Artisans & Globalisation

This discussion will focus on the design of artisan-crafted luxury fashion products and the ends to which those products service Mexico's artisanal luxury market driven by the cultural creative 1 class of consumers. This investigation explores the positive and negative effects of designer intervention in craft-making communities, identifies problems, and proposes the creation of an equitable system of design/artisan partnership that would outline rules of engagement, interaction, communication and feedback between designer, artisan and consumer for development of luxury fashion products with cultural craft artisan/makers. This research will discuss the following points, drawing conclusions by examining case studies of luxury designer/artisan collaborations across various regions of Mexico 2. We ask: • How are current artisan/designer collaboration efforts helpful or disruptive? • What challenges do craft communities and luxury brands face in starting up new collaborations, and how are they sustained? • Where is the artisan/designer distinction made? What are development options for artisans? • How is intellectual property and design attribution being addressed in the process? • How would a standardized code of practice be useful across entities and participating groups? 1 Cultural Creatives are a subcultural group that are generally characterized by a love of nature, concern for the environment and global society, exhibit sympathy, altruism, spirituality, support education and sustainable community development, enjoy people places and things that are exotic, and are mindful not to over consume. They are seen as optimistic drivers of positive change towards better livelihoods for humanity. 2 To protect the identity of the artisan groups, designers, brands and organizations, specific names will be withheld.

Networks, Labour and Migration among Indian Muslim Artisans provides an ethnography of life, work and migration in a North Indian Muslim-dominated woodworking industry. It traces artisanal connections within the local context, during migration within India, and to the Gulf, examining how woodworkers utilise local and transnational networks, based on identity, religiosity, and affective circulations, to access resources, support and forms of mutuality. However, the book also illustrates how liberalisation, intensifying forms of marginalisation and incorporation into global production networks have led to spatial pressures, fragmentation of artisanal labour, and forms of enclavement that persist despite geographical mobility and connectedness. By working across the dialectic of marginality and connectedness, Thomas Chambers thinks through these complexities and dualities by providing an ethnographic account that shares everyday life with artisans and others in the industry. Descriptive detail is intersected with spatial scales of ‘local’, ‘national’ and ‘international’, with the demands of supply chains and labour markets within India and abroad, with structural conditions, and with forms of change and continuity. Empirically, then, the book provides a detailed account of a specific locale, but also contributes to broader theoretical debates centring on theorisations of margins, borders, connections, networks, embeddedness, neoliberalism, subjectivities, and economic or social flux.

Ces Mains-là est un documentaire réalisé en 2008 par le cinéaste marocain Hakim Belabbès dans lequel il s'attache à filmer les artisans de Bejaâd pendant l'exercice de leur métier. Ce qui semble être au centre de l'intérêt du cinéaste, c'est le rapport particulier de ces artisans à leur ville, leur fort attachement à Bejaâd. Le choix de cette ville et de cette thématique ne sont pas fortuits...

El exotismo indumentario que caracterizó a la pintora mexicana Frida Kahlo, es sin duda, una inagotable fuente de inspiración en el ámbito de la moda y constituye una gran influencia en la tendencia y el estilo “étnico”, a nivel nacional e internacional.

“Cóng kuàngshān dào shìchǎng: Cǎisè bǎoshí de jiàzhí sùzào zhī lǚ” [Mine to Market: Producing Value in Colored Gemstones] In Rénlèixué hǎoyě--guānyú rénlèi de, wǒ dū xiǎng xué [Learning About Anthropology], ed. Lynn Huang, p.12-29, Hong Kong: Humming Publishing

