Yhteinen käsityö peruskoulun 7. luokalla : Opettajien kokemuksia yhteisen käsityön opetuksesta ja organisoinnista

Finnish education politics presume that basic education should be equal to all students. While organising craft education equality can be understood as similarity or as possibility to choose. The possibility to be able to choose whether textile or technical craft despite of one´s gender has been the aim of laws and curriculums already over 30 years. In practice it´s almost impossible to students to ignore feminine and masculine roles that go deep into our culture. Choosing craft has been divided by gender, which is the reason why possibility to choose has not been good enough to educationalists of equality. The latest guidelines for the National core curriculum for bacis education were issued in 2004. According to curriculum craft education consists parts of both technical and textile craft. All students should take part in both sectors of crafts. Furthermore, one can be given a possibility to consentrate his studies in whether textile or technical craft. The curriculum does not set the rules how the education should be organised, which means that it can be organised in many ways depending on city, school or teacher. Teachers and other specialists have contradictory feelings towards shared craft education, because traditional way to see craft in Finland is to separate textile craft from technical craft. Both crafts have some common features that are introduced in curriculum. Besides there is many equal things in craft theories that bind textile and technical craft to each other. The main purpose of this research was to find out, how shared craft education has been organised at the 7.th grade in Finnish comprehensive school, and which things affect in the settlements. Second goal was to describe and compare teachers´ experiences in teaching shared craft education. Third aim of this study was how shared craft has changed craft education. I collected the research material in May 2006 by interviewing both textile and technical craft teachers who teach shared craft. The material consists of fourteen theme interviews. In the analysis of the material I used theoretic bounded document analysis. According to the research there are three different ways to organise shared craft education: 50 50-arrangement, exchanging period and project week. In the schools that carried out 50 50-arrangement teaching was realised mainly in heterogenous groups. Principals had usual a lot of authorization on how to arrange craft education, which means that their views on equality, laws and curriculum affected in the settlemets more than teachers´ opinions. Teachers´ attitudes to shared craft were mainly positive. The changing of craft education can be divided in two parts: the aims and the containings of the curriculum have changed, as well as the meaning of the craft as core subject. Teachers have been forced to decrease the containings of both textile and technical crafts. Despite of eliminations both crafts still have comprehensive containings. Teachers decided what to teach by these argumets: Students should learn some basic things or produce a certain product. Usually teachers had also a lot of experience and special intrests in crafts. According to this research there is four significant meanings for shared craft education: 1) developing readiness for doing things, 2) developing skills of thinking, 3) delight of doing things and 4) teaching attitude.

Käsityön sukupuolirajat ja rajojen rikkojat

Gender-specific division of crafts is significant in Finnish culture. The aim of craft education in comprehensive schools has been to unify education for both girls and boys during the thirty years of modern comprehensive education, but in reality crafts has diverged into two different subjects for girls and boys. Craft education has taught different things: girls have been taught things that are feminine and included in private life, while the boys’ education has been mostly directed at public and working life. At the same time girls and boys have been educated and socialized towards a certain womanhood and manhood. Craft as a hobby is also very gender divided but there are some clues that tell of the changing positions on the border areas. The starting point of this study has been the assumption that gender structures within crafts can be transformed. But it is important to know the background that creates and maintains these constructions and the expedients for dismantling the structures. The main purpose of this study is to find out how the gender-specific crafts are changing and how they are still maintained. My study analyses why men and woman have chosen untypical hobbies and through that I shall discuss how gendered structures can be dismantled. In the autumn of 2008 I interviewed borderline breakers within crafts: men who had an interest in textile crafts and women who had an interest in technical work. Informants of this study were 20-31 years old and they studied behavioural sciences. The data was collected in 12 theme interviews and document analysis was used to study the results. The dismantling of the gender divide in crafts is slow, but new borders are drawn all the time. The informants have started textile and technical handicrafts soon after comprehensive school or during their studies at university. A main motivation for the new hobby has been the possibility to study for a teacher’s degree with technology or textile studies as a main or a secondary subject. Gender-specific division of crafts is constructed early in childhood as different skills are taught to girls and boys. School teaches gender specific skills and the different skills of girls and boys have not been taken into account. Instead, it has been assumed through comprehensive school that both girls and boys share certain basic skills, and attention has not been paid to the differences between genders. At university the same assumption has still thrived. Skill levels between men and women are substantial and that may have hindered a move by women to technical studies and by men to textile studies. Hence an assumption of naturally gendered crafts has been developed.

