Browsing by discipline "Slöjdvetenskap"
Now showing items 21-40 of 111
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(2020)Tavoitteet: Tutkimuksen tarkoitus on perehtyä William Shakespearen Romeo ja Julia-elokuvan puvustukseen ja nostaa esiin puvustukseen vaikuttaneita tekijöitä. Tutkimuksessa pyritään selvittämään elokuvan puvustuksen erilaisuuksia kahden riitaantuneen suvun välillä. Lähtökohtaisena oletuksena oli, että puvut poikkeavat toisistaan. Tutkimuksessa pyritään löytämään näihin kahteen puvustukseen vaikuttaneita tekijöitä. Menetelmät: Tutkimustrategiana oli tapaustutkimus, joka kohdistui Baz Luhrmannin ohjaamaan William Shakeskeparen Romeo ja Julia (1996)-elokuvan puvustukseen. Aineiston koonnin menetelmänä toimivat valmiit dokumentit, ja tutkimuksen aineistona käytettiin elokuvaa sekä elokuvan DVD-lisämateriaaleja. Aineistoa analysoitiin sisällönanalyysia hyödyntäen. Tulokset ja johtopäätökset: Sukujen puvustuksien erilaisuudet näkyivät paitojen erilaisuutena, väreissä, materiaaleissa, asusteissa, piirteissä ja heille luodussa tyylissä ja merkityksissä. Johtopäätöksenä on, että suvuilla on toiseen sukuun nähden hyvin erilainen oma tyylinsä pukeutua. Sukujen puvuista löytyi myös yhtäläisyyksiä, kuten uskonnollisia kuvia, joita oli molempien sukujen vaatteissa. Sukujen puvustuksiin elokuvassa vaikuttivat pukusuunnittelija, ohjaaja sekä muut elokuvantekijät, elokuvan kokonaisilme, tyyli, käsikirjoitus, miljöö, kuvauksen aikakausi sekä puvustuksen keino sanattomana viestijänä. Elokuvapuvustus rakentuu yhteistyönä ja se on monien tekijöiden summa.
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(2018)The aim of my study is to find out what kind of significants is given to bags made of sealed coffee packages. Do these significant have an impact how willing people are to use coffee package bags? Coffee bags crafts are reasonably common in Finland, but still there isn’t much research about the issue. The only research found was Tuula Nissinen’s study (2015) about coffee bag crafts as a hobby. In her study the perspective is the significance of the hobby for the crafters. Material of this study was collected by interviewing four women with the theme interviews and using help of semi-structured individual interviews. The results were analyzed linearly with means by the qualitative content analysis by classifying and connecting. The methodological approach of the study is semiotics, in which the people's ideas are examined around the appearing phenomena. As the result of this study appeared, that bags made of sealed coffee packages aroused strong opinions. One interviewee considered her bag beautiful, practical and strong. The others thought that the appearance was ugly and cheap, and furthermore the style was appropriate for elderly people. The way, that coffee package bags were crafted, had an influence on the appearance. That affected the semiotic meanings of the product and the interest to use the coffee package bags. Therefore the appearance of the upcycled products should be improved by design, because materials from a recycled sources are more environmentally friendly than from virgin sources
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(2017)The aim of this qualitative study is to describe and analyze the craft process by the fish skin tanner Liisa Saarnis, in particular how the material affects the product design and ideas. The aim is to identify the challenges and opportunities that the designer have to face in the material designing process. Background information on the material and its uses was collected true online articles and news. The research data was gathered interviewing Liisa Saarni, using semi-structured interview method. The products and material samples that was shown by the Saarni was also supporting the data. The research data were analyzed using qualitative content analysis. Liisa Saarnis craft process and product design were complex, overlapping and pro-processes took place at simultaneously. Saarnis process was confined to the skin of the fish, and its created opportunities. The material is a starting point for the design, so its share of the product design is significant. The material is setting some challenges for the designer because the processing is very time-consuming and expensive. The material is also very varied, as each fish is an individual. Fish skin tanning demands special expertise so it will never fully replace other commonly used leathers such as calf leather, but it may establish the position in high-end speciality products. Adding fish leather awareness, improving the marketing and influencing attitudes are the factors when analyzeing the future of the fish skin.
