Traditional handcraft

D’une teneur principalement méthodologique et épistémologique, cet article aspire avant tout à remettre en question la démarche de l’archéomusicologie et à proposer une nouvelle approche dans laquelle la recherche se mêlerait à l’artisanat, ainsi qu’à en définir la portée dans la pratique de la recherche archéomusicale. Il aborde la question de la lecture des techniques et des savoir-faire des temps archéologiques, puis propose quelques réflexions sur les connaissances et les démarches archéomusicales. Il finit par la question de l’apport mutuel entre artisanat et archéologie.

Artículo de investigación publicado en las MEMORIAS DEL III SEMINARIO INTERNACIONAL: CERÁMICA EN LA EDUCACIÓN ARTÍSTICA, realizado en Bogotá, Colombia, durante los días 10, 11 y 12 de Septiembre de 2014.
El artículo presenta una breve descripción sobre mi trabajo como diseñador asesor de las comunidades indígenas Cubay y Puerto Golondrina, de la etnia Cubeo, ubicadas en el departamento del Vaupés. En él expongo como el proyecto ha trascendido las meras expectativas técnicas que le dieron origen, para convertirse en una tarea de búsqueda de la identidad del pueblo cubeo a través de la exploración de sus tradiciones olvidadas.

"The Pattern of a Building. 
Large collections of buildings from the medieval age and up until today represent a formidable preservation task. The preservation work and research conducted on these buildings have traditionally focused on authenticity, décor and aesthetic differentiation. Planke points out that a combination of these factors and a lack of interest in the buildings' constructions have over time created new problems for the museums' preservation and maintenance efforts. Planke suggests that authenticity should be understood in relationship to or as an aspect (e.g. construction support) of the building which is vital to preserve for the future. He argues for a new management perspective on antiquarian buildings, one that should take all aspects of a building into account and which should also include the relationship between the complete entity and the individual parts."

Die Broschüre enthält eine Anleitung zum Brettchenweben, wie sie auch für die Beschreibung der Brettchengewebe vom prähistorischen Salzbergwerk Hallstatt und im Rahmen der Lehrveranstaltung Experimentelle Archäologie der Universität Wien verwendet wird.
Der Archäologiekoffer Brettchenweben wurde 2003 für das Oberösterreichische Landesmuseum erarbeitet.

Présentation : Ce travail regroupe des termes de l'art du zellige au Maroc et surtout à Fès. Le corpus recueilli est classé selon la méthode onomasiologique : classement sémantique des dénominations partant du concept et recherchant les signes linguistiques qui lui correspondent (Dubois : 2002, Lerat : 2006 et 2005). Les termes collectés sont classés selon les rapports qui les unissent dans le domaine du zellige, en l'occurrence d'après des champs sémantiques référant au lieu du travail, les matériaux utilisés, l'outillage employé, les étapes de fabrication, les couleurs, les formes, les motifs et les artisans travaillant dans ce secteur de l'artisanat.

Este ensayo parte de la hipótesis de que la artesanía contiene, al menos, dos posibles versiones de sí misma. Analiza las relaciones que se establecen entre la artesanía, sus productores y los actores externos que la convierten en un producto más de la indusria cultural.

ABSTRAK Kajian ini bertujuan meninjau Persepsi Pelancong Terhadap Produk Kraftangan Pasu Sarawak di Waterfront, Kuching. Persepsi ialah proses bagi memilih menyusun dan mentafsir maklumat daripada keadaan sekeliling. Pendekatan ini adalah betujuan untuk mengetahui kewajaran produk kraftangan Pasu Sarawak sebagai cenderahati dalam sektor pelancongan. Melalui kajian ini, pengkaji menggunakan kaedah kuantitatif bagi meneliti kejayaan produk kraftangan, faktor-faktor yang mempengaruhi minat pelancong dan usaha-usaha yang boleh dilakukan untuk membangun dan mengkomersialkan produk kraftangan Pasu Sarawak. Seramai 370 orang responden yang terlibat di dalam kajian ini yang terdiri daripada pelancong domestik dan juga pelancong antarabangsa. Hasil kajian ini akan mendapati pelbagai pendapat daripada responden-responden dan seterusnya dapat membantu industri kraftangan negara khususnya pada produk kraftangan Pasu Sarawak dalam memainkan peranan sebagai cenderahati dalam sektor pelancongan. Justeru, kajian ini dapat membantu produk kraftangan Pasu Sarawak mengenal pasti kelebihan, kelemahan, peluang dan ancamannya.