Luonnoksia käsityön ruumiillisuudesta. : Käsityö Maurice Merleau-Pontyn ruumiinfenomenologian valossa.

Purpose This study focused on craft from a standpoint of phenomenological philosophy and craft was interpreted through Maurice Merleau-Ponty’s phenomenology of the body. The main focus was the physical phase of the craft process, wherein a product is made from material. The aim was to interpret corporality in craft. There is no former research focusing on lived body in craft science. Physical, bodily making is inalienable in craft, but it is not articulated. Recent discussion has focused on craft as ”whole”, which emphasizes designing part in the process, and craft becomes conceptualized with the theories of art and design. The axiomatic yet silenced basis of craft, corporality, deserves to become examined as well. That is why this study answers the questions: how craft manifests in the light of phenomenology of the body and what is corporality in craft? Methods In this study I cultivated a phenomenological attitude and turned my exploring eye on craft ”in itself”. In addition I restrained myself from mere making and placed myself looking at the occurrence of craft to describe it verbally. I read up Maurice Merleau-Ponty’s phenomenology of the body on his principal work (2002) and former interpretations of it. Interpreting and understanding textual data were based on Gadamer’s hermeneutics, and the four-pronged composition of the study followed Koski’s (1995) version of the Gadamerian process of textual interpretation. Conclusions In the construction of bodily phenomenology craft was to be contemplated as a mutual relationship between the maker and the world materializing in bodily making. At the moment of making a human being becomes one with his craft, and the connection between the maker, material and the equipment appears as communication. Operational dimension was distinctive in the intentionality of craft, which operates in many ways, also in craft products. The synesthesia and synergy of craft were emphasized and craft as bodily practice came to life through them. The moment of making appeared as situation generating time and space, where throwing oneself into making may give the maker an experience of upraise beyond the dualism of mind and body. The conception of the implicit nature of craft knowledge was strengthened. In the light of interpretation it was possible to conceptualize craft as a performance and making ”in itself” as a work of art. In that case craft appeared as bodily expression, which as an experience approaches art without being it after all. The concept of aesthetic was settled into making as well. Bodily and phenomenological viewpoint on craft gave material to critically contemplate the concept of “whole craft” (kokonainen käsityö) and provided different kind of understanding of craft as making.

Ateljeevaatteen valmistuksen työtavat Salon Kaarlo Forsmanin tuotannossa

The objective of the present study was to increase knowledge about the atelier culture of recent history, especially about the ways in which atelier clothes were made. I look at the ways of dress-making in the production of a renowned atelier, Salon Kaarlo Forsman. I also give a general outline of the atelier. The studying method I used was triangulation, which is a typical approach in case studies of recent history. My data include 23 dresses by the Salon Forsman, theme interviews of four of the Salon workers and one mannequin, data from my research work, as well as press material and archives. The basis of the analysis of these materials was a theme frame that I had put together with the help of pre-understanding. I then completed and defined the theme frame on the basis of the analysis of the data. I also analyzed the dresses in the fashion photos in the press material. Salon Kaarlo Forsman represents a certain cultural period, the years 1937-1986, and a place where a woman could have individual clothes made for her, from hats to fur coats. The atelier was particularly known for embroidery with beads, draping, and fantastic cuttings designed by the owner, fashion designer Kaarlo Forsman. I draw an outline of the work and practices of the atelier, but also that of Kaarlo Forsman’s life work, as he had a great influence on the sewing methods atelier clothes. Mr. Forsman was able to stretch the first period of modern fashion well into the third period by refusing new, labor-saving methods and sticking to individually designer clothes to the end of his enterprise. The crucial practices in the atelier that I present in this study are fitting, designing, finishing and sewing, as well as beading and the decoration of dresses. I compare the activity, practices and dress-making methods in the Forsman atelier to that of Haute Couture in Paris, which served as model for Finnish fashion houses. I point out the similarities and differences.

