Browsing by Subject "käsityö"

Tässä tutkimuksessa selvitetään mitä ja millä tavoin Suomen con-tapahtumissa järjestettävissä cosplay-pukukilpailuissa tuomarit arvioivat cosplay-pukua. Cosplay tulee sanoista costume + play ja tarkoittaa suomeksi pukuilua. Con-tapahtumissa tietyn populaarikulttuurin teeman harrastajat kokoontuvat yhteen. Japanilaisen populaarikulttuurin harrastamisesta ja cosplaysta on tehty aikaisempaa tutkimusta, mutta ei kuitenkaan cosplay-kilpailuiden osalta. Tutkimukseni tarkoitus oli selvittää ja ymmärtää cosplay-kilpailuiden arviointia. Olen koonnut teoriataustani kirjallisuuskatsauksena ja selvittänyt mitä cosplay-harrastus, puvun tekeminen ja hahmouskollisuus toimintana ovat sekä mitä cosplay-kilpailut ovat. Keräsin tutkimukseni aineiston yhdeksältä pukukilpailuiden cosplay-tuomarilta kolmesta eri con-tapahtumasta puolistrukturoidun kyselylomakkeen avulla. Kyselylomakkeeni koostui kolmesta avoimesta kysymyksestä, jolloin käytin aineistoni analysointiin sisällönanalyysiä. Suomalaisissa cosplay-pukukilpailuissa arvioidaan pukua referenssikuvan avulla arvioiden puvun toteutukseen ja hahmouskollisuuden luomiseen liittyviä tekijöitä. Cosplay-pukua arvioidaan kahdessa pääkategoriassa, joita ovat hahmouskollisuus ja käsityö. Tuomarit arvioivat yhteensä 16 eri osa-aluetta, jotka voidaan tyypitellä neljään eri tyyppiluokkaan. Osa-alueet jaetaan tyyppiluokkiin sen perusteella, kumman pääkategorian avulla niitä arvioidaan. Tyyppi A:han kuuluvat käsityö pääkategorian avulla arvioitavat osa-alueet. Tyyppi B:hen kuuluvat hahmouskollisuuden avulla arvioitavat osa-alueet. Tyyppi C:hen kuuluvat kummankin pääkategorian avulla arvioitavat osa-alueet. Tyyppiin D kuuluvia osa-alueita ei arvioida, mutta ne vaikuttavat arviointiin. Cosplay-puvun osia arvioidaan tietyillä tai kaikilla osa-alueilla niiden muokkausasteen perusteella. Cosplay-pukua tuomarointi huoneessa tarkastellaan päästä alaspäin. Yleensä kilpailija kertoo puvustaan tuomaristolle, mutta tarpeen tullen tuomaristo esittää kysymykset ja kilpailija vastaa. Lisäksi tuomarit katsovat pukua läheltä ja kokeilevat materiaaleja. Lopuksi tuomarit keskustelevat asioista, joihin kiinnittivät huomiota arvioidakseen kilpailijan mahdollisuuden sijoittua kilpailussa.

The Finnish settlement has stayed in Ingria since the 17th Century. They formed two groups, Äyrämöinen and Savakko. These minorities were different from each other by their dialect, religion and dressing. The focus of this study is on Ingrian Finnish, especially the Savakko textile culture. Research material includes the textile collection of Ingrian Finnish Raija Pedak, her interviews, photographs, writings, newspaper cuttings, proofs and drawings. Comparison is based on objects found from the National Museums Finno-Ugric collections. Research is made by following the craft history in one family through four generations. This study examines textiles from Eastern Ingrian Järvisaari, especially the ritual cloth käspaikka, and the folk costume, their techniques and meanings. The aim of this study is to find out how the Pedak`s collection can reinforce studies of the Savakko textile culture in the early 1900s with new knowledge. After the groups of Savakko and Äyrämöinen assimilated, Ingrian Finnishness formed the primary ethnic identity. This study follows one family and the meanings given to crafts in changing historical contexts, from rural Ingria to the revolution and crises of the Soviet period and finally to the national awakening of the Ingrian Finns. The significance analysis method, created originally for museum objects, was applied in this study. The analysis follows different stages, starting with preparation. Then, research material is put in its broad historical context. After familiarization and data acquisition the research material is evaluated with seven criteria. These are representativeness, authenticity, historical and cultural significance, memorable significance, communal significance, ideal situation and usability. As a result, the study shows that the characteristic handcrafting can be understood as a key symbol of Ingrian Finnishness among with the Finnish language and Lutheranism. The folk costume and other textiles have significant position upholding the Ingrian Finnish culture. They played significant part especially during the perestroika and the national awakening of the Ingrian Finns. Notable in the Pedak`s research material are particularly the ritual cloth käspaikka in Lutheran home and the kitska-headdress as a part of the Savakko folk costume.

