HAMC 3305, Semester
2, 2002-3
STUDIES IN MATERIAL CULTURE: CONTEMPORARY CRAFTS
Notes On Assessment
Coursework Deadlines
Exhibition Review
Seminar Presentation
Essay
Referencing and Bibliographies
Notes on Plagiarism
This
module will examine issues raised by contemporary craft production. Students
will engage in debates on the significance of skill and creativity in defining
the crafts; the distinction between art and craft; function and decoration in
the crafts; the relation to industry and use of technology; the relevance of
vernacular tradition; the relation between professional status and amateur
handicrafts; and the ethics of sustainable production. The module will take a
global perspective on these issues, with particular involvement from
specialists in South Asian crafts. The issues are also situated in relation to
critical theory of the Arts and Crafts Movement, Modernism and Postmodernism.
We will also consider the broader relation of craft to society, covering gender
and class issues; access to and emphasis in education; the role of museum/
gallery displays; interpretation of social, political and religious meanings
and the relation of making to theory. The economic and structural context is
examined, particularly the influence of government, commercial and
institutional patronage on craft; issues of global trade and international aid;
retail and marketing of crafts. Students will be encouraged to respond to the
challenge of writing critically about the crafts, with analysis of the writings
of key crafts theorists, review of current crafts exhibitions and discussion of
the work of practitioners.
As a result of
studying this module, you should have:
·
An understanding of key concepts and
issues relating to craft production.
·
An appreciation of the cultural,
political and economic context of craft production in a range of societies.
·
A greater knowledge of craft objects
and craft history, particularly in the 19th, 20th and 21st
centuries.
·
Skills of critical analysis and
interpretation of craft objects.
·
An improvement in your confidence and
skills in giving public presentations.
·
An ability to research in depth, select
and analyse material.
The
format of the module is based on the separate elements of lectures, seminars and
personal tutorials. The lecture programme will introduce key concepts and
theoretical approaches to contemporary crafts practice and to craft production
as material culture. Formal lectures will be complemented with workshop
discussion and activities, visits by students to exhibitions and student
presentations. The student is expected to read around the issues discussed in
lectures (developing a familiarity with crafts theory) and to maintain an
active interest in crafts literature and the media for discussion of relevant
issues.
| Week 1 | Lecture | Introduction to Module: Craft Definitions |
| Seminar | Discussion; introduction to text analysis | |
| Week 2 | Lecture | The Arts and Crafts Movement and the Ethics of Production |
| Seminar | Workshop discussion; text analysis discussion | |
| Week 3 | Lecture | Social and Religious Context: Craft in S.E. Asia |
| Seminar | Research methods; exhibition review analysis | |
| Week 4 | Lecture | Vernacular Tradition |
| Seminar | Workshop discussion; presentation preparation | |
| Week 5 | Lecture | Modernism and the Function Debate |
| Seminar | Presentations; workshop discussion | |
| Week 6 | Lecture | Influence and Inspiration: Other Cultures |
| Seminar | Design Analysis; workshop discussion | |
| Week 7 | Lecture | Political Intervention and Patronage |
| Seminar | Presentations; workshop discussion | |
| Week 8 | Lecture | Gender |
| Seminar | Presentations; workshop discussion | |
| Week 9 | Lecture | Craft, Decoration and Art |
| Seminar | Presentations; workshop discussion; essay preparation | |
| Week 10 | Lecture | Consumption, Marketing and Cultural Value |
| Seminar | Presentations; workshop discussion | |
| Week 11 | Lecture | Case Study: Khatri Embroidery |
| Seminar | Presentations; workshop discussion; feedback | |
| EASTER | ||
| Week 12 | Lecture | The Status and Presentation of Crafts in the Museum |
| Seminar | Discussion |
Assessment
The assessed
components of this module are:
|
|
Weighting
|
|
Seminar
Presentation |
30% |
|
Exhibition Review |
20% |
|
Essay |
50% |
Assessment
criteria for the presentation, report and essay is indicated in the mark sheets
provided in Appendix A. Written work should be handed in for assessment at the
Faculty Reception (Ground Floor, Fletcher Building, by the bike stands, before
you come to the Health Centre and courtyard). Make sure that a coversheet (with
two coloured carbons) is attached to your work and is signed and dated by the
Faculty receptionist. It should state the module leader (Emily Baines), module
number (HAMC 3305), programme title (your degree: Ceramics and Glass,
Decorative Artefacts, etc.) and the assignment title (essay or exhibition review).
