The Making-Of: An Autoethnographic Cinema on the Meanings of Contemporary Craft Practicing for a Young Hobbyist

Kouhia, Anna

doi:10.1080/14759756.2015.1084788

Cited by 16 publications

(12 citation statements)

References 28 publications

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“…Paying attention to the quietly activist processes involved in everyday creative making precipitates a reassessment of craft: its genres, institutions, practitioners, networks, protocols, practices and the methodologies we use to analyse and understand and them. Recent studies of textile processes employ a range of methodological approaches that draw on: anthropology (Harriman 2007), ethnography (Shercliff 2015; Desmarais 2016), auto-ethnography (Kouhia 2015), linguistics and narrative theory (Gilchrist et al 2015), co-production, co-creation and co-design (Loveday-Edwards and Maughan 2014; Sanders and Stappers 2008), as well as crafts theory (Ravetz, Kettle and Felcey 2013). The case study projects discussed here draw on these approaches and employ elements of auto and collective ethnography, unstructured participant interviews, arts methods, video and photographic documentation to capture the experiential qualities of knowledge production through stitch.…”

Section: Making Meaning From Making Dialogues To Making Things Togetmentioning

confidence: 99%

The Power of Quiet: Re-makingAffective Amateur and Professional Textiles Agencies

Hackney¹,

Maughan

Desmarais

2016

Journal of Textile Design Research and Practice

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This article advocates an enlarged understanding of the benefits of manual creativity for critical thinking and affective making, which blurs the boundaries, or at least works in the spaces between or beyond amateur and professional craft practices and identities. It presents findings from the Arts and Humanities Research Council (AHRC) funded project: Co-Producing CARE: Community Asset-based Research & Enterprise (https://cocreatingcare.wordpress.com). CARE worked with community groups (composed of amateur and professional textile makers) in a variety of amateur contexts: the kitchen table, the community cafe, the library, for instance, to explore how critical creative making might serve as a means to co-produce community agency, assets and abilities. The research proposes that through 'acts of small citizenship' creative making can be powerfully, if quietly, activist (Orton Johnson 2014; Hackney 2013a). Unlike more familiar crafts activism, such 'acts' are not limited to overtly political and public manifestations of social action, but rather concern the micro-politics of the individual, the grass roots community and the social everyday. The culturally marginal, yet accessible nature of amateur crafts becomes a source of strength and potential as we explore its active, dissenting and paradoxically discontented aspects alongside more frequently articulated dimensions of acceptance, consensus and satisfaction. Informed by Richard Sennett's (2012) work on cooperation, Matt Ratto and Megan Bolar (2014) on DIY citizenship and critical making, Ranciere's (2004) theory of the 'distribution of the sensible', and theories of embodied and enacted knowledge, the authors interpret findings from selected CARE-related case studies to explicate various ways in which 'making' can make a difference by: providing a safe space for disagreement, reflection, resolution, collaboration, active listening, questioning and critical thinking, for instance, and offer quiet, tenacious and life-enhancing forms of resistance and revision to hegemonic versions of culture and subjectivity.

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Section: Making Meaning From Making Dialogues To Making Things Togetmentioning

confidence: 99%

The Power of Quiet: Re-makingAffective Amateur and Professional Textiles Agencies

Hackney¹,

Maughan

Desmarais

2016

Journal of Textile Design Research and Practice

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“…During the twenty-first century crafting, especially hand knitting, has been revived among women of different ages and for different reasons throughout the Western world (e.g., von Busch, 2010; Croghan, 2013;Hemmings, 2010;Kouhia, 2015;Stannard & Sanders, 2015). Knitting can be a short-term pleasurable activity that can be done with little practice (Dirix, 2004;Turney, 2009) and following ready-made instructions and patterns (Pöllänen, 2015).…”