Tutkielma käsittelee nykytaiteilija Outi Pieskin (s. 1973) kolmea teosta, joita kaikkia voi luonnehtia maisemiksi. Teoksia yhdistää se, että ne kuvaavat Saamenmaata, saamelaisen alkuperäiskansan kotiseutualuetta Fennoskandian pohjoisosissa. Tutkielman tavoitteena on tarkastella, miten ihminen ja maisema kietoutuvat yhteen näissä teoksissa. Pohdin sitä, miten luonto ja kulttuuri yhtyvät toisiinsa erottamattomalla tavalla, ja toisaalta myös sitä, miten teokset tuovat ajankohtaiset ihmisoikeus- ja ympäristökysymykset yhteen. Teoriataustana toimii jälkikoloniaalinen ekokritiikki, joka pyrkii tuomaan ekokriittisen tutkimuksen yhteen 1990-luvulla asemansa vakiinnuttaneen jälkikoloniaalisen kritiikin tai tutkimuksen kanssa. Ekokritiikki tutkii inhimillisen ja ei-inhimillisen välisiä suhteita, niin sanotulle luonnolle antamiamme merkityksiä, sekä kielen ja taiteen roolia ihmisten luontosuhteiden rakentumisessa. Ekokriittiseen ajatteluun yhdistän alkuperäiskansatutkimuksen näkökulmia, ja pohdin, mikä rooli alkuperäiskansoilla, erityisesti saamelaisilla, on keskustelussa kolonialismin yhä jatkuvista vaikutuksista niin kulttuureihin, luontoon kuin kulttuuriympäristöihin. Tältä pohjalta tuon tutkielmassani yhteen maisemamaalauksen historiaa, teoretisointia eletystä maisemasta, saamenkäsityön moninaisia ulottuvuuksia, sekä oikeus- ja tieteenfilosofisia kysymyksiä. Pääasiallisena aineistona tutkimuksessani ovat installaatio Meidän maa, meidän väreillä (2015) sekä maalaukset Teno yöpuolella (2013) ja Itsenäinen oikeus olla olemassa ja kukoistaa (2018). Näistä kahdessa on hyödynnetty saamelaista käsityöperinnettä eli duodjia. Itse teosten lisäksi aineistoani ovat tutkimuskirjallisuus sekä taiteilijasta tehdyt haastattelut. Menetelmänäni on teosanalyysi, ennen kaikkea teosten kanssa keskustelu ja niiden keskusteluttaminen muiden äänien kanssa. Pyrin monitieteisyyteen ja tieteenalarajoja ylittävään pohdintaan, joka alkuperäiskansatutkimuksen hengessä pyrkii suuntaamaan huomiota myös tutkimuksen eettisiin kysymyksiin. Tutkimuksessa Pieskin maisemat näyttäytyvät elettyinä ja asutettuina ympäristöinä, joilla on oma historiansa ja toimijuutensa. Etenkin saamenkäsityön eli duodjin kautta ihminen tuodaan mukaan maisemaan. Käsityön kautta myös muistutetaan saamelaiskulttuurin asemasta valtayhteiskunnassa. Ehdotan tutkielmassani tulkintaa, jossa teoksien muoto ja materiaalit ohjaavat niiden kokemista: Maiseman lävitse voi nähdä, sen voi pukea päälleen tai kokea vertaisenaan. Käsityö ja yksityiskohtiin huomion suuntaaminen näyttäytyvät teoksissa siltana maiseman eri ulottuvuuksien välillä: ne kietovat yhteen niin kokemuksellisen, symbolisen kuin poliittisen maiseman. Tämä luo pohjaa moniulotteiselle ihmisen ja maiseman erottamattomuudelle, joka olisi keskeistä tunnustaa niin ekologisia kriisejä kuin alkuperäiskansojen kulttuurien säilymistä ajatellen. Teokset tuovat esiin ihmisen oikeuden ja toisaalta myös velvollisuuden olla osa maisemaa. Maisemaa voi jopa lähestyä muotokuvana ja tätä kautta omia oikeuksiaan omaavana oikeushenkilönä. Tutkielmassa nousee kuitenkin myös esiin vaikeus kirjoittaa maisemasta ottamatta sitä jollakin tavalla haltuun. Haaste kirjoittaa vahvasti kokemuksellisista ja ruumiillisista teoksista abstraktia ja kieleen perustuvaa tulkintaa kulkee mukana läpi tutkielman. Tutkielma tuo esiin, kuinka kaksijakoisesta kielestä ja kulttuurista käsin ihmisen ja maiseman syvän yhteenkietoutumisen ymmärtäminen on sekä haaste että omalla tavallaan radikaali ajatus täynnä toisenlaisen toiminnan mahdollisuuksia.

