This thesis examines the marketing and branding behaviours of a sample of microbusinesses that operate in Scotland’s diverse craft sector by examining brand narratives they create. Context of the sector is first given and demonstrates that this particular topic has received little specific attention in academic literature even though it has been recommended (Fillis 2003a; Fillis 2003b). Such an investigation also offers implications for SME marketing/ entrepreneurship in general, the creative industries in particular and craft brands’ contribution to the overall place branding of Scotland. An empirical methodology is proposed which takes a narrative phenomenological approach, generating narrative texts from depth interviews with creative producers which is subjected to a Grounded Theory approach and narrative analysis in view of craft producer typologies (Fillis 1999; Fillis 2010). The stories of makers are used to generate meaning and outputs to contribute to theory, practice and recommendations for policy. Care is taken to ensure that the testimony of participants is co-created and not entirely the result of the researcher’s interpretation even though this study is interpretive in nature (Rae & Carswell 2000; McAdams 2008; MacLean et al. 2011). Similar to other entrepreneurs or producers in the creative industries, the craft worker in the current era is typified as an individual sole trader who operates in a wider culture, society and economy of increasing complexity and competition (Fraser 2013). This thesis selects those owner/ managers whose businesses rely upon craft practice and are operating in Scotland as its focus, but aims its findings at a wider reach to establish themes for future research to understand how its participants build value into their market offerings by creating personal narratives within larger narratives of craft sector and creative industries discourse. A range of participants from new starts to well-established craft practitioners is featured in the text in order to give depth and breadth to the understanding of current practice in a diverse sector which increasingly interacts with other creative industry sectors (Yair & Schwarz 2011). This thesis posits that creative producers build value through their unique ‘auratic’ persona through their personal brand narrative. This is what differentiates their work and outputs from large corporatized mass-manufacturing systems. The products of individuals’ hand skill may be categorised and classified in many ways – from fine contemporary craft to the vernacular, the utile and that which pays homage to others’ designs. What remains constant, however, is that it emanates from personal identity and the identity of the maker mixing self with story (Leslie 1998). The thesis contributes to the gap in academic marketing literature on microenterprise brand development using the topics of personal narrative, business development, product development, marketing competency/ orientation, and technology use in production and marketing. Additional emergent themes of Microenterprise Social Responsibility, the role of life-work balance of makers parenthood which further ideas of career management in the creative industries are also revealed in the course of this research (see also Summerton 1990; Burroughs 2002; Neilson & Rossiter 2008; McDowell & Christopherson 2009; Banks & Hesmondhalgh 2009). Methodologically, this thesis is hybrid but crucially uses the equipment of story and narrative analysis to offer both insights into practice for the academy and a method that practitioners can use to further marketing development and their brand identity. Through the careful gathering and presentation of various stories – of biography, making and marketing, this thesis presents a current view of craft as created, communicated and exchanged by those working in the field in Scotland today. These case stories act as both informative examples that demonstrate how individual producers create value in their work. The findings are consistent with - but also develop - a maker typology offered by Fillis (1999; 2010) and Burns et al. (2012) thus contributing a methodological and conceptual approach and framework to understand the marketing and branding behaviours of Scottish craft microenterprises (McAuley 1999; Creative and Cultural Skills 2009) but which may also be applied to other types of microenterprise.

Thesis (Ph. D.)--Stanford University, 1998. / UMI copy paged continuously. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 320-325).

The writer, an art teacher of some experience, has felt the need for more easily accessible and more definite and tangible information concerning printed material which could be used by the junior-high-school art teacher in carrying on a program of creative art experiences. This research, "An Evaluation of Art Publications", was made in an attempt to meet this need.

There has been a grassroots revival of craftivism leading up to, and following the 2016 U.S. presidential election. This qualitative dissertation explores the experiences of women within three craftivist groups to facilitate a deeper understanding of their conceptions of craft, activism and feminism, the salience of older women within these communities, and how the affordances of new media are potentially reshaping craftivism. Drawing on interview data, as well as offline and online participant observation, this study found that craftivists have highly diverse personal trajectories and understandings of feminism and activism, that older women—many with a lifelong history of activism—play a significant role in craftivist groups, and that participation in craftivism, supported through extensive use of social media and online communication, provides a gateway to civic expression and engagement. Beyond deepening our understanding of craftivism in the current political climate, this research makes significant contributions to scholarship on participatory culture, activism, and civic engagement. While these bodies of research have traditionally been youth-centric, this dissertation adds value by shedding light on the participatory practices of older women in creative online sites.

