Arts and Crafts Research Papers (original) (raw)

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- Cultural Studies, Art History, Material Culture Studies, Decorative Arts

Purpose – The purpose of this paper is to review and critique the extant body of literature on artisan entrepreneurship and to develop a research agenda for future studies based on the identified trends and themes.
Design/methodology/approach – A Systematic Literature Review (SLR) was undertaken across 96 journals ranked by the Association of Business Schools. The initial search yielded 86 papers. Further scrutiny of these studies led to the development of exclusion criteria, resulting in a refined list of 32 articles which advance understanding of artisan entrepreneurship. Using an open coding approach, this SLR then identified seven core themes and 16 sub-themes which the extant literature examines.
Findings – This SLR finds that artisan entrepreneurship research contributes to understanding of entrepreneurial behaviour, context, motivation, development, resources, diversity and classification. It provides timely insights into coopetition practices, the reciprocal relationship between place and entrepreneurship and the coexistence of social and economic goals. It also reveals characteristics which facilitate venture development, discovers the mutability of various forms of capital, highlights the necessity of studying diverse experiences and identifies benefits and limits of typologies. Main elements of the resulting research agenda include calls for more quantitative research, further attention to context and more holistic treatment of a wider variety of stories.
Originality/value – This paper presents the first systematic literature review of craft and artisan entrepreneurship research. It not only identifies, analyses and critiques the main streams in the literature, therefore providing an overview of the state of the field, but also highlights areas where this scholarship contributes to understanding of entrepreneurship and upon which future research can build. Artisan entrepreneurship is thus established as worthy of investigation in its own right and as an appropriate context in which to explore entrepreneurial processes. Furthermore, this SLR presents an agenda for future research to advance understanding of artisan entrepreneurship.

- by Tobias Pret and +1
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- Entrepreneurship, Small Business, Creative Industries, Traditional Crafts

Abstract According to existing literature, art and craft are the essential activity of human mind featured with imagination and innovation and ornamented by variation of shapes, texture and colors. It laid emphasis on aesthetic... more

- by Dr. Aayushi verma
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- Traditional Crafts, Arts and Crafts

In The Proceedings of the 2nd Scientific Symposium on Neo-Hellenic Ecclesiastic Art, 26-28 November 2010, National and Kapodistrian University of Athens, Dept. of Theology, School of Theological Studies/ Byzantine and Christian Museum... more

- by Efrosyni Roupa
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- Fashion History, Byzantium, Arts and Crafts

My bold suggestions in this paper, as an artisan-anthropologist-therapist, are as follows: (a) human manufacturing of objects brings about individual/collective (deep well-being) experiences of beauty and grace and (b)‘making artifacts’ represents an important ancient continuity in (social-cultural-biological) humanization. Combining these two assertions suggests a universal existence of ‘crafting in the world’. The argument was ignited by the termination of both my mother’s and father’s family blacksmithing workshops in the twentieth century. Being a technical engineer/craftsman in my first career, and being one of six sons, I was deeply puzzled about why and how our transgenerational arts and crafting family tradition would die out when my father closed down his metal construction workshop in 1986. My great-uncles from mother’s side had already closed down their smithy decades earlier.

- by Dirck Van Bekkum
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- Anthropology, Aesthetics, Ecosystems Ecology, Child and adolescent mental health
- by Metrolab Brussels and +2
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- Social-Ecological Systems, Social Economy, Urban Ecology, Work and Labour

Transcription of an oral history interview with hooked-rug maker Alice Moores of Red Bay, Labrador. Topics covered include: the difference between hooked and poked mats; Grenfell mats; craft production; designs for mats and rugs; use of silk stockings; contemporary designs; process of mat making; tools used; mat frames; and changes to the tradition over time.

- by Georgina Letourmy Bordier
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- Art History, Art, French Studies, Optimization techniques

After the Industrial Revolution, Industrial Design emerged as a formal entity, driven by the principles of functionality and mass production. During the same period, the proponents of the Arts and Crafts movement concerned themselves with rediscovering the richness and beauty of making high-quality products-attributes they felt were absent in the mass produced ones. This essay will discuss their contrasting design philosophies, production techniques, economic impacts and the legacy of both these schools of thought using the example of German designer Michael Thonet's No. 14 chair, the first known mass manufactured chair and the widely popular Morris chair, produced by William Morris and Co., a prominent manufacturer of arts and crafts products.