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(2017)In the recent years, the focus of studying folk costumes have mainly been practicality and selection criteria. The aim of this study is to look further into how they are viewed today, and what thoughts are associated with them. In the recent years, folk costumes have not been studied from this point of view in the context of modern era. This study has been structured into three research questions: What are the meanings associated to folk costumes today? What kinds of hopes and goals is towards folk costumes? How the position of folk costumes is experienced in 2017? The objective of this study is to better understand the approaches and thoughts that are associated with folk costumes today. Answers to the former questions of study were sought by interviewing four people in the midst of the folk costume industry and building on an understanding of their experiences with folk costumes. Two of the subjects are artisans in the folk costume industry, one is a handicrafts teacher, and one an active wearer of folk costumes. The interviews were constructed as theme interviews, and the material was analyzed using narrative analysis, focusing on each subject’s experiences. The main components that rose in the interviews were both tradition and maintenance of heritage and ancestresses; aesthetic and ecological values; the relevance of the studied costume as a whole; the significance of knowledge related to the attitudes towards the costumes; and the subjects’ enthusiasm to folk costumes and sharing their knowledge and appreciation. The analysis uncovered that the subjects’ experiences were quite similar to one another. Some possible reasons for this might be a “bubble” of folk costume enthusiasts, and the tight community that has been formed around the topic. Both aspects came up in the interviews several times. The study uncovered folk costume enthusiasts’ values, thoughts and knowledge, that the mainstream might not be aware of. These sources may be useful in the objective of this study in furthering the appreciation and bettering the position of folk costumes.
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(2017)The tradition of national costumes of Finland was born along with other efforts of national romanticism during the second half of the 19th century. National dresses were used to emphasize and elevate nationality and the love of one's home regions. The national costume is a very strong symbol of national identity as a performance and as a ceremonious costume. The Finns have developed a tradition of mores and culture of the use of national dresses. As of all national traditions, it involves also excluding attitudes. These attitudes are being destabilized by the national dress aficionados of the 21th century. My interests lay in these ways of destabilizing the traditions of the national costume and the so-called misuse of the national dress. I aim to deconstruct the meanings given to national costumes by their wearers. In this study I will explore how the national dress is misused: how to apply and adapt the tradition, and how to rework items from the costume to other forms of clothing as bricolage, and how this activity is interpreted in the Kansallispuku (national costume) group in Facebook. The subject of this research is a social media community: the interactions in the Kansallispuku group. I approach the subject with the method of ethnography of the virtual communities, i.e. netnography. The frame of reference in this study is in the tradition of the study of dress and clothing with semiotic approach. Although the misuse and the adaptations of the national costume tradition can be seen as a derogating element, it appears in this study that these actions can even fortify the values of the tradition. National dress is now seen in the everyday use also. In this phenomena can also be seen some aspects of sustainability and fashionability. The misuse of the national costume appears as a takeover of one's traditions, and it is encouraged in the community of aficionados this study is focusing on.
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(2020)The aim of this literature review was to find out, what kind of textile handicrafts were collected from East Carelian area during Continuation War in 1941–1944 and who were the people who collected them and why did they collect them. Many studies have notions of this subject, but actual research about handicraft related actions in this area hasn’t been done. The research was carried out as a systematic literature review and the material was analyzed using a qualitative method. The analyzed publications were found by searching from databases and investigating the reference lists of these publications. Two historical researces, one Master’s thesis and literature from couple persons that worked in the area at the time were selected as the material of this research. Finns collected textile handicrafts from the occupied area to preserve them from weather conditions, to examine them and to teach the techniques forward. The goal was to attach the East Carelian area to Finland and collected handicrafts were a part of this academic work. The textile handicrafts that were collected represented all kinds of products, for example woven cloths, clothes, towels, laces and wall hangings. Especially scientist Helmi Helminen and Tyyni Vahter as well as handcraft teachers Tyyne-Kerttu Virkki and Maija Stenij were the ones to collect the handicrafts from the area.
