[[KHC Newsletter]]
# News from the Knowledge House for Craft
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<table><tbody><tr><td></td></tr><tr><td><p dir="ltr">Dear consortium members, Knowledge House for Craft’s friends and advocates!</p><p dir="ltr">This is our third newsletter: The roving editors of this second issue greet you, and hope the following offerings meet your interest.</p><p dir="ltr">The Knowledge House has grown from an informal gathering to an active knowledge-building and sharing platform, with a <a href="https://knowledgehouseforcraft.org/About" data-link-id="90748113355015240">board</a>, a growing network of <a href="https://knowledgehouseforcraft.org/About" data-link-id="90748113364452426">member associations</a>, and consortium participants.</p><p dir="ltr">Our <a href="https://knowledgehouseforcraft.org/Projects/Manifesto" data-link-id="90748113371792460">manifesto </a>has guided our activities to date. The <a href="https://knowledgehouseforcraft.org/" data-link-id="90748113379132493">vault </a>is a place where a dynamic group of volunteers store articles related to craft and provide House guests with a summary of its key points.</p><p dir="ltr">Best regards from the roving editorial team, <br></p><p dir="ltr">Kolokesa Uafā Māhina-Tuai, Toluma'anave Barbara Makuati-Afitu, Peta Carlin and Kevin Murray</p></td></tr><tr><td></td></tr></tbody></table>
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<table><tbody><tr><td></td></tr><tr><td><h2>New to our Vault</h2><p dir="ltr"><a href="https://knowledgehouseforcraft.org/Warp/Talks/ChatGPT+-+A+craft+perspective" data-link-id="90748113394861136">ChatGPT - A craft perspective</a></p><p dir="ltr">We had a fruitful house discussion about the craft perspective on ChatGPT and artificial intelligence. The discussion focused on human agency as a feature rather than a shortcoming in the making process. But given the inevitability of tools that offer power at the expense of human control, the question is how to preserve the "human touch" while still taking advantage of the power of chatGPT. Refer to our vault for more details. To be continued…</p><p dir="ltr"><a href="https://knowledgehouseforcraft.org/Warp/World+Craft+Dictionary/Arabic+words+for+craft" data-link-id="90748113402201170">Arabic words for craft</a></p><p dir="ltr">In the latest entry in our <a href="https://knowledgehouseforcraft.org/Projects/World+Craft+Dictionary" data-link-id="90748113414784083">World Craft Dictionary</a>, Laila Al-Hamad outlines two Arabic words that denote the concept of craft: sina’a (صناعة ) and hirfa (حرفة).</p><p dir="ltr"><a href="https://knowledgehouseforcraft.org/Warp/Talks/Rosa+Taikon+-+Jewellery+as+a+medium+of+struggle" data-link-id="90748113424221268">Rosa Taikon - Jewellery as a medium of struggle</a></p><p dir="ltr">Christina Zetterlund offered a Nordic story to our Reinventing the Wheel series. Rosa Taikon combined activism on behalf of her Roma people and innovation as a jewellery artist. However, her career was affected by a binary in the Swedish scene that could not see the potential for creativity within an ethnic context.<span><a href="https://knowledgehouseforcraft.org/Weft/Claims/Claim+-+Craft+provides+a+livelihood+with+dignity+through+market+access" data-link-id="90748113433658453"><br></a></span></p><p dir="ltr"><span><a href="https://knowledgehouseforcraft.org/Weft/Claims/Claim+-+Craft+provides+a+livelihood+with+dignity+through+market+access" data-link-id="90748113443095638">Claim - Craft provides a livelihood with dignity through market access</a></span></p><p dir="ltr">The <span><a href="https://knowledgehouseforcraft.org/Projects/The+Value+of+Craft+Project" data-link-id="90748113454629975">Value of Craft Project</a></span> continues to develop its mapping of the many ways craft adds value to our world. In the current phases, these values are broken down to a number of claims. These claims provide clearly identifiable propositions for which we can gather evidence. </p></td></tr></tbody></table>
## Activities from the network members
### _Stephen Knott_
Stephen Knott will be the [new director](https://www.uca.ac.uk/news/2023/crafts-study-centre-appoints-new-director/) of the Crafts Study Centre in Farnham, UK, a university museum that is part of the University of the Creative Arts with an extensive collection of modern studio craft: . Stephen follows in the footsteps of the late Simon Olding who sadly [passed away](https://www.theguardian.com/education/2023/feb/08/simon-olding-obituary.) after retiring from his post last autumn.
