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

nothing but crocheting machines” (1982, 175). Unless craft development efforts work
to change societal attitudes of relations to production, exploitation in craft production
mirrors the biases of society in general (Milgram 2000, Scrase 2003, Nash 1993).
In summary, it can be said that members of a community who are able to
become part of the distribution network for craft products profit more from integration
into the global economy than the artisans themselves. Wealthier members of a
community and men in general are more likely to be able to take these roles, due to
their social standing and access to education. Women are therefore likely to work in
the less-profitable role of producer. Women’s work as artisans does not upset
patriarchal structures when the craft is produced in the home. If men control the
income generated by women then craft production is undervalued, seen as a duty
amongst other duties women perform for the household. Craft production in the home
can reinforce gender roles, but income generated through craft production may allow
women to become more independent in cases where women are able to control this
income.
Issues raised in this area for the research include the following: Does weaving
challenge or maintain the gender hierarchy in Turkey? What is the effect of control
(or lack thereof) of income from weaving on women’s lives? Examination of these
questions would touch on various aspects of the impact of income generation activities
on the lives of women in rural Turkey.
2.2.2 The effects of the tourist or export market
Craft production in rural areas is often seasonal, following cycles of both crops and
tourist presence (Milgram 2000, 114). This ebb and flow of work means that the
situation of artisans is often not secure, and their work is generally undertaken as part
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