The volume illustrates the main historical-architectonic buildings, built for productive purposes, in Italy and Slovenia and considered in the European project «The places of production and technological innovation in the thematic tourism». They are the only ones that could be documented among a large number of these places, mainly disappeared or altered.
The project intended to document, not only for scientific, tourist and cultural motives, all those buildings that are usually included in the definition of “industrial archaeology”. However, it is also concerned with the many buildings devoted to handicraft and agriculture activities such as smithies, joineries, mills, dairies, cellars, silkworm-breeding rooms and so forth.
Cards were prepared illustrating in-depth the 124 structures considered of greater importance. They compose a catalogue including present day colour prints and, whenever possible, maps and old, sometimes unpublished photographs, which were also used for the recent exhibition. They are the result of an in-depth survey, a collection of the available printed or oral information, a dialogue with municipalities and a research in historical cadastres and in public or private archives.
Ranging from the typical specimens of the rural civilization to the most illustrious examples of industrial archaeology, an easy-to-interpret “interface” has been used to allow the reader to understand a field of study, not so well-known, pertaining to the “spaces of making”. Reading the catalogue is not difficult.
The standard card has a structure deliberately restricted to the essential elements: it contains the basic data about the subject, namely denomination, position, date (at least
roughly), current ownership, essential description and general references (bibliographical, archival and oral sources). The wider “field” is obviously the one regarding the description,
because it suggests a short historical synthesis, offering sufficient information for a good comprehension, and giving many hints for further in-depth studies. Each card carries a symbol representing the real state of preservation, and it is enriched by a plentiful iconographic apparatus. Regarding the cards as a whole, a closely chronological sequence has been rejected for the impossibility of dating beyond doubt all building: that’s why it has been chosen a typological order.
The catalogue begins with cards concerning production places connected with the pre-industrial world: farms, manor-houses with their own annexes, rural appendages of
aristocratic country-houses (villas), rustic buildings of “spontaneous architecture”. Then there is a detailed report on the subjects pertaining to the different kinds of handicraft
and trades that characterized the rural society as well as the early industrial one: “space” devoted to weaving, milling, clay or stone working, water-supplying or the supplying of sea-salt, the use of metals etc. The catalogue ends with a short series of production places belonging to the age of Industrialization, with some examples representative of industrial archaeology.
To conclude the volume, the post faction sums up the main categories, continuing and widening the analysis developed in the exhibition posters. The main research questions are then re-discussed, stimulating scholars, administrators and common people to re-appraise, re-use and re-invent this historical heritage, perishable beyond all appearance:
because it is urgent to saving those “things” that today must be considered as rarities, possibly making them available for a thematic cultural tourism, as it is already done in other parts of Europe.

2019 und 2020 wurden bei archäologischen Ausgrabungen (Ausführung: Novetus GmbH) im Vorfeld des Ausbaus der Pottendorfer Linie der ÖBB in der spätbronzezeitlichen Siedlung (1300-800 v. Chr.) von Ebreichsdorf ein insgesamt fünf Objekte umfassender Goldschatz entdeckt. Der Schatz umfasst eine Goldschale, drei Goldspiralen bzw.-spiralenbündel sowie ein Golddrahtkonvolut, bei dem es sich nach ersten Analysen durch Expertinnen des Naturhistorischen Museums um die Reste eines golddurchwirkten Textils mit von Goldfäden umwickelten Fransen handeln dürfte. Die Goldobjekte werden derzeit von einem internationalen und interdisziplinären Expert:innen-Team untersucht, um Näheres über deren Herstellung und Herkunft herauszufinden. Im Anschluss werden die Objekte durch das Bundesdenkmalamt restauriert und nach Abschluss der Arbeiten im NHM der Öffentlichkeit dauerhaft zugänglich gemacht.

