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A new felt presence: Making and learning as part of a community of women feltmakersThe purpose of this qualitative art-based autoethnographic research study is to examine the lived experience of contemporary feltmaking from both collective and individual perspectives and the relationship between personal practice and the learning that takes place in a community of shared practice. The thesis exists as an exhibition of feltworks alongside a written piece, which presents qualitative and arts-based data comprising of my own experiences documenting both my journey through treatment for stage three breast cancer and the learning and teaching taking place as a member of this female community of feltmakers. It explores the principles of tacit knowledge in feltmaking alongside the concept of flow as a key marker of mastery, incorporating an analysis of the collaborative learning elements which facilitate the process of its members’ transformation from novice to expert, within a broad base of abilities, skills and experience. The thesis begins with an examination of the history of feltmaking, and the learned traditions passed through cultural generations. This is followed by an exploration of textile ‘pockets’ in women’s history, examining patriarchy, privacy and interiority through a narrative. Within this context, shared felting projects are presented. The feltmakers’ pockets are displayed as Tripartite Helix, examining international and local felting techniques alongside shared privacy within the physical pockets, the three sections denoting elements of felting as a collective sense. My own work Hushed Reverberations explores privacy, interiority and its exposure to the exterior. My practice and autoethnographic mesearch research are embedded throughout the study to illuminate the experience of learning and teaching of feltmaking in order to appreciate the process as much more than mere material transformation. This art-based research establishes a connection between feltmaking, historical, patriarchal and cultural influences and an autoethnographic, mesearch research methodology. The thesis reveals the affiliation between personal narrative through feltmaking craft and biography as a relational connection between shared journeys, intertwining autoethnographic learning, feltmaking, narrative and cultural history. It also reveals that learning in a collective does not take place simply through increasing participation in an experience, but is also fuelled by pedagogical, social and historical factors. The research contributes to an understanding and an expression of how the process of feltmaking can be used as a way of communicating and conveying a personal journey which can provide the means for individuals to support themselves and each other. However, the basis of the women's experience in crafts cannot be explained in isolation from the environments in which they take place but must be connected through culture, history and gender. The thesis concludes that women can use feltmaking to make sense of life-changing events and adversities, and to begin the healing process, bringing comfort and sense of community during periods of turmoil.