Hasil untuk "Handicrafts. Arts and crafts"

Nuno Martins, Sara Silva, H. Alvelos et al.

Portuguese culture embodies a wealth of artisanal heritage of high symbolic and historical value. Manual arts still prevail, but with every passing generation, fears of their eventual extinction grow. The growing scarcity of resources, the disinterest of the youngest and the difficulty of adopting digital media are seen as the main causes for concern, contributing to the ebbing away of many age-old industrial techniques, traditions, and practices. The research project "Anti-Amnesia", aims, through design, to contribute to the revitalization of this industry through digital technology as a means of dissemination and monetization. This paper presents a component of the project part that is dedicated to the experimental development of an online premise for catering to the needs of the craft sector, including an embedded marketplace. This market consists of a digital platform, where retailers have a space and tools, where they can promote and sell their products.

A. Shcherban

For the first time, the activity of the weaving vocational school in the village Digtyari (modern Chernihiv region) is analyzed. It was the leading educational institution of the middle level of vocational education of the Ukrainian SSR in the second half of the 1920s, in which the creators of traditional textiles studied. The students learned the skills of making carpets, embroidered shirts, and kerchiefs. On the basis of archival sources, the histories, educational process, composition of the teaching and student groups of the school during 1926-1929 are covered. Established in the fall of 1926, the institution was to train qualified master practitioners for the factory and handicraft arts industry, who had formed an artistic taste. The teaching staff initially consisted of local general education teachers and visiting instructors and teachers of special subjects (O. Reisfeld and M. Dyachenko). The institution was headed by uneducated communists Yu. Kozelev and S. Lutayenko. The students of the first set were mostly non-locals, orphans. But the second set already consisted mostly of children of local peasants and artisans. The school had a significant material base, which remained from the textile educational institutions that operated in Digtyary during the first quarter of the twentieth century. The main rooms were located on the right-wing of the main building of the palace complex of the Galagan estate. As a result of the study of the materials of the minutes of the meetings of the school council, the conflict situations that constantly arose between the managers and their supporters and visiting specialists and led to the departure of the latter from Digtyary were analyzed. The initial stage of the existence of the Digtyari weaving professional school, problems in relations between staff, and the originality of the contingent of the first set of students influenced the quality of their training. As it is clear from the available sources, during the first and the beginning of the second school year students worked both theoretically and practically, but due to lack of raw materials they could not produce a significant amount of full-fledged products. The school’s workshop worked on “factory” and, in part, “peasant” raw materials. At the end of the second year of study, students were already making work suitable for sale. The school operated in two directions. The visiting instructor, an experienced artist M. Dyachenko brought a new vision of teaching graphic literacy into the educational process. Weaving and embroidery instructors who either graduated from the textile schools previously existing in Digtyary (A. Reisfeld, V. Nikolskaya) or worked there for a long time (G. Tsybuleva) broadcast local traditions. During the years under study, about 100 students studying at the institution, and one graduation took place. Troubles in the personal relationship between teachers and school management and insufficient funding have affected the quality of education. But even in such conditions, students not only mastered special and general education subjects but also participated in exhibitions, made marketable products, engaged in research work. Curricula developed by M. Dyachenko and O. Reisfeld became a model for other craft educational institutions. And the textbook was written by O. Reisfeld - the first Ukrainian-language textbook on the technology of folk weaving. Keywords: Digtyari weaving professional school, Mykhaylo Dyachenko, Pryluky region.

