The Sami people have struggled for centuries to maintain their culture in spite of pressures against it from colonialism. The formal education systems of Norway and Finland have acted in discord with Sami decision-making since their inception. In response to this lack of decision-making power, there is a dynamic internal process at work; Sami people have begun to take control of their own schooling. / This thesis qualitatively examines the processes of curriculum development and implementation for wood handicraft programs at the Sami colleges in Guovdageaidnu, Norway and in Anar, Finland, and details the most significant educational and political factors involved in the transmission and production of indigenous knowledge associated with Sami handicraft. Factors associated with the teaching of Sami handicraft in the form of increasing commercialization, generalization and mechanization in formal duodji education and the stereotyping of Sami cultural imagery pose potential risks to appropriate transfer of Sami cultural knowledge. This thesis will show that the teaching of Sami handicraft (duodji) is an educational and political tool that helps develop and define modern Sami culture. Accordingly, attempts by the Sami colleges to incorporate greater indigenous knowledge have resulted in the implementation of modern indigenous curriculum that promotes cultural knowledge through the teaching of Sami handicraft.

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ix, 100 p. : ill. (some col.) / In 1972 ceramist Ken Price (b. 1935) embarked on Happy's Curios , a six-year long project that he described as an homage to Mexican folk pottery. It ended with a 1978 exhibition of the same name held at the Los Angeles County Museum of Art. The project and the related exhibition integrated and critically investigated three common classifications of cultural objects: fine art, folk art, and craft. This thesis argues that the Happy's Curios project deploys these categories in a manner that challenges and deconstructs how they are used. The thesis offers a critical history of the Happy's Curios project and its reception in order to interrogate how the project engages the taxonomy of fine art, folk art, and craft, as well as its relevance to a broader art historical context. / Committee in charge: Kate Mondloch, Chair; Sherwin Simmons, Member; Brian Gillis, Member

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-07T11:58:19Z No. of bitstreams: 2 Dissertação - Paula Groehs Pfrimer Oliveira Stumpf - 2018.pdf: 3036684 bytes, checksum: 6423899c31805422566b54f5f9a49cb0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-08T09:53:03Z (GMT) No. of bitstreams: 2 Dissertação - Paula Groehs Pfrimer Oliveira Stumpf - 2018.pdf: 3036684 bytes, checksum: 6423899c31805422566b54f5f9a49cb0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-08T09:53:03Z (GMT). No. of bitstreams: 2 Dissertação - Paula Groehs Pfrimer Oliveira Stumpf - 2018.pdf: 3036684 bytes, checksum: 6423899c31805422566b54f5f9a49cb0 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-05-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation aims through the threads that surround of the handmade objects produced by Fatima Dutra Basto, called Fatinha. She was born and lives in Olhos D'Água, one historically meeting place. Fatinha produces saints and images with corn straw and Banana fiber. There are multiple lines that shrink these objects and Fatinha: Olhos D'Água district, belonging to the municipality of Alexânia-GO, with its history and landscape, Santo Antônio square, the Feira do Troca and local religiosity. We look for these threads, by understanding that object is not isolated in itself, but has stories, from who did it, where it came from, the knowledge and techniques that were developed to the final product. The semi-structured interviews, along with participant observation, helped us to produce the ethnographic elements that will be shared in this dissertation. Thus, among the elements that configure this research, we highlight the place, the craft objects, their technical processes and the narratives of Fatinha, about her history and the objects produced by her. The elements discussed here complement each other and blend together. In this way, we think that in order to understand the craft objects, it is necessary to go through and understand the lines that surround it. / Esta dissertação tem como objetivo percorrer os fios que envolvem os objetos artesanais produzidos por Fatinha. Moradora de Olhos D‟Água, historicamente lugar de encontros, Fatinha produz Santos e Imagens com palha de milho e Fibra de bananeira. São múltiplas as linhas que encolvem estes objetos e Fatinha: o distrito de Olhos D‟Água, pertencente ao município de Alexânia-GO, com sua história e paisagem, a praça Santo Antônio, a Feira do troca e a religiosidade local. Buscamos estes fios, por entender que um objeto não é isolado em si, mas possui histórias, de quem o fez, do lugar de onde veio, dos saberes e técnicas que foram desenvolvidos para que se chegasse ao produto final. As entrevista semi-estruturadas, juntamente com a observação participante, nos ajudaram a produzir os elementos etnográficos que serão compartilhados nessa dissertação. Sendo assim, entre os elementos que configuram essa pesquisa, destaca-se, o lugar, os objetos artesanais e seus processos técnicos e as narrativas de Fatinha, acerca de sua história e os objetos produzidos por ela. Os elementos aqui discutidos se complementam e se misturam uns aos outros. Desta maneira, pensamos que para compreender os objetos artesanais, é preciso percorrer e compreender as linhas que o envolvem.

