Unit three – JIANG CHANG'S BLOG

Customers & Experts‘ feedback on the temperature of the hands

This blog is a collection of data on customer feedback related to artefacts following this intervention

The data sources were all provided by JEM staff and those who participated in the questionnaire have given their consent to be photographed as evidence.

The canvas bag is priced at 280 RMB （30 GB） based on the cost of the embroiderers’ work. A total of 15 consumers participated in the test and their age/gender/ and reasons for willingness and unwillingness to buy were collected.

Feedback from customers

The data was collected between November 10th and November 23rd, with a total of 15 customers participating in the survey and a total of 3 of the 10 canvas bags sold.

According to the feedback collected from the customers, the reluctance to buy is a big factor in terms of price, which may include the overall consideration of the material of the product itself and the brand factor, all of which are a reference point for the commercialisation of hand embroidery into the market. The relationship between price, hand embroidery, design and product quality.

Evidence of consumer purchases No.9 canvas bag

According to the feedback from the data, this consumer bought the most popular canvas bag No. 9, they love this bag because of its colour and the meaning of the words embroidered on it, which is in contrast to other forms of canvas bags, which shows that the ability of creative expression of these craftsmen was not in the same line, which made the researcher realized that the owners who have the power to control the production of the embroiderers need to apply a combination of design-oriented and commercially-focused interventions to regulate and enhance the commercialisation of the crafts in the industry, rather than completely allowing them to create freely, except for those freelance craft artists or artisans. but this also feeds into the need for standard design guidance in commercial production. So it is a delicate relationship between commerce and art.

Feedback from Experts

Dean Wu and teachers at Hunan Arts and Crafts Institute’s Hunan Embroidery Art School

Dean Wu said he liked these embroidered canvas bags , but he argued that more design elements needed to be incorporated into it, otherwise it would not form a standard item to sell.

Moreover, two experts gave external feedback on the intervention. Zaihong Jiang and Yu Binxia, represented different views of embroidery practitioners and researchers. Yu said that the fundamental goal of this innovation-pursuing intervention should be to keep the essence of embroidery, this traditional handicraft, before creatively developing it. For example, the essence and hallmark of Xiang embroidery is the Mao stitch. Without this feature, technical innovation will be in vain. In other words, keeping the tradition alive is as significant as breaking the mold. On the contrary, Jiang believed that the embroidery product would be a great hit as long as it won over customers by reflecting modern aesthetics favored by the younger generation and cultural trends because she thought buying the handicraft is the best way to pass it on.

# AC Knowledge # AC Enquiry # AC Communication # AC Process

Intervention: evidence of the temperature of the hands (Video+Pictures）

This video records the creative process of these embroiders when they are empowered as artists and presents their final works.

# AC Realisation # AC Process # AC Enquiry

Gallery

Group photo of the creators （One was absent）

The name of each creator is marked with a blue sticker

A representative crop of Hunan embroidery: Tiger’s Paw

Translation: Filial piety is the most important of all virtues.

Peacock Hand

Translation: Creating a better life with a passion for fire

The following was established：

Theme: The Temperature of the Hand
Number of participants: 10 embroiderers （aged between 47-55 women）
Forms of intervention ：event-based intervention
Cooperation：JEM, Changsha Xiang Embroidery Research Institute.
Event Duration：28-30 Oct 2022.
Test subjects 1: 10 embroiderers （Feedback after embroidering their own hands through the free use of their imagination）
Test subjects 2: Consumers (test why they would or would not buy this hand-embroidered canvas bag with hands)
What to do：Seven embroiderers use their imagination to embroider their own hands on canvas bags.
How to buy：Sold separately at JEM and the Changsha Institute of Hunan Embroidery.
Money sold for：The price of this canvas bag will be returned to the embroiderers with all the remaining profit after removing their corresponding labour and costs.

Li Ning & Zaihong Hunan Embroidery brand cooperation

Through a friend’s introduction, we met a brand manager at Li Ning, and through our conversation we thought we could experiment with clothing combined with Hunan embroidery.

Li Ning basketball jacket design

In addition to the use of Hunan embroidery in our products, we also hope to pick up some footage of embroiderers and material that can be used later on by both Li Ning and then Red Hunan Embroidery to better introduce Hunan and Hunan embroidery to consumers.

Steps of cooperation: design finalisation – sample development – sample testing – contract signing – order placement – production

The company says that due to the current schedule of embroiderers, it is expected to start receiving production in December. Li Ning said that they would first make 4-5 pieces to see the effect of the samples.

# AC Knowledge # AC Realisation # AC Process

Experts’ feedback on my research question

Over the past two days I have sent my research questions to two experts seeking their views and opinions and I wanted to know if my research questions were a clear indication of the changes I wanted to see and the problems I wanted to solve. These two experts are an embroidery researcher at the Hunan Museum and an owner in the embroidery industry.

