Browsing by Subject "käsityö"

In my bachelor thesis, I wanted to research experiences of participants of Käden taidot courses at Vantaa Adult Education Institute of Tikkurila. I chosed Adult Education Institute of Tikkurila as research target, because it is one of the biggest adult institute in Finland. I wanted to find out following themes: what kind of different motives people had to take part in different kind of Käden taidot courses and what kind of preconceptions they had toward these courses. I also wanted to find out how these preconceptions came true. Inquiry method I used, was survey, because with it, it is easy to handle big sampling and it is easy to answer anonymously. Inquiry method I used was based on Likert scale multiple choice questions and open questions. In the inquiry form every multiple choice was followed by open question where the participants could define the answer they gave. I took 60 forms to the Adult Education Institute and I ged back 24, so the answering percentage was 40. The classification of my inquiry based on qualitative and narrative analysis. Based on the answers I get, I divited participants to three different groups; “the Repeater”, “the Hang arounder” and “the Knower”. The repeater wats to revise a course again, because it is possible to learn something new. The Hang arounder takes part to a course, because the reference group is so good, even if she/he wants to learn something new. To the Knower it is most important to learn something new, when the social aspect has a minor role. Named groups went one on the other and it was difficult to make accurate categorizations. All the respondents agreed that all preconceptions towar courses came true and they were educational. In addition to they served social needs.

The purpose was to study handmade underwear and their making in 2010's Finland. The study examined features of handmade underwear, which include the range of underwear types, the structure of underwear and the aesthetic style of underwear. The study also aimed to understand craft enthusiasts motivations for making underwear, both relating to underclothes themselves and to general values and attitudes. The theoretical viewpoints examined in the study were processes and meanings of making crafts, DIY-culture as well as styles, history and meanings of underwear. The research strategy was qualitative case study and it was based on data triangulation. Both the features of handmade underwear and the motivations for their making were examined with photographs and texts published in the Internet as well as qualitative questionnaire responses. The visual and textual data was collected from two sewing-related Facebook-groups and individual blogs and the data consisted of 65 photographs and 122 files that included text or both photographs and text. The questionnaire responses were collected using online questionnaire and the final data included 51 responses. The data was analyzed by using content analysis with theoretical approach and Atlas.ti 7.5.10 was used as a software tool in the analysis. Making underwear by hand could be seen as a small phenomenon among craft enthusiasts on the Internet. Underwear types examined in the study were bras and underpants for women, men and children. The structures and materials of the handmade underwear were mainly similar to industrially made ones. However there was more diversity in the aesthetic styles of the handmade underwear. The most frequent aesthetic styles were colorfulness, use of different types of printed fabrics, use of recycled and leftover materials as well as playful, joyful and humoristic expressive style. The most important motivations for making underwear were related to the clothes themselves, the most common reason being need for fit and comfort. Furthermore quality of the product and need for individual look were motivations that relate to the product. Motivations that relate to values and attitudes were economic benefit, ecological and ethical reasons, fulfilling craft enthusiasts lifestyle and aiming at self-sufficiency. The economic and ecological values were seen in utilization of leftover materials, which was a common motivation for making underwear. According to this study the making of handmade underwear appears to have influences of DIY-craft, which includes aspects of individuality, consumption and taking responsibility of one's own needs.

Aims. In basic education, students acquire important basic skills that are necessary for success in further studies. Craft competence developed in the craft subject promote not only practical and theoretical knowledge, but also students' awareness and self-knowledge. The study examines the perceptions of vocational teachers about craft competence as school readiness for vocational education and the factors affecting it, such as the need for cooperation between educational levels. Methods. The research data was mainly collected in November 2022 with a online survey from vocational teachers (n=81). The survey was distributed both on social media and directly to vocational schools with research permits. The research was guided by phenomenography due to its nature of exploring perceptions. The answers to the open-ended questions of the survey were analyzed by means of phenomenographic analysis, and as a result, description categories characteristic of phenomenographic analysis were created. In addition, the material was quantitatively analyzed for the attitude statements in the questionnaire. Results and conclusions. Based on the perceptions of vocational teachers, craft competence as school readiness was divided into three descriptive categories: craft knowledge, craft skills, and craft attitudes.These description categories included handcraft skills, theoretical knowledge about craft tools, materials and design among other things, artistic ability, working fluency such as self-directedness, work safety skills and problem-solving and reasoning skills, as well as individual factors such as attitudes, values and motivation. Vocational teachers considered craft competence important, especially with technical craft skills being particularly valued. The level of craft competence was generally assessed as weak, which was also evident from the answers to the open questions. The need for cooperation between the craft subject and vocational education was felt to be important, and the positive effects of cooperation were seen especially as an increase in awareness and the development of skills. Cooperation could be implemented through workshop activities, visits and jointly set goals