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(2017)Traditional Finnish hand knitted woolen socks are usually very similar in construction: they all have the same reinforced flap heel. Today, when sharing of knitting instructions and ideas with other enthusiasts is easier than ever, thanks to social media, there are countless alternatives for knitting the heel. Using a reinforced knit doesn’t seem to be so important anymore. In this study four different knit structures usually found in woolen socks heel are compared on abrasion and pilling resistance. Also, the effect of the fiber content and price of the yarn in abrasion and pilling resistance is compared. Three reinforced knits were compared to plain stockinette knit; traditional reinforced knit, Eye of Partridge knit and two-colored pinstripe knit. Three different wool blend yarns were compared to 100 % wool. Two of the wool blends were similar in fiber content (75 % wool, 25 % polyamide), but very different in price. Two similar samples were knitted in all four knit structures with all four yarns. Samples were rubbed with martindale-device until a hole occurred. Weight loss and pilling of the samples were measured every 20 rubs. Reinforced knits were compared to stockinette knit and wool blends to 100 % wool. The two polyamide-wool blends were compared to each other to investigate if the price of the yarn effected on its quality. The study showed that the reinforced knits weight loss percentage was smaller than stockinette knits, but that they were less resistant to pilling. Hole occurred first in the Eye of the Partridge knit and last in the traditional reinforced knit. Polyamide-wool blends were considerably more resistant to weight loss and breaking than 100 % wool but less resistant to pilling. Nettle-wool blend was more resistant to weight loss than 100 % wool, but less resistant to breaking and pilling. Of the two polyamide-wool blends the more expensive yarn lasted 15 % longer before breaking than the cheaper yarn. It also was more resistant to weight loss and pilling, As a conclusion, the fiber content is more important to abrasion and pilling resistance than the knit structure. To achieve a long life-cycle for machine washable polyamide-wool blend socks it is more important to consider other factors than the knit structure of the heel. Those factors could be for example appearance and fit, or any other factor that makes the product more significant to its user.
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(2019)Purpose of this thesis is to outline decisions made designing the physical learning environment of Koulu school -concept, and further develop its elements for humanitarian work and disaster relief. It also seeks ways to take advantage of local materials and craftsmanship. Previous studies have shown that physical learning environment can improve learning results, serve to direct towards more interactive learning methods and increase overall well-being. Engaging local communities in school’s day-to-day operations develops life skills and helps normalize everyday life in difficult circumstances. Thesis was implemented as survey, which was targeted at Koulu school team members. Survey collects tacit knowledge that has accumulated within the team and structures this know-how into practical solutions to further develop Koulu school -concept. Survey was conducted online using Helsinki university’s eLomake -service and six responses were received. Data was analyzed qualitatively using theory-driven content analysis, with physical elements of Koulu school’s learning environment as analytical framework. A short action research was conducted at Za’atr refugee camp to complement the survey. According to respondents the best elements of learning environment were shade cloth and wall of blackboards. These created comfortable atmosphere and allowed for flexible room layouts. Floor cushions were considered adaptable and promoting social equality. Respondents also suggested that physical elements of learning environment should be further developed more reliable, considering difficult and often primitive circumstances of humanitarian relief work. Thesis also concludes that Koulu school’s physical learning environment, as well as processes and instructions should be developed towards craft methods. Using local materials and craftsmanship engages local communities to the school and helps making processes more flexible and robust. In order to support this, elements of learning environment should be simplified, and instructions be developed in order to meet the needs of humanitarian work.
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(2020)The aim of this thesis is to outline the strengths of craftivism as a means of activism and political participation. The investigative function consisted of describing, analyzing and interpreting themes that had emerged from the podcast Poliittisia pistoja. My intention was not to formulate widely applicable hypotheses of the phenomenon , but to gain diverse information on the subject and to understand craftivism as a current phenomenon. The thesis is a qualitative case study, where a conversation on craftivism published as an internet podcast functions as the source material. The utilized analytical method belongs to the sphere of content analysis, where the source material is analyzed and transcribed largely based on the source material. Six main themes emerged from the source material: 1) the facilitation of political agency, 2) consolation, empowerment and regulation of feelings, 3) diversity, 4) visual impact and volume, 5) performativity and emotional argumentation, 6) doing things the other way. The result of this study is a narratively intact text body, where craft is examined from the perspective of self-expression, activism and political participation. By studying craft as a channel for expressing opinions and participating in societal affairs, it was revealed that the strengths of craftivism as a means of activism were related to, among other things, the accessibility, diversity and visuality of craftivism and how craftivism enables the creation of new subject positions and political spaces. According to the source material it was also possible to vent feelings and thoughts of political grievances into the compositional and material craft process. Craftivism leading to functional products and processes, such as intimate and political cross-stiching or performative protest, is connected to historical, cultural and sosioeconomical meanings, which are addressed in this thesis.
