By Courtney Lee Weida (eds.)
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Extra info for Crafting Creativity & Creating Craft
Abstracting craft: The practiced digital hand. Cambridge, MA: MIT Press. Petersen, H. (2007). Celtic knot block prints. Arts & Activities, 142(3). 34–35. Rissati, H. (2007). A theory of craft: Function and aesthetic expression. Chapel Hill, NC: University of North Carolina Press. Schwabe, C. W. (1984). Knot tying, bridge building, chance taking—The art of discovery. Davis, CA: University of California. Stafford, B. (2001). Visual analogy: Consciousness as the art of connecting. Cambridge, MA: MIT Press.
New York, NY: HarperCollins. org/ 27 PAMELA KOEHLER, JENNIFER MARSH & COURTNEY WEIDA 4. CRITIQUING CONSUMPTION THROUGH CRAFT & THE INTERNATIONAL FIBER COLLABORATIVE INTRODUCTION AND RESOURCES 1. FRAMING CRAFT THEMES: The International Fiber Collaborative poses several provocative themes for craft teaching. com/ 2. EXHIBITION/DOCUMENTATION OF CRAFT: Marsh documents the work of global contributors online through Flickr, YouTube, and other digital sites. Check out some of these links from the main site and consider how you will document and exhibit your students’ craft works through these or DeviantArt, etsy, Behance, and others.
The audience also may be active participants in the story, singing choruses, responding vocally in the voice of a character or characters, clapping their hands or playing a musical instrument during the storytelling. For example, I invited by students to view Hokusai’s Great Wave of Kanagawa (1831) and not only write descriptive poetry of the beautiful waves and experiences of oceans, but also perform a related song and dance we practiced around storms and sailing. SELFHOOD AND STORY: IDENTITY AND COMMUNITY My collaborators’ personal connections through storytelling within their disciplines continually reminded me of how aesthetic resources tell meaningful stories.