Uncovering everyday learning and teaching within the quilting community of Aotearoa New Zealand : a thesis presented in fulfilment of the requirements for the degree of Doctor of Philosophy in Arts at Massey University, Palmerston North, New Zealand

This thesis explores the social and cultural phenomenon of everyday learning and teaching within the communal activity of quiltmaking. Home-sewn quilts are rarely associated with the needleworkers’ high level of knowledge and skill; yet, the quilters’ act of knowing is practical, inherently social, and intentional. This research study examines the collaborative processes of “quilting together” to understand cultural patterns of participation; and investigates the participants’ meaning-making experiences to facilitate an analysis of collective knowledge practices. Using an ethnographic methodology, this research investigated the lived experiences of quilters within the situated context of two quilting groups, located in Aotearoa New Zealand. Observations were made of participants’ engagement in quilting activities as they interacted with each other, material artefacts and quilting tools. These observations took place during regular quilting sessions and special events. Interviews were conducted with founding members to gain an understanding of cultural-historical processes, as well as a purposively selected sample of ten participants who shared their personal quilting experiences. Observation notes, conversation commentaries and interview transcripts were analysed in relation to the research question and two guiding questions. Key findings are related to a variety of contextual issues surrounding the process of informal learning and teaching as it materialised through the quilters’ engagement in idiosyncratic community practices: the practices of which are generative of quilting knowledge and vice-versa. Firstly, through social integration quilters developed a sense of belonging and responsibility. Secondly, cultural patterns of social interaction consisted of multi-directional learning with quilters having complementary roles. Thirdly, due to the tacit nature of quilting knowledge, embodied experiences and material mediations were essential for thinking and communicating with others. Fourthly, a constellation of knowledge practices co-existed in the quilting community. Finally, the quilters’ informal learning was organised and supported within the community. The study contributes to a body of locally-based and international research concerned with informal learning and teaching theory, situated in a quilting community-based setting. The emerging conceptual framework, “Apprenticeship Model of Craft Community Learning”, develops and extends participation-based approaches to learning. In addition, the quilters’ collaborative designing process of inquiry advances understanding of knowledge creation within craft maker cultures

Pengaruh Berat Dakron Terhadap Hasil Jadi Padded Quilting Pada Top Handle Pouch (Tas Jinjing)

  Abstrak Salah satu teknik quilting adalah Padded quilting yaitu suatu teknik quilting dengan pengisian yang hanya terdapat pada motif, bentuknya menyerupai relief dan dapat diterapkan pada top handle pouch (tas jinjing). Pengisi yang digunakan bermacam-macam, misalnya menggunakan pengisi dakron.Tujuan penelitian ini untuk mengetahui hasil jadi quilting pada top handle pouch (tas jinjing), untuk mengetahui pengaruh berat dakron 3,8 gram, 4,3 gram dan 4,8 gram terhadap hasil jadi quilting padatop handle pouch (tas jinjing), untuk mengetahui berat dakron 3,8 gram, 4,3gram dan 4,8 gram yang menghasilkan quilting yang terbaik.  Jenis penelitian ini yaitu eksperimen,  dengan variable bebasnya berat dakron 3,8 gram, 4,3gram, dan 4,8gram. Variable terikat yaitu hasil jadi padded quilting ditinjau dari aspek kerataan isi quilting, ketebalan motif quilting dan kepadatan isi quilting. Metode pengumpulan data yang digunakan adalah metode observasi. Pengambilan data dilakukan oleh 30 observer yang terdiri dari 5 observer terlatih yaitu dosen tata busana dan 25 mahasiswa tata busana yang telah memprogram mata kuliah Apresiasi Menghias Kain. Hasil uji statistik menunjukkan bahwa hasil jadi padded quilting ditinjau dari 3aspek, mean tertinggi pada kerataan isi quilting adalah pada berat dakron 3,8 gram dengan mean 2,745. Pada ketebalan motif quilting adalah berat dakron 4,8 gram dengan mean 2,723. Pada kepadatan motif quilting adalah berat dakron 4,8 gram dengan mean 2,679. Terdapat pengaruh berat dakron terhadap hasil jadi padded quilting, tingkat signifikan semua aspek adalah p=0,000<0,05 sehingga Ha ditrima. Berat dakron memberikan pengaruh yang berbeda. Berat dakron 3,8 gram memberikan pengaruh yang tipis, berat dakron 4,3gram memberikan pengaruh yang sedang dan berat dakron 4,8gram memberikan pengaruh yang tebal. Ditinjau dari seluruh aspek, hasil jadi quilting yang terbaik pada berat dakron 4,8gram.   Kata kunci : Padded Quilting, Dakron, Top Handle Pouch (tas jinjing).   Abstract One of quilting technique is padded quilting, that is a quilting technique with filling just on motif, it shape like relief and able to be applied on top handle pouch. Filler used could be anything, for example using Dacron as filler. The aims of this research we to know the outcome of quilting on top handle pouch, to know the effect of Dacron weight 3.8 grams, 4.3 grams, and 4.8 grams on the outcome of quilting on top handle pouch, to know Dacron weight 3.8 grams, 4.3 grams, and 4.8 grams which produce the best quilting. Type of this research was experimental with independent variables were Dacron 3.8 grams, 4.3 grams, and 4.8 grams. The dependent variable was the outcome of padded quilting viewed from aspects of filling evenness of quilting, motif thickness of quilting, and filling dense of quilting. Data collecting method used was observation. Data collection performed by 30 observers, they were 5 trained observers that are lecturers of Fashion Design and 25 students of Fashion Design who has programs lesson of Fabric Decorating Appreciation. Statistic test result shows that the outcome of padded quilting viewed from 3 aspects, the highest mean at aspect of filling evenness of quilting was on Dacron weight 3.8 grams with mean 2.745. At motif thickness of quilting was on Dacron weight 4.8 grams with mean 2.723. At motif dense of quilting was on Dacron weight 4.8 grams with mean 2.679. There are effects of Dacron weight on the outcome of padded quilting, significance degree of all aspects was p=0.000<0.05, then Ha accepted. Dacron weight gave different effect. Dacron weight 3.8 grams gave slight effect, Dacron weight 4.3 grams gave moderate effect, and Dacron weight 4.8 grams gave thick effect. If viewed of all aspects, the best outcome of quilting was on Dacron weight 4.8 grams.   Keywords: padded quilting, Dacron, top handle pouch &nbsp