The work itself should also be clearly marked with your name, your module
tutor, module name and module code (in case the coversheet is lost). It is also
important to keep a copy of your work.
If
having problems with the work, see your module tutor before the deadline! If
you are ill or have other personal difficulties, an extension can be arranged.
Evidence of mitigating circumstances (such as a doctor’s note) should be
provided, if possible. Students with dyslexia will also be given extensions, if
needed. Note that if the work is late, without an extension, marks will be
deducted according to HAMC regulations (10 marks deducted if within one week
late: after one week, the work can be failed). If there are mitigating
circumstances that resulted in non-completion of the module (e.g. essay not
handed in or very late), the circumstances should be explained to the module
tutor. An Extenuating Circumstances form must be filled in and relevant
evidence forwarded to the Faculty committee via the Fletcher Faculty office. Check
the deadline for these forms if there is any possibility of finding
yourself in this situation! If the module is failed due to failure of the
presentation, report or essay, you will be required to resubmit the failed work
(if it is the presentation, a presentation report is submitted).
Exhibition Review deadline:
Wednesday 12th March (Week 7)
Presentation:
On the date specified by your tutor.
If the presentation is not given on the correct date, a later slot will be
given. In this case, 10 marks will be deducted for lateness, unless an
extension has been given due to illness or other serious mitigating
circumstances.
Essay deadline: Thursday 8th May 2003 (Week 13)
It should cover:
·
The overall aim of the exhibition. How
do you know this? Compare aims stated in text panels/ catalogues with their
achievement in the exhibition and the validity of these aims.
·
An analysis of the layout of the
exhibition, to indicate the structure and semiotics of the display. Consider
how well the objects are displayed, the criteria for selection of objects, the
professionalism shown and any points relevant to curatorial/ exhibition
management decisions.
·
Analysis of the craft objects themselves
(aesthetic quality, style/ approach of maker, skill, etc.). What is the basis
of your critical response or qualitative judgements of the objects?
·
Context and significance. Are there any
relevant craft issues or theory? Does it relate to any social or political
issue or context? Does the work relate to a contemporary style/ trend or
movement within that craft or design generally? Is there any wider significance
to the exhibition, or is the only significance the changes to the maker’s
previous work?
Try to provide
illustrations of the exhibition, either photographs or postcards. Take notes of
any text panel information and get copies (if possible) of any catalogues,
artist statements, etc. Note the layout of the exhibition: is there a
particular narrative implied, or specific way to follow the exhibition? It is
useful, if possible, to talk to the exhibition organiser and find out a bit
more information about the criteria and process of selection, reason/ aims of
exhibition, etc. If you do find this out, how evident is this from the final
exhibition and the textual information available?
Analyse a text and
present the issues to the seminar group. The presentation should be about 10
minutes long, leading into general group discussion of the issues raised.
Students will research the work of writers, thinkers and practitioners who have
been influential on contemporary crafts, or texts that raise issues relevant to
contemporary craft practice, and make presentations designed to promote debate.
The seminar presentation should demonstrate the ability of the student to
analyse and apply concepts to craft practice and to critically analyse texts.
It also offers opportunities for peer and tutor feedback and to improve the
professional quality of oral presentation skills. The text analysis should
include:
·
A statement of the bibliographical
facts relevant to the text: author; title; editor if a collection of essays or
commissioning editor if part of a series, the book, journal or series in which
it appears; publisher; where published; date originally published and current
edition of work if in book form, or details of journal number and date, if
applicable. In what form does the text appear - an article in a journal or
newspaper, an essay in an anthology, a complete book or a book commissioned as
part of a series?
·
State the subject position of the author, and the context in which the piece appears. For example, does the author
speak as an expert in a particular discipline? Is the journal, book or series based
on a particular discipline or theoretical approach? What is the context of
publication. In the debates and events relevant to its publication?
·
Consider the type, approach and research quality of the text. Is it a piece of
academic research, thoroughly footnoted? Or a statement of opinion by a maker?
How would you define it?
·
Analyse the argument, picking out the
key themes or issues. How does the
author’s views relate to the views of previous or contemporary writers on this
issue? Question the evidence given by the writer to support their view. Do you
agree with their views? It may be useful to show an OHP of a particular example
used by the writer, to explain their argument.