### _LOkesh Ghai_
On an emissive action based research, LOkesh Ghai had the privilege to live in the remote mountains of Himachal Pradesh for a month. He studied the cultural making of Chola-Dora an identity clothing of the semi nomadic Gaddi, the shepherds tribe. He collaborated with artists Dheeraj ji and Kenchno Devi to co-create a new collection based in Chola-Dora. The field work concluded with a village festival with local music and dance. Ghai invited the villagers to try the new designs during the festival. With support form The Karun Thakar fund, V&A Museum, London.
### _Kevin Murray_
Kevin was international curator for the 2023 Tel Aviv Biennale of Crafts and Design, which opened in late March. You can find details [here](https://kdsm.pub/Projects/Tel+Aviv+Biennale+of+Crafts+and+Design+2023). The international artists reflect the "craft renaissance" that looks to ancient sources for inspiration. He is currently working in a playlist of silence for the [Listening Biennial](https://listeningbiennial.net/) in the Philippines.
### _Toluma'anave Barbara Makuati-Afitu, Kolokesa Uafā Māhina-Tuai & Hikule‘o Fe‘aomoeako Melaia Māhina_
**Lagi-Maama** had the privilege of walking alongside [Falepipi he Mafola Niuean Handcraft Group](https://pantograph-punch.com/posts/Falepipi-he-Mafola) to co-curate their 30th Anniversary exhibition [Fenoga Tāoga Niue I Aotearoa – Niue Heritage Journey in Aotearoa](https://www.lagi-maama.com/falepipi-exhibition-images) (1 April 2023 – 20 May 2023) and to produce a publication of the same name that will be launched later this year; they are continuing their work on the [Arts of Moana Oceania and Tok Stori Tuesdays project](https://www.lagi-maama.com/phase-i-arts) focusing on Sāmoa and Aotearoa that will run during the second half of this year; at the end of last month they wholeheartedly welcomed [Manatū Taonga Ministry for Culture and Heritage funding support](https://thebigidea.nz/stories/11-m-funding-recipients-revealed-who-got-what) that will see them bring to fruition an exhibition in October this year on Kiribati tiputa (national garment worn by I-Kiribati women) led by master makers [Kaetaeta Watson](https://pantograph-punch.com/posts/people-and-blessings) and [Louisa Humphry MNZM](https://pantograph-punch.com/posts/Rekerekeu-ma-Abau-Connecting-to-My-Land) and to continue their work in supporting wider Moana Oceania creatives like [Tali Enjalas Jenkinson (aka Valle)](https://pantograph-punch.com/posts/More-Than-Bilas) and [communities engage and connect with their treasures in Museums](https://www.instagram.com/reel/Csk5ZsHJqBt/?igshid=MmJiY2I4NDBkZg%3D%3D); later this month they are supporting two events: 1) [Season 2 of a concert by Feohi’anga Ālonga ‘ia Kalaisi kava and vocal-instrumental musical collective](https://www.eventfinda.co.nz/2022/koe-po-hiva-tulufonua-fakatonga-night-of-tongan-music/auckland/mangere) that takes the beauty and utility of Tongan music in kava collectives to a whole new level - by moving from [garages, community and church halls](https://www.instagram.com/reel/Cs5UoK0r1KG/?igshid=MmJiY2I4NDBkZg%3D%3D) to the [theatre space](https://www.instagram.com/reel/CsnYuHHPVO-/?igshid=MmJiY2I4NDBkZg%3D%3D); and 2) the commissioning of a 16m long x 4m wide Fijian masi (barkcloth) by Fijian master maker [Joana Monolagi](https://pantograph-punch.com/posts/my-vanua-my-practice) to commemorate the 20th Anniversary (on Sunday 25 June 2003) since the passing of the [Prostitution Reform Act (PRA) 2003](https://www.legislation.govt.nz/act/public/2003/0028/latest/DLM197815.html) that saw Aotearoa New Zealand being the first country in the world to decriminalise prostitution. This innovative masi, using synthetic cloth, will be created in collaboration with Annah Pickering from [Te Waka Kaimahi Kairau O Aoteroa NZPC: Aotearoa New Zealand Sex Workers’ Collective](https://www.nzpc.org.nz/History) as well as other sex workers, allies and supporters all contributing motifs that will be combined with Fijian motifs to make this a one of a kind masi.
