The Routledge Handbook of Making

Craft-based Research Methods and Pedagogy
1. Auflage 2026
ISBN: 978-1-041-02290-9
Verlag: Taylor & Francis Ltd

Buch, Englisch, 870 Seiten, Format (B × H): 174 mm x 246 mm

Reihe: Routledge International Handbooks

The Routledge Handbook of Making: Craft-based Research Methods and Pedagogy is a book that celebrates the embodied process of craft methods. It uniquely centralises crafting, the practice of doing and making, as significant to the research project.

The handbook is a gathering together of several wayfaring crafts based scholars across the globe into one ‘knot’. It is a celebration of craft from Indigenous, Asian, European, North American, South American, Australia and New Zealand contexts. These scholars provide a rigorous and passionate exploration of the diverse craft-based methods, pedagogies, and range of theoretical lenses they engage with in their research. The chapters demonstrate transdisciplinary approaches to research and pedagogy through crossing disciplinary boundaries and combining academic disciplines and rich theoretical conversations with practical, non(traditional)-academic knowledge to respond to complex real-world problems. Because this book is about making, the authors provide powerful, engaging and useful images as visual text. There are seven sections in the handbook, although with such creative and theoretical work there is also much crossover. The first section is a series of introduction chapters to key thinking about craft histories, craft pedagogies, craft as embodied practiced and a way to connect, crafting as becoming otherwise and craft as bodily thinking. Section two is a focus on Crafting with ancestors, Section three Crafting as decolonial activism, Section four Crafting as pedagogy, Section five Crafting professional identity, Section six Crafting as feminist practice and Section seven Crafting as healing. The Handbook provides a significant marker, a ‘stake in the ground’, to establish a definitive position for craft as method in scholarly practice and an invitation for other craft wayfarers to gather.

The book is intended for scholars and researchers across disciplines engaged in complex societal issues, including Indigenous, qualitative, decolonial, narrative, postqualitative, critical, practitioner and feminist researchers; for students at all levels of study (undergraduate, Masters, postgraduate); and for more established scholars in academia and other sectors. In is an invite to make.

Zielgruppe

Academic, General, Postgraduate, and Undergraduate Advanced

Autoren/Hrsg.

Fitzpatrick, Esther

Wang, Ying

Reilly, Rosemary C.

Park, Soyon

Fachgebiete

• Sozialwissenschaften Sport | Tourismus | Freizeit Kunsthandwerk und Kunstgewerbe
• Geisteswissenschaften Kunst Künstlerische Stoffe, Motive, Themen
• Sozialwissenschaften Soziologie | Soziale Arbeit Soziologie Allgemein Empirische Sozialforschung, Statistik
• Geisteswissenschaften Kunst Kunstgeschichte Kunstgeschichte: 20./21. Jahrhundert Pop Art, Minimalismus
• Sozialwissenschaften Pädagogik Lehrerausbildung, Unterricht & Didaktik Allgemeine Didaktik Kunst, Musik, Theater (Unterricht & Didaktik)
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Druck und Drucken
• Sozialwissenschaften Psychologie Psychologie / Allgemeines & Theorie Psychologische Forschungsmethoden
• Geisteswissenschaften Kunst Kunststile Indigene Kunst, Volkskunst
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Keramik, Porzellan, Glaskunst
• Interdisziplinäres Wissenschaften Wissenschaften: Allgemeines Enzyklopädien, Nachschlagewerke, Wörterbücher
• Geisteswissenschaften Kunst Kunst, allgemein Einzelne Künstler: Biographien, Monografien
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Bildhauerei, Plastik, Denkmäler
• Geisteswissenschaften Kunst Kunstformen, Kunsthandwerk Installations-, Aktions-, Computer- und Videokunst