The purpose of this thesis was to describe use of the digital equipments in education. Making of the products, is understood as new curriculum (POPS 2014) is suggesting, coaching student to pervasive knowledge, multimaterial use, fenomena based and 21st century skills learning abilities. Theory of this work is based on invention pedagogy where students are making inventions from their own life. Inventionpedagogy is supporting pervasive knowledge skills as kritical thinking and selfregulated learning abilities. Student based learning is changing the way how teaching is implemented. There are no models you can use, product goals are driven in real life. That is problem based learning, fenomena based or challenge based learning. Use of technology and integrating it to learning is spreading slowly. Equipments are expensive and sofware unfamiliar. Teachers education is aming to advance technology based invention pedagogy and need of knowledge. In InnoKomps training teachers are designing project using these methods. Innokomp is nation wide research, whitch is pointed to teachers and teacher education. InnoKomp training is still going on. Material of this thesis was given 2018 and it contains starting point inquiry (N35) and ending poin inquiry (N14). Permission to use this material was given from participating universities. Teachers answers were analysed by Atlas.ti program and content analyse. Research method is qualitative. Teachers feelings and experiences toward digitality and future aims were collected from material. Results are reflected to changing of craft teaching and reform of curriculum. Research outcomes turn out that 21 teacher have previous experience on digital modeling. On the other hand 11 teacher have few or none. From these teachers, 8 got benefit of the training and they learned something new. Teachers feelings toward digitality were vast, dislike to enthustiasm. InnoKomp training was conceived good. Teachers own objectives to the training were to understand and learn new things. To complete professional skills to meet up OPS 2014 goals. To bring new equipments to craft teaching and new ways of teaching future skills.

The aim of this study is to view textile handcraft teachers' ways of using differentiation in their teaching process and unfold how they're relating to differentiation in their teaching. Tomlinson & Imbeau (2010) presented a model of differentiation in classroom context, which consists of four parts: learning environment, curriculum, teaching and evaluation. I started building my own research on the basis of their theory, and in this study I am going to sort out how the handcraft teachers are taking different kinds of students into consideration on these four areas of classroom differentiation. When exploring the teachers' attitudes towards differentiation I'm basing my study on the view of Tomlinson (1995), according to which differentiation is beneficial not only for students, but also for teachers. My study is considered as a qualitative case study. As subjects I had six female primary school handcraft teachers who took part to my study. I interviewed them with the method of semi-structured theme interviews by using an interview frame I created specifically for this purpose (attachment 1). The collected material was analysed with the method of theory-bound content analysis. In every six interviews it indicated that handcraft teachers are doing their best to pay attention to different kinds of students in their teaching process and seeing differentiation as a positive challenge. Every one of the interviewees puts effort on supporting every students' individual progress and to produce experiences of success –each on their own way. It seems that the most variation is within how intensive and with which ways the differentiation is implemented. All the interviewees underlined the importance of encouraging and positive learning environment and every one of them name the experiences of success for students to be one of the most important aims of the classes. The consideration of different kinds of students clearly focuses on the process of teaching and work during the lessons, where the differentiation the teachers use seems to be varying and skilled. The least tools the teachers seem to have for differentiating their assessment, which they evaluate to be the most difficult area of differentiation.

The purpose of this is to examine self-made wedding dresses in Finland in the 21st century. The aim is to study the meanings of wedding dresses and making for the brides who have made their wedding dresses themselves. In addition, the reasons for making and the self-made dresses are examined. The theoretical background of this study consisted of contemporary weddings, dress and bridal wear and the motivations for making crafts and DIY-projects. The study was conducted as a qualitative research. The data was collected as a web survey on craft and wedding themed Facebook groups, e-mailing lists and online forums. Along with answers to open questions, photos of self made wedding dresses were collected. 59 brides responded to the survey. In the final data there were 41 photos of 25 different wedding dresses. The data was analyzed using content analysis and Atlas.ti software. For most brides the wedding dress has specific worth which can be seen in the dreaming of a certain design, special effort put to the making and desire to keep the dress as a memory. Most of the brides chose a traditional white dress respecting the tradition but the colour white was also simply seen as the one and only colour of the wedding dress. Only a few of the brides considered white as a symbol of virginity even though the symbolism affected the choices of some brides. The reasons for making a wedding dress related to supply covered financial benefits, dissatisfaction to current fashion or quality, dress fit, availability and ecological and ethical values. The reasons related to one's identity link to a wish to be different from others and one's experience or profession as a craft maker. The meaning of making links to the meaning of the making process, for example, as mental preparation for the wedding and as an empowering experience. Self-made wedding dresses were also considered more valuable than ready made dresses which points out the value of crafts as well. In addition to financial choices, striving for individuality was emphasized in this study. The brides desired to express their personality in their wedding dresses but most of them did in the limits of tradition because they also wanted to conform to the norms. On the other hand, the clearly distinctive wedding dresses in this study point out the freedom of an individual not to follow the way of tradition.