Evidence of conversations with embroidery company owners

Evidence of conversations with an embroidery researcher at Hunan museum

Based on the feedback from these two experts, they said it was difficult to catch what I was trying to say when they saw my research questions. Not sure what I was asking.

This researcher indicated that she did not know how to understand that enhancing the value of the craft in China. According to her understanding, creative exploration is equivalent to innovation, but the essence of innovation is to preserve the essence of these traditional crafts before innovating. For example, the essence and characteristics of Hunan embroidery is the Mao stitch, if this characteristic innovation is lost then it will lose its meaning. In other words, it is important to keep the tradition and break the mould.

She says that now in China, many of the younger generation of embroidery inheritors are instead helping to destroy the best part of this traditional craft – the stitich. For example, the flat stitch is the most common stitch in all traditional Chinese embroidery, but many inheritors of Xiang, Su and Sichuan embroidery now use it to represent their own embroidery, which is clearly a loss of the unique character of their own embroidery. How can you talk about innovation when the essence is not captured by the inheritors? How can you say you have inherited it?

Through this exchange I also learnt about innovative ideas for the development of traditional techniques such as embroidery, including the fact that the inheritors of these traditional embroidery have not learnt and understood the essence and nature of embroidery from different regions (stitching) very well.

She also suggested that my research question might contain two issues: firstly, how creative exploration can enhance the status and profile of embroidery craftsmen, and secondly, how their enhanced profile and status can lead to the development of embroidery heritage in China.

However, I took into account the the development of this whole industry, and not singularly to the practitioner. After our exchanges and discussions, my research question was again established: How can the creative exploration in traditional Chinese embroidery help the industry find creative approachs that keeps up with the times and promote the diversification of its traditional craft values in China?

# AC Knowledge # AC Enquiry # AC Communication # AC Process

Feedback of David’s tutorial

As David and I talked more deeply, my research questions were evaluated.

Research question: How can creative exploration in traditional Chinese embroidery help to elevate the perception, status and profile of practitioners to raise the value of their craft in China?

Questions from David:Design output? Creative education in embroidery training – to produce better commercial ideas? Collaboration with brands? Covert embroiders to artsist?
Research: William Morris arts and crafts movement in the UK
Harris Tweed

Report criteria: Introduction (what why how)/ methodology (about how pri/sec/ what’s your biases)/ findings(biggest part include difficulty, what went wrong or right)/ conclusion

# AC Communication # AC Process

The Feedback from the embroiderers of the temperature of the hands

I had a phone call with these embroiderers this morning and asked them the following questions：

1.What is the difference in mentality or attitude between this work and the previous embroidery you all did from the prints already painted?

2. Do you all talk to each other when you’re creating? Is the working atmosphere different from before?

When I asked these questions, the feedback from the embroiderers was positive, they said that their mood and attitude were much more relaxed this time compared to before, and they felt very free because they could do whatever they wanted, they didn’t have to think about matching the embroidery thread to the work already had drawn, they could use whatever stitches they wanted to create, and each piece had its own idea, not like the It’s not like a robot working. I was very happy to hear that. But at the same time, they also said that it was a bit stressful to complete a piece of work in the intensity of 8 hours due to the length of work required.

Looking at the feedback from this intervention, I am acutely aware that everyone is happy and at ease with a little creative freedom when they are bored with their work. According to what their factory manager told me, the atmosphere in their workshop was much more relaxed throughout the day and everyone was not as lifeless as before. I think the intervention was a success for me and for they. They were able to adjust to their mood of work a bit through the intervention, which also allowed them to relax at work and stimulate their imagination in what amounted to a degree of craft art therapy. For me, I am happy that the state of their communication with me was such that they expressed their happiness.

One embroiderer in particular said that the corn she embroidered was painted by her grandson and she did the embroidery. In this intervention, she also strengthened the bond between parent and child through her creation, and I realised that this finger art creation could also be used as a craft bridge for communication between parents, families and friends before.

# AC Communication

The temperature of the hands 手心的温（Beta)

The original work

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NEXT STEP

I will ask each embroidery creator to comment on how their work differs from the previous ones in terms of steps and ideas, strengths and weaknesses, etc. Evidence will be recorded in the form of chat notes.

Collaboration with JEM and the Changsha Institute of Hunan Embroidery and establishment of the next intervention

Today through a meeting with Ms Jiang Zaihong and the 7 embroiderers working at the Changsha City Hunan Embroidery Institute, I established a collaboration with JEM and the Changsha City Hunan Embroidery Institute and set up the next intervention.

Form of intervention: event-based intervention, through work with seven embroiderers, and collaboration with JEM （Jiang zaihong embroidery museum)and the Hunan Embroidery Institute in Changsha. With the theme of the warmth of the hand, the 7 embroiderers were allowed to use their imagination to embroider their own hands, which were eventually presented on canvas bags.

