Craft is Political

Description

Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft. Title Page Copyright Page Contents Figures Acknowledgements Introduction: Re-crafting an unsettled world Craft and the Sustainment Craft as change agent Craft as care Overview of sections The essays: legacy, practice and world view Notes Part 1: Craft Legacy Chapter 1: Politics of tea furniture: Invention of ryuˉrei style in late-nineteenth-century Japan Introduction Kyoto and tea culture in hard times Ryūrei style at the Kyoto Exhibition Aftermath: The way of tea as Japanese philosophy Conclusion Notes Chapter 2: (Dis)playing politics: Craft and the Caughnawaga Exhibition, 1883 Introduction The politics of the Caughnawaga Exhibition Kahnawà:ke land survey Louise Kon8aseti Laronde’s silk patchwork quilt Curating politics Conclusion Notes Chapter 3: Indigenous craft is political: Making and remaking colonizer–colonized relations in Taiwan Constructive ambiguities: ‘indigenous’ and ‘crafts’ Colonizing crafts in Taiwan: Japanese, nationalist and multiculturalist agendas Craft articulations Conclusion Chapter 4: Coexistence of craft and design in Turkey as two separate epistemes Craft and design: vernacular versus industrial Turkey’s craft history Craft and design in Turkey: product differentiation A dialogical and expert-expert learning bond An emotional bond Notes Chapter 5: Leisure and livelihood: A Socioeconomic reading of craft in Australia and Egypt The smallness of craft Sites of craft: the Tasmanian Craft Fair and Islamic Cairo Craftworker identity Craft socioeconomics: Australia Craft socioeconomics: Egypt NGOs and craft Conclusion Notes Part 2: Craft Practice Chapter 6: The politics of craft and working without skill: Reconsidering craftsmanship and the community of practice Craftsmanship and the community of practice Working without skill in Oaxaca Notes Chapter 7: From ‘making flowers’ to imagining futures: Rohingya refugee women innovate a heritage craft Postcolonial contradictions and humanitarian work Rohingya and their current cultural condition Rohingya women: voiceless among the voiceless ‘Making flowers’: embroidery in Rohingya culture The tapestries Conclusion Notes Chapter 8: Liminality: The work of Monica Mercedes Martinez, PJ Anderson and Habiba El-Sayed Monica Mercedes Martinez PJ Anderson Habiba El-Sayed Conclusion Notes Chapter 9: Jewellery is political: Ethical jewellery practice Political messages in jewellery Jewellery materials Jewellery and fashion Conclusion Notes Chapter 10: Networks of economic kinship in Aotearoa New Zealand craft markets Introduction Setting the scene for craft markets and kinship ties Networks Craft markets in Aotearoa New Zealand Networks of encounter (spaces of production, distribution and consumption) Economic kinship – online Conclusion Notes Chapter 11: It goes without saying: Craft talks politics Clay Glass Metal Wood Textiles Conclusion Notes Part 3: Craft World View Chapter 12: Crafts as the political: Perspectives on crafts from design of the Global South Crafts and Pachamama Political crafts as chakana Alternate context EcoSophy and feel-think-design-do Revisiting crafts before crafts came to be Re-articulating worlds from the perspective of Andean philosophy For the vindication of the praxis of crafts as politics Notes Chapter 13: Chilean arpilleras: Hand-stitched geographies and the politics of everyday life in Santiago’s poblaciones Economic violence and grassroots organization Arpilleras and the politics of social reproduction The afterlives of arpilleras Notes Chapter 14: From essential skill to productive capital: Perspectives on policies and practices of craft education in Finland Craft education in changing political climate Crafts in Finland’s twenty-first century cultural policy Conclusion Notes Chapter 15: Sincerity not authenticity: Craft’s political path out of a modernist trap Ruskin → Morris: authentic object, authentic life Trilling: authenticity ⇄ sincerity Authentic craft? Sincere craft! The politics of it all Notes Chapter 16: Bellwether: Fingerprinting your woollies Bellwether/belle weather/Lovely Weather Knowledge is only a rumour until it lives in the muscle7 Three bags full Making it visible A line into the future long enough to walk on10 To spin a revolution Fingerprint or footprint Notes Epilogue Notes Author biographies Index