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How did we do anything without it?: Indigenous art and craft micro-enterprise use and perception of new media technology

The degree of new media technologies that are broadly available has changed considerably ill nearly two decades since they emerged. How do Indigenous art and craft micro-enterprises use these technologies today? What are their perceptions of it? There is a lack of current data about use of computer technology by Indigenous-owned art and craft enterprises. A current snapshot is needed of the use and consequences of new media technologies in these organisations. This paper reports on results from a 2006 survey of small Indigenous-owned arts enterprises across Australia, including for-profit and non-profit enterprises, those from metropolitan, regional and remote areas, and including both art centres and other types of arts enterprises. The data suggest a major change over the previous decade in the degree that small Indigenous art and craft organisations use and perceive new media technology.

Craft groups : sites of friendship, empowerment, belonging and learning for older women

This article reports on a qualitative research project conducted in Victoria, Australia, with nine older women. The purpose of the research was to explore the women's experience of involvement in craft groups, and specifically, the impact of this involvement on their sense of well-being. Traditionally the health of older people has been examined in relation to medical markers of physical well-being, and often, decline. We were interested to widen this perspective to understand the impact of social connection, belonging and ongoing learning and development on the ageing experience. While the focus of the groups was on domestic craftwork, the process of coming together as a collective appeared to have significant bearing on the holistic health of the women involved. Consistent with feminist groupwork literature, the findings indicated that the women we interviewed experienced the group setting as affirming and generative in a number of ways. These include providing an avenue for mutual aid, addressing isolation, affirming individual and collective strength and wisdom, while acquiring new skills, and normalising concerns regarding health and family.

"Our fingers were never idle" : women and domestic craft in the Geelong region, 1900-1960

This thesis is an exploration of women's domestic crafts in the Geelong region, between 1900 and I960, Through analysing oral testimony and the women's handicraft artefacts, the nature of the domestic production of handicrafts and the meanings the makers have constructed around their creations and their lives is illuminated. The thesis is organised around the themes of work, space, the construction of femininity, memory, time and meaning. The thesis argues that until recently, the discipline of history has privileged the experiences of men over those of women. It challenges the trivialising of women’s handicrafts. It also argues that within the restrictive social structures around them and within the confined nature of their situations, the women of my study asserted themselves to transform their environments and to improve their situations through labour in the home. In ‘making do’, recycling materials and creating functional and decorative needlework items for their homes and families, the women were often finding solutions to pressing practical and economic problems. Doing handicrafts was rarely just a passive way of filling in time. Rather, making and creating was for these women a multi-layered activity that similtaneously fulfilled a complex range of needs for themselves and their families. A multiplicity of deeply personal, aesthetic, familial, social, practical and economic needs were met in the making of domestic craft artefacts, whose symbolism reflected the values and meanings of the women's cultures, homes and families.

Sailing into the wind : new disciplines in Australian higher education

Much is made of the potential of lifelong learning for individuals and organisations. In this article we tend to make much less of it, certainly with respect to its use in universities to discipline academics. Nevertheless, we argue that academics now need to re-learn the positions they occupy and the stances they take in response to the marketisation of Australian universities. In particular, we suggest that the position of (pure) critique no longer commands attention in Australian contexts of higher education, although the paper does not suggest a disregard for a critical stance purely for the sake of participation. It is in understanding the interconnections between position and stance , and how they might be strategically performed during the everyday practices of academics, that a more promising way of engaging with the venalities of the market is envisaged; a strategy that could be described as 'sailing into the wind'. In discussing these matters, the paper draws on semi-structured interviews with academics located in university faculties/departments/schools of education along Australia's eastern seaboard.

