This text discusses the regeneration and re-evaluation of the handmade and craft cultures as a means of sustaining the cultural heritage and identity of Moldavian, Transilvanian and Maramures artisan communities.The analysis looks at the revival of crafts and their role as sustainable methods of production in the Romanian counties. The focus is on craft production as a cooperative system of making, sustaining traditional ways of life (where home is self-sufficient model of production and consumption). It investigates the regeneration of the handmade culture as a means of sustaining the cultural heritage and identity of Romanian artisan communities; and the concept of the folk market as a potential mechanism for elevating the production and circulation of craft products in a ‘closed economy’.
|Title of host publication||Unknown Host Publication|
|Publisher||Plymouth College of Art|
|Number of pages||7|
|Publication status||Published (in print/issue) - 18 Sep 2010|
|Event||Making Futures 2009, International Conference - The Crafts in the Context of Emerging Global Sustainability Agendas - Plymouth College of Art, Devon, UK, 17 - 18th September 2009|
Duration: 18 Sep 2010 → …
|Conference||Making Futures 2009, International Conference - The Crafts in the Context of Emerging Global Sustainability Agendas|
|Period||18/09/10 → …|
Bibliographical noteReference text: 1. As Grace-Lees Maffei said, the production of ‘home crafts’ is relevant in “engaging issues of public and private domesticities”
2. Like pottery or woodcarving, of woven or embroidered costumes
3. The leather, linen and wool obtained in the home were used for making domestic woven cloth.
4. Banateanu, Tancred. 1977. Romania, din Tezaurul Portului Popular Traditional. Introduction by Mircea Malita. Bucuresti: Sport-Turism
5. Dancing, weddings, funerals followed an established practice and code for clothing marking gender and age. For example head decoration for women were extensively varied, even from one village to another in the same region, and these finely woven or embroidered head-pieces completed the rest of the costume.
6. For example, villagers of lower social status wore simple articles of costume and used simple ware for food consumption; whilst those of important status and wealth wore colorful and rich ornamented costumes of high quality fabric and used expensive and well-crafted ware.
7. Interestingly, the names of the varied dress elements, as those of the pottery utensils used traditionally have been lost once the artifacts ceased to be used (i.e. opregul, catrintele, fota, valnicul).
8. By dividing forms of domestic living, contemporary civilization has lost the link between decorative arts in interior and costumes.
9. For example, imported fabrics (cashmere, lace, wool) influenced the making of costumes; new glazes offered new chromatic combinations to local potters.
For Siegfried Giedion, the form of the object-world articulated the social structure of the past.
10. Phillip Rawson - In de Waal, E. 2003. 20th Century Ceramics. London: Thames and Hudson. p.175
11. For example the Maiden’s Market (Gaina Mountain), an ancient pastoral festival (held every year on the 20th of July on the day of Saint Elijah).
12. As Nicolas Bourriaud says (ibid.), consumers become ‘tenants of culture’ Pp. 37
- hand-made culture
- folk market
- craft production
- self-sufficient production