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We looked inside some of the posts by empoweringprojectideas-blog and here's what we found interesting.
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create gloucestershire
Create Gloucestershire’s (CG) participatory art interventions delivered in both healthcare settings and at a community level have also influenced my creative practice and project development. I was particularly inspired by the creative box movement, supporting and connecting organisations and artists in the county who can offer ‘home delivered’ art kits and activities to families in need during Covid-19. CG hosted bi-monthly online conversations for anyone interested in co-producing or delivering creative boxes in Gloucestershire. I wanted to follow the progression of the project but I was disappointed to find that they hadn’t shared any updates on social media and information platforms. In addition, I was hoping they would hold a meeting in early August but there has been no communication from them since their last meeting early July.
I also admired the project The Long Table which bares some resemblance to the split britches long table. CG collaborated with @thelongtableworld who operate a community kitchen and restaurant in Brimscombe that serves food that would have been binned or wasted. During lockdown, CG shared downloadable templates via their Instagram @createglos encouraging the community to take part in the project by illustrating food, thoughts, appreciations and displaying it in their windows, while also raising awareness of the The Long Table helping to feed lockdown communities.
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Nicki Jarvis
I came across textile and ceramic artists Nicki Jarvis on @nationalcraftanddesign and her current community rug project. Nicki is currently an artist in residence at @mrssmithscottage and visitors have been creating individual pieces that Nicki will stitch together. The rug will then be installed in the cottage bedroom.
This reminds me of the tapestry by The Bee Yourself Project installed at The Hive, made up of many squares of bees stitched by people across Birmingham. I find it inspiring artworks that have made collectively and seeing it become a permanent feature in a public space. It would be interesting to see how this develops as I have found it difficult to engage a large number of people in this type of project. As Nicki is an artist in residence she may find this easier.
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effective questioning
I wanted to think about how I could formulate and make open and closed questions to help me better decide what questions were most appropriate to the responses of the participants. I found a helpful chapter on effective questioning in the book Essential Interviewing: A Programmed Approach to Effective Communication (p41-51), and this helped me to understand the various open questions to consider and the forms of questions that should be avoided.
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conflict textiles
Conflict textiles focuses on elements of conflict and human rights abuses. The collection is mainly comprised of arpilleras, quilts and wall hangings.
Conflict textiles cross the boundaries between art, craft and activism. This is a similar approach to what I am trying to achieve with my project. It is also interesting that the medium of textile and the practice of needlework continue to be associated with femininity, domesticity and “mere” decorative purposes. Although the images appear innocent and almost childlike, the subject matter is often very difficult.
“…the arpilleras were a special way to interpret my pain and at the same time communicate it to others… a denouncement … my protest through the arpilleras has been silent, strong, desperate, full of unending tears. I can’t count the long nights I spent making arpilleras and soaked the cloth because I was crying so much.” (p145) Chilean arpillerista Mireya Rivera Veliz (Sepúlveda, 1996)
stitched voices
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embroidery as an essential wellbeing tool
Google has reported a 100 per cent increase in searches for embroidery kits since the lockdown in March. Some of the brightest inspiration comes from Instagram where #coronacrafting has become a gallery for enthusiasts keen to share their work. Embroidery has long been associated with feminist endeavour. It was used by the suffragettes as a medium of protest – stitching the signatures that were not allowed on the electoral roll, and creating the Suffragette Handkerchief. In 2019, Gillian Wearing celebrated the centenary of women’s suffrage with a handkerchief embroidered with the names of 50 feminist campaigners.
Social isolation has helped to intensify the crafty trend “In a time when folks are living inside and counting the days until a new reality, embroidery is very much about record-keeping and journalling. It helps make sacred the mundane.”
Article
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split britches - the long table
A dinner party structured by etiquette, where conversation is the only course. This helped me devise a guideline for my workshops. People who are not confident speaking may find it difficult to attend these events whereas those people may find it easier to go to a sewing workshop. When I facilitated the women’s supper clubs, I found that only confident speakers attended. The idea behind the embroidery workshops is that all types of women that could attend may improve their confidence whilst learning about empowerment.
Website Blog
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Oxfam report: a ‘how to’ guide to measuring women’s empowerment
Different understandings and definitions of ‘empowerment’ abound and the contested nature of the concept makes it challenging both to define and to measure, with the added complexity that different measurement approaches can themselves serve to strengthen or undermine empowerment. This paper aims to offer an easy and practical guide which shares experience and lessons learned in order to support other evaluators and practitioners who seek to pin down this ‘hard-to-measure’ concept.
VeneKlasen and Miller (2002) define women’s empowerment as a process whereby the lives of women and girls are transformed from a situation where they have limited power to one where their power is enhanced. This framework recognises three levels at which change can take place: personal, relational and environmental.
Changes at the personal level take place within the person. This refers to changes in how a woman sees herself, how she considers her role in society and that of other women, how she sees her economic role, and her confidence in deciding and taking actions that concern herself and other women.
Changes at the relational level take place in the relationships and power relations within the woman’s surrounding network. This includes changes both within the household and within the community, and encompasses markets, local authorities and decision makers.
Finally, changes at the environmental level take place in the broader context. These can be informal changes, such as in social norms and attitudes and the beliefs of wider society, or they can be formal changes in the political and legislative framework.
This figure provides a graphical representation of the three levels of change, with the green arrows representing interactions between the three levels of change.
Section 3 of the paper describes how the objective of the first step in defining the framework is to identify the characteristics of an ‘empowered woman’ in the context of the project.