J. Chen

IntroductionWhat can we learn about anomaly from the strangeness of a puppet, a lifeless object, that can both bleed and die? How does the filming process of a puppet’s death engage across media and produce a new media genre that is not easily classified within traditional conventions? Why do these fighting and bleeding puppets’ scenes consistently attract audiences? This study examines how Pili puppetry (1984-present), a popular TV series depicting martial arts-based narratives and fight sequences, interacts with digital technologies and constructs a new media genre. The transmedia constitution of a virtual world not only challenges the stereotype of puppetry’s target audience but also expands the audience’s bodily imagination and desires through the visual component of death scenes. Hence, the show does not merely represent or signify an anomaly, but even creates anomalous desires and imaginary bodies.Cultural commodification and advancing technologies have motivated the convergence and displacement of traditional boundaries, genres, and media, changing the very fabric of textuality itself. By exploring how new media affect the audience’s visual reception of fighting and death, this article sheds light on understanding the metamorphoses of Taiwanese puppetry and articulates a theoretical argument regarding the show’s artistic practice to explain how its form transverses traditional boundaries. This critical exploration focusses on how the form represents bleeding puppets, and in doing so, explicates the politics of transmedia performing and viewing. Pili is an example of an anomalous media form that proliferates anomalous media viewing experiences and desires in turn.Beyond a Media Genre: Taiwanese Pili PuppetryConverging the craft technique of puppeteering and digital technology of filmmaking and animation, Pili puppetry creates a new media genre that exceeds any conventional idea of a puppet show or digital puppet, as it is something in-between. Glove puppetry is a popular traditional theatre in Taiwan, often known as “theatre in the palm” because a traditional puppet was roughly the same size as an adult’s palm. The size enabled the puppeteer to easily manipulate a puppet in one hand and be close to the audience. Traditionally, puppet shows occurred to celebrate the local deities’ birthday. Despite its popularity, the form was limited by available technology. For instance, although stories with vigorous battles were particularly popular, bleeding scenes in such an auspicious occasion were inappropriate and rare. As a live theatrical event featuring immediate interaction between the performer and the spectator, realistic bleeding scenes were rare because it is hard to immediately clean the stage during the performance. Distinct from the traditional puppet show, digital puppetry features semi-animated puppets in a virtual world. Digital puppetry is not a new concept by any means in the Western film industry. Animating a 3D puppet is closely associated with motion capture technologies and animation that are manipulated in a digitalised virtual setting (Ferguson). Commonly, the target audience of the Western digital puppetry is children, so educators sometimes use digital puppetry as a pedagogical tool (Potter; Wohlwend). With these young target audience in mind, the producers often avoid violent and bleeding scenes.Pili puppetry differs from digital puppetry in several ways. For instance, instead of targeting a young audience, Pili puppetry consistently extends the traditional martial-arts performance to include bloody fight sequences that enrich the expressiveness of traditional puppetry as a performing art. Moreover, Pili puppetry does not apply the motion capture technologies to manipulate the puppet’s movement, thus retaining the puppeteers’ puppeteering craft (clips of Pili puppetry can be seen on Pili’s official YouTube page). Hence, Pili is a unique hybrid form, creating its own anomalous space in puppetry.   Among over a thousand characters across the series, the realistic “human-like” puppet is one of Pili’s most popular selling points. The new media considerably intervene in the puppet design, as close-up shots and high-resolution images can accurately project details of a puppet’s face and body movements on the screen. Consequently, Pili’s puppet modelling becomes increasingly intricate and attractive and arguably makes its virtual figures more epic yet also more “human” (Chen). Figure 1: Su Huan-Jen in the TV series Pili Killing Blade (1993). His facial expressions were relatively flat and rigid then. Reproduced with permission of Pili International Multimedia Company.Figure 2: Su Huan-Jen in the TV series Pili Nine Thrones (2003). The puppet’s facial design and costume became more delicate and complex. Reproduced with permission of Pili International Multimedia Company.Figure 3: Su Huan-Jen in the TV series Pili Fantasy: War of Dragons (2019). His facial lines softened due to more precise