Browsing by discipline "Slöjdvetenskap"

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 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 aim of this study was to analyze the flow experiences of craft and art professionals and how these experiences are linked to happiness. Flow experience was defined by the typical flow characteristics determined by Csikszentmihalyi. The flow experiences were analyzed through the various stages of the creative design and manufacturing processes. It was assumed that creative work offers diverse opportunities for the emergence of flow experiences. This study also examined the impact of the community and environment of Fiskars on the flow experiences. Ten craft and art professionals who work in Fiskars were interviewed for the study. The method of research was content analysis. The data associated with the main research question was analyzed with theoretical connections to flow theory. The analysis of the other research questions was conducted on the basis of the data. In practice, themes relevant to the study were derived from the data. The flow experiences of craft and art professionals occur on the design and manufacturing stages of the creative process. The difference between these was what created the flow experience: the challenging problem solution or the smooth routine. The flow experience in the creative process usually occurs when control is achieved. Concentration appeared to be the key feature of the flow experiences. The environment in Fiskars enabled the essential features of the flow experience, such as concentration. The association of creative people was seen as inspiring. Self-realization and the possibility of self-relevant work brought happiness to the lives of artisans and art professionals. Flow was attached to the broader happiness, as well as to moments of success. In terms of happiness the whole creative process was more crucial than a single flow experience. The strong intrinsic motivation led artisan and art professionals to implement personal ideas and thoughts in their work. The autonomy of the individual appears to be essential for achieving flow and happiness.

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.

Tutkimuksen tarkoituksena oli selvittää vankilassa käsityötä opiskelevien, harrastavien ja vankityönä käsityötä tekevien vankien tähän elämän tilanteeseen liittyviä käsityötoimintaan osallistumisen kokemuksia ja heidän käsityölle antamia merkityksiä. Tutkimukselle asetettiin kolme tehtävää. Tutkimuksen ensimmäisenä tehtävänä oli kartoittaa mitä käsityötoimintaa Hämeen lääninvankilassa järjestetään. Toisena tehtävänä oli selvittää millaisia kokemuksia Hämeen lääninvankilan tutkinta- ja vankeusvangeilla on käsityötoimintaan osallistumisesta vankilassa oloaikana. Kolmantena tehtävänä oli selvittää millaiseksi vanki kokee käsityön merkityksen itselleen vankilassa oloaikana. Tutkimusaineisto kerättiin haastattelemalla kahdeksaa Hämeen lääninvankilan vankia 13-14.10.1997. Neljä heistä oli tutkintavankia ja neljä vankeusvankia. Kaikki haastateltavat olivat miehiä. Haastatteluja varten haettiin tutkimuslupa Oikeusministeriön Vankeinhoito-osastolta. Haastattelut olivat puolistrukturoituja. Haastatteluaineiston analyysimenetelmänä käytettiin Grounded Theory -menetelmää. Tutkimus osoitti, että Hämeen lääninvankilassa järjestetään käsityötoimintaa tutkinta- ja vankeusvangeille vankityönä, harrastuksiin, ammatilliseen koulutukseen ja kurssitoimintaan liittyen. Vankien haastattelujen mukaan käsityön tekemisessä ovat mielekkäitä asiat, jotka liittyvät tekemiseen, oppimiseen ja sosiaaliseen vuorovaikutukseen. Ei mielekkäinä asioina käsityön tekemisessä pidettiin motivaatioon, oppimiseen ja aikaan sisältyviä asioita. Tutkimuksen perusteella voidaan tehdä se johtopäätös, että tutkinta- ja vankeusvankien käsityön merkitykset kohdistuvat tekemiseen, sosiaaliseen vuorovaikutukseen, vaihteluun, mielialaan vaikuttaviin asioihin, oppimiseen,osaamiseen, ajan käyttöön, taloudeliseen hyötyyn ja fyysisen ympäristönmuutoksiin. Tutkielmassa esitellään vankien kokemuksia ja mielipiteitä käsityötoimintaan osallistumisesta vankilassaoloaikana. Näitä kokemuksia voidaan käyttää esimerkiksi silloin, kun suunnitellaan ja kehitetään vangeille järjestettävää käsityötoimintaa.

