Browsing by Subject "Käsityö"

Tämän tutkimuksen tavoitteena on tutkia käsityöntekijä Julia Latva-Panttilan elämäkertaa hänen käsitöistä käsin. Julia Latva-Panttilalta jäi valtava kokoelma käsitöitä hänen elämänsä varrelta ja hänet muistetaan tarkkana ja ahkerana käsityöntekijänä sekä erittäin aktiivisena Kurikan kansalaisopiston opiskelijana. Tutkimuksessa selvitetään, miten käsityöt ovat kulkeneet Julian mukana läpi hänen elämänsä sekä miten kansalaisopisto on vaikuttanut yksittäisen opiskelijan elämään. Tutkimusmenetelmänä käytettiin elämäkerrallista tapaustutkimusta. Tutkimuksen aineisto kerättiin haastattelemalla Julian vanhinta lasta Liisa Kirvestä. Aineistona toimi myös Liisa Kirveen Kurikan kansalaisopistossa keräämä haastatteluaineisto, johon osallistui neljä Julian tuntenutta henkilöä. Tutkimuksessa esiintyvät tapahtumat ovat ajoitettu aikajärjestykseen, mutta tarkkoja vuosilukuja kaikille tapahtumille ei ole. Huomioitavaa myös on, että haastattelu on toteutettu toisen ihmisen kertomana eli itse asianomainen Julia Latva-Panttila ei ole asioita kertonut ja muistellut. Julia Latva-Panttilan elämässä käsityöt olivat hyvin suuressa roolissa. Kudonta oli Julialle ehdottomasti tärkein käsityötekniikka. Julia oli käsitöitä tehdessään hyvin tarkka ja täsmällinen eikä sallinut epäsiistiä jälkeä. Käsityöt kulkivat Julian elämässä läpi eri elämänvaiheiden ja asutettujen kaupunkien. Tutkimuksessa selviää, että vapaalla sivistystyöllä oli erittäin suuri rooli Julian elämässä. Kansalaisopisto toi hänen eläkepäiviinsä rytmiä, ohjelmaa, seuraa ja uuden oppimista. Julia oli nopea ja innokas oppija, joka muistetaan kansalaisopistolla ahkerana opiskelijana. Kansalaisopisto ylläpiti Julian käsityöharrastusta ja toi siihen uusia ulottuvuuksia uusien käsityötekniikoiden avulla. Kansalaisopiston avulla Julia oppi sellaisia tekniikoita, joita hän tuskin olisi opetellut yksinään ilman seuraa ja opettajaa. Vapaa sivistystyö ylläpiti Julian kohdalla elämän mittaista harrastusta ja toteutti elinikäisen oppimisen periaatetta.

This thesis was inspired by the question how handicrafts are and could be used as a part of rehabilitation of people with mental disorders. The same questions have earlier been dealt with by for example Sinikka Pöllänen (2006 and 2008). This study explores how young adults living with mental disorders experience handicrafts in a culture orientated workshop. The target is to describe, analyse and explicate the participants’ communal perspective to handicrafts. The data of this qualitative study was collected through group discussion with the workshop community of Leikkiväki ry. The data was analysed with qualitative content analysis. As a member of this community which I study I possess experience and knowledge of this community that surpasses the mere data collecting period. My positionality thus gives the study perspective that resembles ethnographic methods. The study shows that negative experiences in handicrafts in school have a strong influence on how young participants of mental health rehabilitation experience handicrafts later on. For the participants community spirit, easiness of doing and atmosphere that does not stress on performance are important elements of the workshops of Leikkiväki ry. The variety of activities and craft techniques, possibility to experiment and the alternation of holistic craft and ordinary craft were found meaningful. For many of the participants initiation of new and unfamiliar activities was very difficult for example because of feelings of inferiority and selfcriticism. The fundamental experience shared by many of the participants seems to be the fear of failure. During the time spent in the workshop experiences of handicrafts seemed to become more positive. Concrete doing was found to help forward from the oppressive inactivity. Handicrafts have obviously rehabilitative effects at workshop surroundings. The findings affirm the prior studies that handicrafts can support mental well-being and work as part of the rehabilitation process and be a therapeutic tool.

