DOCSLIB.ORG

6. Current State of Vietnam's Craft Sector, Its Issues & Direction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
6. Current State of Vietnam's Craft Sector, Its Issues & Direction The Study on Artisan Craft Development Plan for Rural Industrialization in Vietnam Final Report vol.1 Part I Master Plan Study 6. CURRENT STATE OF VIETNAM’S CRAFT SECTOR, ITS ISSUES & DIRECTION 6.1 Overview The Vietnamese craft sector is rapidly changing. Among Asian craft products, Vietnamese craft items are reputed for their affordable price tags as well as their unique and distinct designs, the main features that fuel their growing popularity in overseas markets. Export products, mainly made by private enterprises as well as young entrepreneurs, are making significant market headways. However, the traditional Vietnamese craft worker has yet to reap the benefits of a rising market and enjoy the rewards of his toil. Many workers still consider craft making as sideline work especially during off-farm seasons, and earnings from it remain generally low. Likewise, the infusion of non-traditional or modern production techniques and the corresponding rise in production volumes have spawned serious concerns such as the dissipation of traditional values and environmental degradation. Although craft items were once common in the country’s past, their usefulness and function are slowly being replaced by cheaper commercial goods and items, which contributes to the rising concern on the preservation of cultural values. These concerns and issues form the thesis that underlie the central government’s initiative to utilize the craft sector as a tool for countryside development and a vehicle to pump prime economic activity in the rural areas and help alleviate rural poverty. Thus, a comprehensive analysis of the development of the Vietnamese craft sector and the multifaceted impacts such development will entail is imperative in order to achieve the Government’s ultimate goal of rural progress. Current conditions and issues on the following areas were evaluated and analyzed, to wit: (a) Assurance of raw materials supply (b) Technological improvement (c) Quality improvement (d) Improvement of production process (e) Design promotion (f) Information collection and management (g) Cluster development (h) Human resources development (i) Business management improvement (j) Improvement of working conditions (k) Provision of financing and capitalization (l) Distribution system improvement (m) Improvement of marketing 6-1 The Study on Artisan Craft Development Plan for Rural Industrialization in Vietnam Final Report vol.1 Part I Master Plan Study (n) Strengthening of linkage with tourism sector (o) Mitigation of environmental impacts of craft production (p) Provision of assistance to ethnic minorities (q) Preservation of traditional values 6.2 Securing Raw Materials 1) Overview Vietnamese craft villages traditionally rose up in areas where the requisite raw materials existed and were gathered. The craft villages and the various craft items they produced were thus born out of accessibility or proximity to their raw materials. Traditional crafts, such as ceramics, bamboo/rattan, silk, brass, silverworks, etc. became well known as local folk crafted and fashioned them from the very earth or vegetation that were near their domiciles. Although many villages still get their raw materials from traditional sources, the rise in market demand and the attendant increase in production volumes have resulted in various forms of procurement difficulties. Properly addressing raw material sustainability is part and parcel of the ultimate goal of developing the craft villages and the craft sector. 2) Category of Raw Materials Vietnam has vast natural resources including minerals and flora. Its mountainous and coastal areas, in particular, have over 12,000 species of trees. Some of its craft products are produced from these resources. Vietnamese craft items are made from: wood, soil, stone, grass, timber, plant leaves, animal horn or bone, seashell and metal. Most of them are found within proximate regions or in places with easy accessibility. Where raw materials are not available, various artificial complements are utilized. Basic materials are roughly categorized into mineral, flora and fauna, and processed materials. The items in these categories are shown in Table 6.2.1. (a) Mineral (stone, metal, soil, etc): Continuously being consumed, and irreproducible materials (b) Securing raw materials flora and fauna (grass, trunk, leaf, nut, horn or bone, seashell, cocoon, thread, etc.): Naturally reproducible (c) Processed materials (chemical rubber, chemical glue, chemical dye, chemical paint, etc.): Artificially reproducible 6-2 The Study on Artisan Craft Development Plan for Rural Industrialization in Vietnam Final Report vol.1 Part I Master Plan Study 1) Table 6.2.1 Raw Materials Raw Materials Craft Item Mineral Biological objects Processed Materials Rush Sulfur Rush, jute, cotton cloth Nylon fiber, chemical dye Lacquer Lacquer, wood, Laminated board, chemical seashell dye Bamboo & Sulfur Bamboo, rattan Chemical glue Rattan Ceramics