Post-COVID craft education: Reflections on a virtual artisan woodblock studio exchange between Australia and India

Heffer, C

Post-COVID craft education: Reflections on a virtual artisan woodblock studio exchange between Australia and India

Heffer, C

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Publisher:: OsloMet - Oslo Metropolitan University
Publication Type:: Journal Article
Citation:: Form Akademisk, 16, (4)

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Field	Value	Language
dc.contributor.author	Heffer, C https://orcid.org/0000-0001-5388-9956
dc.date.accessioned	2023-10-05T21:20:01Z
dc.date.available	2023-10-05T21:20:01Z
dc.identifier.citation	Form Akademisk, 16, (4)
dc.identifier.issn	1890-9515
dc.identifier.issn	1890-9515
dc.identifier.uri	http://hdl.handle.net/10453/172520
dc.description.abstract	<jats:p>This paper presents a hybrid model of teaching and learning that proposes new possibilities for exchanging tangible and intangible cross-cultural knowledge in textile craft education. The paper aims to demonstrate how online platforms can be used creatively to disseminate traditional craft knowledge and skills in new ways. The discussion centres on a unique virtual global studio between fashion and textile undergraduate students at the University of Technology Sydney and on an artisanal woodblock print studio, Tharangini, based in Bengaluru (Bangalore), India. The hybrid workshop was an adaptation of the studio in response to travel restrictions caused by the pandemic. The author argues that while the internet cannot replace the immersive cultural experience of studying in another country, digital platforms have a place alongside teaching to offer otherwise impossible opportunities. This paper explores a methodology for disseminating craft knowledge and skills across cultures through a combination of online and in-house practicum. Classes were structured around weekly Zoom sessions with Director Padmini Govind, where sustainable approaches to print production were disseminated through a suite of commissioned films and hand-carved woodblocks to explore on campus. The results show how this unique adaptation allowed students to interact with the artisan craft of woodblock printing in rich and varied ways, and it proposes that this novel hybrid model can be creatively adapted to future craft education in the 2020s.</jats:p>
dc.language	en
dc.publisher	OsloMet - Oslo Metropolitan University
dc.relation.ispartof	Form Akademisk
dc.relation.isbasedon	10.7577/formakademisk.5417
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Post-COVID craft education: Reflections on a virtual artisan woodblock studio exchange between Australia and India
dc.type	Journal Article
utslib.citation.volume	16
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access	*
dc.date.updated	2023-10-05T21:19:59Z
pubs.issue	4
pubs.publication-status	Published online
pubs.volume	16
utslib.citation.issue	4

Abstract:

This paper presents a hybrid model of teaching and learning that proposes new possibilities for exchanging tangible and intangible cross-cultural knowledge in textile craft education. The paper aims to demonstrate how online platforms can be used creatively to disseminate traditional craft knowledge and skills in new ways. The discussion centres on a unique virtual global studio between fashion and textile undergraduate students at the University of Technology Sydney and on an artisanal woodblock print studio, Tharangini, based in Bengaluru (Bangalore), India. The hybrid workshop was an adaptation of the studio in response to travel restrictions caused by the pandemic. The author argues that while the internet cannot replace the immersive cultural experience of studying in another country, digital platforms have a place alongside teaching to offer otherwise impossible opportunities. This paper explores a methodology for disseminating craft knowledge and skills across cultures through a combination of online and in-house practicum. Classes were structured around weekly Zoom sessions with Director Padmini Govind, where sustainable approaches to print production were disseminated through a suite of commissioned films and hand-carved woodblocks to explore on campus. The results show how this unique adaptation allowed students to interact with the artisan craft of woodblock printing in rich and varied ways, and it proposes that this novel hybrid model can be creatively adapted to future craft education in the 2020s.

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http://hdl.handle.net/10453/172520