Last Sunday I found myself relaxing in the living room as I surfed the internet while my husband flipped channels on our seldom-watched television. After what seemed an eternity of switching from fishing shows to hunting shows, he finally settled on Antiques Roadshow on PBS . The objects took us on a journey through the past, introducing us to a wide array of pottery, woodworking, sculpture, glass blowing and other crafts. The announcer then informed us that the item they would be examining next would be the highest appraisal of any item shown on Antiques Roadshow. I’m sure you can imagine my surprise when, as they returned from a commercial break, I was greeted with the site of an elderly gentleman standing next to what appeared to be a rather innocuous blanket.
As I listened to the history of the yellow threads that were woven into the heirloom, I knew that he did indeed have a treasure on his hands; a Ute-style blanket made by a Navajo Indian with such skill that the tightly woven threads were actually water proof, rumored to have been a gift to a family member from Kit Carson . The amazing example of craftsmanship gave me pause, bringing my mind to a discussion that I have encountered in various forms across the crafting community.
There was a time when the term ‘craft’ referred to a highly skilled trade. Now, it seems to evoke memories of being small and working diligently to glue popsicle sticks together and coat them with glitter to make a picture frame for mom. When did this subtle mental perception change; how did we as a society lose our respect for the word ‘craft’?
In order to understand the change in society’s opinion, we must look to this history of arts and crafts. The term ‘arts and crafts’ comprises an entire lot of activities and hobbies that share one common denominator- the items are made by hand, with the quality of the final piece relying on the knowledge, experience and skill the crafter applies to the design. Handmade items can further be catagorized by seperating them into two groups: traditional crafts (that are created in the same way they have been for hundreds of years) and modern crafts, which tend to be variations on traditional crafts.
Traditional crafts were typically produced in very small geographic areas and were often based on necessity. For example, a young child who lived in rural America might have been apprenticed to a glassblower, a master craftsman who would teach the child the art of making glass items that were often used in the homes surrounding his shop. Over the years, the master craftsman would impart knowledge to the apprentice, who would spend years refining his techniques and eventually be ready to set up a shop of his own, earning a living off the skills he had aquired. Activities such as woodworking, glassblowing, metalsmithing, dressmaking and even the manufacture of pottery became known as ‘crafts’ because they were a profession.
In the last part of the 18th century America experienced an industrial revolution that began to alter the way everyday items were manufactured. The number of factories began to increase, leading the way to the mechanisation of the production process. Over time, this gradually reduced or even eliminated the role of the professional craftsman, relegating the term to the few who continued to practiced their age old art out of either necessity or defiance. Additionaly, items traditionally made by each family (such as soaps, clothing and toys) became the provenance of the assembly line.
The far-reaching fingers of the Industrial Revolution affected every aspect of society. It was a time that took a greater toll on the everyday life of a family than nearly any other; a toll that was immediatly recognized by those who were not making profits from the machines. As noted in Observations on the Loss of Woollen Spinning, (c) 1794 , ” But from the establishment of the Spinning Machines in many Counties where I was last Summer, no Hand Work could be had, the consequence of which is the whole maintenance of the family devolves on the father, and instead of six or seven shillings a week, which a wife and four children could add by their wheels, his weekly pay is all they have to depend upon…”
As the years continued to pass, more and more items were purchased instead of being made. As the public turned to the manufacturers for their supplies, the cost of those goods continued to rise. Eventually, women began to leave the home in search of ways to bring additional income into the household. Still the wave of ‘progress’ continued, and with the changes in society the changes in the family nucleus was affected; the commercialization of our society has gone so far as to have many families rely on fast food restaurants instead of cooking their on meals. In the majority of families,the art of crafts was only continued as a hobby by the very young or the elderly.
It is said that in history, all things must come full circle. This idiom appears to be true of the crafts industry as well. Instead of subscribing to the breakdown of the family and accepting the mass produced society in which they live, a new generation of crafters has emerged and begun a craft revolution.
Mixing the commercial aspects of crafting with a unique personal and social belief system, what was once considered the work of experts in a profession, then relgated to hobbyists or old women is becoming popular once again. Items are now being widely produced and marketed that are not only fine examples of handmade artistry, but also shining beacons of hope that express idividualism, conservation, sustainability and social responsibility.
These ‘unofficial’ revolutionaries are armed with some unusual weapons ranging from knitting needles to embroidery hoops and are amassing in a community near you. They’re found at gatherings such as Stitch ‘N Bitch and are seen on the subway reading their slightly mangled copy of Super Crafty: Saving the World From Mass Production. Their battle cry rings in even the most uninitiated soul, “Self-sufficiency is the key to happiness.”
Historians and socialists will continue to debate the origin of this wildfire trend towards the more traditional, but the true enlightenment does not lie with the origin. Where this movement will go in the future is of much greater significance . Will the crafters and designers of the new generation be able to restore the word ‘craft’ to it’s previous glory? Will the changes they are bringing about in their own small groups spread to encompass all of the communities spanning the globe? Only time will tell.
Until then, perhaps we should each choose a path to follow; a path that expresses our own individuality. For some the best path is to sit back and enjoy the journey that these crafters are embarking upon. For others, the call will be strong to pick up their scissors and join in. But everyone will know that, while the products are amazing, the true benefits will not only be the satisfaction of knowing you are working towards a noble goal, but also the knowledge that, generations from now, there will be something other than Happy Meal toys on Antiques Roadshow.
The term Happy Meal is owned by the McDonald’s Corporation
Tamara Dourney is a mother, owner of Natural Magic Soaps (http://www.naturalmagicsoaps.com) and Editor of Craft Revoution (http://www.craftrevolution.com), an online magazine dedicated to restoring the awareness and appreciation of crafts in today’s world by promoting them, and the talented people who create them, as high-value, desirable alternatives to the offerings of big-box stores.