design technologies. The new lightweight chiffon yarn costumes made him look more elegant. The multiple-layer costumes also created more space for puppeteers to hide behind the puppet and enact more complicated manipulations. Reproduced with permission of Pili International Multimedia Company.The design of the most well-known Pili swordsman, Su Huan-Jen, demonstrates how the Pili puppet modelling became more refined and intricate in the past 20 years. In 1993, the standard design was a TV puppet with the size and body proportion slightly enlarged from the traditional puppet. Su Huan-Jen’s costumes were made from heavy fabrics, and his facial expressions were relatively flat and rigid (fig. 1). Pili produced its first puppetry film Legend of the Sacred Stone in 2000; considering the visual quality of a big screen, Pili refined the puppet design including replacing wooden eyeballs and plastic hair with real hair and glass eyeballs (Chen). The filmmaking experience inspired Pili to dramatically improve the facial design for all puppets. In 2003, Su’s modelling in Pili Nine Thrones (TV series) became noticeably much more delicate. The puppet’s size was considerably enlarged by almost three times, so a puppeteer had to use two hands to manipulate a puppet. The complex costumes and props made more space for puppeteers to hide behind the puppet and enrich the performance of the fighting movements (fig. 2). In 2019, Su’s new modelling further included new layers of lightweight fabrics, and his makeup and props became more delicate and complex (fig. 3). Such a refined aesthetic design also lends to Pili’s novelty among puppetry performances.Through the transformation of Pili in the context of puppetry history, we see how the handicraft-like puppet itself gradually commercialised into an artistic object that the audience would yearn to collect and project their bodily imagination. Anthropologist Teri Silvio notices that, for some fans, Pili puppets are similar to worship icons through which they project their affection and imaginary identity (Silvio, “Pop Culture Icons”). Intermediating with the new media, the change in the refined puppet design also comes from the audience’s expectations. Pili’s senior puppet designer Fan Shih-Ching mentioned that Pili fans are very involved, so their preferences affect the design of puppets. The complexity, particularly the layer of costumes, most clearly differentiates the aesthetics of traditional and Pili puppets. Due to the “idolisation” of some famous Pili characters, Shih-Ching has had to design more and more gaudy costumes. Each resurgence of a well-known Pili swordsman, such as Su Huan-Jen, Yi Ye Shu, and Ye Hsiao-Chai, means he has to remodel the puppet.Pili fans represent their infatuation for puppet characters through cosplay (literally “costume play”), which is when fans dress up and pretend to be a Pili character. Their cosplay, in particular, reflects the bodily practice of imaginary identity. Silvio observes that most cosplayers choose to dress as characters that are the most visually appealing rather than characters that best suit their body type. They even avoid moving too “naturally” and mainly move from pose-to-pose, similar to the frame-to-frame techne of animation. Thus, we can understand this “cosplay more as reanimating the character using the body as a kind of puppet rather than as an embodied performance of some aspect of self-identity” (Silvio 2019, 167). Hence, Pili fans’ cosplay is indicative of an anomalous desire to become the puppet-like human, which helps them transcend their social roles in their everyday life. It turns out that not only fans’ preference drives the (re)modelling of puppets but also fans attempt to model themselves in the image of their beloved puppets. The reversible dialectic between fan-star and flesh-object further provokes an “anomaly” in terms of the relationship between the viewers and the puppets. Precisely because fans have such an intimate relationship with Pili, it is important to consider how the series’ content and form configure fans’ viewing experience.Filming Bleeding PuppetsDespite its intricate aesthetics, Pili is still a series with frequent fighting-to-the-death scenes, which creates, and is the result of, extraordinary transmedia production and viewing experiences. Due to the market demand of producing episodes around 500 minutes long every month, Pili constantly creates new characters to maintain the audience’s attention and retain its novelty. So far, Pili has released thousands of characters. To ensure that new characters supersede the old ones, numerous old characters have to die within the plot.The adoption of new media allows the fighting scenes in Pili to render as more delicate, rather than consisting of loud, intense action movements. Instead, the leading swordsmen’s death inevitably takes place in a pathetic and romantic setting and consummates with a bloody sacrifice. Fighting scenes in early Pili puppetr