- by Abishai Choragudi
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- Design, Design History, Arts and Crafts, Industrialisation

Over 30 years, the design of ornaments on karawo textiles in Gorontalo-Indonesia is only done by one self-taught designer, without regeneration. This is allegedly because the design process is considered to be done intuitively, so that cannot be learned by others. This study aims to explore the process of designing the ornaments to be systematically understandable by others. Data were collected through observations, interviews, and review of design results. They were analyzed interactively during and after data collection. The results show that the process of creating the design is complex, but systematically done through five steps: 1) identifying the concept from users; 2) exploring the specific products for appropriate design; 3) selecting objects for appropriate motives; 4) articulating the design; 5) evaluating the overall design. These five steps are considered as method of designing ornaments on karawo textiles, which can be applied by anyone who has good interpretation to cr...

- by I Wayan Sudana
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- Textiles, Arts and Crafts, Ornaments, Ornament

The present article addresses the question of ‘When can we say something is creative?’ and, in answering it, takes a critical stand towards past and present scientific definitions of creativity. It challenges an implicit assumption in much psychological theory and research that creativity exists as an ‘objective’ feature of persons or products, universally recognised and independent of social agreement and cultural systems of norms and beliefs. Focusing on everyday life creative outcomes, the article includes both theoretical accounts and empirical examples from a research exploring creativity evaluations in the context of folk art. In the end, a multi-layered perspective of creativity assessment emerges, integrating dimensions such as newness and originality, value and usefulness, subjective reception and cultural reception of creative products. Implications for how we understand and study creativity are discussed.

- by Vlad Vlad
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- Cultural Studies, Psychology, Cognitive Science, Social Psychology
- by Charles Stable
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- Art History, Heritage Conservation, Charles Rennie Mackintosh, Arts and Crafts

Art and craft practitioners have personal experience of the benefits of making: the handling of material can help to regulate our mental states through providing a means to reach flow states. The mirror neuron system helps in skill learning, and the plasticity of the brain ensures that skills may be learned at all stages of life. Arts and crafts play a role in controlling stress and enhancing relaxation. They also enable us to fail safely and handle our emotions. Furthermore, they facilitate social activity for many individuals who are at risk of social isolation. This article aims to integrate knowledge from both the field of neuroscience and the arts by focusing on the implications that flow experience and the mirror neuron system integral to making processes have on our psychophysical well-being.

- by Maarit Mäkelä
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- Creativity, Wellbeing, Arts and Crafts, Brain

This research is focused on aspects of the Process and Identification of Lkauer Crafts in Palembang, with the objectives being, 1) to support efforts to preserve the art of laker crafts in Palembang, 2) to find out the development of the design of the laker craft, 3) to find out the local cultural values contained in Palembang laker crafts, 4) to add insight and teaching materials to art and design lectures, especially DKV. The method used is descriptive qualitative method, with the method of collecting field observation data, which is to see firsthand the laker handicraft products in the craft center, and at the Bala Putra Dewa Museum in Palembang, the data collection method is also carried out by interviewing techniques and documenting the object research. The results of the data processing are the authors' analysis through the identification of problems encountered in the field. From these results the conclusions drawn by the author are summarized in the form of a draft strategy for the preservation of the laker craft. In addition to preservation efforts, the laker craft can also provide business opportunities and employment opportunities for the people of Palembang city, of course it cannot be separated from the assistance of the Regional Government in the form of training, workshops, capital assistance as well as providing a place for marketing. Abstrak Penelitian ini difokuskan pada aspek Proses dan Identifikasi Kerajinan lakaer di Palembang, dengan tujuan, 1) untuk mendukung upaya pelestarian seni kerajinan laker di Palembang, 2) untuk mengetahui perkembangan desain laker. kerajinan, 3) untuk mengetahui nilai-nilai budaya lokal yang terkandung dalam kerajinan laker Palembang, 4) untuk menambah wawasan dan bahan ajar untuk kuliah seni dan desain, khususnya DKV. Metode yang digunakan adalah metode deskriptif kualitatif, dengan metode pengumpulan data observasi lapangan, yaitu untuk melihat langsung produk kerajinan tangan di pusat kerajinan, dan di Museum Bala Putra Dewa di Palembang, metode pengumpulan data juga dilakukan oleh teknik wawancara dan mendokumentasikan objek penelitian. Hasil pengolahan data adalah analisis penulis melalui identifikasi masalah yang dihadapi di lapangan. Dari hasil ini, kesimpulan yang ditarik oleh penulis dirangkum dalam bentuk konsep strategi untuk pelestarian kerajinan laker. Selain upaya pelestarian, kerajinan laker juga dapat memberikan peluang bisnis dan peluang kerja bagi masyarakat kota Palembang, tentu saja tidak terlepas dari bantuan Pemerintah Daerah dalam bentuk pelatihan, workshop, bantuan modal serta menyediakan tempat untuk pemasaran.