Tiivistelmä - Referat – Abstract The aim of this study was to develop and test a survey instrument based on systemic motivational thinking. The 16-dimensional instrument was operationalized on the basis of Lindfors’s holistic system theory (Lindfors, 1995) and theoretical integration of motivation (Ford & Smith 2009). In addition, the goal of this study was to understand the motivation of the Finnish craft hobbyists and the differences between groups(!) The participants of the study were reached through craft-oriented Facebook groups and members were asked about different aspects of motivation. The quantitative data (N=3409) was collected from Facebook groups in January 2020. First, the data was tested for validity and suitability for the further tests. An overview of the motivation was carried out with descriptive tests. For further testing the theory-based sum variables were created and operationalization was verified from correlation and Cronbach’s Alpha values. The dimensional differences between group means were examined through variance analysis. The conclusion was that the most important motivational factors for all craft hobby groups were pleasure, coping and pride for choices. The result of variance analysis revealed several statistically significant differences. Electric and metal hobbyists regarded skillfulness as an important factor. For woodcraft hobbyists, self-development had a high significance. For ceramic and jewelry hobbyists the creative experience was emphasized. Among knitters the significance of the craft hobby in life generally was rated high as well as the importance of material resources. Sewists rated highly ecological sustainability and social factors as well as the meaning of the craft products itself. Crochet or weaving and embroidery hobbyists did not have any specific motivational factor to stand out.

The aim of this research is to reveal elements of contents and choices made in craft science doctoral dissertations. Total 27 dissertations have been published between 1994-2019 during the nearly 40-year history of craft science. The research theory focuses on the phenomenon itself revealing how and when the branch of science was founded and what it was based on. Theory section continues by introducing the central craft science models and theories focusing on those that are essential for the creation and objective of this thesis. The main question leading the research was: how the conceptions on craft science research content appear in craft science doctoral dissertations? The research is qualitative and inductive as it is based on analysing documents. It investigates conceptions on craft science through the dissertations. The research strategy and method is phenomenography, used also in the analysis of the data. Computerized coding was executed with ATLAS.ti coding programme and fulfilled with the help of NCT analysis model. The focus is on the dissertation abstracts. They sum up the most important information the craft scientists have chosen to share and reveal about their researches. The research aims to form an outcome space that summarises and offers an informative visual presentation of the data collected, coded and contemplated. The result of the analysis is a selection of categories of description that form an outcome space, which is common for phenomenographic research. The categories of description are: craft maker, role of craft, holistic craft, craft context and choices considering craft science researches. The outcome of the analysis is compared to craft science theories introduced in the theory section. Research findings also include a number of additional research suggestions and ideas.