Difference anD inequality: reflections on ethnic iDentity anD commercial chané hanDcraft proDuction. this article reflects on the representations and values of indigenous handcraft commercial production, emphasizing the dynamic inter-ethnic relationships that go with it. The research took place in a Chané community in Campo Durán in the Argentinian province of Salta. First, I discuss local conceptions about handcraft as source of paid work and how this articulates with ethnic adscriptions. Secondly, I focus on the link between this production and traditional stigmatization.

Problems of study and planning of the city of Samarkand and other towns are relevant today. There at a high level of political, geographical, solved the traditional, architectural and environmental issue. Construction of Samarkand was a powerful symbol of the authority of the State of Amir Temur.

In this chapter, we focus broadly on the mutual shaping of culture and technolo- gy in the context of a particular case in the history of the handloom industry of India through an examination of ruptures made visible in economic practices of consumption, production and marketing. We reflect on the questions raised, not so much from an intervention angle but from positioning what are referred to as “traditional knowledges” in contemporary times while problematizing the very conceptual categories of “traditional” and “modern.” We also implicitly and explicitly work against modern-day “received views” about technology (Slack and Wise, 2005, 2); we examine the loom as technology, embedded in everyday life where the interplay between economics and culture is inseparable. Thus, we take seriously the notion of technological cultures as articulated by Wise and Slack, and work through particular contexts and assemblages of handloom tech- nologies—mainly around the pit loom and the frame loom in rural South India.
[Chapter four of "Cyberculture and the Subaltern" co-authored with B. Syamasundari and Seemanthini Niranjana].

This paper covers the dynamics of Soapstone Craft of Dhakotha. Broadly this paper can be divided into two parts, i.e., crafts study part and product design intervention part. The crafts study part includes-research methods, craft introduction, crafts location, craft history, available raw materials, craftsmen and existing skill sets, tools under use, involved craftsmanship processes, existing product ranges etc. On the basis of understandings developed during crafts study, this researcher had explored different market specific and end-user focused product design possibilities. The product design intervention part includes different product design interventions and collections developed by researcher with a holistic approach. There are two different soapstone clusters, with different skill sets, i.e., Soapstone carving cluster and Soapstone ପତ୍ ଥର କୁ ଣ୍ ଡ or Patthar Kundo cluster; are practicing in same geographical area, so studying and exploring interventions in joint mode was an interesting experience for this researcher. This craft study cum design intervention initiative was conducted during 2010-2011 by this author.

हस्तशिल्प उद्योग सदियों से भारत की सांस्कृतिक और कलात्मक धरोहर का दर्पण रहा हैI इस शोध पत्र द्वारा, वर्तमान समय में  हस्तशिल्प उद्योग के पुनरुत्थान की आवश्यकता पर जोर दिया गया है। इसका ध्येय युवा पीढ़ी में भारतीय विरासत के प्रति गौरव जाग्रत करना है। नए उद्यमियों को दिशा देकर भारत के लुप्त होते व्यवसायों को पुनः स्थापित किया जा सकेगा।

This study aims to review the Tourist Perception Toward Handicraft Product's Sarawak Pottery in Waterfront, Kuching. Perception is the process for selecting organize and interpret information from the surrounding circumstances. This approach is intended to justify handicraft product's Sarawak Pottery as souvenirs in the tourism sector. Through this study, researchers used quantitative methods to examine the successful of handicraft products, factors that affect the interests of tourists and businesses can do to develop and commercialize handicraft product's Sarawak Pottery. A total of 370 respondents involved in this study consisted of tourists, both domestic and international tourists. The results of this study will find a variety of opinions from the respondents and thus help the craft industry in particular countries especially handicraft product's Sarawak Pottery in its role as a souvenir in the tourism sector. Thus, this study can help handicraft product's Sarawak Pottery identify advantages, weaknesses, opportunities and threats.