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(2019)This study aims to find the factors that have effected the decision to apply to vocational training in the field of craft and design. This study aimed to answer three research questions that involved students background, crafts and students’ goals of the training. The selection of crafts and the future goals of students have been partly studied in the past from the same perspectives. Based on previous studies it can be assumed that students background affects applying to vocational training. However, most of the previous studies have been made several years ago. The structure of craft and design vocational training and the prospects of employment have changed in recent years. Because of these changes the research results may differ from the previous results. The research was carried out at the Ikaalinen College of Crafts and Design in April 2019. The research material was collected with a paper questionnaire and an e-form. 44 artisan students responded to the survey of which 26 studied to become Arts and Crafts Course Instructor, 12 studied to become Clothing artisans and 6 studied to become Textile artisans. The questionnaire consisted of basic information questions, multiple choice questions and open questions. Multiple choice questions were analysed quantitatively, and open questions were analysed by categorising. The practice of handicrafts since childhood and growing in an environment where crafts were present had a greater impact on the choice of the craft profession than for example the profession of parents. The majority of students felt that crafts were congenial, but all of the students did not feel like crafts as a school subject inspired them to apply to craft and design vocational training. The majority of the respondents sought to learn civic skills related to crafts and to work in the handicraft sector. Reflecting on future goals was challenging for many students which was seen as in many “I can’t say” answers.
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(2020)Käsityöstä suuri osa on luovaa tuottamista mutta kaikki luova tuottaminen ei ole käsityötä. Käsityöllä ja luovuudella on kuitenkin yhtymäkohtia, joten halusin selvittää, voisiko harrastuneisuus käsityössä tukea luovuuden kehittymistä. Tässä tutkielmassa pyrin selvittämään peruskoulun oppilaiden käsityöhön suhtautumisen ja luovuuden välistä yhteyttä kvantitatiivisin menetelmin. Vertailukohdaksi otin ympäristö ja luonnontietoon suhtautumisen ja luovuuden välisen yhteyden. Analyysit on tehty Co4Lab projektin yhteydessä tehdyn kyselyn pohjalta. Kyselyssä kysyttiin muun muassa oppilaiden käsitystä omasta luovuudestaan, suhtautumista käsityöhön ja suhtautumista ympäristö ja luonnontietoon. Kysely toteutettiin 5-portaisella Likert-asteikolla. Luovuusmuuttujan muodostin exploratiivisen faktorianalyysin perusteella kolmen muuttujan summamuuttujana. Oppiaineisiin suhtautumisen tekijöiden aineiston analyysissä käytin myös apuna exploratiivistä faktorianalyysia. Kutakin tarkastelun kohteena olevaan oppiaineeseen suhtautumista parhaiten kuvaavat summamuuttujat muodostettiin kuitenkin jättämällä yksi väittämä osioanalyysin perusteella pois, ja tekemällä negatiivisista väittämistä käännetyt muuttujat. Oppiaineiden suhtautumista kuvaavat muuttujat muunnettiin 5-portaiselle asteikolle jatkoanalyysiä varten. Henkilökohtaisen luovuuden käsityksen ja oppiaineisiin suhtautumisen välistä yhteyttä tutkin tarkastelemalla niiden välisiä korrelaatioita sekä yksisuuntaisen varianssianalyysin (ANOVA) avulla. Aineiston perusteella henkilökohtaisen luovuuden käsitys ei ole normaalisti jakautunut ja oppilaiden käsitys omasta luovuudestaan on melko korkea. Se korreloi merkitsevästi sekä käsityön oppiaineeseen suhtautumisen kanssa (r=0,26) että ympäristö ja luonnontiedon oppiaineeseen suhtautumisen kanssa (r=0,32), mutta selkeää lineaarista yhteyttä ei ole nähtävissä. Varianssianalyysin perusteella suhtautuminen ympäristö ja luonnontietoon selittää 12,1% ja käsityön oppiaineeseen suhtautuminen 8,5% henkilökohtaisen luovuuden käsityksestä.