The aim of the research is to study how handcrafts as a subject in primary education is conducted in the 1980’s and the 2010’s as well as to compare the subject content and objectives from the point of view of the teacher. There has been much change in the subject of handcrafts from the 1980’s to the present. The value of hand-made crafts has diminished as it is nowadays possible to affordably purchase fabrics and other textiles from shops. In the 2010’s, handcrafts are once again valued as upcycling and recycling are fashionable. Additionally, according to previous research, art subjects support learning in other subjects in many ways. Information from research allows us to focus on the functionality of the content and objectives of handcrafts as a subject in primary school education. The research was conducted by interviewing five school teachers, one of whom was retired. Three of the teachers worked under the national school curriculum of 1985 and four from the 2014 national school curriculum. The teachers were interviewed at their teaching schools, as well as the retired teacher, who was substituting at the school from where she retired. Additionally, one of the teacher’s was interviewed in the researcher’s home. The interviews were recorded at the time and transcribed after the interviews. The research method used was material-based content analysis. The method for analysis was thematic. The responses of the participating teachers corresponded well to the curriculums at the time. In national curriculum of 1985 specified very carefully what the children were to learn in the subject of handcrafts. The objectives and content in the 2014 curriculum are conveyed broadly without details and can be interpreted in a variety of ways. In the 1980´s in primary education it was important to learn techniques which were practiced in depth. Nowadays in the 2010`s these skills don’t necessarily have a chance to develop. Earlier, the final outcome of the handcraft was important as the item usually had a practical function. Nowadays most of the time allocated for handcrafts is put towards ideas, planning and other work stages and there is little time for the handcrafting itself. Overall, the teacher’s opinion was that the earlier curriculum supported the child’s development of perseverance and longterm concentration. Technology is now taking too big a role.

The purpose of this study was to survey and describe attitudes and perceptions related to craft education in a target group of 6th graders (n = 143) in three primary schools in Vantaa. These attitudes and perceptions were compared to corresponding attitudes of 9th graders (n = 459) living in Southern Finland's urban areas surveyed by the Finnish national board of education (FNBE). Differences in attitudes and perceptions were also compared between boys and girls in different grades. In addition, the purpose of this study was to theoretically examine the applicability of the FNBE's attitude scale for assessing students' self-efficacy in craft education The data was collected with the FNBE's attitude scale which is loosely based on the Fennema-Sherman test. The students' attitudes and perceptions were measured in three attitude dimensions: "Self-concept in Craft", "Liking Craft" and "Experiencing utility in Craft". The research method was a survey-type cross-sectional study and the data was analyzed with statistical methods. The applicability of the FNBE's attitude scale to assess self-efficacy in craft education was examined theoretically and conceptually, as more precise examination would have required an experimental approach. The results showed that the attitudes and perceptions of 6th and 9th graders in craft education were on average quite positive. The self-concepts in craft were slightly more positive among 6th graders than among 9th graders. The difference was due to the lower perceptions of 9th grade girls compared to 6th grade boys. The only difference observed in "Liking Craft" was among 6th graders: girls indicated liking craft slightly more than boys. Attitudes in "Experiencing utility in Craft" were slightly positive among all groups. 9th grade boys were observed to experience more utility in craft than 9th grade girls. All the observed differences were statistically significant (p < ,05) but the effect sizes of gender and grade were small (r = ,11-,19, ηp² = ,010-,031) and thus they explained only a small part of the differences. Furthermore, "Self-conception in Craft" dimension from the FNBE's attitude scale was found to be applicable for assessing self-efficacy of students in craft to some extent. In conclusion, it seems that a self-efficacy scale for craft education does not exist and this study pointed out that one should be developed, as there is arguably a need for one.

The purpose of this study was to examine the organization's history in Finland especially from the perspective of crafts. Period under review is on the turn of the 19th and 20th centuries. I have called this organization as a craft activism. The purpose of this research was to illustrate the importance of the organization in crafts. In previous studies craft is not usually connected to activism. The purpose was to determine the identity of craft activists and the manifestations of what kind of activism was reflected. Furthermore, the study was to shed light on history of the Craft Museum of Finland of its early decades. The study is a historical study with view of craft science. History as a science is suitable to use in the context of craft science. Historical research is the interpretations of explanations for traces of human activity as well as issues and phenomena in the relations between weighting. Craft Science is also examining of the relationship with the human world, so the historical perspective to the selection is well suited to study of craft science. The material for the study is the protocols and the other archival sources from Craft Museum's and The Finnish society of Crafts and Design's collection. Study has also material from news papers. The study shows that the crafts have been a diverse operation as an integral part of the organization, which began to develop in the 1800s in Finland. The craft has had a significant role, particularly in those organizations where actors have been women. Especially women, craft has been a natural approach, which in the late 1800s also harnessed to the needs of the society. The Craft has established many organizations and it was an important strategy in many philanthropy associations. Craft activism associated with substantially the museum and exhibition activity and industrialization was the key factor in that activity. Industrialization demand marketing channels, through which the exhibitions were intended to answer. On the other hand, the exhibitions reflected the educational motives and through them sought to improve craft skills and cottage industry beside of factory industry. Craft is an integral part of historical research, as it has been important part of people's everyday life for centuries. Nevertheless, there are little historical studies which have done from the perspective of the craft. Usually craft occurs as a part of economy or politics. Also organization activities have not been studied lot of the perspective of craft. Craft science leaves the opportunity to expand on these points to historical studies.