·
Relate the issue raised and viewpoint
of the writer to current practice and work. Are the ideas relevant to craft production today? It is useful to bring OHPs of
relevant examples or actual craft objects.
·
Open the issue up to debate within the seminar group.
Prepare questions for the group and lead a brief seminar debate on the issue/s
raised. Is the issue relevant to all areas of craft production? Would it be
relevant to industrial production?
Brouwer, J. The Makers of the World: Caste, Craft and
Mind of South Indian Artisans, Oxford U. P., 1995.
Dean, D. ‘A Slipware
Dish by Samuel Malkin: An Analysis of Vernacular Design’, Journal of Design History, Vol. 7, No. 3, 1994, pp153-168.
Mayer, C. ‘Shared
Territory and Contested Spaces: An Anthropological Perspective’, in Greenhalgh, P. (ed.) The Persistence of Craft, A. & C. Black (Publishers) Ltd.,
2002, pp173-184.
Meuli, J. ‘Writing
About Objects We Don’t Understand’, in Dormer, P. (ed.) The Culture of Craft, Manchester University Press, 1997.
Spooner, B. ‘Weavers
and Dealers: Authenticity and Oriental Carpets’ in Appadurai, A. (ed) The Social Life of Things: Commodities in
Cultural Perspective, Cambridge U. P., 1992.
Ashbee, C.R.
‘Decorative Art from a Workshop Point of View’, 1889 in Ashbee, C.R. Workshop Reconstruction and Citizenship: An
Endeavour, Garland Publishing, 1978 (reprint of 1894 publication).
Day, L. ‘The Use In Ornament’ chapter in Day, L. Everyday Art, Garland Publishing, 1977 (first published in 1882).
Leach, P. A Potter's Book, Faber & Faber, 1940.
Mairet, E. Handweaving Today, Faber & Faber,
1939.
Morris, W. ‘The
Lesser Arts’ 1878 in News From Nowhere
and Selected Writings and Designs, Penguin Books, 1962, pp84-105.
*Ruskin, J. ‘On the
Nature of Gothic’ chapter or initial chapter in The Stones of Venice, DaCapo Press, 1985.
Staite Murray, W.
‘Pottery from the Artist’s Point of View’, Artwork,
Vol. 1, No. 4, May-August 1925.
French, N. ‘CADCAM
and the British Ceramics Tableware Industry’, in Dormer, P. (ed.) The Culture of Craft, Manchester
University Press, 1997.
*Pye, D. The Nature and Art of Workmanship, Cambridge University Press,
1968.
Greenhalgh, P. ‘The
Progress of Captain Ludd’, in Dormer, P. (ed.) The Culture of Craft, Manchester University Press, 1997.
Dormer, P. ‘Textiles
and Technology’, in Dormer, P. (ed.) The
Culture of Craft, Manchester University Press, 1997.
Day, L. ‘The Workman and his Tools’ chapter in Day, L. Everyday Art, Garland Publishing, 1977 (first published in 1882).
Gender
Parker, R. The Subversive Stitch: Embroidery and the Making of the Feminine,
The Women's Press, 1984, chapter 1
Paper from Elinor, G. et al (eds.) Women
and Craft, Virago, 1987.
Paper on spinning
from Jones, A.R. & Stallybrass, P. Renaissance
Clothing and the Materials of Memory, Cambridge University Press, 2000.
Day, L. ‘To Ladies and Amateurs’, in Everyday Art,
Garland Publishing, 1977 (first published in 1882).
Sparke, P. ‘Those
Extravagant Draperies’: Domesticity Contested, in Sparke, P. As Long As It’s Pink, Harper Collins
Publishers, 1995, pp (Ruskin, Eastlake and Design Reform).
Art/ craft role
Dormer, P. ‘Craft and
the Turing Test for Practical Thinking’, in Dormer, P. (ed.) The Culture of Craft, Manchester
University Press, 1997.
Greenhalgh, P. ‘The History of Craft’, in Dormer,
P. (ed.) The Culture of Craft,
Manchester University Press, 1997.
*Kenji, K. ‘Studio
Craft and Craftical Formations’, in Greenhalgh,
P. (ed.) The Persistence of Craft, A.
& C. Black (Publishers) Ltd., 2002, pp28-36.
Metcalf, B. ‘Craft
and Art, Culture and Biology’, in Dormer, P. (ed.) The Culture of Craft, Manchester University Press, 1997.
