CARPET WEAVERS AND WEAVING IN THE ... - Cornell University

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manufactured goods both in the world market and in their own communities. “Craft production can serve as either a haven from or a source of capitalist development” (Stephen 1991, 394). Artisans become dependent on faraway markets (Nash 1993, 13), but can also maintain their households through a combination of subsistence farming and craft production. Crafts are bought either because they are cheap and utilitarian or “because of their symbolic representational or esthetic status (which may inflate their value in price terms and put them into the “luxury” category)” (Cook 1993, 60). Increase in disposable income leads to improved health and dental care; diet also improves (Colloredo-Mansfeld 1999, 201). Colloredo-Mansfeld found that one of two men in Ariasucu, Ecuador, still weaving cloth to make garments with a 600-year history does so to pass the time while watching MacGyver (and in this way the TV bought with cash income is helping to preserve a traditional craft). As will be shown later, in the discussion of Turkish weavers, artisans in this region use weaving as a way of being productive during “leisure” time. Stereos, bought with cash generated by craft production, also “make a shop happy,” thus helping managers retain weavers; likewise, having appliances in the home allows women time away from chores to work commercially (Colloredo-Mansfeld 1999, 180-185). There are (and have been throughout history) a huge number of forms of production and exchange involved in the craft market (Cook 1993, 60); any one place can have one or many production levels (high-end, middle, and low) at any given time (Stephen 1991, 385). In many rural areas the household needs to engage in various combinations of production (wage labor, and home-based industry, share-cropping and wage labor etc.) in order to produce subsistence, with all members of the household involved – thus “no single individual is able to guarantee her or his survival” and “women are not housewives, dependent on the income of their husbands: they are in 6
fact the last guarantors of the survival of the family through various types of work and services” (Mies 1982, 4). Milgram and Grimes (2000) posit artisan labor as more secure, allowing women to be more independent. “Craft production is an important industry for the employment of women. Significantly though, the final stage of the process – the selling of finished goods – remains an inherently masculine task” (Scrase 2003, 451). Male-dominance in communities, of course, is typical of “traditional-patriarchal” societies - to use a term drawn from the sociological theorist Max Weber in his study of civilizations through history (Weber 1947, 120) such as what was found in the Ottoman Empire, whose traditions continue in rural villages of contemporary Turkey. Due to such sexism, women from many rural/peasant areas cannot compete with men for jobs in the “modern” sector and thus women are relegated to more “traditional” occupations/modes of production (Mies 1982, 5). While in some areas (such as along the US-Mexico border) factory-owners seek female labor as a cheaper alternative (Nash 1993, 20), in areas where wage work is scarce and a patriarchal structure prevails, such as the rural Indian villages visited by Mies, women may not be permitted to compete with men for jobs. While artisans “were never self-sufficient producers isolated from market relationships” (Grimes and Milgram 2000, 3), the current level of competition is something brought about by capitalist industrialization. Artisans around the world are increasingly producing goods especially for the world market – even so, though they don’t abandon local customs, but “continually refashion personal strategies that enable them to maintain those aspects of production that they deem most important to the livelihood of their families and to their membership in the community” (Milgram 2000, 107). 7
Page 1 and 2: CARPET WEAVERS AND WEAVING IN THE G
Page 3 and 4: ABSTRACT The purpose of this study
Page 5 and 6: BIOGRAPHICAL SKETCH Born in Boston,
Page 7 and 8: TABLE OF CONTENTS Chapter 1: Introd
Page 9 and 10: LIST OF FIGURES Figure 2.1 Geometri
Page 11 and 12: CHAPTER 1 INTRODUCTION This thesis
Page 13 and 14: university professors, and governme
Page 15: 2.1 Introduction CHAPTER 2 REVIEW O
Page 19 and 20: Low wages and exploitation of worke
Page 21 and 22: of the informal economy, slipping t
Page 23 and 24: weavers and weavers to the market,
Page 25 and 26: about the history and significance
Page 27 and 28: unaccompanied by men of the family
Page 29 and 30: that we don’t do in this village
Page 31 and 32: ural areas, though in some areas by
Page 33 and 34: 2.4.1 Modes of production Past rese
Page 35 and 36: encouraged to work long hours (Beri
Page 37 and 38: ‘inevitability’ of such work as
Page 39 and 40: were formed with an eye towards fam
Page 41 and 42: I therefore propose that Turkish ca
Page 43 and 44: Figure 2.4 "Aged" Milas carpets Not
Page 45 and 46: maintain high quality weaving that
Page 47 and 48: purchase carpets from men of weavin
Page 49 and 50: well as the condition of the villag
Page 51 and 52: always an option (and even when it
Page 53 and 54: 2.6 Conclusion This chapter has sho
Page 55 and 56: later analysis and comparison. Addi
Page 57 and 58: improper use of the recording devic
Page 59 and 60: ministry had not been able to prese
Page 61 and 62: Figure 3.2 Carpets woven for first
Page 63 and 64: sent from Turkey to China and the c
Page 65 and 66: The manager was interviewed using t
Page 67 and 68:
3.6.1 Comlekci The population of Co
Page 69 and 70:
Feslegen was a village of 498 in 20
Page 71 and 72:
An interview, using the same list o
Page 73 and 74:
villages, and the Export Promotion
Page 75 and 76:
following both geometric and curvil
Page 77 and 78:
Figure 3.12 Geometric carpets for s
Page 79 and 80:
4.1 Introduction CHAPTER 4 RESULTS
Page 81 and 82:
different sections of a carpet at t
Page 83 and 84:
Figure 4.2 Dowry carpets in house i
Page 85 and 86:
competition from countries with low
Page 87 and 88:
governmentally mandated eighth-grad
Page 89 and 90:
income. Carpets are bought by Sumer
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areas where weaving is only a low-s
Page 93 and 94:
colors with which they weave. In th
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University found that weavers in th
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Workshop production is somewhat dif
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Figure 4.8a Handwoven carpets, prob
Page 101 and 102:
ideas of interior design influencin
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dealers offer better prices in orde
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given area). The higher the skill o
Page 107 and 108:
unlikely to be receiving Social Sec
Page 109 and 110:
The wide variety of places across t
Page 111 and 112:
5.1 Introduction CHAPTER 5 SUMMARY
Page 113 and 114:
continued lightening affirms findin
Page 115 and 116:
5.2.3 In what ways is the Turkish g
Page 117 and 118:
supporting micro- to macro-enterpri
Page 119 and 120:
farther east with lower labor and m
Page 121 and 122:
could also investigate whether weav
Page 123 and 124:
How did you learn to weave? (How ol
Page 125 and 126:
Do you think that this is a fair wa
Page 127 and 128:
Cohen, Jeffrey H. “Textile Produc
Page 129 and 130:
Landreau, Anthony. “Anatolian Rug
Page 131 and 132:
_________. “Export Markets and Th
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