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it's always hard to tell with these things how much it's something that is just reflecting personal change, who you're hanging out with, etc, versus how much this is a genuine shift in the culture. but it feels like we're in the middle of a big shift in terms of people engaging with traditional crafts?

like, my big thing right now is pottery, and the people who i am on (daytime weekday!) courses with are primarily my age, in their 20s and 30s, with just a smattering of retired folks. and the studios we're doing these courses in have largely been set up in the last few years. i have friends who are, unconnected from my decision to do this, also getting into pottery. there's a bunch of craft fairs where small scale makers are selling their stuff.

i just read that Morris dancing, which i grew up with my grandparents doing, and which i have always associated with, frankly, the over-60s & real ale, has a new wave of younger people getting involved. and changing the culture of it, too - more mixed-gender sides, and much more openness in terms of what genders can perform what dances, and in what roles. and honestly, great. everyone should get to hit the sticks together.

and of course, this isn't even getting into the fiber arts. even beyond, like, knitting & crochet, - one of my friendship groups is full of chats about weaving, constant moaning about having to finish winding the warp or not getting the hang of doubleweave. there's a friend that keeps sheep, there's a friend that cards & spins wool, there's friends that weave, there's obviously a lot of friends who sew... maybe they should all get together and enter the International Back to Back Wool Challenge

which isn't to be over-optimistic about the future of crafts as a whole. the Red List shows a lot of endangered crafts, and many will not be benefitting from this trend - they require years of skill, or can only be done at a large scale, or are too embedded in a way of life that is not likely to return. but even so, the instinctive response i have seen to the Red List itself is more likely to be "oh no, what can be done" than "who cares if no-one is making handcrafted baskets for transporting bees any more".

i guess you could try to connect this to, like, the current reactionary turn in politics, tradwives and all of that. but i am, obviously, not friends with those people, and those kinds of politics are not something i have seen in any of these spaces. as you can see with the Morris dancing, it's not like people are just unquestioningly accepting the politics of these spaces (the proportion of Tory voters among Morris dancers is i think definitely trending in the right direction). i think instead there is a wider kind of trend that has curdled in some of these fashy-er political spaces into this kind of "retvrn"-style politics. a trend pointing towards sustainability & justice & a lot of anxiety about doing things the right way. and an increased appreciation for things that look good in a timelapse video, that feels like a big part too.


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in reply to @v21's post:

Looking at the list of critically endangered crafts, I wonder what all work goes into compass-making? Presumably something to do with magnetism, and enclosing some sort of non-water fluid in a container with some combination of metal, plastic, or glass. I know you can make a temporary compass out of just a magnetized needle and a glass of water, but one that actually holds up over years or decades of use? I still have the same compass that has to be from the 1980's, I think.

Which brings me to a question – should there be a purpose towards longevity, in modern crafting? Would it be more important that I know how to make a makeshift compass when I need one, or that I could make one that could outlive me? Should the thing itself be ephemeral, and the knowledge be lasting, or vice versa? If we take dancing as our lesson, I imagine the ephemerality of the act itself is never in question, but the knowledge lengthens and grows on the axis of time as it remains actively explored and not forgotten.

I can’t speak to this completely since I have always been a bit crafty, but I think people are going back to crafting because it fulfills some of the creative needs the workplace doesn’t anymore. Especially post-Covid, work for the average middle class worker have been primarily digital with continuously elongated timelines. Crafts can provide a physical manifestation of labor with a set deadline. And depending on the craft, it can also create things that are needed in daily life. There is something else to this trend but I feel like this is part of it.

I wouldn't count crocheting or knitting as part of a resurgence, it seems to me that it's been big in queer spaces for decades (for whatever reason), but the other things do seem like they could be part of a newer trend

Having done about 5 minutes more research on this... I think you're right about decades, but wrong about it not being part of the same trend. Knitting & crochet seemed to start really seeing a revival around twenty years ago, which puts it on the forefront of this craft revival, but I think it's powered by the same factors that are driving the resurgence of other craft traditions. Namely, the internet - Ravelry started up in 2007, and people were blogging and posting photos and so on about then. I suspect one reason knitting took off sooner than other crafts (if it did) is that it is a relatively low investment craft to get into. Pottery has also had a resurgence, but if you wanna do it at home you need a studio & thousands of pounds worth of equipment. Or you go to a community studio... but it's harder to set one of those up than it is to buy some yarn & some needles.

But yeah. Not a very up to the minute observation! But also I don't see people talking too much about how we are in the middle of a multi-decade long craft resurgence, and I think it is still interesting to think about why.

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