This figure is an example of the empowerment framework with characteristics
This report was written about rural women in developing countries and so I needed to adapt it to be relevant to the women participating in the workshops. I really like how it breaks down women’s empowerment by presenting a framework of the specific characteristics and relevant indicators of empowerment. These approaches will help me towards measuring empowerment and prepare the content for each of the final workshops.
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Consequences - METAL
Who do you REALLY chat to? Is it the same group of people, maybe those with similar tastes as you, from the same area, the same views? Do you REALLY know them, or do you just know a bit about them? Or perhaps you’re someone who seeks out those with different, even opposing, views to challenge your own.
Consequences - a project that brings together women to talk about what is important to them (houses, families, histories, culture, democracy, work, the environment, the future, and the present). It’s about getting to know a city through the groups of women that meet and about not assuming we know each other.
Online 'Chat and Draw' workshops: Wednesday's 6pm on Zoom.
Activity Packs: available to download.
Consequences - METAL
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Liz Payne
Liz combines textile painting with embroidery of thread, beads and sequins to create that art with a touchy treat for the hands and a visual delight for the eyes. With her work, she explores the combination of ‘art’ and ‘craft’ and tends to challenge the reputation of embroidery (which is usually a slow progress) with shapes and texture that are bold, bright and colourful.
Website
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Artists’ postcards
Postcards of interest:
Postcard Invitations: Perfectly suited to providing a lasting record of art events that might otherwise fade from memory. For example, postcard invitations made during the 1960s and 1970s involving the artist in the design and frequently illustrating material unfamiliar from other sources; Annette Messager, La Femme et… and Lynda Benglis, Metallized Knots.
Sets of Postcards: Artists publishing their own postcard sets to disseminate a visual record of their projects; Dayanita Singh, Blue Book (2009), images of a semi-derelict industrial sites taken on her travels around India and Eva Leitolf’s group of photographs Postcards from Europe (2006 – ongoing), prints of detailed information about the immigration incidents she documents at national borders.
“It is not simply the image that matters but the object itself, the type of paper, the method of printing, the postage stamp and frank, the addressee and the feeling of a previous period of artistic life and work.”
Hans Ulrich Obstrist, The Armoire Show, 1993 - pursuing the idea of a show within a show.
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Blogging, craft culture, and women empowerment
“The concept of sharing is regarded as the constitutive activity of web 2.0 applications, specifically social network sites, and comprises an array of behaviours, purposes, meanings, and effects on all realms of life. As such, sharing is a key mechanism underlying online crafting communities, since crafters use these virtual spaces to share tips, ideas, knowledge, creations, and more. Regarding the craft blogosphere, sharing has clearly impacted the economics of many small crafters worldwide. The popularity of social media has given rise to a vibrant sphere of virtual crafting communities, coupled with the exploitation of digitally enabled networks and interfaces for engaging in craft-based entrepreneurship.”
When the crafter takes online action associated with her craft, her action produces results that empower her in ways that move her to the next stage in the model.
“The crafter starts a blog and begins blogging regularly, sharing her craft ideas, tips, photos, and expertise with a community of followers. Running a blog entails the management of relationships with two communities: the community of fellow bloggers, and the community of her blog’s followers. She now develops affective commitment to both communities, which serves as incentive for continued sharing along with ongoing development.
Her commitment to other bloggers impels her to regularly follow their blogs and interact within them. Thus the blogger is engaged in the field, deepening her knowledge, and strengthening her ties in the blogger community. Thus, engagement in the blogging community becomes an integral part of the craft blogger’s development process. The nature of the connections within the blogger community is both social and personal, and the discourse accompanying it is supportive.
Social media can empower women by encouraging self expression in a variety of ways. The repeated act of sharing thoughts, experiences, and emotions associated with a craft results in an improved sense of self-empowerment.”
This information taken from this article was the most pertinent part and helped me to develop the early stages of my project. I am considering using either Instagram or a blog to share information between the participants and the progression of the project.
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the art of kindness
A project to celebrate friendship, kindness and community through the connecting power of art. Artists across the globe will create postcard-sized pieces of art, leave them in places where they will be found by an unsuspecting stranger, who will then post the art on to someone known to them who they feel would benefit from a little art and kindness in their life.
Website
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XR #bodypolitic
manifesto:
EVERYTHING WE CREATE EMPOWERS US
DESTROY CONSUMER PRODUCTS AND TRANSFORM THEM INTO YOUR OWN MESSAGES
EMBODY POSITIVE REBELLION
WEAR YOUR HEART ON YOUR SLEEVE
START CONVERSATIONS
RECLAIM THE CULTURAL POWER OF CLOTHING
TEACH EACH OTHER SKILLS
MAKE IT YOURSELF
READ A GROWING LIBRARY
BIND YOUR OWN BOOKS
WRITE YOUR OWN NEWS
MOTTAINAI
political body
“The nature of our human bodies?
My body has been politicised, marginalised, fetishised, financialised, and commodified.
Used, exposed, and ignored.
And yet it is still mine and I choose how to own it.
If we refuse to be bought or sold, and if we refuse to be, at once, exposed and ignored, then what?
If we are in our bodies, limited processes, and not infinite objects, what processes can we be which might inform the world around us and a positive future? My living body is a space for political struggle and it is evolving and decaying at once.
How should we demand the right to decay in joy?
And how can cultural openness, amalgamation and acceptance allow our species to feel more united?”
This movement within extinction rebellion focuses on the use of a material body and the effect it has on things around it, and on the people and places it comes into close contact with. They encourage people to be individuals with their own political voice. I found this very inspirational in terms of how this combined craft with personal development and activism. I had never seen this approach towards artivism before and it has encouraged me to explore these ideas in my project.
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