Inhaltsverzeichnis

Contents

Section one: Crafting an Introduction 1. An introduction Esther Fitzpatrick, Ying Wang, Rosemary Reilly, and Soyon Park. 2. Cottage Craft to the industrialisation of Craft: A family story of Wiredrawing in Yorkshire. Esther Fitzpatrick 3. Learning through making: Craft pedagogy, reconstruction, and the 4E approach in a Scandinavian context (part one). Harald Bentz Høgseth 4. Learning through making: Craft pedagogy, reconstruction, and the 4E approach in a Scandinavian context (part two). Harald Bentz Høgseth 5. Connecting with the embodied known through "Old" materials and making. Ying Wang 6. Crafting difference: Becoming otherwise through making. Soyon Park 7. Craft making as bodily thinking with materials. Nithikul Nimkulrat Section two: Crafting with ancestors 8. Weaving Maori Hearts and Minds or Thinking weaving – weaving thinking: Maori weaving as decolonising praxis, theoretical thinking and methodological doing Hinekura Smith 9. Crafting connections: Perspectives on material exploration and ancestral wisdom. Minna Kovero and Fabiola Hermandez Cervantes 10. Entangling in p/lace: Weaving connection. Marguerite Westacott, Trudi Flynn, and Alison L Black 11. Connect to ancestors: Two artis' approaches using craft as method. Shelley Hannigan and Deanne Gilson 12. The Kowie River – Decolonising my narrative inheritance. Gyda Emslie-Tutt Section three: Crafting as decolonial activism 13. Making connections by crafting: Exploring a dialogue between human and the land. Maarit Mäkelä 14. Pottery: Procurement, process, and product through decolonisation and an ethics of care. Bindi MacGill and Simon R. Coote 15. Crafting counter-hegemony: A reflection. Victoria Burgher 16. Disruptions: Maori Toa on the Bayeux Tapestry. Christine Rogers 17. Crafts Making in Palestine: A Critical Practice of Decolonisation. Iman Sharabati 18. Confronting injustice through Orange Shirts. Rita L. Irwin 19. Is it all in the making? Craft, Intuition, and Relational Knowledge Production Julie Tabrum and Rosemary Reilly Section four: Crafting as pedagogy 20. "Sally out and to do something positive and creative': Experiments with craft and arts-based education in researching a 1942 emergency education scheme. Francis Kelly, Kirsten Locke and Molly Mullen 21. Crafting with and against clay: Stories through centering. Tara Carpenter Estrada and Corinna Peterken 22. Intercultural artisanship exchanges: Chhipa woodblock carving in Bagru to book art making in Australia. Lee Fullarton, Natasha Narain, Louise G. Phillips and Megan Gaynor 23. A sewing pattern and stitched forms for continuing an inquiry dialogue. Jan Allen and Amanda E. Woodford 24. WeCanMusic: An accessible instrument-making platform. Don Undeen and Anne-Louise Davidson 25. Making sense of the world: postcards and reflective practice. Charlotte Stevens 26. Ph-Zine: Zine making as artful research practice. Kim Snider 27. Re-imagining differences: Craft and data engagement in an inclusive studio. Laura L. Ellingson, Lynn M. Harter, and Chuck Kaminski. 28. Scholarship through making: how to craft reflexivity. Lydia Maria Arantes Section five: Crafting professional identity 29. Notes of transition from a career as a Craft Maker, Researcher and Educator. Zabe MacEachren 30. Thinking as a weaver: Craft as a method of making and theorising concurrently Naomi Pears-Scown 31. Matters of identity in craft as method: Making ia, the Romanian traditional shirt. Mihaela Enache 32. Remember who you are: Crafting survival and identity in the academy. Eloise Doherty 33. The Scholar's Notebook as an Artist-book: Artifacts entangling image and text, words and gestures. (Part one) Michele Avis Feder-Nadoff 34. The Scholar's Notebook as an Artist-book: Artifacts entangling image and text, words and gestures. (Part two) Michele Avis Feder-Nadoff Section six: Crafting as feminist practice 35. Stich as collective enquiry: Dialogues with our foremothers. A collection of hand-embroidered dusters. Vanessa Marr 36. Crafting as re-worlding through trans-material acts. Kathryn Grushka 37. Threading the Muse: Revitalising Feminist Creative Practice Using Craft and Familial Knowledge in the Australian Post Colonial Context. Meaghan Shelton 38. Patchworking knowledge: Quilting as a feminist method/metaphor for research and relationality. Lilian Roberts 39. Stitching women's stories using craftivism as a creative, evidence gathering method. Deborah Littley 40. Sister Song: The Requiem Connecting with the Sacred through Making Art Maria Hamilton Abegunde 41. Nothing worth making: Crafting a Yoga/Pant/Mat. Elizabeth McKibben 42. Tatreez: Crafting as emancipation. Rawda Harb 43. Handicrafts as Inner Art: An autobiographical visual essay. Nami Araki Section seven: Crafting as healing 44. Crafting dialogues: Mapping how collaboration shaped approaches to quilt making and workshops with healthcare practitioners. Lucy Irvine, Rebecca Mayo, and Katherine Carroll 45. Positivity, voice, and connection: Community well-being through crafting. Leah Lewis:, Jan Buley, Sandra Hewitt-Parsons 46. Queering on paper: Papercraft as a method for social wellness with racialized 2SLGBTQ+ youth in Eastern Toronto, Canada. Dirk J. Rodricks, Keith Cheng, and Andrea Charis 47. Crafting Care – Careful Crafting: Creative encounters beyond the UK's 'hostile environment' for migrants. Rebekka Hözle 48. Needle methodologies: Theory through practice. Hannah Brancato, Thea Canlas, Sarita Kvam, Aram Hans Sifuentes and Savneet K. Talwar. 49. Healing through making: Insights of crafting. Mig Dann 50. Dyeing ecoculture and embroidering transculturalism. Maria Huhmarniemi 51. Yarn's not dead and neither are you: A Punk knitter's journey to uncovering the soft and squishy superpowers of knitting. Jessica Blanchet 52. Transitional objects beyond infancy: The Somatic Thread. Lesley O'Gorman

