{"title":"变化的工艺世界中的身份导航与自我定位——景德镇新兴个体工艺工人的创意与文化","authors":"Ruoxi Liu","doi":"10.1080/17496772.2023.2269671","DOIUrl":null,"url":null,"abstract":"Following four-months of ethnographic fieldwork among the young, self-employed craft workers in Jingdezhen, this article explores the diverse identities and emerging cultures associated with craft that differ from the popular imaginaries of craftspeople, or shouyiren, in the Chinese mainstream media that focus on the older generations. By conducting participant observation, in-depth interviews, and the diary method, I found that while the profiles of “craft workers” or “craftspeople” are favoured by the recent waves of self-employed craft workers in Jingdezhen, these workers do not fully identify as craftspeople, traditionally characterised by their professionalism, perfectionism, enthusiasm, and persistence; nor as artists. Instead, they are positioned in between different identities, such as traditional craftsman, workman, artist-crafts worker, and artist. I argue that the wavering between different identities according to the occasion and targeted audience not only allows self-employed craft workers in Jingdezhen to escape from the monotonous routines and patriarchal norms of the older generations’ craft conventions, but also facilitates a re-configuration of craft identities within a craft industry that is changing. Secondly, I found that creativity is emphasised in their self-positioning and becomes an alternative means of achieving recognition, status and mobility in Jingdezhen’s craft industry. Based on these discussions, the study provides a fuller picture of a new form of craft labour developing in Jingdezhen.","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Identity Navigation and Self-Positioning in a Changing Craft World: Creativity and Cultures of Emerging Self-Employed Craft Workers in Jingdezhen\",\"authors\":\"Ruoxi Liu\",\"doi\":\"10.1080/17496772.2023.2269671\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Following four-months of ethnographic fieldwork among the young, self-employed craft workers in Jingdezhen, this article explores the diverse identities and emerging cultures associated with craft that differ from the popular imaginaries of craftspeople, or shouyiren, in the Chinese mainstream media that focus on the older generations. By conducting participant observation, in-depth interviews, and the diary method, I found that while the profiles of “craft workers” or “craftspeople” are favoured by the recent waves of self-employed craft workers in Jingdezhen, these workers do not fully identify as craftspeople, traditionally characterised by their professionalism, perfectionism, enthusiasm, and persistence; nor as artists. Instead, they are positioned in between different identities, such as traditional craftsman, workman, artist-crafts worker, and artist. I argue that the wavering between different identities according to the occasion and targeted audience not only allows self-employed craft workers in Jingdezhen to escape from the monotonous routines and patriarchal norms of the older generations’ craft conventions, but also facilitates a re-configuration of craft identities within a craft industry that is changing. Secondly, I found that creativity is emphasised in their self-positioning and becomes an alternative means of achieving recognition, status and mobility in Jingdezhen’s craft industry. Based on these discussions, the study provides a fuller picture of a new form of craft labour developing in Jingdezhen.\",\"PeriodicalId\":41904,\"journal\":{\"name\":\"Journal of Modern Craft\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2023-11-07\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Modern Craft\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/17496772.2023.2269671\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ART\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Modern Craft","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/17496772.2023.2269671","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
Identity Navigation and Self-Positioning in a Changing Craft World: Creativity and Cultures of Emerging Self-Employed Craft Workers in Jingdezhen
Following four-months of ethnographic fieldwork among the young, self-employed craft workers in Jingdezhen, this article explores the diverse identities and emerging cultures associated with craft that differ from the popular imaginaries of craftspeople, or shouyiren, in the Chinese mainstream media that focus on the older generations. By conducting participant observation, in-depth interviews, and the diary method, I found that while the profiles of “craft workers” or “craftspeople” are favoured by the recent waves of self-employed craft workers in Jingdezhen, these workers do not fully identify as craftspeople, traditionally characterised by their professionalism, perfectionism, enthusiasm, and persistence; nor as artists. Instead, they are positioned in between different identities, such as traditional craftsman, workman, artist-crafts worker, and artist. I argue that the wavering between different identities according to the occasion and targeted audience not only allows self-employed craft workers in Jingdezhen to escape from the monotonous routines and patriarchal norms of the older generations’ craft conventions, but also facilitates a re-configuration of craft identities within a craft industry that is changing. Secondly, I found that creativity is emphasised in their self-positioning and becomes an alternative means of achieving recognition, status and mobility in Jingdezhen’s craft industry. Based on these discussions, the study provides a fuller picture of a new form of craft labour developing in Jingdezhen.