El sanatı ürünleriyle fabrikasyon ürünler arasındaki nitelik farkı kitle turizmi ile kültür turizmi arasındakine benzemektedir. Az sayıda fabrika aynı üründen milyonlarcasını kısa sürede imal edebiliyor. Tur operatörleri ve seyahat acentaları da milyonlarca gezgini benzer biçimde tatile göndermektedir. Kitle turizmi olarak adlandırılan bu yaklaşım ucuz ve türdeş ürünleri (güneş, plaj, otel) sunmayı hedefler ve karı arayışı gibi içkin kavram ve imgelerle fabrikasyon ürünlerden ayrılır. El sanatları özellikle kültür turizmi kapsamında korunarak pazarlanabilecek somut olmayan kültürel miras kapsamındadır. Bu çalışmada, Türkiye'de el sanatçılarının turizm endüstrisi ile olan ilişkileri sorgulanmaktadır. Çalışmanın temel amacı el sanatçılarının ürünlerini turizm kanalıyla değerlendirmesi için neler yapılabileceğini tartışmaktrır. Çalışmada nitel araştırma yöntemi izlenerek Ege Bölgesi'nden toplanan birincil veriler analiz edilmiş, yorumlanmış ve bulguları tartışılmıştır. Bulgulara göre; turizm-el sanatçısı ilişkisinde sorunlar el sanatçıları, turizm camiası ve değişen toplum yapısı olmak üzere üç temel grupta yoğunlaşmaktadır. Çalışmada sırayla kültür mirası, el sanatı ve turizm arasındaki ilişkiler, el sanatlarının turizmde pazarlanması, kültür turizminin içeriği ve el sanatçılarına yönelik saha çalışması bölümleri yer almaktadır.

This thesis examines the Stave Church Preservation Programme initiated by the Norwegian
Directorate for Cultural Heritage and its inclusion of the intangible cultural heritage of the
traditional handcraft during conservation. Based on the case study of the Nore Stave
Church, this thesis further highlights the various conservation trends manifested in the stave
churches over time and the following interventions consequences on the constructions.
Changing from pragmatic to principled, the interventions are today visible as annual rings
on the monument.
The most prominent annual ring of the current conservation programme is however the
inclusion of the traditional handcraft and the craftsman. By illuminating the complexity of
restoring a stave church and the conflict in safeguarding a cultural heritage where both
materiality and intangibility are central, this thesis aim to contribute to a more nuanced
view of the stave church.
Through ethnographic interviews, this thesis further investigates the craftsmen’s ambivalent
attitude towards the two leading models of safeguarding the traditional handcraft, that of
academising the handcraft and implementing the master-apprentice model. By
acknowledging the materiality as a source of knowledge, the stave church can serve as an
arena for interdisciplinary discussions, broadened research and deepened understanding.
This thesis propose that by focus attention to the three dimension of the cultural heritage,
the materiality of the stave church, the intangible traditional skills and the craftsman, a more
holistic understanding of the historic monument and its construction methods will be
obtained.

The ethnoarchaeology of a traditional pottery production in a village in the Elazığ district of Eastern Anatolia. Traditional cooking pots as well as other containers made by women of the village, and the designs they produced were very similar to those of the past cultures. In early 1980's one third of all the households (c. 40-45 families) were still producing pottery as their basic income. Uslu pottery was a well known trade good throughout Eastern Anatolia.

ENG. The essay presents the results of an archival research about the workshop of a florentine armourer of the early 15th century, throwing new light not only on the evolution of the armaments and the materials, but also on the tools and the decorative techniques used in that period.
ITA. Il saggio espone i risultati di una ricerca archivistica sulla bottega di un armaiolo fiorentino di inizio Quattrocento, gettando nuova luce non solo sull’evoluzione degli armamenti e dei materiali, ma anche sugli strumenti e le tecniche decorative utilizzate in quel periodo.