Tekstiilityötä ja matematiikkaa yhdistävän oppimateriaalin käyttökelpoisuus perusopetuksen yläluokilla

In this study the researcher wanted to show the observed connection of mathematics and textile work. To carry this out the researcher designed a textbook by herself for the upper secondary school in Tietoteollisuuden Naiset TiNA project at Helsinki University of Technology (URL:http://tina.tkk.fi/). The assignments were designed as additional teaching material to enhance and reinforce female students confidence in mathematics and in the management of their textile work. The research strategy applied action research, out of which two cycles two have been carried out. The first cycle consists of establishing the textbook and in the second cycle its usability is investigated. The third cycle is not included in this report. In the second cycle of the action research the data was collected from 15 teachers, five textile teachers, four mathematics teachers and six teachers of both subjects. They all got familiar with the textbook assignments and answered a questionnaire on the basis of their own teaching experience. The questionnaire was established by applying the theories of usability and teaching material assessment study. The data consisted of qualitative and quantitative information, which was analysed by content analysis with computer assisted table program to either qualitative or statistical description. According to the research results, the textbook assignments seamed to be applied better to mathematics lessons than textile work. The assignments pointed out, however, the clear interconnectedness of textile work and mathematics. Most of the assignments could be applied as such or as applications in the upper secondary school textile work and mathematics lessons. The textbook assignments were also applicable in different stages of the teaching process, e.g. as introduction, repetition or to support individual work or as group projects. In principle the textbook assignments were in well placed and designed in the correct level of difficulty. Negative findings concerned some too difficult assignments, lack of pupil motivation and unfamiliar form of task for the teacher. More clarity for some assignments was wished for and there was especially expressed a need for easy tasks and assignments in geometry. Assignments leading to the independent thinking of the pupil were additionally asked for. Two important improvements concerning the textbook attainability would be to get the assignments in html format over the Internet and to add a handicraft reference book.

Käsityökohtaamisia muinaisuuden kanssa : Neulalla neulominen eli kinnasneulatekniikka ...muutakin kuin neulakinnas?

The aim of this study was to find out how the technique of knotless netting is perceived by the craftsperson of the twenty first century. In this study the craftspeople are represented by the researcher herself, seven craftspeople and teachers (3) teaching knotless netting as well as their students (21). The main interests of this study are the mental pictures and relationship to knotless netting that craftspeople have in the twenty first century. Points of focus are also the specific characteristics of knotless netting, as well as experimenting with new and different materials. The aim of these experiments has been to find new and unusual uses for knotless netting. Preserving knotless netting as a craft and technique are also questions dealt with in this study. The methodology of this study is a qualitative and phenomenographic study of several cases. The data collected are interviews of the teachers, observations in two knotless netting courses, questionnaires answered by the students in these courses and experimental samples made by the author and evaluated by other craftspeople. These samples were made during the years 2005-2008. The interviews, questionnaires and evaluations were conducted under winter and spring 2008. The reference literature is comprised from publications in several different fields. In this study ethnography is the most dominant field of reference due to the fact that knotless netting is so strongly linked to history and antiquity. In the past the technique of knotless netting has been passed down from generation to generation in whatever form the teacher has known. There are many different ways of stitching and binding in knotless netting. This technique is closely connected to traditional knotless netting mittens even today. Nowadays knotless knitting is taught in craft schools, evening classes and in other recreational courses. The concrete understanding of knotless netting by means of two-dimensional instructions is challenging. Craftspeople often require somebody to actually demonstrate the correct way to make the stitches and hold the work before they can proceed with the technique. The way knotless netting is perceived by craftspeople is linked to their backgrounds and preconstructed mental images concerning the technique. An etnographer approaches knotless netting in a different way from a crafts-scientist or a person in an evening class wishing to master the technique. The attitude of the teacher is passed on to students and also affects the way the student perceives knotless netting and its possibilities as a technique. A craftsperson has mixed feelings toward knotted netting. On the other hand the surfaces produced by this rare technique are intriguing but the costs due to the slow manufacturing process are seen as an encumbrance.