Clay, china clay, firewood Chemical paint enamel Embroidery Cotton thread, silk thread Weaving Cotton yarn, cocoon, Chemicals (dye, bleach) silk yarn, line, wool, nut Wood Enamel, seashell Wood, lacquer Chemical glue Stone carving Stone, stone powder, Chemical glue dye Paper Paper making powder, Bark of do tree1 limestone Woodblock Do tree Chemical dye printing Metalwork Bronze, aluminum, Chemicals silver, iron, steel Source: JICA Study Team 1) Bold letters indicate main raw materials for the applicable item. 3) Material Sourcing The mapping survey revealed that more than 30% of the craft villages had “problems” or “serious problems” on raw material sourcing. Categorized per craft item these are: (1) weaving (53.3%), (2) wood (48.8%), (3) rush (42.7%), (4) stone carving (38.9%), (5) embroidery (38.5%), and (6) bamboo & rattan (28.2%). This indicates that although robust supplies still avail, without appropriate conservation measures their drying up is highly probable. The prevailing practice in obtaining raw materials is summarized below. In general, raw materials are obtained within the boundaries of a commune or inside a province. The amount of imported raw materials is small except for embroidery. Raw materials for rush, lacquer, ceramics, wood, paper, and metalwork products are often obtained from other regions or provinces (see Table 6.2.2). (a) Ceramics is characterized by the kind of clay used in its production. The fact that more than half of the villages sourced their clay from different areas implies that the availability of local raw materials is being exhausted. (b) Shortage of bamboo, rattan and wood is already a serious concern because of indiscriminate felling and gathering and the absence of restrictive measures, including the lack of management and protection of these natural resources. The 1 Do tree grows on the slopes of valleys and mountains and is historically used for handmade paper production. In recent years, traditional handmade paper techniques are vanishing as demand decreases. Handmade paper is used mainly for woodblock printing and government official letters. 6-3 The Study on Artisan Craft Development Plan for Rural Industrialization in Vietnam Final Report vol.1 Part I Master Plan Study unabated decimation of rainforests for industrialization also exacerbates the issue of sustainability. These are the main factors why raw material costs are shooting up. Traditional features and unique techniques are not only the value-added inputs that will ensure the uniqueness of Vietnamese craft items. The wise use of their raw materials will also greatly increase their economic and cultural values. These raw materials, like rush, bamboo/rattan, wood, etc. along with the unique Vietnamese clay, all come from endemic sources. Appropriate measures at the national level are needed to guarantee their sustainability. Table 6.2.2 Material Sources (%) Within Within Item Domestic Imported Commune Province Rush 10.7 39.7 44.8 4.8 Lacquer 10.7 39.7 44.8 4.8 Bamboo & Rattan 38.9 39.3 21.5 0.4 Ceramics 10.7 39.7 44.8 4.8 Embroidery 14.8 28.6 35.8 20.7 Weaving 38.8 32.4 24.1 4.7 Wood 10.7 39.7 44.8 4.8 Stone carving 41.9 39.5 18.6 0.0 Paper 14.3 0.0 71.4 14.3 Woodblock printing 0.0 66.7 33.3 0.0 Metalwork 10.7 39.7 44.8 4.8 Total 25.4 36.0 33.3 5.3 Source: Craft Mapping Survey, 2002 4) Acquisition of Raw Materials Materials are generally obtained from local suppliers. Small- to medium enterprises in the craft villages purchase them from venders, and they are either processed in local enterprise factories, or are delivered to craft households who work as subcontractors. The following are their material characteristics: (a) Bamboo, rattan and rush require a primary process. Poor local roads or shortages in skilled labor are some factors that force producers to purchase processed materials directly from venders. Although the quality of such materials is stable, they are more expensive, thereby appreciating production costs. Craft villages basically prefer to keep production costs down and maintain quality by directly sourcing raw materials without the interference of venders. (b) Scarcity is also pushing woodcraft producers to obtain raw materials from far-flung areas or from different provinces. This is critical because in the course of production a significant volume of wood is normally required. Well-known woodcraft villages on average could consume a couple of hundreds of square feet of precious wood. Furthermore, the overall drive for development and industrialization is also eating 6-4 The Study on Artisan Craft Development Plan for Rural Industrialization in Vietnam Final Report vol.1 Part I Master Plan Study into the depleting supply of wood from the remaining rainforests, thereby aggravating the issue of sustainability for the wood-based craft. (c) For silk and yarn production, which are used for weaving and embroidery, provincial governments have set policies on a programmed planting of mulberries and sericulture. However, the quality of those produced at the craft household level is still low; thus, their silk weavings are equally of low quality, making it difficult to export.