Straipsnyje pateikiami nauji duomenys apie tradicinius XX a. Vilniaus krašto vaikų žaislus – arkliukus su pavažomis, Vidutinės kaime (Švenčionių r.) šiuos žaislus gaminusius meistrus, dirbinių gamybos technologijas, realizavimo vietas ir būdus. Publikacijos pagrindą sudaro interviu metu sukaupta informacija ir Žaislų muziejaus fonduose saugomų Vidutinės k. meistrų pagamintų arkliukų bei jų elementų analizė. //

The paper presents the latest data about rocking horses, traditional toys of the twentieth-century Vilnius region. It also dwells on the craftsmen who made them in Vidutinė village (Švenčionys district), their production techniques, as well as the venues and methods of sale. The paper is based on the information collected from interviews, and from the analysis of rocking horses and their elements from the archives of the Toy Museum.
Keywords: toy history, toymaker, rocking horses, Vidutinė village, ethnographic toys

Laceworks and needle laceworks are traditional handcrafts of Turkish women, especially the ones that live in rural areas. Women use laceworks for decorating their houses and use needle laceworks for their headscarves. All those handmade works have special meanings depending on the social life, marital status, age and mood of their users.

RIFIOTIS, T. A escultura atual dos Makondes de Moçambique com o uma visão de mundo. Rev. do Museu de Arqueologia e Etnologia, São Paulo, 4: 153-166, 1994. RESUMO: Este artigo discute a noção de "arte tradicional" e de "autenticidade", correntes no discurso sobre a arte africana, a partir do estudo da arte escultórica dos Wa-Makonde do norte de Moçambique. Diferenciando-se da escultura dominante na África Austral, os Wa-Makonde, atualmente, esculpem segundo dois tipos básicos, chamados ujamaa e shetani, e utilizam o ébano como matéria-prima. Procura-se mostrar que esta arte, criada nos anos 50-60, é uma re-elaboração plástica de experiências coletivas e que ela pode ser considerada como uma visão de mundo na qual estão atualizados valores ancestrais. UN1TERMOS: Escultura-Makonde-Moçambique-Autenticidade-Arte tradicio­ nal-Visão de mundo. A chamada arte negro-africana continua representando um enigma. O nosso discurso quer sempre tomar o passo sobre a experiência dos nossos sentidos, e nós continuamos a distinguir o belo da arte e o do objeto útil; ainda perma­ necemos prisioneiros de uma visão primitiva, simples desta arte, e estamos longe de podermos admirar a diversidade que se abre sob a designa­ ção "africano". Contamos com um sem número de trabalhos científicos sobre a "arte negro-africana" em geral e um número ainda maior de estudos tópicos. Milhares de exposições foram organizadas nas mais variadas partes do mundo. Avançamos em (*) Trabalho apresentado no VII Congresso Latino-americano de estudos afro-asiáticos (M éxico, novembro 1992). muito os nossos conhecimentos sobre a "arte tradicional" e, em certa medida, até contribuímos para que ela se tomasse uma atividade rendosa. A partir dos anos 50, multiplica-se em escala mundial a compra e a venda, em significativas quantidades, de imitações de formas tradicionais. Trata-se de um estranho comércio de formas vazias. De um lado, as formas mortas, sem sentido para aqueles que as produzem, pois estão fora do seu mundo. E de outro, formas esvaziadas por aqueles que as compram: elas servem apenas de receptáculo para experiências, digamos, "exó­ ticas". Estas experiências, no plano imaginário, não seriam vivenciadas como aventuras dos séculos XV e XVI? Afinal, os ditos "viajantes" de então e o turista de hoje têm em comum pelo menos a busca de marcas de um mundo "pri­ mitivo". No limite desta situação, passa-se a valorizar uma "arte tradicional", imaculada, ou seja, ainda 153