Making crafts is no longer based on need alone. The importance of craft as a subject emphasizing self-expression has grown, and craft teachers have a significant role in how craft is valued in the future. The theoretical framework of the study examines the sociocultural context of craft and which elements affect the expressive meanings of craft. The study outlines the meanings associated with craft expression by craft teacher students and discourses based on the research data. The use of language as a research subject reflected the contextual nature and culture of the meanings related to craft expression. In the study, discourse referred to a fairly established discussion about issues that construct social reality. The research data consisted of 38 essays written by the craft teacher students in the University of Helsinki during the Study planning course in 2014 and 2017. Part of the essay assignment was to reflect on one’s own craft expression. The qualitative research method was interpretive discourse analysis. Initially, through content analysis, I outlined what meanings craft teacher students attached to craft expression when describing their own craft expression. In the discursive analysis phase, I interpreted what kind of discourses were constructed from the data. The data emphasized product- and need-based understanding of craft, in which practicality was found to exclude expressiveness of craft. Based on the data analysis, four discourses of craft expression were constructed: sustainable craft, flawless craft making, beauty and non-expression. Like the meanings associated with craft expression, discourses overlapped, and the topics got various aspects in different discourses. The meanings and discourses associated with craft expression open up the effects of craft culture and help to understand the significance of craft as part of the diversity of life.

Tässä tutkielmassa tarkastelen vuosien 1919–1944 välisenä aikana Hämeenlinnassa sijoitettuna olleiden poliittisten naisvankien tekemää käsityötä vankien pakollisena työtoimintana, sekä etenkin omaehtoisesti työn ulkopuolella tehtynä käsityönä. Aiempien poliittisista naisvangeista tehtyjen tutkielmien perusteella voidaan sanoa, että he muodostivat yhteisön, johon kuuluneilla on ollut monipuolista toimintaa myös pakollisen työpalvelun ulkopuolella. Kuitenkin erityisesti työn ulkopuolella tehty käsityö on lähes kaikissa tämän tutkielman lähteissä sivuutettu täysin. Toisaalta nykypäiviin saakka on säilynyt Hämeenlinnan poliittisten naisvankien valmistamia käsitöitä, joista osa on hyvin todennäköisesti täytynyt valmistaa käsityössä esiintyvän poliittisen aiheen vuoksi vankilaolosuhteissa täysin omaehtoisista ja henkilökohtaisista syistä, salaa ainakin vankilan henkilökunnalta. Tutkimustehtäviä on kaksi. Ensinnäkin etsin vastausta kysymykseen: Millaisia käsitöitä poliittiset naisvangit ovat tehneet? Toisena tehtävänä on lähemmin merkitysanalyysimenetelmän avulla kuvata, analysoida ja tulkita yhtä poliittisen naisvangin valmistamaa käsityötä, joka esittää venäläistä laskuvarjohyppääjää (eli desanttia), jonka poliittinen naisvanki oli nuken esinetietojen mukaan salaa valmistanut lahjaksi toiselle vangittuna olleelle naiselle. Hämeenlinnaan sijoitettujen poliittisten naisvankien päivittäiseen elämään vankeudessa käsityö on liittynyt kiinteästi. Heti vankeuden alussa (usein yksinäisyyteen eristettynä) tehty pakollinen työpalvelu oli yleensä käsityötä ja samalla myös poliittisille vangeille keino parempaan asemaan siirtymiseksi progressiivisessa vankeusjärjestelmässä. Toisaalta pakkotyönä teetetty käsityö oli poliittisille naisvangeille merkittävä keino ilmaista vastarintaa vallitsevaa järjestelmää kohtaan. Käsityö oli keino kohentaa vangin omia elinolosuhteita, mutta se on voinut myös tarjota mielekästä tekemistä monella tavalla psyykkisesti ja fyysisesti vaativissa olosuhteissa. Poliittiset naisvangit ovat käsityön keinoin voineet ilmaista mm. omaa aatettaan ja yhteenkuuluvuutta muiden poliittisista syistä vangittujen naisten kanssa. Vankien kertomuksissa tuli esiin myös poliittisten vankien yhteisöllisiin tarkoituksiin käsityönä valmistamat tarvikkeet. Vaikeissa olosuhteissa, suljetussa yhteisössä vankilan muurien sisäpuolella, näyttäisi tehdyn monipuolista käsityötä vuosien 1919–1944 välisenä aikana. Tosin sodan myötä poliittisten naisvankien pakollinen työpalvelu yksipuolistui ja muuttui paljolti lähinnä sotilasvaatteiden korjaukseksi. Käsityötä kuitenkin tehtiin Hämeenlinnan vankilassa myös vaikeina sotavuosina omaehtoisesti erilaisista syistä, mistä desanttia esittävä nukke (80.2/ 80, liite 1) on hyvä esimerkki.