- by Husni Mubarat
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- Traditional Crafts, Arts and Crafts, Art and Design, Seni Rupa
- by Gabriele Caiazza
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- History, Modern History, Cultural Studies, Rural Sociology

An old Chinese character for art and craft, “藝” comes from a pictograph that represents a person planting a sapling. This suggests that nurturing the forest and the art of crafting were one continuous practice in premodern East Asia. This continuity also indicates a mutual relationship between nature and culture, where the environment nurtures human endeavors of making, while the latter helps the former's regeneration.
Fab Village Keihoku (FVK) is a maker space and experimental site for reclaiming this mutuality as a vernacular and site-specific form of more-than-human democracy. FVK combines different skills and expertise, from Japanese craft (kōgei, “工藝”) and Do-It-Yourself (DIY) making to ethnography to explore the entanglements of the practice of making with the landscape, economy and infrastructures.
While the physical space of FVK is still only partially established, research and prototyping activities have already been conducted by a multidisciplinary team of artisans, designers, anthropologists, foresters, and artists from Perspective (a company dedicated to the regeneration of craft and forest ecology), Ethnography Lab at Osaka University, Sustainable Design Research Group at Kyoto Institute of Technology, and community members of Keihoku, a mountainous village in the north of Kyoto.

- by Atsuro Morita and +1
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- Anthropology, Sustainable forestry management, Arts and Crafts, Digital Design and Fabrication

This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pain, Empathy, and Performance within scholarly conversations around pain, performance, medicine, and crafting. We operationalize empathy as an action through which the relations between performance and medicine/ care, subjectivity and witnessing, and pain and embodiment are made manifest under the inadequate U.S. healthcare model. Through a descriptive analysis of our work as co-writers, coperformers, friends, and director and performer, we propose what we call crafting empathy as a methodological and aesthetic performance practice with aspirations toward the tradition of coperformative witnessing.

- by Jennifer L Erdely
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- Performance Studies, Narrative Medicine, Chronic Pain, Healthcare

