Short Video
Critical Reflection
How do you define craft? Is it simply “hand-made work” (Lovelace 2018)? Or is it more? What can be ascertained from the current discourse within art and scholarly sectors is that the term craft is complex. This complexity regarding subjectivity and different approaches to craft, accompanied by debates on history and development. Consequently, we are unable to reach a universal definition for craft. Unpacking the scholarly discourse on the topic, this critical reflection creates three proclamations on craft to navigate and generate greater understanding.
Craft is complex.
The complexity of craft is a consequence of the divisive discourse surrounding the term. As Adamson (2007) highlights-“(c)raft’s position within the arts is a complicated affair” (p.1). The subjectivity of craft leading rise to different approaches and analyses.
At the core of this, lies two lines of thinking. Approaching craft from the perspective of art or from the perspective of trade. Frayling (2012), examines this comparing these two distinctions of craft.
Frayling discusses that when considered art, craft is idolised-“(a)rt was wonderful, craft was admirable – while most manual occupations were … alienating” (p.77). Although, this perspective detrimental to the history of craftsmanship which at its core relied upon various labour skills/techniques.
Thus, Frayling presented a position for the convergence of both. Referencing an 1922 essay by Adolf Behne, Frayling (2012) highlights the argument-“‘craft’…is usually contrasted with something called ‘industry’ (or ‘technique’), when in fact the two developed side by side” (p.82). Considering this complexity of craft, it’s necessary to take a comprehensive approach and consider the different aspects in terms of art and technique.
Tradition is at the core of craft.
It’s necessary look to the history of craftsmanship to understand craft today.
Craftsmanship can be traced back to the handcrafted objects across various cultures throughout history. These handcrafted objects have close ties to culture, tradition and sometimes religion serving as-“unique expressions of a particular culture or community through local craftsmanship and materials.” (Kapur & Mittar 2014, p.19). They serve as a skill that has been passed down between generations, continuing today. However, with the introduction of globalisation and mass-production-“the marks traditionally used to identify craft products… have become largely empty signifiers”- thus, the “honesty, authenticity, love, and the dignity of labor” which were central to craftsmanship have become lost (Meroz 2013, p.335-336).
In the face of this, it’s necessary to sustain some semblance of this history and these generational techniques, as it retains a semblance of authenticity in craft, as well as tradition and culture.
Craft is constantly shaped and reshaped.
The nature of craftsmanship has gone through a change. As technology has developed, as have new methods and techniques of craftsmanship. As highlighted by Buechley and Perner-Wilson (2012), the “hybrid craft” (p.1), of incorporating electronics into traditional forms of hand-made craft like painting and sewing. Enabling the refinement and efficiency of craft, as well as supporting the development of technology and society. While sustaining the authenticity of traditions, it is inevitable to face the changing face of craft- in a constant process of being shaped and reshaped.
Overall, there isn’t a universal answer to define craft. However, by taking a comprehensive approach to the literature, history and development of craftsmanship- this reflection attempts to navigate the complexity of the word craft and highlight that it is certainly more than hand-crafted objects.
Reference List
Adamson G (2007) Thinking Through Craft, Bloomsbury Academic, London
Buechley L & Perner-Wilson H (2012) ‘Crafting technology: Reimagining the processes, materials, and cultures of electronics’, ACM Transactions on Computer-Human Interaction, 19(3):1-21, doi:10.1145/2362364.2362369
Frayling, C 2012 On Craftsmanship: towards a new Bauhaus, Oberon Books Ltd, London.
Kapur H & Mittar S (2014) ‘Design Intervention & Craft Revival’, International Journal of Scientific and Research Publications, 4(10):719-723.
Lovelace J (Friday, October 5, 2018) ‘Craft: Seriously, What Does the Word Mean?’, American Craft, accessed 10 April 2023. https://www.craftcouncil.org/magazine/article/craft-seriously-what-does-word-mean
Meroz (2013), ‘Hand Made: Long Live Crafts’, The Journal of Modern Craft, 6(3):335-338, doi:10.2752/174967813X13806265666933