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2017-05-09T12:36:05Z No. of bitstreams: 1 Paula Cervelin Grassi_.pdf: 1871958 bytes, checksum: 35cf41b913983386c6232f4247fbbfe7 (MD5) / Made available in DSpace on 2017-05-09T12:36:06Z (GMT). No. of bitstreams: 1 Paula Cervelin Grassi_.pdf: 1871958 bytes, checksum: 35cf41b913983386c6232f4247fbbfe7 (MD5) Previous issue date: 2017-02-23 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / PROEX - Programa de Excelência Acadêmica / O estudo propõe o aprofundamento da compreensão e a articulação dos significados sociais de ser mãe e as memórias de vida tecidas por um grupo de artesãs, descendente de imigrantes italianos/as, chamado Clube de Mães Santa Rita de Cássia da cidade de Caxias do Sul – RS. Esse clube de mães desenvolve artesanato como crochê e bordado e mantém atuação comunitária, como as doações de roupas infantis às famílias de baixa renda, permitindo a interação entre as integrantes e a comunidade, o que resulta em transformações na vida das mulheres envolvidas. Objetiva-se analisar as permanências e/ou rupturas (alternativas emancipatórias) na representação do modelo madresposa das participantes ao narrarem suas histórias. Trata-se de um modelo ligado à função social da maternidade e conjugalidade destinada às mulheres. A observação participante, os grupos de discussão, as entrevisitas individuais e o questionário compuseram o caminho metodológico. Para a análise, a interpretação somou-se aos referenciais teóricos especialmente dos estudos feministas. Entre os resultados, está o interesse do poder público pela perpetuação da “bondade feminina”, ao beneficiar-se das doações realizadas pelos mais diversos Clubes de Mães espalhados pelo Brasil e deixando de responsabilizar-se pelas necessidades da população de baixa renda. Conclui-se também o processo de autonomia que as mulheres experimentam no Clube de Mães, ao se encontrarem a si mesmas uma nas outras, embora marcadas pelo modo tradicional de comportamento referido às mulheres. / The study propose the deeply comprehension and the articulation of the socials meanings of being a mother and the life memories created by a group of female artisans, descendant from italian imigrants, called Mother’s Club Saint Rita of Cascia from the city of Caxias do Sul – RS. This mothers club develops handicraft like crochet and embroidery and supports a community action, such as kids clothing donations to families with low income, allowing the interaction between the members and the community, which results in transformations in the life of the women envolved. It aims to analyze the continuities and/or the ruptures (emancipatories alternatives) on the model representation of madresposa from the attendants when they narrate their stories. A model connected to the social function of the motherhood and conjugality towards women. The participant observation, the discussion groups, the single interviews and the questionnaire composed the methodological path. For the analysis, the documentary method of interpretation added to the theoretical references especially to the feminist studies. Among the results, there is the interest of the public authorities in the perpetuation of the “women kindness”, as they beneficiate from the donations made by severals mother’s clubs spread in Brazil and then setting aside the responsability with the necessities of the low income population. It is concluded also the autonomy process that the women try in the Mother’s club, when they find themselves on each other, although they are marked by the traditional way of female.