Load more

Recommended publications
  • Razzle-Dazzle: the Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006
    Razzle-Dazzle: The Language of Ornament in Asian Costume and Textiles, June 16, 2006-October 15, 2006 Shells, mirrors, beads, seeds, metal disks, coins, sequins, feathers; these are only some of the items that have been used to make clothing and textiles jingle, sparkle, and jiggle. Throughout time, all over the world, in every society, humans have embellished their clothing in ways that signal status and religion or serve as talismanic, flirtatious, or protective charms. These days, many Westerners have lost touch with the symbolic power of ornament applied to apparel, dismissing such adornment as superficial, artificial, and even disingenuous. The group of objects in this exhibition spanning the Asian world reminds viewers of the pleasure and meaning that such materials may convey. The English word "ornament" derives from the Latin ornare, meaning "to equip, get ready, or fit out." Some have pushed this definition one step further, suggesting that the term also expresses completion. Although not a structural necessity, ornament makes an object whole. How differently might we look upon certain articles in this gallery if they did not include gold for its inherent wealth and homage to hierarchy, purity, and indestructibility; silver, metal, and sequins for their associations with prosperity and protection; mirrors for their power to ward off malevolence; beads and seeds for their correlations with fortune, resiliency, and fertility; and feathers for their regal connotations? Lacking such accoutrements, these textiles would take on another function, causing the wearer to behave in another fashion and the beholders to interpret the behavior in other ways. The thread of meaning would dissolve.
    [Show full text]
  • Textile Society of America Biennial Symposium PRELIMINARY Program Program Times and Details Are Subject to Change
    Textile Society of America Biennial Symposium PRELIMINARY Program Program times and details are subject to change. A final program listing times & locations will be available in July. Wednesday, September 10 8:00am-6:00pm Registration at UCLA Covel Commons 7:00am-9:00am Breakfast in dining hall for those staying at the UCLA hotel 9:00am–5:00pm Pre-Symposium Workshops Early Dyebooks and the Investigation of the Science of Color Location: Getty Research Institute and the Getty Conservation Institute Workshop Leaders: Dominique Cardon, Jim Druzik and Nancy Turner Exploration of European Tapestries and Textiles Location: J. Paul Getty Museum Workshop Leaders: Charissa Bremer David and Sharon Stone Two-faced/Warp-faced: Andean Complementary Belt-Weaving Logic and Practice Location: Fowler Museum, Center for the Study of Regional Dress Workshop Leader: Sophie Desrosiers Native American Basketry Location: The Autry National Center Leaders: Lalena Lewark and Roseann Hamilton Sustainable and Creative Approaches: Textile and Clothing Design by Christina Kim and dosa Location: dosa, downtown Los Angeles Workshop Leader: Christina Kim Artists Studio Tour Location: Highland Park and Atwater Village, Los Angeles Featured Artists: Christy Matson, Clare Graham, Tanya Aguiñiga, and Margaret Wertheim from the Institute for Figuring Early Chinese Textile Analysis Featuring Selections from the Lloyd Cotsen Textiles Traces Collection Location: Los Angeles County Museum of Art (LACMA) Workshop Leader: Feng Zhao 5:30pm-8:30pm KEYNOTE AND OPENING RECEPTION WITH
    [Show full text]
  • Proceedings of the Textile Society of America 17Th Biennial Symposium, October 15-17, 2020--Full Program with Abstracts & Bios
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 10-2020 Hidden Stories/Human Lives: Proceedings of the Textile Society of America 17th Biennial Symposium, October 15-17, 2020--Full Program with Abstracts & Bios Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. WELCOME PAGE Be Part of the Conversation Tag your posts on social media #TSAHiddenStoriesHumanLives #TSA2020 Like us on Facebook: @textilesocietyofamerica Follow us on Instagram: @textilesociety Attendee Directory The attendee directory is available through Crowd Compass If you have any questions, please contact Caroline Hayes Charuk: [email protected]. Please note that the information published in this program and is subject to change. Please check textilesocietyofamerica.org for the most up-to-date infor- mation. TABLE OF CONTENTS About the Symposium . 1 The Theme .......................................................1 Symposium Chairs ................................................1 Symposium Organizers . .2 Welcome from TSA President, Lisa Kriner . 4 Donors & Sponsors . 8 Symposium Schedule at a Glance . 11 Welcome from the Symposium Program Co-Chairs . 12 Keynote & Plenary Sessions . 14 Sanford Biggers..................................................14 Julia Bryan-Wilson................................................15 Jolene K. Rickard.................................................16 Biennial Symposium Program .