Aims of the Study. I began to think that teachers have a lot of power when they are developing learning tasks for students. I am interested in what learning tasks are chosen to be taught and what arguments are posed. The aim of the study is to show how learning tasks are developed in teacher training and what arguments are posed to support the decisions. Teacher has the most impact on developing learning tasks and therefore his or her perceptions (regarding crafts and learning) are also being studied. Studies have been made about what do teachers plan in general (for example Zahorik, 1975) but now developing learning tasks is in the spotlight. I began to understand the outlines of my study by doing a mind map (or as in my study a figure of preunderstanding). Because I have been in teacher training I have knowledge based on my experience. I used this knowledge when developing my preunderstanding. I have two research questions. 1.Which teacher trainees' perceptions (regarding crafts and learning) have influence in developing learning tasks? 2. How and with which arguments are learning tasks developed for craft lesson? Research Method. Five craft teacher students took part to this study. They attended to teacher practice in fall 2016. Student teachers' portfolios of the practice were analyzed and student teachers were interviewed. This study is a qualitative case study. Craft teacher students are a specific group and the learning tasks that they have developed is even more specific case. First, I explored the portfolios and based on that information I developed the themes and questions for the theme interview. The portfolios and the interviews were analyzed together with content analysis. To guide the analysis, I used six questions. Relating to first study question: Which perceptions about craft and learning do student teachers describe in portfolios and at the interviews? How do these perceptions translate into learning tasks? Relating to the second study question: How do learning tasks develop? What impacts do various factors (for example learning environment, students, competence) have on learning task? How do student teachers argue their decisions regarding learning tasks? The Results. The student teachers' perceptions had a lot in common with the year 2014 national core curriculum. Phenomena-based learning, inquiry-based learning and collaborative learning were repeated as student teachers' learning perceptions. Teacher's task is to support and inspire students. Perception of crafts highlighted the joy of making crafts and growth of self-esteem. The differences between student teachers were for example how open the learning tasks were. Some were more eager to keep things in their control. All the student teachers got a theme from the teacher. The theme was the base for planning. Developing a learning task usually started by setting learning goals. On the other hand, a learning task that student teacher thought of, could be the start of planning. While planning student teachers thought a lot of students: What would be useful for students to learn? What abilities and skills do they have? Student teachers own perceptions affected on planning learning tasks: What is important to learn (within the time and theme limits) in my opinion? Planning quite accurate schedule was also considered important although it often changed during lesson. Factors that influence on learning tasks are learning goals, national core curriculum, students, learning environment, materials, time, perceptions regarding crafts and learning, competence and teacher. Students, learning goals and student teachers' perceptions have more impact on learning tasks. Planning the space helps the lesson run as well as managing the group, so it is a pedagogical way. Class room planning affects very little into learning task. This is also the case with materials and equipment that are essential for work but do not affect much into the learning tasks. Teacher gives advice and supports student teacher. Sometimes teacher helped to plan or advised to leave something out from learning task. But to learning tasks teacher had only little effect. The choices that were made (regarding learning tasks) were argued with student teacher's perceptions and national core curriculum. The national core curriculum reflects the prevalent perceptions regarding learning and crafts. These perceptions appear also in student teachers' perceptions. The learning tasks were planned to benefit students so that they learn useful skills and knowledge and that they would be motivated and can feel success. One argument was that teacher's advices shaped the learning task.

Objectives. This study examines the way Finnish handcraft blogs approach handcrafting. By exploring handcraft blogs, one can find out how handcrafting is approached in them and how the phenomenon of craft is transmitted through them. It is important to become aware of the ways in which handcrafting is approached, as these ways build and shape our common reality actively. Handcraft blogs are an important part of the Finnish craft culture and they help build handcraft-related phenomena and promote the spread of various ideas and ways of thinking. This study examines what kind of handcrafting discourses could be interpreted in the writings and comments of Finnish craft blogs and what those discourses could tell about the broader representation of handcrafting and being a maker. Methods. The blogs chosen for this study were four popular Finnish craft blogs. The data consisted of a total of 32 blog entries published in October 2016 and their related comments. The data were analysed inductively with discourse analysis. Results and conclusions. Four dominant handcrafting discourses were interpreted from the data. The discourses were related to dreaming, community, success and being a maker. The discourses appeared in the data as their own entities, but overlap and shared attributes could also be found. In the data, handcrafting was approached by discussing completed and unfinished products or processes along with dreaming about doing, especially in the pursuit of finished craft products and the sense of succeeding in something. Based on the set of discourses, handcrafting is a communal activity through which crafters can encounter others and communicate. Handcrafting was approached by both positive and negative ways, but the main thought was the importance of handcrafting and the positive things and experiences that can be achieved with it. Based on the data, the mere fact of dreaming and planning is a significant activity. The discourse-based image of a handcrafter, who has to cope with different expectations and pressures, is complicated and conflicting.