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(2018)Craft- courses in adult education centre are a good way for learning new skills and they also have a place in meeting other, same-minded people. Courses in adult education centres may be a big part of possibilities for hobbies especially in the countryside, where the possibilities for different hobbies are more limited than in most cities. The subjects of this study are participants of one weaving-course held by Oriveden seudun kansalaisopisto. The aim of this study is to determine values and attitudes linked to crafts, that form the meaning of crafts in participants’ lives. The aim is also to determine the reasons, why the participants have chosen to take part in this particular course. The study was executed in one lesson of the weaving course in January 2016 by a paper questionnaire. The material was analysed with qualitative content analysis. The answers were themed out by adapting Kallios (2014) indicator of the Craft Sense. The reasons for taking part in the class were compared with Metsämuuronens (1995;1997) motives of hobbies. The results showed that the meaning of crafts mostly related with the effect on wellbeing, the feeling of know-how and innovativeness, that linked mostly with designing crafts. Making things by hand had an effect on person’s own wellbeing, and the experiences of learning and enhancing of know-how were often mentioned. The reasons for taking part in this particular course were mostly coherent. Familiar people and the desire to learn how to weave were mentioned as important factors. Cognitive, social and functional motives were emphasized in the answers. Doing together, good company, know-how and learning were important reasons for participating in this course.
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(2020)Tutkimukseni taustalla on ajankohtainen ja jo kauan jatkunut julkinen keskustelu taito- ja taideaineiden arvosanoihin liittyen. Esimerkiksi Helsingin sanomien mielipidekirjoituksissa monet ovat ottaneet kantaa arvosanojen antamiseen. Toiset kirjoittavat, että taito- ja taideaineissa arviointi on vaikeaa, ja arviointikriteerit ovat väljiä, joten arvosanojen antamista voidaan kritisoida epäoikeudenmukaisena. Lisäksi oppilaan itsetunnon kannalta taito- ja taideaineissa heikosti menestyminen on joidenkin mielestä erityisen vahingollista. Toiset taas puolustavat arvosanoja vetoamalla tasa-arvoisuuteen, taito- ja taideaineissa paremmin menestyvien on tärkeää saada kokea, että heidän vahvuutensa ovat arvokkaita. Monet ovat huolissaan siitä, että oppiaineen arvo laskee, jos siitä ei anneta arvosanoja. Tutkimukseni tarkoituksena on tuoda käsityönopettajien näkökulmaa keskusteluun, tavoitteena on kuvata käsityönopettajien käsityksiä arvosanojen tärkeydestä, ja eritellä heidän perustelujaan arvosanan antamisen puolesta tai sitä vastaan. Tutkimukseni rajoittuu kuvaamaan opettajan suorittamaa summatiivista arviointia. Tutkimukseni on laadullinen. Keräsin aineistoa teemahaastattelun avulla viideltä käsityönopettajalta, joista neljä opettaa tekstiili- ja yksi teknisiä töitä. Äänitin haastattelut, litteroin ne koneelle ja analysoin aineiston teoriaohjaavalla sisällönanalyysilla. Analyysin alkuvaihe oli aineistolähtöinen, järjestelin aineiston tutkimuskysymyksittäin ryhmiin ja lopulta teorian avulla muodostettuihin luokkiin. Nämä muodostamani luokat olivat taitotason osoittaminen, motivointi, taito- ja taideaineiden ominaispiirteet ja luovan toiminnan arviointi sekä arviointi ja minäkuva/itsetunto. Tutkimustulokset raportoin näiden luokkien avulla. Haastatteluissa ilmeni näkökulmia sekä arvosanojen antamisen puolesta, että sitä vastaan. Käsityön arvosanat koettiin tärkeiksi