Tämän tutkimuksen tarkoituksena oli tutustua hirsirakentamiseen ja raportoida omakohtainen hirsilaavun rakennusprojekti. Tutkimusongelmana on, kuinka rakennetaan hirsilaavu käsityön näkökulmasta. Tutkimuksessa perehdytään hirsilaavun rakentamiseen työvaihe työvaiheelta. Tutkimus syntyi omasta tarpeesta saada omaan käyttöön hirsilaavu ja kiinnostuksesta perehtyä tarkemmin hirsilaavun rakentamiseen. Retkeilijät yöpyvät usein hirsilaavuissa metsässä, mutta harvoin tulee ajatelleeksi, kuinka vaativaa sellainen on tehdä. Hirsilaavun rakentaminen tuo uutta perspektiiviä retkeilyyn. Tutkimus toteutettiin laadullisena tutkimuksena, jossa hyödynnettiin autoetnografista tutkimusmenetelmää. Tutkimuksen keskeisin osallistuja oli tutkija itse. Tutkija raportoi tutkimuksen omakohtaisesta kokemuksesta. Tutkimusaineistona käytettiin tutkijan tuottamia dokumentteja, jotka koostuivat valokuvista, videoista ja päiväkirjasta. Aineisto raportoitiin tutkijan omien kokemusten kautta ja aineisto analysoitiin rakennusvaiheittain. Hirsilaavun rakentaminen käsityönä oli haastavaa ensikertalaiselle. Laavun rakentaminen on aikaa vievää ja tarkkuutta vaativaa käsityötä. Tutkimuksessa havaittiin, että hirsilaavun rakentaminen on mahdollista, vaikka ei ole aikaisemmin rakentanut hirsirakennusta. Perinteisellä tavalla rakennettu hirsilaavu vaatii useamman ihmisen apua. Hirret ovat painavia ja niiden liikuttaminen yksin käsivoimin on mahdotonta. Käsitöiden toteuttaminen yhdessä useamman ihmisen kanssa vaikuttaa käsityön tekemisen merkitykseen positiivisella tavalla. Yhteisöllisyys lisää motivaatiota saada käsityö valmiiksi tehtyä.

Tutkimukseni tavoitteena oli selvittää, miten Instagramia käytetään inspiraation lähteenä käsityössä tai käsitöiden tekemisessä. Lisäksi luokiteltiin inspiroivia piirteitä eli selvitettiin, millaiset asiat koettiin inspiroivaksi. Ashby ja Johnson (2010) ovat listanneet viisi eri kategoriaa kohteen tulkintaan vaikuttavista piirteistä. Tässä tutkimuksessa aineistosta löytyviä piirteitä luokiteltiin näiden viiden eri kategorian mukaan. Kohteen tulkintaan vaikuttavia piirteitä ovat esteettiset, assosiaatioon perustuvat, havaitut, emotionaaliset ja tyylipiirteet (Ashby & Johnson 2010, s. 48). Tutkimuksen aineisto kerättiin Instagramista kyselyn avulla. Linkki kyselyyn julkaistiin käsityö -aiheisella Instagram -tilillä, jotta kohderyhmä käsitöistä kiinnostuneita Instagramin käyttäjiä saavutettiin. Kysely oli kvalitatiivinen ja sen tuottama aineisto analysoitiin laadullisella sisällönanalyysillä. Analyysissa oli mukana yhteensä 52 vastausta. Kyselyssä oli sekä avoimia- että monivalintakysymyksiä. Tutkimuksen tuloksissa korostui kuvan merkitys inspiraation synnyssä. Kaikki vastaajista kuvasivat inspiroituneensa Instagramissa nähdystä materiaalista. Samaistumisen tunne tai materiaalin tuottaman assosiaation yhteensopivuus oman elämäntilanteen kanssa koettiin inspiroivaksi. Myös materiaalissa esiintyvät värit sekä visuaalisuus olivat merkittävässä osassa inspiraation synnyssä. Toisaalta vastauksissa korostui persoonallisuus sekä yksilölliset erot myös inspiroivan materiaalin suhteen. Voidaan kuitenkin todeta, että Instagramia käytetään käsityön inspiraation lähteenä ja Instagramissa olevat kuvat toimivat olennaisena välineenä inspiraation syntymiselle.