Craft Research - Volume 6, Issue 1, 2015

In contemporary Cypriot society, the textile craft tradition is under threat of vanishing. This is largely due to both local and global social and cultural changes that have affected women’s roles. The purpose of this article is to examine the changing role of the cultural heritage of traditional textile crafts in Cyprus. The focus is on Cypriot textile crafts, especially lefkaritiko (traditional embroidery) and weaving, as examples of craft traditions and practices that, in turn, allow an insight into cultural heritage. The study investigated the perceptions of cultural heritage of traditional textile crafts and their future, from the viewpoint of four different persons involved with textile crafts in Cyprus. The investigation demonstrates that among the craftspeople of Cyprus there is a tension between maintaining the traditions and developing them: the results indicate that in order for there to be a sustainable future in textile crafts, traditional and modern aspects need to be combined. One problematic aspect is losing the living tradition since it is no longer taught to the younger generation: in order to learn the value of sustaining their own cultural heritage, the Cypriot youth should be educated in their craft traditions. Hand-produced textile crafts face serious problems in the market economy: for sustainable livelihood with crafts, the craftspeople need support in the commercial aspects of production. The results indicate that when careful attention is paid to globalization and tourism, it can have positive effects on local craft traditions.

Sirigu is a major artistic community in the upper east region of Ghana; its decorative murals have attracted admiration globally. Besides wall paintings, Sirigu women also produce a variety of pottery for domestic, religious and commercial purposes. Although much valued, not much is known about their pottery. This research has studied the raw materials, production techniques, ornamentations and uses of the women’s pottery products at Sirigu. Further, the educational implications of the pottery industry of the Sirigu women have been discussed. Primary data were gathered through field research, including observations and interviews with relevant informants, which were recorded using note-taking, voice recordings and photography. These were complemented and framed through information from secondary sources. Raw materials used are obtained from the immediate environment, are organic in nature and are processed in indigenous ways. The study indicates that the art of pottery making has potential for improving the standard of living of the people, as well as for promoting quality Visual Arts education in Ghana.

The experiential knowledge of practice resides within the practitioner and is out of the immediate reach for other researchers. Only when practitioners have an intrinsic motivation to research and make their practice explicit can their embodied experiential knowledge reach an outside audience. The present case study is an attempt to access and understand such experiential knowledge in the act of throwing clay on a potter’s wheel. To enhance her tactile sensitivity and awareness, one of the researchers has thrown porcelain clay blindfolded for five days. Her experience has been documented and reflected upon through diaries, a Contextual Activity Sampling System (CASS-Query) and videos that include thinking aloud accounts. The findings reveal that the researcher was able to articulate her tactile experiences and share her experiential knowledge to a greater degree than before. Patterns in the making, such as dividing hands into categories of active and perceiving, and metaphorical language use were identified that may be of value in an educational setting. Feelings were acknowledged as major contributors to risk assessment and decision-making in the material problem-solving process. We propose the multimethod approach developed through this study for researcher-practitioners to capture and analyse their sensory experiences and experiential knowledge of a making situation when researching their practice.

Globalization poses significant challenges to the survival of the traditional craftsmanship, a domain of intangible cultural heritage. The UNESCO has regularly pointed out the challenges created by globalization, including lengthy apprenticeships with low remuneration, mass-production of goods needed for daily life, environmental and climate change pressures, changing social conditions and cultural tastes, etc. The effects of these challenges are most noticeable when it comes to small indigenous groups, for whom they can have an adverse impact. Arunachal Pradesh is a hill state of India inhabited by 31 indigenous groups. This makes Arunachal Pradesh a suitable site for studying the effects of these challenges. Household objects are one of the numerous expressions of traditional craftsmanship, which have been subjected to the changing influences of globalization within a relatively short period of time. The domestic articles of an average ethnic house of Arunachal Pradesh are usually made of cane and bamboo. The primary focus of this article is to evaluate the effects of the challenges posed by globalization, as mentioned by UNESCO, on the household objects of the Nyishi group, one of the 31 indigenous groups of Arunachal Pradesh. They are traditionally expert in making their household objects with cane and bamboo. The case study was conducted at Seijosa, a locality mainly inhabited by the Nyishis of East Kameng district of Arunachal Pradesh. Based on the unstructured and open ended interviews, this case study focused on the traditional craftsmen’s perspective and observations about the changes on traditional cane and bamboo household objects of Nyishi community, as they are regularly involved in making and distributing these products. The findings of the case study indicate that almost all the challenges, mentioned by UNESCO, are noticeable on the traditional craftsmanship of cane and bamboo household materials of Nyishi group.

This industry report focuses on the collaboration between Teixidors, a Spanish hand-weaving company and Zuzunaga design studio. It aims to draw attention to collaborative partnerships as a way of enhancing craft practice and product innovation. An interesting feature of the topic is how the maintenance of local knowledge economies and the enhancement of specialist and traditional community skills can contribute to a model of sustainable business. The report is underpinned by research developed through Plustex, a three-year European Union-funded project. Knowledge was gathered through study visits to European textile SMEs and theoretical review of regional policies designed to facilitate competitiveness in the European textile and clothing sector. The textile collection featured in the report, ‘Integrate: Time and Space’, evidences important factors that can positively contribute to the competitiveness of an enterprise: sustainable social capital, collaboration and the creation of shared value.

Sarah Turner is an eco-artist and designer who practices craft-based upcycling with waste plastic bottles and cans to create lighting, sculpture and decorative home interior products. Since 1998, her enthusiasm, creativity and good will have allowed her to gain several high-profile client commissions and to win awards from design, innovation and business competitions. The aim of this portrait is to introduce Sarah’s work and shed light on the resources, knowledge and skills involved in her practice and on the barriers to and drivers for her craft-based upcycling. We consider that Sarah’s work could be one of the stepping stones for a shift towards more sustainable craft practice, both in the United Kingdom and beyond. By exploring the right ingredients for craft-based upcycling, barriers liable to be faced and key drivers that stimulate motivation, we hope that this portrait will inspire and attract more designers and makers to embed upcycling in their future practice.

A Review of ‘Between Spaces’, Creative Hinckley Gallery, The Atkins, Hinckley, 19 September–16 October 2014

Oral History in the Visual Arts, Linda Sandino and Matthew Partington (eds) (2013) London, New Delhi, New York and Sydney: Bloomsbury, 211 pp. ISBN: 9780857851987, p/bk, £21.99

Review of the Transitions – Rethinking Textiles and Surfaces Conference, University of Huddersfield, 26–27 November 2014