“In what ways does teaching with folk arts inspired visual arts-based instruction enhance community building among elementary students in a Title I school?” was the primary research question in this study. Agreeing with past and present day research that the construct of community is vital to social and cultural capital, this research attempts to determine how the notion of community benefits both students and teachers in the elementary art classroom. Folk art was utilized because this genre was accessible in terms of locality and familiarity among students and teachers. The purpose of this investigation was to produce teaching strategies and methods that show how community can be formed in the art classroom. The participants were elementary students, Grades 2 and 3, in a Title I school located in Denton, Texas. This investigation was conducted under an action research methodology. This approach to research is intended to be transformational, emergent, and accommodating. I recorded observations, field notes, and conversations from the participants. Emergent themes were discovered through content analysis and conceptual maps. Results from this investigation concluded transformation is only possible if the person wants change to happen. Data also showed that community and art education are symbiotic. Transformation, growth, and cultivation are demands that must be met in order for this relationship to flourish. In addition, data suggested that the role of folk arts-based lessons played a significant role in building community among second and third graders.

The thesis is based on a field research carried out on Java primarily in communities gathered around the ritual dance called jathilan - an ancient, exorcistic and unique trance dance which operates with a binary opposition of good and bad forces. The aim is to extend the field of knowledge about this ritual and to enrich the existing sources of the insight into the issue of participation in jathilan and related factors. Interviews with research participants bring unique testimonies that are set into the context of the Javanese rural community. The central topic of the study is the motivation and the experience of the participants of jathilan with emphasis on the central motif of jathilan - trance and kesurupan (obsession). Great space is also devoted to the religious dimension of the jatihlan and its reflection by the participants themselves. The thesis approaches this phenomenon from three perspectives: 1) As a way to strengthen local communities, popular culture and regional cultural identity. 2) As a manifestation of religious syncretism on Java and how this syncretism is reflected by the main actors in Jathilan. 3) As a dynamic social, artistic and religious phenomenon under transformative conditions. All these perspectives are examined by the optics of jathilan participants, analyzed and set...

Dissertation is presented in partial fulfilment of the requirements for the award of Masters Degree of Technology: Fine Art, Durban University of Technology, 2009. / This dissertation was researched in two main parts. The first enquiry was to establish whether the Afrikaner women practised any form of craft during their time of interment in the Anglo-Boer War concentration camps, during 1899-1902. The second part explores the appropriation of craft within the Post-Modern context by five South African artists. During this research into the craft practises of Afrikaner women in the concentration camps, I discovered that this particular issue has not been satisfactorily documented. The reasons for this are directly connected to the patriarchal system of the Calvinist Afrikaner. The impact which this system had on the craft practices of Afrikaner women and the lack of documentation thereof, are discussed. The paucity of information on Afrikaner women‟s history led to primary research where I gained the information I needed from the descendents of interned women. The findings of this research includes various forms of needlecraft such as embroidery, quilting, crocheting, and dress and bonnet making. Amongst the artefacts found were two ceramic dogs made in the camp. Various forms of tin and wire artefacts were also found. The contribution to the impoverished Afrikaner women by Hobhouse, the South African Agricultural Association and the South African Women‟s Federation is explained in relation to this dissertation. The freedom that Post-Modern thought created amongst artists enabled them to explore exciting ways of executing their art. The five South African artists whose work I chose to explore are Billy Zangewa, Sue Pam-Grant, Gina Waldman, Antionette Murdoch and Nirmi Ziegler. Their art practices are varied but the common denominator is the incorporation of various forms of traditional feminine craft into their work. They subvert the patriarchal order, draw attention to land issues, explore women‟s fragility and raise awareness concerning the abuse of the environment. I conducted an interview with Ziegler and relied on written documentation for the research concerning the other artists. I also made use of my own analysis and instinct as a woman and mother to interpret some works. As an Afrikaner woman I execute my work by using traditional feminine craft and specific motives found during my research. I deliver commentary on the lack of vi documentation of all of Afrikaner women‟s history. I use myself as an example of an Afrikaner woman and document my own history within the greater Afrikaner history which is contained and embedded within the history of South Africa. My research into and documentation of the craft practises of Afrikaner women during and directly after the Anglo-Boer War adds to the body of knowledge concerning the history of Afrikaner women. The same applies to the work of the five artists I explored. The diversity of material, concept and execution of their work will add some knowledge to the existing body of knowledge about their work, but more so to the documentation of women's history. / M

This study was about language. Its purpose was to explore how a specific set of material culture ideas is represented in art education discussion through what is termed in this study “the three-function model.” The model states that all human-made objects, including images, perform multiple roles and/or serve multiple purposes, simultaneously, and without limit. These roles and functions of objects fall into three categories: technological (utilitarian); sociological (communicative); ideological (instructive). Discovering this model inspired two questions: (a) how might the three-function approach to the discussion of objects augment art education’s understanding and practice of Material Culture theory? (b) to what benefit might such an approach be integrated into art education practice? To answer these questions, I designed a two-stage analysis. First, the examination of literature written toward three audience groups (educator-oriented, practitioner-oriented, general audience) in order to identify three types of information (definitions, statements about objects, and statements about function) for the purpose of forming an overall understanding of how cohesive or disparate discussion appears to be within each audience group. Second, cross-analyzing the three information groups for the purpose of understanding the similarities of and differences between the discussions of the three audience groups. The results of this study suggest that the problem of multiple and contrary definitions for shared terminology may be restricted to only two important words: craft and art. Conceptual approaches employed by the writers included anthropological, philosophical, concrete, theoretical, advocate, and analytical. Although all 15 writers acknowledge the social nature of objects, and all employ the term function similarly, there are indeed gaps in art education discussion: social and ideological functions of craft and art objects that go unnoticed, and missed opportunities to explore those connections and their cultural relevance. The three-function model can provide names for the ideas we are talking around, but not quite about. / text

