weaving: A Sustainable Fabric Manufacturing Technique." Journal of Sustainability and Environmental Management 1, no. 2 (2022): 299–305. http://dx.doi.org/10.3126/josem.v1i2.45382.

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Sustainability is the need of the hour and the world is now looking for the environment-friendly options while choosing the materials, techniques, processes and disposal systems. In textiles, handloom weaving is considered as the sustainable way of fabric manufacturing. Many ancient crafts clusters are still existing and re-inventing themselves to create sustainable products. The craft of ‘Pattu weaving’ is one of them which is known as a traditional weaving technique. Pattu weaving is a traditional craft using extra weft weaving technique which is widely practised by the weavers in India. The

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Ma'ruf, Muhammad Anas, and Irma Handayani. "Penerapan Teknologi Augmented Reality Pada Produk Kerajinan Rotan Sebagai Media Promosi Berbasis Android." Journal of Information System Research (JOSH) 5, no. 2 (2024): 355–62. https://doi.org/10.47065/josh.v5i2.4571.

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Sabda Rattan Furniture & Crafts is a furniture shop that sells various rattan and bamboo craft products. The shop operates in the rattan and furniture craft industry. The shop is located at Jl. Ahmad Jazuli No.21, Kotabaru, Kec. Gondokusuman, Yogyakarta City, Yogyakarta Special Region. The development of increasingly sophisticated technology has made competition in the rattan craft business increasingly fierce, especially competition in marketing products. The promotional media used by the Sabda rattan furniture & craft shop still uses paper containing 2-dimensional images of rattan cr

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Ardiwijaya, Iqbal, Rini Indriati, and Muhammad Najibulloh Muzaki. "Sistem Rekomendasi Pemilihan Kayu Untuk Kerajinan Ukir Indoor dan Outdoor." Jambura Journal of Electrical and Electronics Engineering 3, no. 2 (2021): 94–100. http://dx.doi.org/10.37905/jjeee.v3i2.10944.

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Peminat kerajinan dan pengrajin seni ukir masih banyak yang belum memahami kriteria kayu sesuai kebutuhan yang diinginkan. Ketidakpahaman dalam pemilihan kayu yang tepat sangat mempengaruhi kualitas dan kepuasan peminat kerajinan. Jenis kerajinan ukir sendiri dapat dibedakan menjadi 2 yaitu untuk indoor dan outdoor. Kerajinan ukir indoor adalah kerajinan yang diletakkan di dalam ruangan seperti ruang tamu, ruang keluarga, atau di dalam ruangan lainya sedangkan untuk kerajinan outdoor adalah kerajinan ukir yang biasa diletakan di luar ruangan seperti gazebo, joglo, taman, di pantai, teras bagia

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