    [Show full text]
  • Co-Design with Textile Artisans from Guatemala and Peru
    DISSERTATION CONSUMER PRODUCT PREFERENCES OF CULTURAL TEXTILE PRODUCTS: CO-DESIGN WITH TEXTILE ARTISANS FROM GUATEMALA AND PERU Submitted by Carol Engel-Enright School of Education In partial fulfillment of the requirements For the Degree of Doctor of Philosophy Colorado State University Fort Collins, Colorado Spring 2016 Doctoral Committee: Advisor: Carole Makela Co-Advisor: Gene Gloeckner Nancy Miller Thomas Dean Copyright by Carol Engel-Enright 2016 All Rights Reserved ABSTRACT CONSUMER PRODUCT PREFERENCES OF CULTURAL TEXTILE PRODUCTS: CO-DESIGN WITH TEXTILE ARTISANS FROM GUATEMALA AND PERU This study involved practice-based research with cultural textile weaving groups in Guatemala and Peru. Artisan textiles were co-designed with contemporary color palettes and layouts for backstrap weaving and patterns for hand embroidery. Sustainability-oriented innovation (SOI) provided a framework to explore implementation of co-design in the production of handcrafted cultural textile products. Fashion trends including color forecasts and product preferences may allow for incremental innovation in the product development process that will result in increased sales and income for artisans (Klewitz & Hansen, 2014). Innovation for sustainability allows relative improvements in process, product, and organizational innovations by creating more sustainable production methods. SOI has been found to be successful in the marketplace in niches or even mass markets (Schaltegger & Wagner, 2011). Co-design was integrated into the textile design process through sharing pictures and technical diagrams working with cultural weaving organizations. Co-design is a process of collaborative design thinking involving joint inquiry and imagination in which diverse people explore and define a problem and collaboratively develop and evaluate solutions (Steen, 2013). Co-designed textiles were constructed into modern silhouettes for apparel, accessories, and home décor products.
    [Show full text]
  • Traditional Hand Embroidery and Simple Hand-Woven Structures for Garment Manufacturing Used in Small Scale Industry
    ISSN: 2277-9655 [Kaur * et al., 7(6): June, 2018] Impact Factor: 5.164 IC™ Value: 3.00 CODEN: IJESS7 IJESRT INTERNATIONAL JOURNAL OF ENGINEERING SCIENCES & RESEARCH TECHNOLOGY TRADITIONAL HAND EMBROIDERY AND SIMPLE HAND-WOVEN STRUCTURES FOR GARMENT MANUFACTURING USED IN SMALL SCALE INDUSTRY Rajinder Kaur*1 & Jashanjeet Kaur2 *1Dev Samaj College for Women, (Ferozpur- Punjab) India, researches 2DBFGOI, (Moga- Punjab) India DOI: 10.5281/zenodo.1297392 ABSTRACT This study explores a field of textile craft, which incorporates the techniques of traditional hand embroidery design and a simple hand woven structure into construction processes of garment production to enhance the fortunes of the local fashion industry. The project was designed to have traditional and cultural significance, so as to provide a new dimension to local garment decorating processes. The results of the study revealed a wide possibility of creating and fashioning various simple hand woven structures of traditional significance into the production of garments. This provides innovative ways of actualizing new creative ideas for the progress of the local industry. The experiment revealed that with careful blending of yarns of various types, colos and sizes, very attractive and significant results can be achieved making it appropriate for use in garment decoration. The basic challenges encountered involved the variations in yarn sizes used, the long floats associated with some weave and embroidery styles and the limitations associated with the weave frame used for the project. Keywords: Hand Embroidery, Weaving, Garments. I. INTRODUCTION Embroidery was an important art in the Medieval Islamic world. The 17th-century Turkish traveler Evliya Celebi called it the "craft of the two hands".