Aims. Pupils with special education needs (SEN) often experience challenges in social relationships and in executive functions, and their perceptions of their own abilities may be distorted. The well-being effects of art and physical education for pupils with SEN have been studied, for example, in music and visual arts, but very little, if any, research has been done on the well-being effects of crafts for the pupils with SEN. However, the studies that have been done also support the well-being effects of crafts for students who need special support, and for this reason the subject should be investigated. The aim of the study was to find out how the well-being effects of crafts are manifested in the teaching of crafts to pupils who need special support. The study describes the well-being effects of crafts for students who need special support and considers how the well-being effects could be increased. Methods. The research material was collected by observing the Explore and Code course of the first grade of the special education school in January and February 2022 for a total of six lessons. Research permission was obtained from nine students out of ten. After the observation, in May 2022, a semi-structured interview lasting about 50 minutes was conducted with the special class teacher of the observed class. Theory-based analysis was chosen as the analysis method of the study. Results and conclusions. Three well-being effects of craft emerged from the research, which were materiality, experiences of success and social well-being, which was divided into community, the development of co-operation and modeling. In order for crafts to increase well-being, the materials had to be available, and the activity had to be of a level enabling success. Sharing the achievements of one's group was important to the students, and it increased the sense of community. However, the co-operation required the help of a teacher or special needs assistant from time to time, but the development of student-led co-operation was also noticeable. Modeling, on the other hand, was related to strengthening the feeling of belonging to a group, but at the same time, the role of insecurities related to one's own abilities was considered. By taking the research results into account, when teaching crafts to students who need special support or planning interventions that increase well-being, the well-being of the children and young people belonging to the target group can be increased.

Tutkielmassa tarkastellaan kankaita ostavien kuluttajien sekä kangaskaupan asiakkaiden kulutustyylejä. Teoreettinen viitekehys perustuu Do-it-yourself –kirjallisuuteen sekä teoriaan kulutus- ja elämäntyyleistä. Kankaita ostavat kuluttajat tekevät usein käsitöitä. Aiempi käsitöihin liittyvä määrällinen DIY-tutkimus on keskittynyt kodin ehostamiseen kuten remontointiin tai pihan hoitoon. Tutkielma tehtiin kvantitatiivisella menetelmällä. Aineisto on kerätty Taloustutkimuksen internet-paneelissa helmikuussa 2020. Tutkimuksessa on 1105 vastaajaa. Vastaajista 577 on kangaskaupan asiakkaita ja 528 kankaita ostavia kuluttajia. Kankailla tarkoitetaan tutkielmassa metri- ja palakankaita. Tulosten analysoinnissa käytettiin ei-parametrista varianssianalyysiä, ristiintaulukointia ja t-testejä. Tutkimuksen tarkoituksena on syventää ymmärrystä kankaita ostavista kuluttajista. Tutkimuksessa selvitetään, miten ompelevien kuluttajien kulutustyylit eroavat ei-ompelevista kuluttajista. Lisäksi tarkastellaan sitä, miten erilaiset taustamuuttujat kuten ikä ja tulot vaikuttavat kulutustyyleihin. Tutkimuksessa tarkastellaan myös yleisesti sitä, mitkä tekijät ovat tärkeitä kankaita ostaville kuluttajille. Tulokset osoittavat, että kankaita ostavan väestön ja kangaskaupan asiakkaiden kulutustyyleissä on merkittäviä eroja. Erot liittyvät siihen, miksi ja mihin tarkoitukseen kankaita ostetaan. Kangaskaupan asiakkaat ostavat kankaita enimmäkseen vaatetukseen ja käsityöharrastukseen. Vastaavasti väestön keskuudessa kankaita ostetaan sisustustarkoitukseen. Kangaskaupan asiakkaiden ja kankaita ostavan väestön kulutustyylit ovat yhteydessä tuloihin, ompelukertojen useuteen ja osittain ikään. Matalatuloiset ostavat kankaita korkeatuloisia useammin edullisen hinnan vuoksi. Ompelevat kuluttajat ostavat kankaita muita useammin valmistuotteiden heikon saatavuuden, laadun ja ompelusta saatavan nautinnon vuoksi. Lisäksi nuoremmat ikäryhmät ostavat vanhempia ikäryhmiä harvemmin vaatteita edullisen hinnan vuoksi.