Este estudo teve por objetivo analisar as políticas públicas implementadas na arena da pesca no município de Tramandaí/RS - Brasil, a ação dos mediadores sociais, os efeitos das políticas públicas e a ação dos pescadores artesanais mobilizando e construindo a suas estratégias organizativas e participativas. O estudo se baseou na Perspectiva Orientada pelo Ator que permitiu acompanhar os atores sociais, entender como se mobilizam e se articulam, a relação com os mediadores sociais, como acessam, de que forma são percebidas e no que as políticas públicas modificam a vida das famílias pescadoras. Foram realizadas entrevistas com pescadores artesanais que residem em diversas comunidades do município e com os mediadores sociais que atuam na arena da pesca e, realizada a observação participante em eventos da pesca. Na arena da pesca em Tramandaí encontrou-se diversos mediadores sociais que são percebidos pelos pescadores artesanais de acordo com a sua atuação e envolvimento: alguns são considerados atuantes e engajados com a categoria, outros percebidos como envoltos em seus projetos pessoais e interesses políticos e ainda alguns são vistos como autoritários e que invadem o seu mundo de vida. Os pescadores artesanais consideram fundamental a interface com os mediadores, pois promove o encontro de diversos conhecimentos. As políticas públicas mais citadas e consideradas pelos pescadores foram: RS Rural Pesca Artesanal, Pronaf Pesca, FEAPER, Seguro Desemprego, Aposentadoria e a feira do peixe. Analisou-se os efeitos das políticas públicas na vida das famílias de pescadores e o poder de agência dos próprios pescadores, sendo que estes consideram que as políticas públicas abriram espaço para a diversidade de grupos sociais, mas que tiveram que exercer pressão para haver essa visibilidade. Através das políticas públicas, readequaram os espaços de processamento e comercialização do pescado de modo que possibilitou novos mercados; adquiriram novos equipamentos e apetrechos de pesca que proporcionou maior segurança e agilidade na locomoção até os locais de pesca e a diminuição da penosidade do trabalho, ao mesmo tempo em que foram consideradas importantes para a manutenção familiar e a própria continuidade da pesca. Houve algumas limitações na compreensão de como funcionam os processos burocráticos dessas políticas, resultando em algumas desconfianças. A agência dos pescadores pode ser considerada em construção, acessando espaços de aprendizagem e construindo gradativamente um processo de participação social, mantendo suas estratégias de lutas, demandas e discursos. / The aim of this study was to analyze the public policies implemented in the fishing arena of Tramandaí/RS - Brazil, the action of social mediators, the effects of public policies and the action of handicraft fishermen while mobilizing and constructing their organizational and participatory strategies. The study was based on the Actor-Oriented Perspective, which allowed to perceive the social actors, understand how they mobilize and articulate themselves, the relationship with social mediators, how they access, the way they perceive and how public policies change the lives of fishing families. There were conducted interviews with handicraft fishermen who live in several communities in the municipality and with social mediators who work in the fishing arena, and participant observation in fishery events. In the fishing arena of Tramandaí were found many social mediators who are noticed by fishermen according to their acting and involvement: some are considered active and engaged with the category, others are perceived as being involved in their personal projects and political interests, and some are seen as authoritarian, or invasive regarding the world of life of fishermen. The fishermen consider fundamental the interface with mediators, as it promotes the exchange of diverse knowledge. The most cited and considered public policies by the fishermen were: the RS Rural Handicraft Fishing, the Pronaf Fishing, the FEAPER, the Unemployment Insurance, the Retirement benefits and the Fish Fair. It was analyzed the effects of public policies on the lives of fishermen families and the acting strength of the fishermen. According to them, the public policies allowed the diversity of social groups, but they had to put pressure to have this visibility. Through the public policies, they improved the spaces used for fish processing and selling, enabling to reach new markets, acquired new equipment and fishing gear that provided greater safety and agility in locomotion to the fishing sites and reduction of labor stress. They were also considered important for the familiar sustenance and the fishing continuity. There were some limitations in understanding how the bureaucratic processes of these policies work, resulting in some mistrust. The fisheries agency may be considered in a process of building, accessing learning spaces and gradually building a process of social engagement, keeping the strategies of struggle, demands and speeches.