“Creativity requires the courage to let go of certainties”
Erich Fromm

The canvas bags are available in limited quantities online and through the venues of these collaborators, with prices negotiable through the time they take to make them. The aim of the intervention is trying to promote innovative design-based interventions, to enhance the motivation of the embroiderers, stimulate their imagination and the atmosphere of the industry through trading, and in this way to achieve a better heritage of skills, as the best heritage comes from buying and selling. A state of tripartite gain is achieved for the embroiderer – the Institute/Museum – the buyer.

Evidence of my call records with stakeholders

The following was established：

Theme: The Temperature of the Hand (Beta)
Number of participants: 7 embroiderers （aged between 47-55 women）
Forms of intervention ：event-based intervention
Cooperation：JEM, Hunan Embroidery Institute in Changsha.
Event Duration：20 Oct 2022.
Test subjects 1: 7 embroiderers （Feedback after embroidering their own hands through the free use of their imagination）
Test subjects 2: Consumers (test why they would or would not buy this hand-embroidered canvas bag with hands)
What to do：Seven embroiderers use their imagination to embroider their own hands on canvas bags.
How to buy：Sold separately at JEM and the Changsha Institute of Hunan Embroidery.
Money sold for：The price of this canvas bag will be returned to the embroiderers with all the remaining profit after removing their corresponding labour and costs.

# AC Communication # AC Enquiry # AC Knowledge # AC Process

Bibliography

Ebert, M., Hoffmann, J. D., Ivcevic, Z., Phan, C., Brackett M. A. (2015). Teaching emotion and creativity skills through art. A workshop for children. The International Journal for Creativity & Problem Solving, 25 (2), 23-35.

Potential Plus UK. 2022. Using Visual Arts to Foster Creative Thinking Skills – Potential Plus UK. [online] Available at: <https://potentialplusuk.org/index.php/2020/07/14/using-visual-arts-to-foster-creative-thinking-skills/> [Accessed 16 October 2022].

Stankiewicz, M., 1984. Self-Expression or Teacher Influence: The Shaw System of Finger-Painting. Art Education, 37(2), p.20.

Shaw, R.F. Finger painting, A perfect medium for self-expression. Boston: Little, Brown, and Company, 1934a.

Liveyourpassion.in. 2022. Emotional & Social Benefits of Finger Painting | Live Your Passion. [online] Available at: <https://liveyourpassion.in/self-interest/art/Get-started/Emotional—Social-Benefits-of-Finger-Painting-290> [Accessed 16 October 2022].

Veronica Mayer. (2005) Rediscovering Ruth Faison Shaw and her Finger-Painting Method. Art Education 58:5, pages 6-11.

Zambon, K. (2013, November 12). How engaging with art affects the human brain. American Association for the Advancement of Science. https://www.aaas.org/news/how-engaging-art-affects-human-brain

Refine my research question

How can I help the tranditional Chinese embroidery to embrace the technology?

How can tranditional Chinese embroidery embraces the technology?

How can traditional Chinese embroidery embraces technology-based innovation?

How can I help tranditional Chinese embroidery embraces technology-based innovation?

How can I hep trandtional Chinese embroidery industry embraces design innovation?

Based on my experience so far, I came up with these four research questions that could match my current journey and look forward to seeing what david thinks next week

# AC Enquiry

Research into the well established field of conservation and preservation on Chinese embroidery

Hunan embroidery is a representative of traditional craftsmanship. Manually extracting and sorting out the cultural genes of Hunan embroidery takes a lot of manpower and time, it need to adopt advanced technological ways for subsequent inheritance and development.

Today I have read two papers on the preservation and conversation of Hunan embroidery in the context of digitisation and Artificial intelligence. AI has already been used to preserve and utilise the unique stitches of Hunan embroidery, such as the excavation of historical and cultural genes, the research and establishment of a data base of Hunan embroidery stitches, the intelligent recognition of original Hunan embroidery paintings and stitch modelling, intelligent plate-making software and intelligent equipment technolog Synergy.

Pengmao stitch filling effect and physical picture (source: Hunan Normal University Hunan Embroidery Innovation and Research Centre)

On the other hand, there is also the video animation of Hunan embroidery as a display through video editing, providing a feasible path for the preservation, inheritance and innovation of Hunan embroidery culture in the digital era.

Video process editing of Can stitch (source: Hu Jing)

To sum up, regarding the way I currently want to get about the heritage and conservation of Hunan embroidery has already been done, I can consider whether to do the same in other aspects of heritage and conservation, as this direction is huge and time and energy consuming, considering the resources I currently have in the end only 1 month or so I may not have time to do the innovation. But this is a direction I can continue to dig deeper into after I graduate.

# AC Knowledge # AC Enquiry

Bibliography

Hu, J. 2019. Research on the digital conservation of Hunan embroidery hand stitching，CNKI.

Yang, L.2021. Under the Vision of Artificial Intelligence A study on the inheritance of disheveled needle, a representative gene of Hunan embroidery culture. CNKI.