päättöarvioinnin ja jatko-opintojen takia, sekä siksi, että ne motivoivat oppilaita. Arviointi ja arvosanojen antaminen koettiin hyvin vaikeaksi, johtuen taito- ja taideaineille ominaisista piirteistä, jotka ovat esimerkiksi arviointikriteerien epäselvyys ja se, että oppilaan taitotason selvittämiseen ei ole selkeitä mittareita. Kuitenkin käsitöitä pidettiin niin tärkeänä ja hyödyllisenä oppiaineena, että sen arvosanoja perusteltiin oppiaineen arvostuksen ja uskottavuuden takia. Arvosanojen antamista taas kritisoitiin, sillä se aiheuttaa sen, että oppilaat vertaavat arvosanojaan toisiinsa. Tätä ei voi tehdä, sillä arviointi kuuluu tehdä kriteeriperustaisesti, ei vertaamalla oppilaita toisiinsa. Tutkimukseni tuloksissa painottui numeerisen arvioinnin suosiminen käsityön summatiivisen arvioinnin muotona, mutta yksi haastatelluista oli pelkän suoritusmerkinnän kannalla. Näin ollen myöskin käsitöissä arvosanojen antaminen jakaa opettajien mielipiteitä. Numeroarviointi nähtiin pääsääntöisesti selkeämpänä ja motivoivampana kuin sanallinen arviointi, joskin jokainen haastatelluista piti formatiivista, sanallista arviointia hyvin tärkeänä, sillä se tukee ja selittää numeerista arviointia.
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(2020)Kandidaattityöni tavoitteena oli tutkia innovaatiokasvatuksen monialaisia oppimiskokonai-suuksia käsityön opetuksen näkökulmasta. Monialaiset oppimiskokonaisuudet ovat olleet uuden opetussuunnitelman yksi keskeinen uudistus. Valtakunnallisessa opetussuunnitelmas-sa (POPS 2014) on määritelty useita laaja-alaisia tavoitteita, sekä määritelty vähimmäismää-rä monialaisten oppimiskokonaisuuksien osuudesta. Jokaiselle oppilaalle on tarjottava luku-vuosittain vähintään yksi monialainen oppimiskokonaisuus. Innovaatiokasvatus on uudenlais-ta opetusta ja se on yksi hyvä keino opettaa oppilaille mm. teknologiakasvatusta peruskou-luissa. Innovaatiokasvatus yhdistää käsityönopetuksen, kuvaamataidon, luonnontieteet, ma-tematiikan, perinteiset insinööritieteet ja teknologian opetuksen. Tämä tutkimus on laadullinen tapaustutkimus, jonka tavoitteena oli tutkia ja kuvailla tutkitta-vaa ilmiötä. Aineistona käytettiin Innokas Verkoston Uutta Luovat monialaiset oppimiskoko-naisuudet raporttia. Kaikki dokumentissa mukana olleet koulut ovat osallistuneet Innokas Verkoston koulutukseen ja siten julkaisussa raportoidut projektit ovat innovaatiokasvatuksen periaatteiden mukaisesti suunniteltuja. Koulutus ja sieltä saatu tieto on varmasti vaikuttanut suunniteltuihin kokonaisuuksiin. Tutkintani alla oli siis tarkemmin innovaatiokasvatuksen mo-nialaiset oppimiskokonaisuudet. Aineisto on analysoitu teoriapohjaisesti sisällönanalyysin pe-riaatteiden mukaisesti. Tutkimuksesta selvisi, että äidinkieli, käsityö, matematiikka ja luonnontieteet olivat yleisim-mät oppiaineet innovaatiokasvatuksen monialaisissa kokonaisuuksissa. Kaikki suunnitelmat sisälsivät ainakin kahta näistä oppiaineista. Kattavasti oli myös muitakin peruskoulun oppiai-neita yhdistelty, mikä todistaa, että minkä tahansa oppiaineen pystyy integroimaan osaksi in-novaatiokasvatusta. Käsityönopetus ilmeni alakouluikäisillä pääasiassa erilaisin askarteluin, mutta mukana oli myös kokonaisen käsityön periaatteet eli suunnittelu, valmistus ja arviointi. Usein käsityön oppiaineen tavoitteissa olikin kaikissa ikäryhmissä kokonaisen käsityön peri-aatteiden opetus, sekä perustekniikoiden harjoittelu. Näissä raportoiduissa kokonaisuuksissa enemmän esillä oli teknisen työn työtavat, mikä saattaa johtua innovaatiokasvatuksen peri-aatteiden soveltuvan hyvin teknologiakasvatuksen opetukseen. Monimateriaalisuutta ilmeni niin tekstiili ja teknisen työtapoja yhdistäen kuin näiden oppiaineiden sisälläkin.