Women\u27s Perceptions of Flourishing Through Quilting as a Leisure Activity

Quilting is a self-chosen leisure activity for millions of women in the United States. Previous research on quilting suggested that quilting is influenced by the emotional state of the quilter. However, the emotional experiences generated during quilting have not been fully explored. The purpose of this qualitative narrative study was to explore quilters\u27 perceptions of what quilting as a leisure activity does to enhance their well-being and increase flourishing. Positive psychology well-being theory was the theoretical foundation for the study. Semistructured interviews with 12 adult women who quilt as a leisure activity were the basis of the narrative inquiry. Data were recorded through in-person and telephone interviews that were transcribed and analyzed using thematic analysis to develop overarching themes. Findings revealed that quilting contributed to participants\u27 well-being and built flourishing through three primary avenues: creativity, relationships, and positive emotion. Quilting provided an opportunity for creative expression and growth as artists. Quilt-making activity was centered around relationships with other quilters and with the larger community, and quilting was linked with positive emotion as participants experienced great joy in their quilting activities. This study has implications for increasing well-being and building flourishing in women through the adoption of quilting as a leisure activity

Thornton, Rachel (FA 596)

Finding aid only for Folklife Archives Project 596. Paper titled “Quilting” written by Rachel Thornton for a folk studies class at Western Kentucky University. Williams details the quilting methods used by Barren County quilter Marlene “Chris” Woods. Thornton conveys Woods’ passion for hand quilting rather than machine quilting as well as the intimate connection and personal meaning that quilts embody for those who make and use them

Modern Quilting: DIY Discourse

This study explores the modern quilting movement from the perspective of members of the Modern Quilt Guild (MQG), a new guild that includes both online and in-person elements. Twenty-six members of seven MQG’s across the United States were interviewed. The interviews focused on the factors that draw participants into the MQG as well as how the art/craft debate shapes the experiences of modern quilters. This study concludes that modern quilting is both an attitude and an aesthetic. The attitude of modern quilting encompasses common themes among participants like the lack of rules dictating their quilting practices and an open and inviting atmosphere at meetings. The attitude portion of modern quilting was present to some degree in all participants of this study. The current aesthetic of modern quilting emphasizes clean lines, minimalism, and solid fabrics, among many other characteristics. All the participants of this study did not embody the aesthetic of modern quilting. The results suggest that all participants are drawn to the guild due to the attitude of modern quilting whereas only some participants are inclined to join due to the aesthetic of modern quilting. The aesthetic of modern quilting does not appear to be tied to the art/craft debate in that most participants did not link the differences between art and craft to their own work. The study also illustrates the excitement, motivation, and enjoyment that surrounds MQG membership for the participants of this study. Advisor: Michael Jame