This is a research of the use and manufacture of Finland's various folk costumes and its related meanings. You can see folk costume in Finland rarely, although in many places people are still using them a lot. In dressing it is its own world to use the folk costume. The study had three research issues that were used to investigate the matter. Research issues investigated different meanings of folk costumes for their users and analyzed what the folk costumes means its user and manufacturer. The study analyzed what kind of things people can attach to use of the folk costumes. The study research what kind of role crafts had when people are making the folk costumes and whether handicrafts are needed in the manufacture of folk costume. At the beginning of the study, two theme interviews had been conducted to the people who are working with the folk costumes and based on these theme interviews, an internet-based questionnaire was prepared. The questionnaire was assigned to the target group in social media. In Facebook there are groups, with members of the people who are interested in folk costumes and many of them use folk costumes regularly. 78 people responded to the questionnaire. The study material was analyzed by a qualitative and quantitative method. Based on this investigation, it was found that the folk costume and its utilization played great importance to their users. Each user had its own meaning to the use of the folk costume, but in the investigation, the biggest importance rose to bringing their own family roots. The use of folk costume joined the user's identity, as its use is a very visible communication. In the study, it was clear that hobbies have a great role in the manufacture of folk costumes, as many defendants reported that they were a handicraft enthusiast but felt to be too novice to make a challenging folk costume for themselves.

This research seeks to clarify the factors that promote learning in craft lessons, the needs for support, and the factors behind them from the perspective of craft teachers. I also get acquainted with how craft teachers experience the realization of three-level support in the context of craft. For this research, three craft teachers who teach in comprehensive schools, were inter viewed. The interviews were conducted remotely due to the prevailing covid-19 pandemic. The implementation of the research is guided by a qualitative phenomenographic approach and the themes that emerge from the theory. After transcription, the interview material was analyzed by means of phenomenographic analysis, and the results of the study have been presented in descriptive categories specific to phenomenographic analysis. The results also present a three-step support model based on the experiences of craft teachers. The aim of this research is to describe the forms of support used by craft teachers and the factors that promote the provision of support in craft lessons. The results resulted in four categories of description that were collectively constructed from teachers ’perceptions are; work community support, diversity of teaching, safe adult and a functional learning environment. Teachers identified various ways to promote support, such as collegial support, variations in differentiation, materials and tools, the use of different group work and peer support, the importance of student knowledge in identifying support needs and the role of one's own role in earning students trust. Teachers had differing views on the implementation of the three-step support model in craft classes. A collective understanding of the forms of support used by teachers is built in the results to give an indication of how teachers apply different levels of forms of support in their work

Tutkielman tavoitteena oli kirjallisuuskatsauksen avulla muodostaa kokonaiskuva koululaisille suunnattujen käsityökerhojen tarjonnasta Helsingissä sekä niiden toiminnan sisällöstä. Lisäksi pyrittiin selvittämään tekijät, jotka motivoivat lapsia käsityöharrastuksessa. Tutkielmassa käsitellään 1.-6. luokkalaisille suunnattua käsityötä ohjatun, omaehtoisen harrastus-toiminnan näkökulmasta. Tutkimus toteutettiin narratiivisena kirjallisuuskatsauksena. Aineistoa käsiteltiin laadullisesti, yhdistelemällä eri lähteistä saatuja tietoja, tämänhetkisten käsityökerhojen toimintakentän selvittämiseksi sekä niiden sisällöllisten tavoitteiden kuvailemiseksi. Tutustuin monipuolisesti tarjolla olevaan aineistoon käsityökerhojen eri toimintakentiltä ja valitsin aineiston, joka parhaiten vastasi tutkimuskysymyksiin. Tutkimus rajattiin käsittelemään koulun kerhojen lisäksi taiteen perusopetusta ja kaupungin nuorisotoimen tarjoamaa kerhotoimintaa Koululaisten käsityökerhojen toimintakenttä on laaja ja siihen liittyy paljon hallinnollista ja sosiaalipoliittista päätöksentekoa. Helsingissä koululaisten käsityökerhoja järjestetään koulujen aamu- ja iltapäiväkerhotoiminnan lisäksi myös muissa koulujen kerhoissa, taiteen perusopetuksessa eri toimipisteissä, joista osa on koulujen tiloissa, sekä nuorisotoimen toimesta pienryhmissä ja työpajoissa. Luomisen tarve motivoi koululaisia käsityöharrastuksen pariin. Suurin osa lapsista valitsi itse harrastuksensa oman kiinnostuksen mukaan, mutta myös vanhemmilla ja kavereilla oli iso vaikutus harrastusten valikoitumiseen. Käsityökerhojen toiminnan sisällössä korostui ainakin tavoitteissa toiminnan omaehtoisuus ja lasten mahdollisuus vaikuttaa opetuksen sisältöön.