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(2017)The goal of the research was to find out how the national craft curricula have evolved during citizen and basic school and how the newest 2014 curriculum posits itself in this historical continuum. The previous literature has mostly focused on time-scales of few curricula, and the longer-scale historical development has not been studied at length. The previous research has focused on themes risen by two separate craft subjects, textile craft and sloyd. My research strives to distill many themes of previous studies into a greater whole. The research is qualitative study and its method is descriptive literary survey. The literature is mostly about newest publications in craft science, pedagogics and sloyd education. Based on this research, the curricula of comprehensive school has developed craft curricula from product-centred to more holistic and process-centric, gave more focus to students' own interest and free choice, and finally in 2010's changed into more gender-neutral form. Craft teaching goals were also developed from gender-based production and maintenance skills of poor citizens into working-class consumer skills. Since 1990's, the curriculum emphasizes stresses hobby and lifestyle themes, creativity, technological understanding and project and design skills.
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(2019)Craft skills, their teaching and their importance have changed over time. Handicraft is a constantly changing entity that is always linked to time, place and socio-cultural conditions. In Finland, crafts have a long history both as a leisure activity and as a school subject. My work is a descriptive literature review. My main sources are the fundamentals of the crafts curriculum of 1970, 1985, 1994, 2004 and 2014. In my work, I’ve examined the fundamentals of the crafts studies curriculum and gone through their differences. I investigate the development in the fundamentals of the crafts curriculum during the primary school system. In the literature review, the term development refers to the development of the description of study content and goals in the curriculum regarding crafts studies. The purpose of my research was to examine the development of the curriculum of crafts from the 1970s to the present day. I study, how crafts curriculum and goals are described, and how the descriptions evolve during elementary school. For my research problem, I set the fundamentals of the curriculum in crafts during the elementary school system. I have divided this problem to the following research questions: how the study contents of crafts is described in the primary school curriculum from the 1970s to the present day, and how the description of crafts has evolved in the primary school curriculum. The curriculums differed quite substantially from one another both in number of pages devoted to crafts, as well as in their narrative scope. The description of crafts in the curriculum from the 1970s to the present day has changed dramatically. The curriculum of 1970 and 1985 describes the study contents very carefully, from techniques and materials to the works to be processed. Later printed curriculums lack this exact narrative. The description of the curriculum for basic crafts education has evolved from a very precise and detailed narrative style to a more abstract and loose style.
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(2019)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.