Tekstiilikulttuurisen lukutaidon edistäminen museoissa

Purpose: The study focuses on the question, how to advance textile cultural interpretation skills in museum. The theme was actual, because there have been many workshops in different kind of museums, which have raised textile into important role of their museum pedagogy. The knowing of nature of textile materials was highlighted in former studies as the most crucial thing in craft. That is reason for choosing textile to study. The theoretical approach of study was particularized to the meanings which have been given to craft during recent ten years. Furthermore the composition of textile culture and transmitting textile cultural heritage were examined throug the theory. The finnish museum as a place for learning, as well as the contens of museum pedagogy, were analyzed. The fundamental approach to study was cultural research and art education. Methods: The methodological approach was theory-based theme interview. Before interviewing informants the charting was made by using literature, interviews and observation, to find out the most important themes within subject. Specialists were interviewed personally and results were sent to them by e-mail for further comments. There were 8 informants and they were chosen with intentional sampling from different kind of museums, from teacher education and among craft teachers. Research material was analyzed with content analysis by using deductive reasoning. Conclusions: The study revealed that there are three strategies in advancing textile cultural interpretation. The most remarkable strategies are 1) making acquaintance of materials and working with them, 2) getting exiting events with posibilities to use one s whole body and 3) getting textile cultural knowledge by using for example discovery - style learning. In practice those strategies were mixed, which also was considered advisable. Another conclusion the study revealed, is the desirable, acceptable attitude not only to the craft with creative, free beginning but also to the craft made like its model in museum. Learning from model can be felt as a very moving experience, like a journey in time. The side result of the study was the importance of collaboration of museums and schools in advancing textile cultural interpretation skills as well as significance of using internet in collaboration and relations.

Uskollinen unelma ja Paratiisilintu: suunnittelijoiden mielikuvat yksilöllisen vaatteen suunnitteluprosessissa

Tutkimuksen tarkoituksena oli tarkastella ja kuvailla ateljeeompelimon suunnittelijan mielikuvia yksilöllisen vaatteen suunnitteluprosessissa. Suunnitteluprosessissa ilmeneviä mielikuvia tutkittiin sekä asiakaslähtöisestä suunnittelusta että pienimuotoisesta mallistosuunnittelusta käsin. Tutkimuksen aineisto kerättiin kolmen suunnittelijan teemahaastatteluilla, minkä jälkeen aineisto analysoitiin teema-alueista luodun analyysirungon mukaisesti. Tutkimustuloksissa mielikuvia on havainnollistettu valokuvin sekä materiaalinäyttein vaatteista, joista haastattelutilanteissa keskusteltiin. Tutkimuksessa suunnitteluprosessi käsitetään osaksi käsityön luovaa ilmaisua, johon kuuluu osittain myös vaatteen valmistusprosessi. Yksilöllisen vaatteen suunnittelu alkaa suunnittelijan abstrakteista mielikuvista, jotka tarkentuvat prosessin edetessä konkretisoituen lopulta valmiiseen vaatteeseen. Tutkimuksessa mielikuvat käsitetään kokemuksiksi, jotka kietoutuvat prosessimaisesti suunnittelun yhteyteen. Mielikuvia muodostuu suunnittelun kaikilla osa-alueilla, ja niiden syntyyn vaikuttavat lähinnä asiakas, materiaali sekä suunnittelijan esteettinen ja taidollinen näkemys. Mielikuvia kehitetään ja ilmaistaan luonnostelemalla, sovituksissa, asiakaskeskusteluissa sekä materiaalin muodonannon avulla. Mielikuvilla on merkitystä suunnittelun ongelmanratkaisuvaiheissa. Mielikuvat näyttivät ohjaavan suunnittelijoita valitsemaan erilaisten mahdollisuuksien joukosta sen, joka tuntui parhaimmalta. Tutkimustulokset osoittivat suunnittelijoiden peilaavan jokaista suunnitteluprosessia mielikuvaan esteettisestä, toiminnallisesta ja ilmaisullisesta vaatteesta. Mielikuvissa vaate vastaa asiakkaan tarpeisiin, siinä on jokin kiinnostava yksityiskohta ja se edustaa tinkimätöntä käsityön taitoa. Tutkimustuloksissa korostui erityisesti materiaalin ja mielikuvien suhde. Materiaali innoittaa mielikuvien syntymiseen ja sen avulla luodaan vaikutelmia vastaamaan haluttua mielikuvaa. Materiaalin ja mielikuvien sidoksellisuus tarjoaa aiheita jatkotutkimukseen.