Aims. The research question of this study is, how do craft teachers differentiate their teaching for students with Finnish as a second language. The phenomenon of differentiation is studied through the three dimensions of differentiation. Those dimensions are: aims, learning contents and learning methods. These dimensions originate from an Kallio and Metsärinne (2015). These dimensions were connected to the phenomenon of differentiation and the research question will be approached from these three dimensions. Methods. The data for this research was collected by observing. The observation took place in three multicultural schools in the metropolitan area. The research subjects were three craft teachers from whom i asked permission for this process in person. Two of the teachers teached textile craft and the third teached technical craft. First the observations were written down in an observation sheet and afterwords transcribed and finally analyzed by the content analysis method. Results and conclusions. All three craft teachers used differentiation as a teaching method with students with Finnish as a second language. Ways of differentiation appeared in all three dimensions, of which learning methods were most differentiated. An example of differentiating learning methods was elucidation. Elucidation appeared in the teaching both in spoken and in unspoken communication. Learning contents were the least differentiated. With regard to the research question, a remarkable finding was the integration of differentiated teaching. Differentiation methods were not only aimed at students with Finnish as a second language students but at all students. The conclusion is that by differentiating the whole class instead of one or a few pupils, the benefits of differentiation are expanded to a greater amount of pupils. Differentiation has to be a carefully considered teaching method in order for it to serve each pupil in the best possible way.

The aim of this study was to examine what kind of therapeutic effects the crafts have and how the crafts are used in therapy and as a therapeutic tool. Another aim of this study was to investigate and analyse what kind of therapeutic outcomes doing crafts may lead to. The research questions utilized in this study were: 1. How are crafts used as therapy and therapeutic activity? 2. What kind of therapeutic effects does the literature have on crafts? Previous studies have shown that crafts have a positive impact on overall well-being. Doing crafts has been stated to reduce stress and improve life management. Studies have found crafts to ease feelings of pain or grief, and therefore not letting the negative emotions dominate life of an individual. According to the studies, doing crafts allow an individual to pass all the negative emotions for a moment to be processed later during more suitable timing. Based on research on the subject, crafts have been identified as one of the tools to increase well-being and quality of life. Crafts can be used as a therapy or as a part of therapy. In this study, literature is used to describe how crafts are used in therapy and as form of a therapy and what therapeutic effects crafts have. The research was carried out as a descriptive literature review. The research material was collected in spring 2019 from the Helka library and Ethes database. Earlier studies and published articles on the subject were utilized as references. The material was reviewed, and answers were provided to the research questions. According to the literature review, crafts were used both as a therapy and as a therapeutic tool. By making crafts, the makers felt that things in life could be influenced and that crafts get to the makers a way to escape to their own world, with their own thoughts and feelings. Crafts also helped them to become aware of themselves. Crafts seemed to have an influence on the mind, emotions and cognitive skills comprehensively. A positive impact on life management and quality of life was also detected on this study.

The aim of this study was to find out, how an individual embraces the craft making as part of self-image so strongly, that they seek to work with crafts also professionally. Guiding question in the study was following: what kind of experiences forms craftsman professional identity? Purpose was to find ways to support the individual in search of his/her own resources and strengths. The formation of an identity was seen as a narrative process that is transforming during one’s lifetime, involving only things that are relevant to oneself. Handicrafts were seen as a supportive activity for growth and development. The research was carried out as qualitative and biography methods were used in collection of material. The material consisted of three handicraft teacher students essays written at course and their craft-biography’s, which they made during the research. Crafts as a part of individuals self-image was interpreted with phenomenological-hermeneutic ways using theo-ry directive content analysis. The material revealed that tendencies and motivation of oneself to do crafts, are affecting to how individual creates self-image where crafts are seen as part of personality as well as they affect to a choice of one’s career path. Turned out that it is important to have social envi-ronment which supports individuals own actions and decisions. It’s also important to have operating environment which gives lot of craft experiences. Handicrafts got their meaning for example as a creative and wellbeing supporting action which seem to be especially re-warding when experience is shared. Results can give guidance about which kind of raising methods and supporting actions we can create or give to help individuals to increase their self-knowledge and build up worldview that is appreciating handcrafts.