    [Show full text]
  • ASIAN ART 4.12.2018 Auktionstermine Herbst 2018 Asiatische Kunst Europäisches Kunstgewerbe 14
    ASIAN ART 4.12.2018 Auktionstermine Herbst 2018 Asiatische Kunst Europäisches Kunstgewerbe 14. November 2018 Schmuck & Uhren 15. November 2018 Alte Kunst 15. November 2018 Vorbesichtigung: 9. – 12. November 2018 Asian Art Modern 28. November 2018 Post War 28. November 2018 Contemporary 28. November 2018 Vorbesichtigung: 23. – 26. November 2018 4. Dezember 2018 Asiatische Kunst 4. Dezember 2018 Vorbesichtigung: 30. November – 3. Dezember 2018 Discoveries 5. Dezember 2018 Vorbesichtigung: 1. – 3. Dezember 2018 Vorbesichtigung Auktionstermine Preview Frühjahr 2019 Sammlung Thillmann Thonet – Perfektes Design 22. Januar 2019 30. 3. Nov – Dez. 2018 Vorbesichtigung: 14. – 21. Januar 2019 Dekorative Kunst 30. + 31. Januar 2019 Vorbesichtigung: 26. – 28. Januar 2019 Europäisches Kunstgewerbe 15. Mai 2019 Schmuck und Uhren 16. Mai 2019 亚洲古董珍玩 Alte Kunst 16. Mai 2019 Vorbesichtigung: 10. – 13. Mai 2019 第423屆拍卖会 Modern 29. Mai 2019 Post War 29. Mai 2019 Contemporary 29. Mai 2019 2018年12月4日 Vorbesichtigung: 24. – 27. Mai 2019 Discoveries 5. Juni 2019 Vorbesichtigung: 1. – 3. Juni 2019 預展時間 Asiatische Kunst 13. Juni 2019 Vorbesichtigung: 8. – 12. Juni 2019 2018年11月30日–12月3日 Abbildung Titel: Nr. 2047 CHENG CONGLIN Einlieferungen von Sammlungen, Nachlässen und Einzel­ A RAINY DAY IN SPRING stücken sind bis zwei Monate vor den Auktionen möglich. China | Dated 1990 Unsere Experten informieren Sie gerne über die aktuelle Abbildung Rückseite: Marktsituation und geben Ihnen kostenlose Einschätzungen Nr. 2132 RARE AND IMPORTANT für Ihre Kunstwerke. Wir freuen uns auf Ihren Anruf, Ihre THANGKA WITH TWO MAHASIDDHA. E­Mail bzw. Ihre Post. Nepal | 14th c. | Early Beri style (Detail) Unsere Experten Unser Service Auktionen Termine Our Specialists Our Service im Internet Dates Sales on the Internet Christoph Bouillon Katalogbestellungen Geschäftszeiten nach der Auktion Live bieten Auktion Vorbesichtigung Katalogredaktion Nicole Burkhard Business hours after the sale Über unsere Website können Sie sich Sale Preview Tel.