"Älynväläyksiä juoksuasuissa" : Kestävyysjuoksijoiden käsityksiä juoksuasujen funktionaalisuudesta talviolosuhteissa sekä älyvaatteista

In this research the technical functionality, quality and demands made on endurance runners` running suits in winter conditions were studied. The aim was also to find out how smart clothing and wearable technology are adopted in endurance runners` practise. Referring to previous studies the subject was approached in the theoretical part by studying the profile of endurance running, sports wear and the technology to wear as well as the smart clothing from the point of view of endurance running. The basis of subject was the interest of smart materials and the connection between technical structures and functionality. In the science of handicrafts smart clothing is rarely researched which made it even more interesting for the author. This research was carried out by the principles of the usability research. Usability means the suitability of product to its intended meaning. In the research both quantitative and qualitative methods were used. Researched persons were active competitive long-distance runners and also the long-distance runners doing it as a hobby, 35 male and 12 female runners. User information was gathered by the internet forms which mainly was based on the multiple choices but also included few open questions. Gathered information was considered by using both quantitative and content analysing methods. The functional long-distance running practice suit in winter conditions consisted of layered look which considered the possibilities of functional and smart materials. The Practise suit was humid transformable, easy care and light also comfortable to wear. These suits were hoped to be more functional than the current ones. The future running suit was described to not to feel or notice during running. It will not be too tight or sweltering. The functional abilities of clothing materials were believed to be developed further more. Even if the new technical materials are adopted for the running suits the technology to wear is not even though half of the researched runners used pulse indicators. The runners hoped the technology to wear to change more invisible and easier to use. Some of the runners wished the technology to wear to be integrated straight to the clothes which would reduce the number of devices carried with while running. The rare use of Polar Adidas AdiStar Fusion practise system and some other similar systems for endurance running was surprising. According to the results the smart clothing would not make a big brake through in the near future. In the point of view of the researched persons developing of clothing materials was a good and necessary thing, but integrating too much technology to the hobby smears the main purpose of sports and focuses wrongly on the metres and others minors .

Villapaidoistako elämänlankaa? : Tutkimus neulonnasta harrastuksena

Tutkimuksen tavoitteena oli tarkastella neulonnan harrastamista: etsiä yhteyksiä perinteeseen, kartoittaa nykytilannetta ja hahmotella mahdollisia tulevaisuuden näkymiä. Tutkimuksen avulla haettiin vastausta neulontaharrastuksen viriämiseen liittyviin tekijöihin, harrastuksen ilmenemiseen ja neulonnan merkitykseen harrastajalle. Teoreettisen viitekehyksen mukaan neulontaa tarkasteltiin harrastuksena, käsityön osa-alueena jaopittuna taitona. Lisäksi neulonnan merkitystä harrastajalle lähestyttiin kartoittamalla merkitystentaustalla olevia arvoja ja asenteita. Tutkimuksen suoritustavaksi valittiin kyselylomakkeen avulla toteutettava kvantitatiivinen menetelmä, jota täydennettiin tulosten tulkinnassa käytetyllä kvalitatiivisella tutkimusotteella. Kyselylomakkeeseen sijoitettiin monivalintakysymysten ja väittämien lisäksi laajempi neulonnan merkitystä kartoittava avoin kysymys. Tavoitteena oli saada mahdollisimman laaja kuva neulonnan harrastamisesta Suomessa. Tutkimuksen yhteistyökumppaneiksi lupautuivat Helsingin villakehräämö ja Novita Neuleet -lehti, joiden avulla pystyttiin tavoittamaan neulonnan harrastajia ympäri Suomea. Tutkimus suoritettiin postikyselynä, joka lähetettiin Novita Neuleet -lehden tilaajille ja samansuuruiselle ryhmälle oletettuja neulonnan harrastajia. Otoksen koko oli 603 henkilöä, joista 325 palauttitäytetyn lomakkeen määräaikaan mennessä. Vastausten palautumisprosentti oli 54%. Aineiston analysoinnissa käytettiin SPSS-tilasto-ohjelmaa, jonka avulla aineistosta laadittiin frekvenssi- ja prosenttijakaumat sekä tarvittavat tunnusluvut. Ryhmien välisiä eroja testattiin ristiintaulukoinneilla ja tilastollisilla testeillä. Neulonnan arvostusta ja merkitystä kuvaavista väittämistä laadittiin faktorianalyysi mahdollisten neulojatyyppien muodostamista varten. Neulonnan merkitystä harrastajalle tulkittiin sisällön erittelyllä sekä olemustyyppianalyysiä soveltamalla. Tulosten perusteella neulontaharrastuksen viriämiseen liittyivät keskeisesti suvun ja perinteen merkitys, tarpeet ja koulukokemukset. Neulontaa harrastettiin paljon, sillä vastaajista 99% neuloi käsin vähintään yhden työn vuodessa. Eniten neulottiin villapaitoja (82%). Tilastollisesti Novita Neuleet -lehden tilaajat neuloivat vertailuryhmää enemmän. Neulonnan merkityksissä harrastajalle korostettiin hyödyllistä ajankäyttöä, rentoutumista, luovuutta ja itsensä ilmaisua. Neuleen valmiiksi saaminen tuotti mielihyvää, joka ilmeni antamisen ilona, haasteiden voittamisena ja onnistumisen kokemuksina. Harrastajien toimintaa kuvaamaan muodostettiin kaksi neulojatyyppiä: elämäntapa- ja tarveneulojat. Elämäntapaneulojilla on aina jokin neuletyö meneillään, kun taas tarveneulojat ryhtyvät neulomaan tarvitessaan esimerkiksi neulevaatteen tai käsilleen tekemistä. Villapaidoista voi saada elämänlankaa, sillä neulonnan todettiin tuovan harrastajan elämään sisältöä. Neulontaa pidettiin tulevaisuudessakin tarvittavana käsityötaitona, jonka haluttiin säilyvän tuleville sukupolville.