### _Norwegian Crafts_
Norwegian Crafts will be participating in [Stockholm Craft Week 2023](https://stockholmcraftweek.se/) (4–8 October) with an international seminar – [Curating Craft](https://stockholmcraftweek.se/en/curating-craft-en/) – organised by the [Nordic Network of Crafts Associations (NNCA)](https://nordiccrafts.net/) and the Swedish Craft Centre. Confirmed speakers include Damon Crain (US), Ragna Fróðadóttir (IS), Daniela Ramos Arias (NO), Bettina Køppe (DK) and Marcia Harvey Isaksson (SE). Moderator: Evelina Hedin (SE).
Norwegian Crafts will be hosting an international craft conference on 8 November 2023, at the new [National Museum in Oslo](https://www.nasjonalmuseet.no/en/). The conference will focus on craft as a community building practice, and its potential for creating meeting places. You can subscribe to Norwegian Crafts’ newsletter to receive news of the conference and other upcoming events [here](https://pub.dialogapi.no/s/c9798e77-cc1a-44f4-8906-022ce93f5297).
<table><tbody><tr><td></td></tr><tr><td><h2>Suggested readings/ films</h2><h3>Meghan O'Gieblyn <em>God, Human, Animal, Machine</em> 2022, Anchor<br></h3><p dir="ltr">This book is a thoughtful exploration of artificial intelligence through the history of theology. It confronts a world where we cannot fathom the logic that the algorithm offers us, yet still believe in its truthfulness. Considering that humans cannot compete with artificial intelligence at a cognitive level, she points to love and empathy as what mark our difference. In this, we return to our animality.</p><h3>Norwegian Crafts</h3><p>Norwegian Crafts latest issue of The Vessel, titled <a href="https://vessel-magazine.no/issues/5/the-outermost-layer" data-link-id="90748113691608176">The Outermost Layer</a>, is available online and ad and subscription free. The issue focuses on art jewellery and metal art and is edited by artists Agnieszka Knap and Camilla Luihn. All four back issues of The Vessel are also available <a href="https://vessel-magazine.no/issues" data-link-id="90748113701045361">here</a>. You can subscribe to The Vessel’s newsletter <a href="https://pub.dialogapi.no/s/ea995c35-1c27-4252-8553-06761332d3f2" data-link-id="90748113713628274">here</a> to receive news on upcoming issues.<br></p><p dir="ltr">Norwegian Crafts has created several short films featuring craft artists in their studio as part of the film series <a href="https://vimeo.com/norwegiancrafts" data-link-id="90748113724114035"><em>Studio Visits</em></a>. The films are available online on <a href="https://www.norwegiancrafts.no/projects" data-link-id="90748113731454068">Norwegian Crafts website</a>, <a href="https://www.youtube.com/@norwegiancrafts2749" data-link-id="90748113742988405">Youtube</a> and <a href="https://vimeo.com/norwegiancrafts" data-link-id="90748113751377014">Vimeo</a>.</p><h3>Garland magazine<br></h3><p dir="ltr">The second in the Sensorium series, <a href="https://garlandmag.com/issue-31/" data-link-id="90748113762911351">31 ✿ To Hear</a>, contains more than 20 stories from different countries which tell of objects that give voice to the world around us. This issue will be launched on 19 June.</p><p dir="ltr"><a href="https://garlandmag.com/loop/future-at-hand/" data-link-id="90748113773397114">The Future at Hand: Reports on the role of crafts in our world today </a>contains reports by Rose Greenlees and Joseph Lo on a series of seminars hosted by the World Crafts Council – International and the British Council reflecting the challenges and opportunities for craft in the twenty-first century.<br></p><h3>Leiden University</h3><p dir="ltr"><strong>Book Talk:</strong> Decolonizing Museum: (Im)possible?