Mainur Mainur

This article is the result of a typical Palembang wood carving work. Starting from the increasingly few antiques in the antique gallery owned by Ibu Hj's family. Roswati made him intrigued to grow and develop his business since 1974 and to preserve the carving art furniture in the form of Palembang wood carving. Then continued by a similar craftsman in the Home Industry Q Laquer owned by Mr. Jaja is a typical Palembang wood carving art craftsmanship in Kelurahan 19 Ilir. The purpose of this research is to find out and describe the process of making Palembang's unique wood carving arts. The research method used is a qualitative descriptive method using data collection techniques of observation, interviews, and documentation. The types of decoration in the wood carving art are the decoration that characterizes the city of Palembang as from the motifs of plants with golden, black, and red patterns. The variety of wood carving that is applied to handicraft objects is basically a pure decoration, which functions solely to decorate or beautify. The results of typical Palembang carving crafts include decorative cabinets, chairs, tables, wardrobes, frames, and various kinds of furniture. Through this research by examining how Palembang wood carving art in particular the manufacturing process, is expected to contribute to the people of Palembang City in order to develop and preserve these cultural assets.

Fenghua Xia, Wei Pan, Xiaowen Bian et al.

Straw and willow plaiting is a kind of traditional handicraft technique to plait handicraft works or household items with natural materials, such as straw, wheat-straw, corn bran, willow twig, rattan, palm and etc. as raw materials. The combination of technological process of straw and willow plaiting, humanized design and modern indoor design is more conductive to the development of straw and willow plaiting industry and indoor design arts. This paper discusses the relationship between straw and willow plaiting and traditional handicraft. Straw and willow plaiting, with a long history, originates from Shandong Province and develops gradually across the country. Traditional straw and willow plaiting is mainly for practical application, supplemented by the function of aesthetic appreciation, whereas, modern straw and willow plaiting continuously integrates traditional techniques and modern life and creates the application of willow plaiting products. According to process materials, straw and willow plaiting mainly includes straw plaiting, palm plaiting, rattan plaiting, willow twig plaiting, corn bran plaiting, bamboo plaiting and etc. It can also be divided into flat plaiting, twisting plaiting, tightening plaiting and so on based on techniques. As a kind of traditional technique, straw and willow plaiting is full with national character and techniques, and its products essentially manifest unique artistic concept and aesthetic orientation of Chinese nation, which is also the artistic expression and sublimation of production and life, folk custom and national culture in each nation. Willow plaiting material is sustainable material with rich cultural connotation. 1. History of Straw and Willow Plaiting Straw and willow plaiting is handicraft works or household items plaited with thatch, wheat-straw, corn bran, willow twigs and etc. According to textual research of some scholars, handle products with twisting pattern of red pottery appeared early in Longshan cultural period, and then willow plaited objects follow this widely used pattern. In other words, it was relatively common that people used willow plaited objects in downstream of the Yellow River four or five thousand years ago. Some scholars believe that straw and willow plaiting originates from Shandong area 1500 years ago. It was called “Straw Plait of Ye County” in Ming Dynasty, so straw plait of Ye County is also called “Laizhou Straw Plait”. Straw and willow plaiting products were widely used during the reign of Emperor Jiaqing of the Qing Dynasty. From the history of straw and willow plaiting, in self-sufficient lifestyle of traditional agricultural society, people used local willow twigs to plait large wicker basket, dustpan, plaited basket, food container, bamboo fish trap and so on for agriculture and fishery production, straw and willow plaiting was widely used by people in daily life, mainly self-made for self-use. It is also mainly for practical application, supplemented by the function of aesthetic appreciation. In modern society, straw and willow plaiting has gradually become an industry in large-scale production and operation. With its rich artistic, local and personalized characteristics, straw and willow plaiting even enters commodity circulation in international trade. At the same time, the production of straw and willow plaiting incessantly expands and innovates the application methods of straw and willow plaiting products by integrating traditional techniques and modern life for indoor design. Raw materials for straw and willow plaiting in China are various and diversified all over the 5th International Conference on Education, Management, Arts, Economics and Social Science (ICEMAESS 2018) Copyright © 2018, the Authors. Published by Atlantis Press. This is an open access article under the CC BY-NC license (http://creativecommons.org/licenses/by-nc/4.0/). Advances in Social Science, Education and Humanities Research, volume 264

Salbiah Kindoyop, Noria Tugang, Humin Jusilin et al.

Arts and cultural heritage is a potent reflection of the identity of a community. The art of traditional handicraft weaving in any society is dependent on the resources available in his environment and the needs of the particular community. The Dusun Tindal of Kota Belud is rich in weaving craft traditions with kinulung as one of its distinctive products. Kinulung is unique with its own specific purpose and simple design, and has been able to withstand modernisation and change. However the factors of adaptation, environmental change, and modern technological transformation could pose as threats to the traditional and heritage elements in the production of the kinulung . This study is important as a platform for the promotion of continuity and resilience of the Dusun Tindal heritage. Kinulung documentaton will clarify various aspects of the design and purpose elements of this traditional craft. The study focuses on the design and meaning presented in the kinulung weaving tradition as an object of culture in the community. Material for this study was derived from field work through observations, interviews and notations. The findings of the study indicate that the design and motif of the kinulung reflect the cultural values and local knowledge of the Dusun Tindal.

Vinicio Di Iorio

Mette Gårdvik

Abd Wahab Norazilawati, Mohd Noor Arba’iyah

A. Fishzon

Xu Lan-lan

E. Denker

C. Lu

Hanna Hentinen

Peng Wen-yu

D. Maltz

何禮戎

José Miguel Bravo Mogro, N. E. Yakovleva

Guo Yan

Frederick F. Wherry