> [!NOTE]+ Meta > Author:: [[Susan Luckman]] > Reference:: https://garlandmag.com/loop/craft-communities/ > Date:: 2024-02-19 > Tags:: #warp #Australia > WeftLinks:: [[Social value of craft]], [[Reinventing the Wheel]] > Claim:: [[Claim - Craft is a collective activity that forges trust and belonging]] > [!SUMMARY] Summary > Susan Luckman and Amy Twigger Holroyd discussed the embeddedness of craft in a community of makers. ### Highlights _Craft Communities_ addresses the social groups, old and new, which have developed around craft production and consumption, exploring the social and cultural impact of contemporary practices of making. Addressing a wide range of crafting practice, from yarn bombs to Shetlands shawls, brassware to paper crafting, in a variety of regional and national contexts, the contributors consider how craft practices operate collectively in the home, communities, businesses, workshops, schools, social enterprises, and online. It further identifies how social media has emerged as a key driver of the ‘Third Wave’ of craft. From Etsy to Instagram, Twitter to Pinterest, online communities of the handmade are changing the way people buy and sell, make and meet. _Susan Luckman & Nicola Thomas (eds) [Craft Communities](https://www.bloomsbury.com/au/craft-communities-9781474259606/), Bloomsbury Publishing, 2023_ - Susan Luckman is Professor of Culture and Creative Industries, Director of the [Creative People, Products and Places Research Centre (CP3)](https://www.unisa.edu.au/research/creative-people-products-places/), and the Cultural and Creative Industries Research Platform Leader of the [Hawke EU Jean Monnet Centre of Excellence](https://www.unisa.edu.au/research/hawke-eu-centre-for-mobilities-migrations-and-cultural-transformations/) at the University of South Australia. - Amy Twigger Holroyd is Associate Professor of Fashion and Sustainability at Nottingham School of Art & Design (UK). She has explored the emerging field of fashion and sustainability through research and practice since 2004. The discussion reflected a design to acknowledge the inherited knowledge on which craft practice is premised. This collective knowledge is overlooked in the framework of the studio craft movement, which focuses on individual originality. The concept of "master" was considered as a potential means of recognising the value in transmitting knowledge, but this was questioned for its connotations. <iframe width="560" height="315" src="https://www.youtube.com/embed/htmX8PeTN2g?si=XHOD1jTYWNNNVGBV" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>