Craftivism has gained prominence as a contemporary mode of civic action that fuses crafting with societal and political engagement. As an active means of expressing opinions, craftivism remains rare in Finland, despite crafts, including craft techniques, self-expression, and sustainable development, being a compulsory subject in Finnish comprehensive schools. The deep-rooted practice of crafts in the Finnish culture is more commonly realized in the form of charitable crafts in the third sector. This study explored Finnish craftivists' experiences of using textile skills and techniques in craftivist practice and examined the societal themes they highlighted in their work. Drawing on interview data analyzed in-depth through inductive content analysis, the findings indicated that textile techniques held deep meaning for the participants and were closely tied to values of the circular economy and sustainability. Community-based making provided spaces for peer support, learning, and new social ties, whereas collaboration was frequently experienced as boundary breaking and a means of reflecting on femininity and identity. The participants addressed local or national concerns and, to a lesser extent, global themes. On the basis of the results, craftivism in Finland appears to be expanding toward themes of well-being and sustainable development.
Chikankari is a form of handcraft tradition commonly practiced in Lucknow which makes chikankari a considerable part of the Indian textile and cultural heritage. This research discusses the changing patterns of Lucknowi Chikankari based on a descriptive and qualitative research process. Based on an extensive review of secondary sources-including scholarly literature, government reports, craft documentation platforms, museum archives, and authenticated online resources-the study has traced the chronological evolution of Chikankari from its early courtly origins to its present-day global recognition. This study provides an analysis of the transformation of design vocabulary, embroidery methods, materials, production processes, and market orientation at various periods of history. It further throws light into the socio-economic status of artisans as well as effects of commercialization, globalization and institutional interventions on the craft. The results indicate that although Chikankari has managed to adapt effectively to the modern-day fashion and the world market, it is still struggling with issues of the artisan's welfare, as well as the tradition and maintenance of the skills. Study highlights the importance of having moderate approaches that combine innovation and the preservation of heritage to make Chikankari embroidery a sustainable activity in the future.
Floral motifs form a central element of Malay batik, serving as visual expressions of belief, identity, and ecological awareness. This study examines how the bunga matahari (sunflower), a non-native botanical form, has been localized within Malay batik traditions on the East Coast of Peninsular Malaysia. While research on native floral motifs is established, the adaptation pathways of foreign species remain underexplored, creating a significant gap in understanding how global forms are culturally assimilated. The research employs a collective case study of Kelantan and Terengganu and draws on Zakaria Ali's six Malay aesthetic principles and integrates data from interviews, visual and thematic analyses, and institutional sources. The findings reveal that both regions share a symbolic language of vitality and harmony but differ in execution---Terengganu emphasizing structure and formality, while Kelantan favors rhythm and chromatic fluidity---illustrating how artisans transform global imagery into expressions of local identity. This study contributes a comparative framework for analyzing regional esthetics and demonstrates how adaptive creativity sustains cultural heritage, offering vital insights for the preservation and practice of batik as a living tradition.