The purpose of the study was to find out how sustainable development will be taken into account in the national criteria is shown. My presumption was that sustainable development is no longer on display in the new core curriculum as clearly as in the previous one. My research is qualitative. I looked at the core curricula in 2004 and 2014 by theory bounded content analysis. I studied my own subject crafts and values, mission and operational culture in the common part of national core curriculum. I took into examination also the thematic entities from 2004 and the wide-range knowledge from 2014 that integrate all the subjects. I looked into the process of drawing up the documents, their contents and their form in order to find out the way they were drawn and what kind of elements had affected the drawing process. After that I analyzed the values, mission, operational culture, learning environments working methods separately in relation to sustainable development. Then I took under observation the thematic entities and the wide-range knowledge. Finally, I examined crafts and the presence of the sustainable development in it. I found out that sustainable development occurs creditably in the new core curriculum in every aspect of it, in social, cultural, ecological and economical aspect with emphasis on the two first ones and more clearly than in the previous core curriculum. This may depend on the fact that the core curriculum is more precise in general guidance and much more extensive. On the contrary in craft the trend was quite the opposite. Sustainable development and consumer education appear in the core curriculum in 2004 through the whole subject. In the new core curriculum, sustainable development is lost in the excess of all goals. There is a fundamental difference in the core curricula. The document in 2004 is restricted in comparison to his successor. As result the instructions in the new core curriculum are more comprehensive, more detailed and more versatile throughout. And it is significantly more normative.

The aim of this study is to survey the meaning of craftmanship in goldsmith occupation. The image of craftmanship is built theoretically as well as researcher's own practical experience. The study describes a dialogue between self-employed goldsmith's everyday work and trade union's opinion. Suomen Kultaseppien Liitto (The Goldsmith Association of Finland) was chosen for the trade union, because it is the biggest, the oldest and the most influential on the occupational area. The research data are volumes 1995 - 1998 of occupational membership journal of Suomen Kultaseppien Liitto. The data analyzed with Adapted Content Analysis and Grounded Theory. The professional occupation of goldsmiths, the role of craftmanship and the future of the occupation are discussed. Additionally, the relationship between the Suomen Kultaseppien Liitto and occupational culture and profession of goldsmiths was studied. Craft and craftmanship is most often discussed in articles related to tradition and education. Craftmanship is understood very idealistically, with little meaning in practical life. St. Eligius and the skill and art of goldsmiths in St Petersburg are raised to symbols of craftmanship. The occupational image is broken and a clear conflict between education and occupation is visible. Education produces artist-craftsmen, while handicraft workers are required in industry, and retailers or specially trained store assistant in business. Computer-aided design and manufacture render handicraft workmanship unnecessary. In a pessimistic view, the future possibilities of the goldsmith occupational profession are dim, because the artist-craftsmen are bound to lose to fast-paced machines. On the other hand, people involved in goldsmith education see the future light, designer-goldsmiths developing the occupational to new dimensions. Suomen Kultaseppien Liitto represents goldsmiths in public. The union, however is governed by non-artisan goldsmiths. The union stresses business attitudes and entrepreneurship, and has succeeded in protecting the privileges of retailers and industry. Goldsmiths profession is seen in the research data as a combination of precious-metal industry, jewellery and watch stores, and a goldsmith shop is considered a specialized giftstore. The goldsmiths occupation is not a profession, and the Suomen Kultaseppien Liitto is not a trade union for artist and craftmen. Accordingly, part of the representative authority of the union could be transferred from the Association to Taidekäsityöläiset Taiko ry, a member of organization of Ornamo. Results of this study show the importance of defining the images of the goldsmith occupational profession and the trade union. The results could be applied to goldsmith education to examine what would be the optimal education and training for present employment opportunities. The important background theories has been the theories of Habermas and Lévi-Strauss.