Background: Globally, the protection of workers against occupation associated hazards and morbidities have been a momentous public health issue. This paper assessed the occupational injuries and safety practices among automobile repair artisans in Abuja, Nigeria. Methods: This was a cross-sectional descriptive survey involving 400 automobile repair artisans working at the mechanic village of Apo and Gudu area of Abuja, Nigeria. A pre-tested structured, self-administered questionnaire was used to assess respondents' knowledge, attitude and practice on occupational injuries and safety. Data was analysed using IBM SPSS version 23 and Chi-square was employed to test associations between categorical variables. A p value <0.05 was considered statistically signicant. Results: The mean respondents' age was 31.2 ± 1.6years. A large proportion, 314(78.5%) of the respondents had sustained various forms of occupational injuries. The survey revealed that 228(57.0%) respondents had a good erudition of occupational injuries and majority 320(80.0%) of the respondents displayed positive attitude towards safety measures. However, only 128(32.0%) respondents complied with safety practices. Bivariate analysis revealed that there was a statistically signicant relationship between respondents' socio-demographic variables (marital status, ethnicity, and age group) and self-reported previous occurrence of injury at workplace. Conclusion: Although respondents had good knowledge of occupational injuries and positive attitude towards safety measures, they displayed poor compliance towards safety rules and practices. Hence, routine health education on occupation-related hazards and safety should be put in place for the automobile repair artisans.

Tourism is one of the most crucial sectors contributing to country development. In Albania, the sector`s contribution to GDP has an increasing trend through the years. This study aimed to explore the role of tourism in supporting the development of handicraft sector and analyzing the constraints faced by artisans during their daily activities of crafts production process. Albania is known for the tradition of crafts with precious values, created for centuries by masters of folk, in every province according to the features and specifications of different areas. The most known handicrafts in Albania are works in wood, iron, copper, and precious materials like gold, silver, leather, wool, etc. These values are inherited generation to generation have aroused great interest to visitors and local and foreign researches. In cities like Kruja and Scutari, a diversity of crafts with high utilitarian and aesthetic level is distinguished. This is also the reason of selecting the surveyed sample of artisans from Kruja and Scutari.

This chapter is about internal migration in India and follows the experiences of (mostly young) men as they migrate from Saharanpur’s woodcraft gullies to various areas of the country.  Within this context, the chapter makes four primary arguments, all of which continue into the following chapter which focuses on migration beyond India to the Gulf.  First, the chapter argues that migration from the city can only be understood by considering the histories through which the woodworking mohallas developed and the forms of male sociality detailed in previous chapters; a sociality that acts as a key mediator in the fostering of patterns of movement within and beyond the mohallas. Second, the chapter contends that the huge variety of migratory connections present in the city’s Muslim neighbourhoods offer a divergent representation from much of the literature on Muslims in Indian cities (particularly in the north of the country) which focuses primarily on enclaving and marginalising forces (e.g. Gayer & Jaffrelot 2012).  Third – and expressly linked to the framework of marginalisation and connectedness outlined in the opening of this book – the final two chapters show how forms of marginalisation and enclavement penetrate beyond the material context and become mobile, thus acting upon the subjectivities and imaginaries of migrants even as the transit various geographical spaces. Finally, both this and the following chapter illustrate the importance of considering the relationship between migration and the imagination; a relationship that is constituted not only in terms of rupture and disjuncture but also through continuities which operate across material, affective and subjective levels.

Introducción

Durante las primeras décadas del siglo veinte, en un contexto de revalorización del pasado hispánico y del arte colonial como parte integrante de la historia latinoamericana, producto de diversos factores políticos, económicos, sociales y culturales, fueron editados diversos ensayos y estudios monográficos, coherentes con ciertas posiciones revisionistas en el campo de la historia, como los estudios de José Torre Revello, Fernando Márquez Miranda, Guillermo Furlong. Posteriormente, los historiadores del arte Adolfo Luis Ribera y Héctor Schenone, a partir de un trabajo exhaustivo de materiales visuales y escritos, impulsaron una renovación de las investigaciones mediante una confrontación entre el documento escrito y la obra artística. La literatura específica actual, si bien incorpora el análisis de los datos iconográficos, estilísticos e históricos, presenta al arte colonial como un arte integrado a las formas culturales más amplias de la sociedad de la época y que excede su función estética. En consonancia con estas líneas, el presente artículo explora los años rioplantenses del orfebre José de Boqui, trabajo que forma parte de una investigación mayor sobre la labor de los artífices tardocoloniales y sus conexiones con redes de intercambio y circulación de saberes. En este sentido, se expondrán en primer término sus años iniciales en Buenos Aires, Argentina aportando nuevos datos sobre su arribo a la ciudad, antes de su partida hacia el Perú.