L’œuvre de Jean Dubuffet dans l'immédiat après-guerre est le moment paradoxal d'un refus radical du peintre de toute critique primitiviste à l'endroit de son œuvre. Or d'un point de vue formel, il pousse à l'excès des moyens jugés alors comme caractéristiques de l'art primitif et d'un point de vue conceptuel, il se réclame d'une forme d'animisme qui trahit une conception agissante de la matière. Enfin, il emprunte largement aux procédures propres à la science ethnographique alors en plein développement dans le cadre des prospections relevant de ce qu'il nomme, à l'été 1945, l'Art Brut. Afin de dépasser ce paradoxe, en considérant tour à tour sa pratique picturale, les écrits qui relaient sa pensée et son travail autour de l'Art Brut, nous montrons comment Dubuffet, en procédant à un déplacement systématique d'un regard a priori primitiviste, engage à une critique systématique de ce dernier.L'Art Brut, envisagé comme un opérateur critique dérivant de l'informe bataillien, se constitue alors comme le levier d'une remise en cause des manières consensuelles de penser l'art. Il lui permet de dépasser l'esthétique pour ouvrir le champ d'une interrogation proprement anthropologique de ce qu'il nomme l'opération artistique. / Immediately following the conclusion of the Second World War, Jean Dubuffet categorically refused the qualification of his work as part of Primitivism. But Paradoxically, the means by which this painter expressed himself were none other than those identified in so-called primitive art, and he often claimed himself as an animist what in a way betrayed an active conception of matter. Furthermore, Dubuffet drew from ethnographic research processes to finetune his method which would be baptized as Art Brut in the summer of 1945. In order to move beyond this paradox, and by using Dubuffet's paintings, writings and other work, this paper will demonstrate how Art Brut shifted the original perception of primitive art, and in thus doing so, became its unconditional critic. Art Brut, which was considered to be a means of critique as a derivative of George Bataille's « informe », emerged as a concept leading to think art differently. Esthetics could finally be pushed aside to make way for an anthropological interrogation of what the painter named the « artistic operation ».

Depuis les années 1930, un lent processus d’« artification » investit des lieux de vieembellis par leurs propres habitants avec des techniques improvisées. Considérés àl’origine comme des curiosités locales, ces sites sont révélés au monde de l’art par lessurréalistes, qui amorcent leur documentation. Dans l’après-guerre, ils connaissent uneréception de plus en plus enthousiaste au sein de certains milieux artistiques et serontannexés successivement à l’art médiumnique, à l’art naïf, à l’art brut, à l’outsider art, àl’architecture fantastique, entre autres, donnant lieu à une pléthore de définitions. Cesenvironnements irréguliers seront alors considérés souvent comme l’expressionspontanée d’impulsions intérieures, sans influences ni tradition. Cette thèse propose derevenir aux origines de cette forme artistique, en révélant le mouvement circulaire qui larelie, d’une part, aux cultures populaires et, d’autre part, aux courants officiels del’histoire de l’art contemporaine. Elle examine également les conditions de sa réceptions,dans un contexte dominé jusque dans les années 1970 par le paradigme primitiviste,avant de se concentrer sur la multiplication des initiatives qui, depuis la fin des années1970, marquent un renouvellement du regard. Tout au long, les environnementsirréguliers sont questionnés dans leur faculté à associer des notions fondamentales –art, culture, marginalité, architecture, grotesque, baroque, ornemental, entre autres – età être saisis comme un outil opératoire désignant une forme d’authenticité artistique ouculturelle. / Since the 1930s, a slow process of « artification » invested living spaces decorated bytheir own inhabitants with improvised techniques. Originally regarded as localcuriosities, these sites have been introduced to the artistic world by the Surrealists, whobegan their documentation. In the post war period, they have been seen with increasingenthusiasm in some artistic circles and then have been linked to mediumistic art, naiveart, art brut, outsider art, fantastic architecture, among others, creating a plethora ofdefinitions. Irregular environments have often been considered as the spontaneousexpression of inner impulses, without influence or tradition. This thesis proposes toreturn to the origins of this form of art, revealing the circular movement that connects it,on one hand, to the popular cultures and, on the other hand, to the officials movementsof the history of contemporary art. It also examines the conditions of its own reception,in a context dominated until the 1970s by the primitivist paradigm, before of focusing onthe many initiatives that, since the late 1970s, brought a renewed look. All along,irregular environments have been questioned in their ability to combine fundamentalconcepts - art, architecture, culture, marginality, ornamental, among others - and to betaken as an operational tool for a form of artistic or cultural authenticity.