Objectives. The new curriculum of crafts teaching that will be brought into use of autumn 2016, introduces a new concept of crafts which is called multimaterialism. Multimaterialism will consist of the materials, equipment and techniques of both textile work and technical work. At the same time, teaching lessons of crafts will be reduced in secondary schools. Previously, in crafts the finished product and used skills have been seen as great importance for teachers' competence and student's learning. Former studies that have been completed have seen craft as a process which occurs inside of textile or technical work. Based on some studies, the way of teaching crafts seems to be changing to multimaterialism. In these studies crafts has been seen as a part of the technical development and design. This study examines the teacher's competence through professional and pedagogical views. In addition, the features of crafts teacher's specific competence were examined through meaning of skills, product and process-related meanings, complete craft and pedagogical way of thinking which is connected to crafts teacher's work. Research question is that, how the new curriculum of crafts teaching will challenge the educational community and teachers who are planning and working with teaching. Second question is how the new curriculum will challenge the teacher's competence. Methods. The study was conducted as a multimethods case study, which utilized qualitative data. Multimethods was chosen because it helped to get more diverse information. The research materials in this study were video material from two events and the supplementary material related to these events. The first video material was derived from a panel about multimaterialism, from the discussion of five crafts curriculum experts. In addition, there was also Flinga-comments, enabling the public to participate in the debate on the big screen. There were approx. 80 participants at the event, but due to the on-line broadcast the amount was approx. 160. The second video data was collected at a meeting of the textile teachers union's member association's teachers, who discussed about the new curriculum. From this meeting written material about crafts elective lessons was received. At the event there were 30 textile teachers. The data was analyzed in accordance of the research questions and themes from the data, using the ATLAS.ti program. From these themes four main themes were found that were corresponding to the research questions. Results and conclusions. The challenges facing the teachers competence and the educational community were in some ways overlapped. The findings were looked upon in the light of multimaterialism. Based on the research the challenges of crafts education that arose were 1) Taking new curriculum into use as well as the dialogue of the teacher's values and the curriculum, 2) understanding and implementing multimaterialism, 3) The guarantee of the crafts teachers employment and high-quality crafts teaching. 4) Challenges to the teacher's competence and the challenges the school community were partly overlap. Teacher's competence challenged the changes in the job description and co-operation, understanding skills, understanding of the craft process and product, as well as understanding craft's pedagogy. Dialogue of the theory and the data can be said to be the key role of the teacher when the local crafts curriculum is drawn up. Crafts teachers must be able to find their own crafts values and practical skills in common with the new curriculum. But In same way must also adopt new approaches to crafts teaching so that she/he is able to justify the place of crafts teaching to the educational community. In addition the educational community must allow for the training of teachers and implementation of education so that the objectives of the curriculum can be carried out.

When Finland occupied East Karelian territories in Soviet Union during The Continuation War (1941 1944) Finnish people had also to take care of the inhabitants of the occupied East Karelia. For example there was a lack of clothes and shoes during the wartime. In order to facilitate clothing situation and to provide more opportunities to work for women, Finnish people founded some workshops in East Karelia. Workshops also helped to collect East Karelian craft products. One of the workshops was founded in the city of Olonets in October 1941 and it was in operation until June 1944. This workshop is the subject of this thesis. The aim of this thesis is to find out with the microhistorical approach what kind of functions the workshop of Olonets had during The Continuation War and who worked in the workshop. In this thesis I also examine women's crafts in the Olonets workshop and their meaning during the wartime. I collected the material of this thesis from different places. In February 2010 I interviewed Talvikki Lausala, the leader of the Olonets workshop, who worked in the Olonets from May 1942 to June 1944. From the Virkki Käsityömuseo I looked for objects which have been made in the workshop of Olonets. Tyyne-Kerttu Virkki collected crafts from the East Karelia when she was working in the area and in the workshop from 1941 to 1944. Archive material I found from the Finnish National archive and from the archive of the Tyyne-Kerttu Virkki -Foundation. East Karelian women and girls who were not able to do anything else came to work in the Olonets workshop. If women could not go to work outside of home, they had an option to do the same crafts at home. There were three Finnish women, Tyyne-Kerttu Virkki, Talvikki Lausala and Sofi Nyrkkö, who worked and led in the workshop of Olonets. In addition to the workshop, there was a dress maker's atelier in which clothes were made to order and soldiers uniforms were repaired, a small museum and a shop to sell products of the workshop. Craft products were also exported to Finland. Courses were organized in which Finnish women taught East Karelian crafts.

Objectives. The underlying and starting point of this thesis is the idea of the importance, appreciation and self-esteem of girls. The study's research task is to make the girls' perception of themselves visible in the contexts of the school, Icehearts afternoon activities and art projects. The focus is on girls' own selves, but also on the girls' perception of themselves as girls, what is it like to be a girl in everyday social communities. The theoretical background of the study deals with peer relationships, gender and peer relationships, self, self-esteem, art-based working methods in research and in work with children and young people. The study also includes girls and girls' history, as well as gender roles, especially in school. Methods. Six fifth-grade girls from the Icehearts girls' team, founded in Vantaa, participated in the study. The study went together with the art project with the girls. The research material was collected through observations, survey forms and group interviews. The written material has been interpreted as narratives. Some of the answers are also shown in the graphs, and the results of the group interviews in the form of a mind map. Results and Conclusions. Narrative research does not aim at objective or generalizable knowledge, but it aims to produce local, subjective and personal information. Girls' evaluations of themselves are presented separately for each girl in their own chapters. Based on girls' replies, friends and Icehearts appeared to be important to them. The way the contexts of this research, school, Icehearts and art project, effect on the girls' selfs cannot be precisely specified. According to studies, the self is still changing during adolescence. This can be seen also in this study: selfs turned out to be variable and contextual.Girls' perceptions of themselves as girls are put together in mind maps. The girls in this study made a clear distinction between girls' and boys' behavior, "being". The traditional roles of a boy and a girl were present at least on one level. Being a girl was, however, seen very positively. The girls didn't think being a girl would cause limitations in their future lives.