Mallimestari globalisoituneen sarjatuotannon situationaalisessa prosessissa : Kokemustutkimus

In this thesis, taking place within the clothing industry of Finland, the impact of the globalisation of the economy on the pattern maker s job was studied and the present day fields of know-how of the job were found out. The thesis answers the questions, what are the characteristics of the patternmaker s job nowadays, and what areas of the know-how in the patternmaker s job form the core know-how, which is repeated in every organisation. Earlier studies of the subject do not exist in Finland. Similar studies have been made in USA (Staples 1993) and in Estonia (2002). Patternmakers who took part in this study were located in the Finnish clothing companies manufacturing or having clothes manufactured in series production, like clothing industry or chain of stores. A methodical triangulation was used in the thesis. In a phenomenological research of experience seven patternmakers were interviewed and in a quantitative research 26 patternmakers filled in a structured questionnaire. The phenomenological analysis has 2 parts. In the first phase using the professional background of the patternmakers, the historical development of the clothing industry for the last 40 years was described. In the second phase of the phenomenological analysis the description of the patternmaker s job was created based on the organisational strategy of the companies nowadays. The analysis of quantitative research material was performed by one-dimensional study of variables, where the variations in the amounts of variables lead to proportional conclusions. As a result of the structured questionnaire, the core know-how of the patternmaker was pointed out. In the thesis, the concept of situationality was used to describe the continuous change in the clothing industry. This explains the continuous requirement of patternmakers commitment to the time and location. The researcher has a background of a patternmaker and she works as a specialist instructor. With the thesis the researcher updates her professional competence. The analysis of the patternmaker s job can be used to update the content of patternmakers education in the vocational schools.

Nuorten mielikuvia kouluruokailusta

Knowledge of healthy food does not move alone our food choice. One also needs a piece of tongue evidence that food tastes good. Way to eat is part of our lifestyle. It is important to eat same foods with one`s friend. Aims: The overall aim of this study was to find out how youngsters themselves feel and sense of the school lunch, both food and whole lunch situation. This study has three specific research problems. The research problems are: 1. How the youngsters sense their school lunch events? 2. How the youngsters experience the physical conditions of their school lunch events? 3. How the youngsters think their lunch events could be changed? Methods: The data is collected in spring 2009 from two secondary school at the Kaarina city. The respondents were ninth grader. They were studying optional home economics classes. The number of respondents was 28 pupils. The respondents wrote a story, describing what kind of their school lunch situation should be. The story was based on youngsters own vision of school lunch situations. In this study the material is collected by the narrative method and the stories were analyzed with qualitative content analysis. Results and conclusions: According to the results these youngsters wanted their lunch to be more cosier and also more quiet. School lunches should be the moment when they can eat in peace and at the same talk with their friends in the pleasant surroundings. The food selection should be more varied, including both salad and main food as well as bread.