Older women and craft: extending educational horizons in considering wellbeing

While the social work literature is broader and more holistic than many disciplines, we undoubtedly still limit the knowledge we draw upon in ways that stifle our creativity in conceptualising and attempting to facilitate wellbeing, which flows on to limit our teaching. In particular, the significance to wellbeing of place and social space, the value of informal networks to generate support and opportunities for reciprocity, and the inherent therapeutic value of creative activity appears to be neglected. In this paper we draw upon a small Australian research study around older women and craftmaking to explore how learning from diverse disciplines, such as critical gerontology and textile making, can illuminate our understanding of wellbeing. We relate this discussion to examining notions of ageing that go beyond a focus on illness and deterioration, to enhance positive and diverse concepts of health in the context of everyday life. We then discuss the implications for social work education, with particular emphasis on ageing, and argue that by engaging with a diverse range of disciplines, we are able to think about, teach and advocate for wellbeing in more expansive and useful ways.

Craft groups: sites of friendship, empowerment, belonging and learning for older women

This article reports on a qualitative research project conducted in Victoria, Australia, with nine older women. The purpose of the research was to explore the women’s experience of involvement in craft groups, and specifically, the impact of this involvement on their sense of well-being. Traditionally the health of older people has been examined in relation to medical markers of physical well-being, and often, decline. We were interested to widen this perspective to understand the impact of social connection, belonging and ongoing learning and development on the ageing experience.

While the focus of the groups was on domestic craftwork, the process of coming together as a collective appeared to have significant bearing on the holistic health of the women involved. Consistent with feminist groupwork literature, the findings indicated that the women we interviewed experienced the group setting as affirming and generative in a number of ways. These include providing an avenue for mutual aid, addressing isolation, affirming individual and collective strength and wisdom, while acquiring new skills, and normalising concerns regarding health and family.

Re-positioning traditional craft: knowledge affect and social identity

Craft Making and craft objects play different roles in western and traditional cultures and hence craft cannot be understood outside of the cultural conditions on which it is made. In the West, industrial manufacturing and mass production that took hold in the 19th century overshadowed traditional artisans and the value given to the objects they produced. However a resurgence of craft soon emerged as an attempt to re-structure creative labour and regain a romanticised pre-industrial past.

Let's kill the 'C' word: notions of authentic and synthetic in the teaching of journalism

One of the less desirable aftermaths of the so-called "Media Wars" - the intellectual debate over the role of cultural studies in the study of journalism - was reinforcement for some of the notion of fortress journalism: a Windschuttlian purist version of the Empire. This paper uses the alleged confrontation between the forces of that Empire (that is, proponents of pure journalism) and the forces of the Dark (that is, critics from a cultural studies tradition) as a means of examining the teaching of journalism in universities. The paper questions how the discipline of journalism should interface with others within the academy and asks what notion of journalism underpins our pedagogy and our epistemology. It is argued that it is time to discard an outdated craft model with its associations of authenticity and replace it with a model of synthetic professionalism.

The organizational legitimacy of the Bauhaus

Gaining and maintaining organizational legitimacy can be a major issue
for social and political structures such as cultural organizations. Legitimacy, sometimes called credibility, brings with it access to resources needed for survival and development. Organizations without legitimacy tend not to be successful in attracting grants, subsidies, and sponsorships. Research suggests that legitimate organizations may be seen as valuable social structures (Hybels 1995; Suchman 1995) and come to be “taken for granted” as part of the social fabric. In this article, I explore organizational legitimacy using the framework of institutional theory. I first define legitimacy and then discuss the key concepts of organizational legitimacy. Next, I present a case study based on an art/craft/design school. The school, known as the Bauhaus, existed between 1919 and 1933 in three German cities—Weimar, Dessau, and Berlin. Deterministic views of the pre–World War II environment suggest that the Nazi party was responsible for the closure of the Bauhaus. I argue that other factors were apparent. The Nazi regime was becoming a significant force in the late 1920s, but the story of the Bauhaus becomes more complex when viewed under the rubric of arts management and organizational legitimacy. In this article, I discuss how the Bauhaus sought and managed legitimacy and the role that the state and other actors played in granting that legitimacy. In conclusion, I offer a summary of the relevance of legitimacy to contemporary arts organizations.