‘Potters of the
1920s’, in Elinor, G. et al (eds.) Women
and Craft, Virago, 1987.
Heslop, T.A.
‘Hierarchies and Medieval Art’, in Dormer, P. (ed.) The Culture of Craft, Manchester University Press, 1997.
Kennard, J. ‘Money
and Success: Markets for Jewellery’;
The essay should be
of 2500-3000 words. It is intended to allow you to research in depth a specific
topic of interest to you, in order to demonstrate knowledge, analytical ability
and an understanding of relevant theoretical issues. If your interests are not
covered by the questions below, a modified version or new question can be
developed in discussion with the module tutor. Some of the questions are very
broad, to allow for a wide range of interests, but will require a narrow period
or limited number of contrasting examples to be chosen.
1. Compare
2 or 3 crafts people who could be considered part of the Arts and Crafts
Movement and examine their practice and views on use of machines and the value
of craft.
2. Compare
the changing practice, products and ethical views of post-war designer/ makers
in two different craft fields who have moved into batch or mass production.
3. Examine
the way that the history of one craft during the 20th Century is
presented in a range of sources: what are seen as the most important events,
trends and makers? Why are they important to that writer – do they fit a
particular theory or view of what is of aesthetic or social value? Are any
groups of makers or types of work omitted or undervalued that you consider
important?
4. Analyse
a Decorative Arts museum exhibition and interpret the construction of value
within craft history as shown in the display.
5. Examine
an example of craft used to revive a local economy. Is it sustainable? How does
it relate to regional craft traditions or cultural heritage?
6. Analyse
the work of a craft person who worked in a foreign country and the way that a
different way of working, social role and the ‘foreign’ artefacts themselves
influenced them.
7. Analyse
the political significance of a particular group or type of craft objects and
explain the social and political context to their production.
8. How
has the use of craft in schools, and the perception of its value in education,
changed in the 20th century?
9. Consider
the value of postmodern ideas and theory to two late 20th C.
designer/ makers.
10. Compare
the craft objects sold in a Craft Gallery and a Heritage Centre/ Visitor Centre
shop or high street retailer. Why are they purchased – are the particular
meanings or values for the consumer or in their function as a Gift different?
11. Examine
the way that religion is relevant to the production and meanings of the craft
work of a particular group of makers or the work of two makers.
12. Who
do you consider to be significant in reviving or changing one craft field in
the 20th Century? Choose one craftsperson and analyse the key
aspects of their views and practice and relate to contemporary debates and
developments in the crafts/ design/ art worlds as relevant. Do not use someone
that you have previously analysed in a HAMC essay.
13. Compare
the response of two craft designers of different periods to gender issues and
the gendered environment in which they worked.
14. Examine
a particular ‘handicraft’ and the differences between the way that it is/ was
presented, perceived and commercialised as an amateur or hobby craft compared
to its production and sale as a professional craft product.
15. Analyse
the debate on the role of craft as functional or art object during the 20th
century, contrasting particular craft products and the way that they were
presented.
Note: A high quality essay should
have:
·
Clarity of structure. A focused process
of analysis of the design subject using key points, structured by section
titles.
·
A high quality of critical analysis, of
the subject, theories or analytical methods used and sources. This should
demonstrate comprehension of the subject and theory, particularly key concepts
used. The best essays have a significant degree of insight and originality (not
uncritically derivative of sources used).
·
Thorough substantiation of statements
in your analysis with evidence, well referenced.
·
Thorough research, indicated in the
bibliography and apparent as the basis of the essay. Ideally, you should have a
good range of sources for each theoretical approach as well as subject sources.
·
Quality of language and writing style.
Make sure that you use formal, analytical language in academic essays. You
should use the third person as far as possible (it, rather than I ). Check the
grammar and spelling.
·
Presentation. Legibility and clarity of
structure are most important. Word-process your essay if possible. Make sure
the essay is securely fastened together or bound in a lightweight folder, but
avoid putting pages in individual sleeves.
Referencing and Bibliographies
The
following layout should be used in a bibliography:
Harrod,
T. The Crafts in Britain in the 20th Century, Yale
University Press, 1999.
Articles
should be listed as shown:
Dean, D. ‘A
Slipware Dish by Samuel Malkin: An Analysis of Vernacular Design’, Journal of Design History, Vol. 7, No.
3, 1994, pp153-168.