From Useful Craft to Works of Art: The Transformation of Quilting in the United States from the Nineteenth Century, 1893-1933

Quilting in the United States transitioned from a useful home craft to an art form from the late 1800s to the mid-1900s in response to industrialization. Before industrialization, quilting was seen as a primarily women’s craft and because of that was not given respect as an art form. During industrialization the American people had a nostalgia for times past because of fast paced growth, and therefore quilting and other home crafts started to become more prevalent. This nostalgia led to the start of the Arts and Crafts Movement in the United States that brought home crafts such as crochet, needlework, and quilting to the forefront. A major paradox of industrialization was that businesses started to see a possibility for profit and started promoting and manufacturing new quilting technologies and supplies to market to American women. So quilting became more popular because of a nostalgia for simpler times without the quick advancements of new technologies but without the big businesses creating the new technologies to make quilting cheaper and easier, then quilting would not have been as prominent. Singer Sewing Machine did this in the Chicago World’s Fair of 1893 where no quilts were displayed but new sewing machines and fabrics were both major exhibits at the fair. In the forty years that followed the Chicago World’s Fair of 1893 popularity in quilting started to grow. This was due to the advent of mail order catalogs and fabrics being available for very cheap due to industrialization providing the factories to create it and the ability to ship all around the United States. Quilting was finally recognized as an art during the Chicago World’s Fair of 1933 because of the Sears Centennial Quilt Competition. It was the largest quilt competition ever held with over 25,000 women submitting quilts. The large prizes offered and the mass coverage that the contest had in the press made the American people appreciate and see quilting as an art. Because of the major influence of the Sears Centennial Quilt Competition, folk arts became accepted. That led to the creation of Folk Art Museums around the world and now quilts and other home crafts are on display in art museums and accepted as part of the folk art world

From Useful Craft to Works of Art: The Transformation of Quilting in the United States from the Nineteenth Century, 1893-1933

Quilting in the United States transitioned from a useful home craft to an art form from the late 1800s to the mid-1900s in response to industrialization. Before industrialization, quilting was seen as a primarily women’s craft and because of that was not given respect as an art form. During industrialization the American people had a nostalgia for times past because of fast paced growth, and therefore quilting and other home crafts started to become more prevalent. This nostalgia led to the start of the Arts and Crafts Movement in the United States that brought home crafts such as crochet, needlework, and quilting to the forefront. A major paradox of industrialization was that businesses started to see a possibility for profit and started promoting and manufacturing new quilting technologies and supplies to market to American women. So quilting became more popular because of a nostalgia for simpler times without the quick advancements of new technologies but without the big businesses creating the new technologies to make quilting cheaper and easier, then quilting would not have been as prominent. Singer Sewing Machine did this in the Chicago World’s Fair of 1893 where no quilts were displayed but new sewing machines and fabrics were both major exhibits at the fair. In the forty years that followed the Chicago World’s Fair of 1893 popularity in quilting started to grow. This was due to the advent of mail order catalogs and fabrics being available for very cheap due to industrialization providing the factories to create it and the ability to ship all around the United States. Quilting was finally recognized as an art during the Chicago World’s Fair of 1933 because of the Sears Centennial Quilt Competition. It was the largest quilt competition ever held with over 25,000 women submitting quilts. The large prizes offered and the mass coverage that the contest had in the press made the American people appreciate and see quilting as an art. Because of the major influence of the Sears Centennial Quilt Competition, folk arts became accepted. That led to the creation of Folk Art Museums around the world and now quilts and other home crafts are on display in art museums and accepted as part of the folk art world

The Shadow of Fast Fashion: The Quilting Industry

The purpose behind this creative research project is to bring the contemporary quilting industry to attention when discussing environmental concerns that are typically associated with the textile industry. Quilting, despite its origins in inadvertent conservatism, has evolved into a consumerist business that can be most adequately compared to that of fast fashion. Through analysis of the different types of fibers, manufacturing processes, and environmental implications, an extensive background of the textile industry was given so that the consequences discussed later in the paper can be fully realized. By comparing examples of need-based quilting, like the quilts of Gee’s Bend, to their contemporary counterparts, this project highlights the paradoxical relationship between quilting and the environment. Alongside this research, a breadth of creative works was also made to further highlight the environmental implications of quilting, as well as the textile industry as a whole