    [Show full text]
  • The Craft of Thought. Meditation, Rhetoric, an the Making of Images, 400-1200
    The Craft of Thought. Meditation, Rhetoric, an the Making of Images, 400-1200. Introduction Orthopraxis is a category developed for the comparative study of religions, specifically Christianity and Buddhism' Orthodox believers seek, in the words of Paul Gchl, to reproduce the experience of learning from the teacher, whose teaching lives on in authentic texts, verbal traditions or creeds. An orthopractical adept, by contrast, seeks to achieve an inmanent experience of the divine equivalent to that of the founder. Usually by following a devotional practice presumed to be similar. Orthodoxy explicates canonical texts, whereas orthopraxis emphasizes a set of experiences and techniques, conceived as a 'way " to be followgz leading one to relive the founder‟s path to enliglitenment. Because it seelts an experience, an orthopraxis can never be completely articulate; instead of normative dogma, it relies upon patterns of oral formulae and ritualized behavior to prepare for an experience of God, should one be granted. Like chance, grace also favors a prepared mind. Orthopraxis and orthodoxy often co-exist in the same religion. Christianity, though a religion primarily of orthodoxy, has always had groups within it who have created for themselves an orthopraxis. Monasticism is one such practice.: It began as a movement of pious laypeople, not clergy (monks were not ordinarily priests until late in the Middle Ages, and nuns never) and as a particular way of living to be adopted only as an adult, often after one‟s dynastic obligations to marry and have children were fulfilled. Yet orthopraxis is a concept not unique to religion. Any craft develops an ortho raxis, a craft “knowledge' which is learned, and indeed can only be learned by the painstaking practical imitation and complete familiarization of exemplary masters' techniques and experiences.
    [Show full text]
  • Asian Fusion Exhibition Program
    Asian Fusion EGA Exhibition 2020 An Exhibit of Asian-Inspired Needlework March 6 – September 10 Presented by Embroiderers’ Guild of America 1205 E. Washington Street, Ste. 104 Louisville, KY 40206 502-589-6956 ABOUT ASIAN FUSION In 2019, Pat Fair contacted EGA Headquarters to inquire if EGA would be interested in a donation of articles designed and embroidered by Eleanor “Lea” Stark (1933-2014). These articles were being offered to EGA from Lea’s daughters, Leslie Seymour and Kimball Loomis. Lea, a prolific embroidery artist, is best known for the twenty years of work during which she created unique and impressive Asian-inspired embroideries that would often take hundreds of hours of work to complete. Lea worked almost exclusively in silk, both flat Chinese silk and plyed silk threads on silk dupioni and silk noil. Works often included goldwork in a variety of metals. In her later designs, she incorporated over-dyed cotton and novelty threads, beads, and other types of fabrics and trims. EGA is honored to have received 26 pieces of Lea’s art. It was her Asian pieces that inspired EGA to organize this Asian exhibition for 2020. Those of us who were involved with bringing this exhibition also want to thank the many individuals who are lending their prized Asian treasures to make this exhibition a success. There are sixteen individuals who are sharing their art and more than ninety embroidered pieces on display (including pieces from the EGA Permanent Collection) representing Asian art from ten countries. A special thanks to the lenders, the EGA staff and the other individuals who volunteered to help with ASIAN FUSION—EGA Exhibition 2020.
    [Show full text]
  • The Association of Dress Historians New Research in Dress History
    The Association of Dress Historians New Research in Dress History Conference 7–13 June 2021 Convened By: The Association of Dress Historians www.dresshistorians.org Conference Webpage: www.dresshistorians.org/june2021conference Conference Tickets: https://tinyurl.com/June2021 Conference Email Contact: [email protected] The Association of Dress Historians Annual New Research in Dress History Conference, 7–13 June 2021 The Association of Dress Historians (ADH) supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day. The ADH is proud to support scholarship in dress and textile history through its international conferences, the publication of The Journal of Dress History, monetary awards for students and researchers, and ADH members’ events such as curators’ tours. The ADH is passionate about sharing knowledge. The mission of the ADH is to start conversations, encourage the exchange of ideas, and expose new and exciting research. If you are not yet an ADH member, please consider joining us! Membership has its perks and is only £10 per year. Thank you for supporting our charity and the work that we do. Memberships are available for purchase on this page: www.dresshistorians.org/membership. To attend the weeklong “festival” of dress history, just one conference ticket must be purchased (which entitles participation at all seven conference days) in advance, here: https://tinyurl.com/June2021. Please join The Association of Dress Historians twitter conversation @DressHistorians, and tweet about our June 2021 New Research conference with hashtags #ADHNewResearch2021 and #NewResearchFestival.