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(2020)Tiivistelmä - Referat - Abstract Tämän tutkielman tarkastelussa on tarkoitus tuoda esille erään käsityönopettajan näkemyksiä luonnonväriaiheisen teeman käytöstä perusopetuksessa sekä käsityön oppiaineessa, että osana monialaista oppimiskokonaisuutta yhteistyössä eri oppiaineiden ja opettajien kanssa. Erityisenä tarkastelukohteena oli laaja-alaisen osaamisen alueet. Nykyinen opetussuunnitelma (POPS 2014) korostaa käsityön opetuksessa oppiainerajojen ylittämistä, yhteisöllistä oppimista ja oppilaiden kasvattamista vastuuntuntoisiksi ja tiedostaviksi kansalaisiksi, jotka osaavat ottaa huomioon kestävän elämäntavan. Aiemmat tutkimukset ovat osoittaneet, että luonnonväriaiheinen oppimiskokonaisuus ja integraatio muiden oppiaineiden kanssa on laajentanut ja jäsentänyt oppilaiden kokonaisuuksien hahmottamiskykyä, omaan ympyröivään maailmaan nähden (Räisänen ym.2004). Tässä laadullisessa tapaustutkimuksessa tarkastelun kohteena oli yhden käsityöopettajan näkemykset luonnonväriaiheisen opetuksen mahdollisuuksista ja haasteista. Aineisto kerättiin puolistrukturoidun teemahaastattelun avulla. Haastattelun kysymykset pohjautuivat teorianosuudessa käsiteltyihin teemoihin, joita olivat: nykypäivän peruskoulu, perusopetussuunnitelma (laaja-alaisen osaamisen eri alueet), käsityö oppiaineena ja sen eri ulottuvuudet: moninaisuus, tiedostava kuluttajuus, ja luonnonväriaiheinen opetuskokonaisuus. Saatu aineisto on analysoitu teemojen avulla ja tuloksissa on nostettu esiin keskeisiä asioita teorian kannalta. Tutkimuksen tuloksissa tuli ilmi, että nykyinen opetussuunnitelma antaisi enemmän tilaa luonnonväriaiheisen opetuksen käyttämiselle, niin käsityön opetuksessa, kuin muiden oppiaineiden ja opettajien kanssa. Nykyinen käsityön opetussuunnitelma korostaa tutkivia ja kokeilevia oppimistapoja. Luonnonväriaiheinen oppimiskokonaisuus korostaisi oppilaan elämyksellistä oppimiskokemusta, jolloin oppimistilanteissa olisi aitoa kokeilua ja laaja-alaisten osaamisalueiden syvällisempää pohtimista. Yhteinen oppimiskokonaisuus vaatisi opettajan mielestä muiden opettajien kanssa yhteisen tahtotilan opetuksen toteuttamiselle.
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(2020)Aim. The purpose of this study is to find out whether handicrafts are suitable as one of the treatments for burnout and to find possible further research questions. With the help of source material, I find out the concepts of burnout and well-being at work, what types of treatments are currently used for burnout, open up the term of craft and compile information on the well-being effects of handicrafts. Methods. As a research method, I use a descriptive and integrative literature review. The method can be used to critically and comprehensively study and evaluate research that has already been done, as well as to develop new information on the research topic. Results. Based on my source material, previous research supports the idea that handicrafts could serve as one and versatile treatment for recovering from burnout. Crafts could serve as both a therapeutic element and a restorative activity in recovering from burnout.
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(2018)The aim of this thesis was to find out on what basis the recent master’s theses of craft science in University of Helsinki have been emphasized. The research was based on one main research question with three focus sections combined. The question is: how the research subjects, targets and scientific orientations of the University of Helsinki’s master’s theses of craft science in 2015–2017 are emphasized? The material under research (altogether 71 master’s theses of craft science) had focus on a certain research selection. The titles have been chosen based on the pre-definite selection of research documents as well as the abstracts and keywords for the research. The research was qualitative. The analysis method was theory based and the foundation of the research lied on the content analysis and its differentiation. To find the answers to the research questions a theoretical frame of reference has been created. The frame is based on two different scientific researches. The researchers from the University of Helsinki and University of Eastern Finland have executed these researches, that act as the basis of this particular bachelor’s thesis’s scientific analyse. The frame of reference includes the basis for the analysis of the content focused on the research targets and scientific orientations. The material of the research consists of scientifically approved documents and it was coded to achieve anonymity. The coded research material was analysed with atlas.ti-software. The material is indirectly based on humanistic research and hermeneutic-phenomenological theory of meaning – the choices made by the master’s theses researchers had an essential affect on the results of this bachelor’s thesis. The research of the craft science is diverse and multidisciplinary. As the research reached its conclusion it was clear that the most popular research subjects were design, teaching and learning, clothing, natural dyeing and sustainable development. There were two main themes for the research targets: the relation of a product and culture, and connection between the process of craft and people. Based on the scientific orientation it can be represented that during the last three years the students submitting their master’s thesis have been interested particularly in research subjects like craft culture and history, craft materials and teaching.
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