<br></p><p dir="ltr">On June 9th (from 11.00 am to 12.30 pm CEST) at the IIAS Conference Room in Leiden, Françoise Vergès will have a lecture on her new book <em>Programme de désordre absolu. Décoloniser le musée </em>(La Fabrique, March 2023), where she argues that the decolonization of the Western museum is impossible. More information at: <a href="https://humanitiesacrossborders.org/events/decolonizing-western-museum-impossible" data-link-id="90748113782834299">https://humanitiesacrossborders.org/events/decolonizing-western-museum-impossible</a></p><p dir="ltr"><strong>Conversation:</strong> Storytelling as Research Strategy</p><p dir="ltr">On June 15th (from 10.00 am to 11.30 am CEST), HAB has an <strong>online</strong> conversation session between Tiffany Cone of the College of Humanities & Social Sciences at Zayed University, Abu Dhabi, Rohit Negi of the Center for Community Knowledge (CCK) at Ambedkar University Delhi, and Elena Burgos Martinez of the Leiden Institute for Area Studies (LIAS) at Leiden University to discuss their individual approaches & experiences with storytelling as a research strategy. More information at: <a href="https://humanitiesacrossborders.org/events/storytelling-research-strategy" data-link-id="90748113794368637">https://humanitiesacrossborders.org/events/storytelling-research-strategy</a><br></p></td></tr></tbody></table>
<table><tbody><tr><td></td></tr><tr><td><h2>Opportunities for the network</h2><h3>Garland upcoming issues<br></h3><p dir="ltr">Garland issue 32 will be the third in the Sensorium series. It will feature the craft of smell. How do objects bring smell into our lives? What is the meaning of this smell? What are the process for making scents? These questions aim to open up the understanding of craft beyond its commodified identity in the West. Stories for the September issue are due on 1 August. To propose a story, please go here: <a href="https://garlandmag.com/issue-32/" data-link-id="90748113803805822">https://garlandmag.com/issue-32/</a></p><p dir="ltr">Next year, the series will look at how craft brings us together, not just people but other beings as well. This includes objects that play a role in our public life, rural residencies, making on country, the gallery as temple and the variety of guild-like associations. This is an opportunity to look at the enduring history of craft organisations as the World Crafts Council celebrates its 60th anniversary. For more details, go here: <a href="https://garlandmag.com/2024-together/" data-link-id="90748113812194431">https://garlandmag.com/2024-together/</a></p><h3>Curating Craft in Stockholm</h3><p>Save the date! On 4 October the one-day international conference Curating Craft is arranged in Stockholm. Focusing on curating contemporary craft, this conference includes speakers and panellists from Nordic countries and the USA. The conference will start up this year’s edition of Stockholm Craft Week. <a href="https://stockholmcraftweek.se/en/curating-craft-en/" data-link-id="90748113823728769">Read more about Curating Craft</a>.</p></td></tr><tr><td></td></tr></tbody></table>
## Question: When should knowledge be restricted?
For most of us in the not-for-profit world, the sharing of knowledge seems like a good in itself. But we know that there are cases when craft knowledge can be exploited, such as fashion labels that might use Indigenous designs. The guild system often involved secrecy to ensure that craft techniques were limited to members. But in our time when "knowledge wants to be free", what are the conditions in which we might share information about craft techniques? Whose interests do we need to consider?
The upcoming talk by Monica Moisin on 4 July is an opportunity to consider this question. We'll send details of _When should knowledge be restricted? Cultural Intellectual Property Rights® for the Oma in Laos_. You can register [here](https://us02web.zoom.us/meeting/register/tZwkd-qgqjgsHdFX52InXQwtBYVyd7t7uHQC).
<table><tbody><tr><td></td></tr><tr><td><table><tbody><tr><td><p>Knowledge House for Craft</p><p>1 Grey St., Wickham NSW Australia<br></p></td><td></td><td><p>You received this email because you signed up on our website or made a purchase from us.</p></td></tr></tbody></table></td></tr><tr><td></td></tr></tbody></table>