Section: Introductionmentioning

confidence: 99%

“…Several international researchers (e.g., Corkhill, Hemmings, Maddock, & Riley, 2014;Hackney, 2013;Kouhia, 2015;Riley, Corkhill & Morris, 2013;Turney, 2009) have demonstrated that many people find knitting to be an individually pleasing activity and one which may enhance well-being. As a hobby, crafting serves as a means of self-expression and increases self-awareness, self-esteem and independence according to the hobby's own goals (Pöllänen, 2013).…”

Section: Introductionmentioning

confidence: 99%

“…It resembles certain practices of mindfulness in daily life, but may also be a means to get time for oneself, without the involvement of activities outside the domestic domain. Creating with the hands and having one's own time without haste or obligations has often been the most important driving factor, although the knitting process does usually lead to a concrete end product (Johnson & Wilson, 2005;Kouhia 2015;Mason, 2005;Pöllänen, 2015).…”

Section: Introductionmentioning

confidence: 99%

“…A growing body of diverse international research about knitting has been concentrated on subjective well-being (e.g., Brooks, Ta, Townsend, & Backman, 2019;Corkhill et al, 2014;Lamont & Ranaweera, 2019;Parkins, 2004;Riley, 2008;Riley et al, 2013;Rosner & Ryokai, 2009;Schofiled-Tomschin & Littrell, 2001), and on the perspective of serious leisure (Court, 2020) andDIY culture (e.g., von Busch, 2010;Farinosi & Fortunati, 2018;Gauntlett, 2018;Kelly, 2014;Kouhia 2015;Wolf & McQuitty, 2011). In addition, craft has also been studied to an increasing extent as a basis for personal, social or political change via new materiality (e.g., Corkhill et al, 2014;Greer, 2008;Hosegood, 2009;Minahan & Cox, 2011;Myzelev, 2006Myzelev, , 2015O´Donald, Hatza, & Springgay, 2010;Springgay, 2010), and in craft web cultures as a basis for knitting as a feminist project (e.g., Humphreys, 2008;O'Donald et al, 2010;Minahan & Cox, 2007).…”

Section: Introductionmentioning

confidence: 99%

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Reasons for knitting blogging and its importance for crafting

Vilhunen¹,

Pöllänen²,

Pitkäniemi³

2021

TechneA

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The purpose of this study was to describe the reasons for knitting blogging and the importance of blogging for the bloggers’ crafting. A multiphase mixed-methods study focusing on quantitative research methods was the methodological basis. Therefore, the study included both sequential and simultaneous investigation paths. In this study, the quantitative data were collected from the same group of Finnish knitting bloggers by two online surveys in 2008 (N= 501) and in 2013 (N= 212). The quantitative data focused on time-related changes in blogging, whereas the qualitative data, collected by essays (N=50) during 2013-2014, was used to explain the quantitative data. In quantitative analysis, the key features of reasons for knitting blogging were analysed by principal component analysis. The differences in the principal components for the background groups between the surveys were elucidated by means of 2-way analysis of variance. The qualitative data were analysed by data-driven content analysis. The results indicated that there were several reasons for knitting blogging. According to the results, the elements of knitting blogging were: 1) inspiration and materialization, 2) connecting and community support, 3) encouragement and 4) reflection and reminiscence. Knitting blogging has reshaped crafting by combining the material and tactile process of knitting with digital practices of life-streaming and with participatory activities in networked spaces. It appeared that knitting and blogging complemented each other, and that blogging supported development of the blogger’s crafting into a serious leisure activity with meaningful long-term activities and clear goals. Keywords: digital practices, knitting blog, leisure, mixed methods design, online communities

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The Making Affect: A Co-created Community Methodology

Hackney

2017

Research Into Design for Communities, Volume 2

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The Making-Of: An Autoethnographic Cinema on the Meanings of Contemporary Craft Practicing for a Young Hobbyist

Cited by 16 publications

References 28 publications

The Power of Quiet: Re-makingAffective Amateur and Professional Textiles Agencies

The Power of Quiet: Re-makingAffective Amateur and Professional Textiles Agencies

Reasons for knitting blogging and its importance for crafting

The Making Affect: A Co-created Community Methodology

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