    [Show full text]
  • The New Research in Dress History Conference
    The New Research in Dress History Conference 18–21 August 2020 Convened By: The Association of Dress Historians www.dresshistorians.org In Collaboration with The Röhsska Museum of Design and Craft, Gothenburg University, The Museum of Gothenburg, and The School of Fashion and Stage Costume, Gothenburg, Sweden Conference Venue: The Röhsska Museum of Design and Craft Gothenburg, Sweden The Association of Dress Historians (ADH) supports and promotes the study and professional practice of the history of dress, textiles, and accessories of all cultures and regions of the world, from before classical antiquity to the present day. The ADH is proud to support scholarship in dress and textile history through its international conferences, the publication of The Journal of Dress History, fellowships and awards for students and researchers, and ADH members’ events such as curators’ tours. The ADH is passionate about sharing knowledge. The mission of the ADH is to start conversations, encourage the exchange of ideas, and expose new and exciting research in the field. As with all ADH publications, this conference programme is circulated solely for educational purposes and is non–commercial: ADH publications are not for sale or profit. To view all ADH information, including events, Calls For Papers, and complete issues of The Journal of Dress History, please visit www.dresshistorians.org. If you are not yet an ADH member, please consider joining us! Membership has its perks and is only £10 per year. Thank you for supporting our charity and the work that we do. Memberships are available for purchase, on this page: https://dresshistorians.org/membership ADH conference tickets must be purchased online, in advance, on this page: https://tinyurl.com/ADH2020 Please join The Association of Dress Historians twitter conversation @DressHistorians, and tweet about our 18–21 August 2020 New Research conference with hashtag #ADHNewResearch2020.
    [Show full text]
  • “Fabric Three” with Silk for Valhalla by Åse Erikson from the Members
    VOLUME 30. NUMBER 2. FALL 2018 “Fabric Three” With Silk for Valhalla by Åse Erikson from the Members’ Exhibition at the 2018 TSA Sympo- sium, “The Social Fabric: Deep Local to Pan Global.” Newsletter Team OARD OF IRECTORS Senior Editor: Wendy Weiss (Director of Communications) B D Editor: Natasha Thoreson Lisa L. Kriner Designer: Meredith Affleck President Member News Editors: Caroline Hayes Charuk (TSA General Manager), Lila Stone [email protected] Editorial Assistance: Susan Moss and Sarah Molina Melinda Watt Vice President/President Elect Our Mission [email protected] Vita Plume The Textile Society of America is a 501(c)3 nonprofit that provides an international forum for Past President the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, [email protected] political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors from museums and universities in North America. Our members worldwide include Owyn Ruck curators and conservators, scholars and educators, artists, designers, makers, collectors, and Treasurer others interested in textiles. TSA organizes biennial symposia. The juried papers presented [email protected] at each symposium are published in the Proceedings available at http://digitalcommons.unl. edu/textilesoc. It also organizes day- and week-long programs in locations throughout North Lesli Robertson America and around the world that provide unique opportunities to learn about textiles in Recording Secretary various contexts, to examine them up-close, and to meet colleagues with shared interests. TSA [email protected] distributes a Newsletter and compiles a membership directory. These publications are included in TSA membership, and available on our website.
    [Show full text]
  • Continuous Page: Scrolls and Scrolling from Papyrus to Hypertext
    CONTINUOUS PAGE SCROLLS AND SCROLLING FROM PAPYRUS TO HYPERTEXT Edited by Jack Hartnell COURTAULD BOOKS ONLINE Continuous Page: Scrolls and Scrolling from Papyrus to Hypertext Edited by Jack Hartnell With contributions by: Luca Bochicchio Stacy Boldrick Rachel E. Boyd Pika Ghosh Jack Hartnell Katherine Storm Hindley Michael Hrebeniak Kristopher W. Kersey Eva Michel Judith Olszowy-Schlanger Claire Smith Rachel Warriner Michael J. Waters Series Editor: Alixe Bovey Managing Editor: Maria Mileeva Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Vernon Square, Penton Rise, King’s Cross, London, WC1X 9EW © 2020, The Courtauld Institute of Art, London. ISBN: 978-1-907485-10-7. Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art.The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld Institute of Art which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download courtauld.ac.uk/research/courtauld-books- online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License.
    [Show full text]