Handcraft in Contemporary Art and Cultural Sustainability in the Finnish Lapland
With regard to the first case in the study, the so-called “himmeli” is a traditional Finnish decorative mobile. It is made from short strips of rye straw tied together with string form a complex and symmetrical three-dimensional structure. It is used as a Christmas decoration that is hung over dining tables in many Finnish homes. What is less known is that the himmeli is thought to originate from a canopy decoration used in Medieval and Renaissance festivities in Central Europe. The word ‘himmeli’ has its roots in the Swedish and the German languages; himmel means sky and heaven. Maria Huhmarniemi began creating himmeli sculptures by extending traditional decorations (Figure 1).
She learnt to make traditional straw decorations from her mother and morphed these symmetric forms into free and wild sculptures by using coloured plastic drinking straws, as well as the traditional natural straws. She has created several series of himmeli sculptures that bear a political message; the himmeli sculptures have Swedish and German names underlying the fact that art develops in interaction with other cultures. She has also organised workshops and tutored participants to build himmelis together. Some of the workshops have been cross-generational, with young, middle-aged, and elderly participants; others have been intercultural, attended by participants from diverse cultural backgrounds (Figures 2 ).
What do I like about it?
1. The practice has taken place at the intersection of art, design, and handcraft. The himmeli is most commonly perceived as a type of design and handcraft, not as a form of art. In none of these cases did the original work initially form part of the art world—their exhibition in galleries occurred in a secondary manner. In Western countries’ art, design, and craft are detached from each other and viewed separately. They are seen as having their own media of expression, language, and tradition.
2.The use of traditional handcraft methods in community art has the potential for enhanced dialogue, especially intercultural and intergenerational dialogue. the cases in this blog has promoted intergenerational dialogue. The ability to use similar tools, methods, and materials as one’s parents did means a connection to one’s roots.
What do I think could be improved?
I think this case can provide skills teaching videos of this traditional craft for more people to watch. The video needs to take into account the audience group, and teach students according to their education level and age, because although the art practice in the community is usually low threshold , there are no skill requirements, but people tend to be hesitant to participate. When the working methods are familiar, it is naturally easier for people to participate.
What can I learn from it to create my own intervention?
1.I can use the handcraft in community and contemporary art as a method for a broader participation of community members in artistic practice and as a tool for the innovating process of the Chinese embroidery. The use of handcraft in community and contemporary art can support intergenerational and intercultural dialogue due to its intercultural nature.
2.Each location needs to evaluate its own needs, rights, and responsibilities for more sustainable living; if provided from outside, it no longer serves the purposes of cultural sustainability.
3.Using the aims of a culturally sensitive approach in art parctice. The handcraft-based contemporary art practices with place-specific intergenerational and intercultural approaches create an open space for dialogue where the values and the perceptions of cultural heritage can be negotiated.
4.Using a mix of indigenous and critical methodologies in my intervention on contemporary art in Chinese embroidery.
# AC Knowledge # AC Enquiry
Bibliography
Huhmarniemi, M., 2018. Crafting Sustainability: Handcraft in Contemporary Art and Cultural Sustainability in the Finnish Lapland. [online] Lacris.ulapland.fi. Available at: <https://lacris.ulapland.fi/ws/files/6111304/sustainability_10_01907.pdf> [Accessed 2 may 2022].