Esta pesquisa teve como objetivo a análise de alterações na forma de objetos resultantes da produção artesanal têxtil no Brasil, a partir da década de 1970, em correlação a mudanças nos respectivos contextos socioculturais, como as que se referem ao campo do design. Os procedimentos metodológicos foram baseados em abordagem qualitativa com viés histórico, realizada por meio de coleta bibliográfica, iconográfica e de campo. Abordou-se o artesanato têxtil como bem cultural representativo da produção de artefatos na sociedade brasileira. A partir de meados do século XX, contextos socioculturais e objetos resultantes desse ofício passaram por transformações condizentes com os interesses de consumidores de centros urbanos relativos ao artesanato. Nesse cenário, instituições e profissionais apresentaram projetos cujas abordagens transitam entre a manutenção de aspectos que caracterizam a tradição artesanal e a mudança dos objetos artesanais, para maior aceitação mercadológica. Por fim, debateu-se a necessidade de designers que atuam no setor avaliarem esses objetos, não apenas por sua destinação comercial, mas também como manifestação da cultura, do meio e das relações estabelecidas por artesãs e artesãos com seu ofício / The purpose of this study was to analyse the changes in the form of objects resulting from the Brazilian textile production of arts and crafts, since the 1970s, in correlation with the changes in the respective sociocultural environments, such as the ones related to design. The methodological procedures were based on qualitative approach with a history bias, carried on by means of bibliographic, iconographic and field research. Textile handicraft was addressed as cultural property representative of the Brazilian production of arts and crafts. Sociocultural environments and objects resulting from craftsmanship underwent transformations, since the middle of the 20th century, in accordance with the interests of urban consumers of arts and crafts. In this scenario, organizations and professionals presented projects whose approaches move between the maintenance of the characteristic features of craft tradition and the change in handcrafted objects, to make them acceptable by the market. Finally, it was discussed the need of an evaluation of such objects by the designers who work in the sector, not only due to their commercial purpose, but also as an expression of the culture, the environment and the relationships established between the artisans and their craft

Tem como objetivo geral documentar, registrar e analisar o método de trabalho artesanal com o couro do artesão cearense Espedito Seleiro e suas relações com o design, além de analisar as técnicas artesanais do couro utilizadas pelo artesão e, respectivamente, neste contexto, a memória cultural, identidade e tradição no Sertão do Ceará. O estudo expressa relevância cultural e econômica, envolvendo a pesquisa do valor simbólico dos bens produzidos com base em metodologias tradicionais, como, também, é a investigação de aspectos econômicos por se tratar da colaboração entre a metodologia tradicional e o design para o desenvolvimento de novas propostas. Os procedimentos metodológicos seguidos foram: pesquisa qualitativa e exploratória com embasamento no método etnográfico, em que constam levantamentos bibliográficos dos eixos design, artesanato e identidade; entrevista de história de vida com o método biográfico e visita à cidade e oficina (Ateliê / loja) do artesão; análise das características dos desenhos no trabalho do artesão, fazendo uma ligação com os pontos da linguagem visual; elaboração teórica das relações do artesão com a moda e o design, além da abordagem também do método da pesquisa-ação, com projeto prático desenvolvido pela autora ou além das contribuições para a área de Design de Moda; este trabalho também poderá auxiliar na divulgação, para outros povos, da tradição cultural nordestina, no trato da superfície do couro dentro da confecção de acessórios em geral e nortear pesquisas arrimadas noutras experiências com artesãos que trabalham com outras metodologias. A pesquisa é um resgate, em vida, da memória das técnicas do ofício com o couro para o próprio artesão, que terá a oportunidade de presenciar seus saberes socializados / It has as main objective documenting, recording and analyzing the artisanal way of working with leather of Espedito Seleiro, a craftsman from Ceará, and his relations with design, besides analyzing the craft techniques used by the leather craftsman and respectively in this context, cultural memory, identity and tradition in the countryside of Ceará. The study presents cultural and economic relevance, involving research of the symbolic value of goods produced by \"traditional\" methods, but it is also the investigation of economical aspects because it is the collaboration between traditional methodology and design for the development of new proposals. The methodological procedures followed were: qualitative and exploratory research with grounding in the ethnographic method, in which is listed literature surveys of areas: design, craftsmanship and identity. Life history interview with the biographical method and a visit to the city and atelier (atelier / store) of the artisan; analysis of characteristics of the drawings in the artisan work, making a connection with the points of visual language; theoretical construction of the craftsman\'s relationship with fashion and design, as well as the approach of action research method, with practical project developed by author, or in addition to the contributions to the area of Fashion Design, this work may also aid in spreading the Northeastern cultural tradition to other people, concerning the tract of leather surface in the production of accessories in general and guide research from other experiences with craftsmen working with other methodologies. The research is a rescue alive, of the memory of craft techniques with leather for the craftsman himself who will have the opportunity to witness their socialized knowledge

The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.

Thesis (M.Ed.)--University of Hong Kong, 1992. / Includes bibliographical references (leaf 137-144). Also available in print.