En medveten lärare inom det hantverksmässiga lärandefältet använder språket som en fördjupande och stöttande kommunikation till det som visas konkret tredimensionellt. Resultatet har framkommit genom att vi studerat i vilken utsträckning läraren, som en del av sin metodik, använder sig av intellektuell eller kroppslig reflektion när denne ger en instruktion. Samtidigt belyses hur valet av kommunikationsform och kommunikativ resurs i hård slöjd är avhängt undervisningens ämnes-och hantverksmässiga innehåll. Teoretiskt grundas studien inom neurovetenskap och kommunikationsteori med speciellt fokus på kunskaper om hur hågkomst och återskapande av vetande och erfarenheter lagras i människans minne. Där det semantiska-och det episodiska minnet pekar på en intellektuell reflektion, medan det procedurala minnet anger en kroppslig reflektion. Studien är genomförd i den svenska grundskolans slöjdundervisning i årskurs 5 med ett urval om fyra slöjdlärare med lång erfarenhet. Var och en av lärarna gavs i uppgift att hålla fyra olika genomgångar, med innehållsligt fokus på ett material eller en hantverksteknik. Vi hade angett lärandemål för genomgången, vilket undervisningsmaterial läraren skulle använda sig av, samt en ungefärlig tid för hela genomgången. För att validera studiens resultat användes tre olika metoder för att undersöka samma fenomen. Undervisningen blev videofilmad med fokus på lärarens instruktion, varje lärare intervjuades enskilt efter den sista av genomgångarna, och samtliga lärare deltog tillsammans i en fokusgruppintervju ett par månader efter genomgångarna. Nyckelord: Instruktion i hantverk, kommunikationsformer, kommunikativa resurser, metodik, slöjd Indledning Metodikbegreppet inkluderar flera olika delar, vilka i olika grad stått i fokus över tid. En del som traditionellt inte varit fokuserats är kommunikationsformer och kommunikativa resurser. Denna studie undersöker i vilken utsträckning den enskilde läraren använder sig av intellektuell eller kroppslig reflektion som en del av sin metodik när denne ger instruktioner i hård slöjd. Kommunikationsformerna varierar i slöjdundervisning, och frågan är om läraren följer sin personliga strategi och kommunicerar med samma mönster oavsett ämnesmässigt innehåll, eller om kommunikationen varieras utifrån ämnesmässigt innehåll. Slöjdundervisningen i denna studie omfattar materialförståelse, teknik och verktyg, samt maskinförståelse-alltså en rimligt stor spridning inom det ämnesmässiga innehållet i slöjdundervisning. Antagandet är att så olika typer av ämnesmässigt innehåll, också bör inkludera olika kommunikationsformer och användning av kommunikativa resurser. Studien avser att visa var olikheterna i kommunikation är tydligast och om skillnaderna finns hos läraren eller i innehållet. Frågan kan ställas generellt om all kommunikation i undervisning (se t ex Fiske, 2000; Argyle, 1988), men avgränsas i denna studie till att omfatta den eller de kommunikationsformer och kommunikativa resurser den enskilde läraren använder sig av vid instruktion i hård slöjd.

- by Lone Brøns-pedersen and +1
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- Product Design, Arts and Crafts, Slöjd, Håndværk og læring

FR : Prolongement de l'espace domestique ou lieu de monstration extraordinaire, la scène de théâtre convoque des artistes variés travaillant à la matérialisation de l'environnement d'une performance. Véritable ensemble décoratif animé, l'espace scénique devient le mirascope d'un monde fictionnel qui, lors de la seconde moitié du XIX e siècle, se veut le plus réaliste possible. Néanmoins, le lieu théâtral oblige les artistes décorateurs à s'adapter à ses contraintes : il est éphémère, distancié du spectateur, et doit évoquer un univers précis en relation avec la performance. L'ensemble décoratif participe ainsi, dans le lieu scénique, au processus actif d'une mise en représentation de la pièce. Aussi, la scène devient une oeuvre et un lieu en soi, fusionnant les décors, les costumes et les acteurs dans la création d'un ta-bleau visuel, en transformant la matérialité de l'ensemble décoratif en un support en deux dimensions. L'artisanat théâ-tral questionne la relation du spectateur au lieu de la représentation. Quel rapport entretient le public à la réalité des dé-cors dans un lieu où tout est fiction ? La scène montre-t-elle l'objet décoratif ou bien ce qu'il représente ? La communication se concentrera sur le dernier élan du théâtre réaliste et spectaculaire, dans lequel le sens du détail et la profusion décorative sont inhérents à la conception des décors, avec l'exemple de Macbeth (1888) au Lyceum Theatre. de Londres. Cette tendance de « pictorialisation » (BOOTH) dans la création dramatique se poursuit jusqu'au tournant conceptuel qui s'opère avec E.G. Craig. Depuis les avant-gardes, le décor théâtral continue néanmoins à être représenta-tif d'ensembles décoratifs réels. L'espace scénique peut s'observer comme un « topos de notre imaginaire collectif », selon le collectif Encheval qui crée en 2018 une exposition pour la Société d'Histoire du Théâtre, à partir d'une pensée attribuée à Walter Benjamin « Rien ne condense mieux une époque que la mise en scène qu'elle fait d'elle-même. Fan-tasmes comme matérialité n'y font qu'un. »
Abstract EN: Extension of the domestic sphere or an extraordinary exhibition space, the theatrical stage features works from various artists materialising of the performance environment. As an animated decorative ensemble, the sce