Ce travail1 regroupe des termes de l’art du zellige au Maroc et surtout a Fes. Le corpus recueilli est classe selon la methode onomasiologique : classement semantique des denominations partant du concept et recherchant les signes linguistiques qui lui correspondent (Dubois : 2002, Lerat : 2006 et 2005). Les termes collectes seront classes selon les rapports qui les unissent dans le domaine du zellige, en l’occurrence d’apres des champs semantiques referant au lieu du travail, les materiaux utilises, l’outillage employe, les etapes de fabrication, les couleurs, les formes, les motifs et les artisans travaillant dans ce secteur de l’artisanat. Dans chaque rubrique, les termes seront transcrits phonetiquement selon la methode des semitisants et classes selon l’ordre alphabetique arabe adopte par De Premare (1993-1999). L’auteure principale de cet article est issue d’une famille de carreleurs ayant une longue experience dans le domaine du zellige.

Aus einem am Donaulimes liegenden spätantiken Grab aus Mautern in Österreich (römische Provinz Noricum) wurde ein textiles Handwerksset, bestehend aus Spindel und Spinnwirtel entdeckt. In diesem Beitrag wird der archäologische Befund, und auch die Funktionsweise des Objektes diskutiert und mit zeitgleichen Exemplaren in Beziehung gestellt.

Henri Lefebvre in his work on critiquing everyday life within the transformative industrializing era within Europe introduced integral concept of state mode of production. The concept centres on the relationship between State, Space and Territory. The relation of this concept within disappearing skilled craftsmen and labour within urbanizing centres like Pune has been attempted.

The bottle gourd (Lagenaria siceraria), also known as calabash, has been known for thousands of years, both in the Old and in the New World, being without a doubt one of the most useful plants domesticated by humans. The article deals with its numerous applications documented in archaeological and historical sources as well as its various uses still observed in various cultures today. Young gourd fruit can be used as food, but interest in the plant grows considerably when its wall becomes lignified, tough and resistant, and can be processed. Gourds are used primarily to produce all kinds of vessels and containers, musical instruments and a huge variety of utensils. They can be also used in hunting and fishing, turned into rafts and used to teach swimming. In addition, calabashes are known to have been used in traditional medicine and rituals of many peoples. They were and still are used to make ceremonial masks and elements of costumes; and they were an important part of grave goods. Although, in the industrialised world, the significance of the plant is undoubtedly smaller than it used to be, people keep finding new applications for it. Artists turning calabashes into beautiful decorative objects are active in many countries.

Family Stojanovic originates from the Pirot region. The rst generation of the family comes to Trstenik as the guest workers, while the second generation of the Stojanovic family permanently settles in Trstenik, where today their descendants live as well. The family came into this small town at the very beginning of the twen-tieth century, and their pottery workshop had been the most productive one in the years before and after The Second World War. In the second half of the 20th century the family Stojanovic gradually reduces its workload along with the less demand for the pottery products on the market. Today, the family Stojanovic has completely left the pottery craft.

”Den praktiske erfaringen gir mulighet til innlevelse og forståelse på en grunnleggende måte som er umulig uten en egen kroppslig referanse i bunn. Du kan ikke bare lese deg til å forstå en annen kultur. Det er noe vi vet som feltarbeidere. Men som vi skal se nedenfor kan handling være en nødvendig feltarbeidsmetode for å oppnå innsikt i informantens kunnskap, selv når hun har vært død og begravet i lang tid.”

I artikkelen problematiseres muligheten til kildetolkning gjennom handling.

INNHOLD:
Å gripe en tradisjon: Johan og sognebåten 205
Tradisjonsanalyse 208
Å rekonstruere tapte tradisjoner: Seilas og mine fordommer 210
Hva gikk galt? 213
Kunnskap og tradisjon 214
Aktører er situerte 215
Å skape nye situasjoner for forståelse 216
Handling som feltarbeid 217
Litteratur 217