Über Autor(innen)

Dr Esther Fitzpatrick is a Senior Lecturer in education at The University of Auckland. She came from a teaching background before joining the university. Esther co-established the Narrative and Arts Research Special Interest Network in 2011 and continues to lead research, support development of research students competency, and lead collaborative writing projects. She designs and uses various critical innovative methods to explore complex issues in communities of practice drawing on critical autoethnography, qualitative and post-qualitative approaches including arts-based and craft-based methods. She has published on a wide range of issues on personal and professional identity.

Dr Ying Wang is a Senior Research Fellow at the University of Auckland whose work sits at the intersection of arts-based research, education, wellbeing, and culturally responsive methodologies. Her research focuses on marginalised communities, young people, migration, belonging, identity, and care. Dr Wang has extensive experience using creative and arts-based methods in sensitive and community-engaged research, including participatory arts-making and multimodal inquiry. She brings a strong commitment to relational, ethical, and decolonising approaches that recognise making as a powerful mode of knowledge generation.

Dr. Rosemary C. Reilly is a full Professor in the department of Applied Human Sciences at Concordia University in Montreal. Her general research interest is exploring the impact of using transformative learning as a lever for change for individual and in systems. Using craft- and arts-based methods, along with participatory qualitative methods, she researches grief, trauma, and post-traumatic growth at an individual and community level, the use of contemplative practices in higher education, and employing the Scholarship of Teaching and Learning to foster creative and innovative teaching. She has been crafting since she was little

Soyon Park is a doctoral candidate in the Faculty of Arts and Education at the University of Auckland, Aotearoa/New Zealand. Her research interests include questions of identity, doctoral education, posthumanist theories and post-qualitative inquiry. She is fascinated by how theory entangles with the becoming of a scholar. Her work seeks ways to enact small differences in everyday practices to open up alternative spaces and methods for research.