Citation
is the system in which you give the source for quotes or key facts. You can
reference works using footnotes or endnotes: a superscript number or a number
in brackets is given at the end of a quote or the end of a sentence including
key facts. This is linked to numbered footnotes (at the base of the page) or
endnotes (at the end of the essay or article), as follows:[1]
To avoid repetition of source details in footnotes, use ibid. (to indicate the
same source as the one listed in the previous reference)[2]
or op. cit. (to indicate a source that has been previously referenced, but not
the one immediately before this one).[3]
Make sure that your references are all consecutively numbered (rather than
numbered according to source).
Remember, you need to
use footnotes/ endnotes when:
a) You use a
quote. State the person who said it, date and context if possible, as well as
the source in which you found it.
b) You give the views of anyone (or likes, influences, etc.),
even when not in a quote.
c) You give
specific facts that need to be substantiated. For example, if you state
figures, prices, dates or particularly surprising/ controversial information.
d) You are
using the ideas of a specific theorist, even if the theorist is not named in
the discussion: preferably give the page reference, but if the ideas are basic
to the source, just give that.
Plagiarism is a serious matter. A
simple definition of plagiarism is "direct, unattributed quotation from
the work of others", or in a word, "copying" the work of others.
The University takes a very severe view of plagiarism, so briefly, DON'T DO
IT!!
Misuse of academic conventions occurs
when students may not adequately reference the material that they have used
through ignorance of the correct procedures.
Such misuse might involve not giving clear and accurate references to
the material used in the assignment, or paraphrasing material without
indicating the source, or quoting directly and failing to reference the source
of the quoted passages or to place it in quotation marks. Misuse, or non-use,
of academic conventions is a fault often encountered in the first year, when
students are learning the ‘tools of the trade.’
A much more serious matter is the
misuse of the work of others with intent to deceive, and to gain an advantage
by unfair means. Here "direct, unattributed quotation" from the work
of others, or close paraphrasing without a reference to the source of the
material, or even submitting the work of another student as your own are all
very serious matters and you should NOT engage in them. You should note that where "extensive,
direct, unattributed, quotation from the work of others" is found by staff
in an essay this will in itself be taken as evidence of intent to deceive, and
this is what is meant by "Plagiarism".
Always
give references.
Always
acknowledge quotations.
Always
take references for whatever notes you take.
Always
write your material in your words.
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*
Dormer, P. (ed.) The Culture of Craft,
Manchester University Press, 1997.
*
Harrod, T. The Crafts in Britain in the
20th Century, Yale University Press, 1999.
Harrod,
T. ‘Comment: Planet Waves’, Crafts,
No. 174 (Jan/ Feb. 2002), pp42-5.
Howard,
C. ’50 Years of Embroidery and its Value as a Legitimate Art Form’, Embroidery, Summer 1983, Vol. 34, No. 2,
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Postmodernism and Theory (see
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HAMC 3305: Contemporary Crafts
ASSESSMENT SHEET: EXHIBITION REVIEW
STUDENT NAME:
Tutor’s Assessment
Level
of critical analysis of exhibition aims, layout and relevant issues
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Quality of critical appreciation and analysis of craft
objects |
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Structure and sustained argument |
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Contextual research / knowledge of subject demonstrated |
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Effective use of visual aids |
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Quality of written communication |
|
|
Further comments |
|
Semester Date:
Mark for consideration by the Subject Authority Board:
HAMC 3305: Contemporary Crafts
ASSESSMENT SHEET: PRESENTATION
STUDENT NAME:
Tutor’s Assessment
|
Ability to critically analyse the theoretical approach and
argument of text |
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Ability to define subject position of author and context
of text |
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Ability in assessing the source material and evidence
basis of text |
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Contextual research into subject demonstrated |
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Organisation of Material |
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Verbal ability and presentation of material |
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Ability in leading group discussion |
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|
Further Comments |
|
Date of seminar presentation:
Mark for consideration by the Subject Authority Board:
HAMC 3305: Contemporary Crafts
ASSESSMENT SHEET: ESSAY
STUDENT NAME:
Tutor’s Assessment
Level
of critical analysis
|
|
|
Structure and sustained argument |
|
|
Quality of research and bibliography |
|
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Substantiation of statements with evidence / referencing. |
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Effective use of visual aids |
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Quality of written communication |
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Further comments |
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Semester Date:
Mark for consideration by the Subject Authority Board: