My individual project: sustainable craft education – making and learning
I want to use the concept of ‘transnational’ curation to explain the ‘trans-regional’ platform for craft education. At the same time, I want to build a method of working on craft education projects through the development of friendship and care. As a curator, how can I incorporate friendship and care into my projects and craft course practice? Also, through my background knowledge of crafts in the Edinburgh area, I recently came across the magazine ‘craft’ article which represents my current interests. Also, through my background knowledge of crafts in the Edinburgh area, I recently read an article in the magazine ‘craft’ that represented my current interest. I think this project is like taking a risk and exploring the bridge between craft and audience. Working through interdisciplinary collaboration is a method that has allowed me to develop ideas and projects.
First, I would like to explain the concept of ‘making and learning’.
“Making” implies a vision of individual and collective performance, as well as the ambition and concern of the craft community. In addition, I believe that ‘making’ also creates a space for independence. It also promotes a community of interest to follow and support community activities.
‘Learning’ participants are unlocking interdisciplinary learning through craft making and experimentation. In addition, I will design sustainable craft sessions, for example, in glass, ceramics, wood and masks. It also provides an opportunity for educators and craftspeople to discuss in-depth craft studies.
Secondly, the project is an offline event, lasting one month (4 classes, 1-2 hours on Saturday). The “Edinburgh Sculpture Studio” is the venue for the curatorial project. In addition, I may organize 3 seminars.
Thirdly, I am both curator and educator because, having had some experience of how to organise a class, I and the craftspeople can teach together in the Edinburgh Sculpture Studio.
Fourth, each session and workshop is 5-10 pounds, with materials provided by craftsmen.
Fifth, aimed at families, 9-15 year olds, university students.
Sixth, the craft course includes: 1/ silver bowls, spoons and jewellery; 2/ hand knitting; 3/ clay portraiture; 4/ wood skill.
Seminar categories.
Craft Making Circles – A Sustainable Future
Craftspeople and Teachers – Continuing Professional Development Unlocking Craft in the Classroom
Modern Makers – The Next Generation of Contemporary Craft Makers
I realised that there were two things I needed to get done next.
1. think about how the public would be engaged and approached and what to promote to the public, for example what would be the name of the course? What is the slogan? How do I put my research and my decisions together. How will this be packaged up and given to the school and Edinburgh Sculpture Workshop. As Rachel said, there were always two sides to a project: as a team and as researchers; the other side is what really goes into the public domain.
2. I think there are three strands, care, craft and learning, and I think it’s good to come out of those three strands further, it ensures that they are called into a structure. I think it helps to form a complete approach rather than just being a suggestion of a diagram.