In my paper, I propose regarding the acts of production behind " tourist art " as " cultural heritage " , as they are indicators of adaptation strategies paramount to innovation and cultural reprocessing. From this perspective, I differentiate between the principle of materiality associated with unesco World Heritage selection criteria and the principle of corporality evident in Michael Herzfeld's analysis of Cretan policies on the making of heritage (Herzfeld 2004). The principle of materiality includes a spatial-temporal conception that rejects the contemporaneousness between " the work " and the acts of production, the latter being assimilated to an " anti-modern " corporality (ibid.) of social actors. Malian cultural policy on " heritage establishment " is based on such a principle and, owing to the international African art market's monopoly on aesthetic criteria, determines the exclusion of economic survival strategies and marks of identity of airport art sculptors. Contrary to this perspective, the principle of corporality that I propose includes a social meaning of cultural heritage according to which the human body is considered a holder of capital of the «social relations of work» (Jackson, Palmer-Jones 1999). Through the reconstruction of the sculptors' production network of Maison des Artisans in Bamako, a social aesthetic emerges through which iconographic innovation comes from the economic precariousness and hierarchical relations governing the workshops.

The symposium conceived and led by Gram Seva Sangha, in collaboration with Environment Support Group, is a part of the ongoing Tax- denial Sathyagraha on the handmade. The demand is simple and historic: that there is a crying need to acknowledge, accommodate and support the skill and craft of the artisan, farmer, fisherfolk, Adivasi, labourer, homemaker, industrial worker, et al, and to fundamentally acknowledge the due role of such handmade livelihoods in sustaining and contributing to global productivity, creativity and sustainability. Keeping this in mind, resolutions were proposed and adopted after a day-longdeliberation in the Symposium

This book presents, for the first time, a large collection of artworks by Dimitur Taushanski, a self-taught artist born and living in Bulgaria. Lolita Nikolova’s interest in Taushanski‘s fine art started in 2016 with an admiration of his talent that gradually developed into a desire to communicate that talent to all fans of contemporary fine art. Fine artists are global by definition, but they reflect the time period and social environment in their work in unique ways. Taushanski lives in a social space that is open and global, as every product of his talent shows. The book also includes digital transformations of Taushanski’s works of art by Lolita Nikolova.

Ce texte traite des relations entre artisanat et industrie  dans l'entreprise Hermès, au miroir de la relation entre réparation et innovation. Il prend comme exemple certains exemples  - boro, Kintsugi, et pour finir, les ateliers de réparation d’hermès situés à Tokyo.
(Les ateliers de réparation de maroquinerie Hermès se trouvent à Beverly Hills, Genève, Hong Kong, Londres, Madrid, Munich, New York, Osaka, Paris, Rome, San Francisco, Séoul, Shanghai, Singapour et Tokyo).

This text deals with the relationship between craftsmanship and industry in the Hermès company, mirroring the relationship between repair and innovation. He takes some examples  - boro, Kintsugi, and finally, the Hermès repair shops in Tokyo.
(Hermès leather repair shops are located in Beverly Hills, Geneva, Hong Kong, London, Madrid, Munich, New York, Osaka, Paris, Rome, San Francisco, Seoul, Shanghai, Singapore and Tokyo).

In recent years, international trade in creative goods and services has been expanding.  But this upward march is not lifting all boats.  Although many developing countries are endowed with vast cultural wealth, they still lag behind.  In addition, women are not faring well. Much needs to be done to expand creative trade for human development.  Suggestions here include implementing a Women Artisan Trade Initiative, creating a cultural trade index, developing appropriate intellectual property initiatives, and considering creative trade in economic diversification strategies.