- by Barbara Bessac
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- Theatre Studies, Victorian Studies, Shakespearean Drama, Arts and Crafts

Serial production in Studio work. Schlattauer and Jaronek worshop and their approach to the creation of tapeatries
The paper is dedicated to the manufacturing of tapestries in two artisan workshops founded in one region (Moravien Wallachia: Zasová, Valasské Mezirici, Roznov pod Radhostem) over a short period of time. It outlines and compares both the overall approach to the works in the two workshops and the artistic nature of the created tapestries. Within the total production of tapestries, the paper then addresses the question of replicating the individual works and high- lights the works that belonged to the most frequently woven tapestries, and which are repeatedly encountered in public and private collections. The text points out the features which help distinguish the newer replicas of works from the early tapestries from the workshop.

- by Kamila Valoušková
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- Art History, Textiles, Secession, Arts and Crafts
- by Virgolino Jorge
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- Art History, History of Art, Art and technology, Medieval Art

A new book from the collaborative Vernacular Furniture of N-W India project, co-authored by Mitraja Bais, Jay Thakkar, Samrudha Dixit and Ben Cartwright. Sahaj focuses on vernacular furniture in Gujarat from c.1900 to the present. Nearly... more

- by Jay Thakkar and +1
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- Anthropology, Design, Museum Studies, Cultural Heritage
- by Olena Sobolieva
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- Ethnography, Crimean Tatar, Arts and Crafts, Crimea

Künstler als Zunftgenossen – Beitrag zu einer Begriffsklärung von „Zunft“ am Beispiel der Goldschmiede. In: Tacke, Andreas (Hrsg.): Material Culture – Präsenz und Sichtbarkeit von Künstlern, Zünften und Bruderschaften in der Vormoderne/... more

- by Sabine von Heusinger
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- Art History, Arts and Crafts, Genius
- by mohamed ouerfelli
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- Modern History, Economic History, Medieval History, Early Modern History
- by Briony Hannell
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- Gender Studies, Textiles, Audience and Reception Studies, Fan Studies
- by Minah Song
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- Asian Studies, Arts and Crafts

Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... more

- by Shirat-Miriam Shamir and +1
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- Business, Art History, Jewish Studies, Design
- by Jos Koldeweij
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- Iconography, Art History, Stained Glass, Arts and Crafts

is it a bird or a helicopter? Did you ever wonder what would happen to a helicopter if the engine stopped while it was flying? No, it wouldn't fall out of the sky. The air flowing through the blades would make them spin, creating lift and allowing the aircraft to become an autogyro, descending slowly rather than crashing down. The Robo Chopper is also an autogyro, and should be launched by throwing it straight up into the air. The blades will remain folded down until the top of the climb, at which point they'll open and the aircraft will spin rapidly as it begins to fall. For spectacular flights, drop it from somewhere high, like down a staircase. Your whirly bird helicopter will twirl and soar through the air. Learn more about how to make paper helicopters. The helicopter is a classic design that spins rapidly as it descends. It works great when dropped from a high place. Try different amounts of weight on the bottom tab. Notice that the helicopter spins in different directions depending on which direction the rotors are folded. This video is on how to make a paper helicopter. … Continue reading → The post Paper Helicopter appeared first on Origami Kids .

- by Origami Kids
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- Origami, Arts and Crafts
- by david damour
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- Art Theory, Painting, Arts and Crafts
- by Jos Koldeweij and +1
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- Art History, Arts and Crafts, Choir Stalls, Medieval Wooden Sculpture

While art historians discussed the Book of Kells in its relation to the Insular Style that spanned the British Isles, the nationalization of the manuscript throughout the late nineteenth and early twentieth century caused a shift in the collective memory of the Irish public. This paper examines how nationalistic causes turned to the ‘Golden Ages’ of Ireland’s medieval past as proof that the nation deserved the ability to self-govern. Through the work of scholars like Margaret Stokes and the efforts of the Irish Arts and Crafts Movement, the imagery of the Book of Kells became the ancient visual evidence of the nationalistic struggle for Irish independence. Through this process of nationalization, the Insular Style of the Book of Kells became known as a distinctly Irish or Celtic Style and has remained as such in the collective memory of the Irish public. Continuously used as a marker for defining an Irish national style, the Book of Kells remains not only “a must-see on the itinerary of all visitors to Dublin”, but “Ireland’s greatest cultural treasure”.

- by Rachael Young
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- Cultural History, Irish Studies, Visual Studies, Art History
- by Marie Saito
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- Cultural Studies, Ancient Near East, Amarna Letters, New Kingdom (Egyptology)

Indian railway employs around 20,000 of Railway porters for the heavy load of work causing discomfort to their body in most elephantine way. Twelve porters were randomly selected from purposively selected areas, Old Delhi and Jalandhar (Punjab) Railway Stations (six from each) for the study during the busiest time of Guru Nanak Jayanti. Nordic Musculoskeletal Questionnaire was used to log the personal profile and musculo-skeletal discomfort of the respondents. TheNIOSH Lifting Equation tool was used to assess the manual material handling risks associated through values of Recommended Weight Limit(RWL) and Lifting Index (LI). According to devised task categories, neck and lower back (100 % each), ankles (91.67 %), wrists/hands and upper back (83.33 % each) and shoulder (75.00%) were the majorly affected body parts within a year. Lifting and carrying heavy loads for the porters and storehouse activities were found more hazardous than cart dragging in light of high LI values occupied. Government regulations and protective equipments are strictly recommended for the health care of porters.

- by Ekta Melkani and +1
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- Training and Development, Interior Design, Traditional Crafts, Arts and Crafts

The balance in an artistic creation between opposing forces of originality and reproduction, between the unique work of art of an artist and the foundry produced versions, has long been regarded as a crucial problem. More than a differentiation of the tradition-laden past, creative originality may be conceived as a literal origin, a birth. The artist self as origin is the way an absolute distinction can be made between a present experienced de novo and a past. The purpose of the analysis of the statues of “Aphrodite” and the torso of the “The Walking Man” is to understand the relationship established by Rodin between the original and the copy.

- by Pierre-François Puech
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- Archaeology, Art History, Modeling, History of Sculpture
- by Jos Koldeweij
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- Art History, Pilgrimage, Painting, Medieval Archaeology

The presentation is about the process of Mapping of Crafts along with the Craftspeople and Craft Enterprise. This Is an approach towards identifying, understanding and developing a detailed inventory of the crafts, craftspeople as well as... more

- by Jay Thakkar
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- Traditional Crafts, India, Arts and Crafts, Mapping

Community Crafts and Culture (CCC) is a collaborative research project working in Costa Rica that, recognising the essential nature of intergenerational transmission of collective knowledge, sets out to create an online community map of local artisan workshops and to document significant sites in the landscape. A website is being created in collaboration with the local community as part of a local development strategic plan to increase sustainable tourism, using the physical eco/community museum as the administrative hub. Working with existing groups, and respected women leaders, the programme also empowers yung people by engaging then with their indigenous heritage. Given the opportunity to assume leadership roles and gain skills, young people's practical experience can contribute towards a more equal and fair community that respects their ancestors' landscape and safeguards their distinctive ecology for future generations.

Our creative arts help to define our societies and our civilisation. Digital developments are democratising enjoyment of the arts and participation in the arts. The creative arts can address social issues, reach excluded groups, open-up creative, financial, entrepreneurial, active involvement, sustainability and other opportunities, break down barriers, widen perspectives, change expectations, bridge urban-rural divides and stimulate creative thinking, imagination and innovation. They can expose people to various physical/tangible expressions of individuals, movements and prevailing views from different ages, arenas and societies and encourage them to think, question and challenge. They can also enable people to produce designs, artefacts and other works that express their responses and views in a richer variety of ways than just the written or spoken word. An education in the creative arts can enhance, enable, enrich and empower. It can help to stimulate the exploration and commitment that can lead to responsible and fulfilling lifestyles and successful invention and entrepreneurship.

- by Colin Coulson-Thomas
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- Entrepreneurship, Design, Creativity, Arts Education