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

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Marquesas Islands displayed all over Polynesia and in Polynesian-themed hotels and restaurants elsewhere (Ivory 1999, 316). Government programs to promote handicrafts (both to tourist and domestic markets) can help transform “use articles” into commodities (Stephen 1993, 39). In order to attract tourists “particular features of culture and material production [are] commoditized and packaged for sale by the federal government.” This development can lead to a homogenization of the arts to conform to stereotypes (Stephen 1993, 39- 41). In Ecuador some merchants have to travel to smaller markets deemed more “traditional” by tourists in order to sell their goods (Colloredo-Mansfeld 1999, 197). Thus tourism can provide a market for craft products, even those which are no longer produced for community use. Small items and those that appeal to the aesthetics of the tourist sell better, affecting the design and construction of items for this market. As tourism is seasonal, in some situations the tourist market can generate income during non-agricultural seasons. Money generated through tourism can allow a community to integrate into the world market in a way that preserves their culture and traditions. On the other hand, tourist preferences for “authentic” or cheap goods can lead people to present stereotypical and homogeneous designs that do not require as much skill to carry out as the traditional items on which they are based. Government programs can promote these stereotypes, but they can also support artisans and help them find new markets for their goods. Questions to pursue in relation to my research include these issues: What effect has tourism had on the design and structure of Turkish carpets? How has access to a tourist market affected the type of production undertaken in a given area? In what ways does the Turkish government support and promote weavers and Turkish carpets? A discussion of these questions will reflect on the relationship of the market to 12
weavers and weavers to the market, as well as showing the interaction of governmental agencies with these factors. 2.2.3 Culture as commodity The common sense definition of a commodity is “an item with use value that also has exchange value” (Kopytoff 1986, 64). Graburn separates craft into “functional (inwardly directed) and commercial (other-directed),” though the “structural and aesthetics patterns underlying both” may be the same – art may serve two “intended audiences” (1999, 344). With tourism “the culture of artisans is packaged along with the product” (Nash 1993, 12). “People are traveling to developing countries seeking an ‘authentic’ or ‘lesser’ culture, in search of images created through children’s encyclopedias, television, and travel literature” (Orbasli 1994, 3). Relationships of artisans to visitors becomes commoditized by charging for photographs or posing with their work if a tourist buys something (Nash 1993, 12). Traditional clothing can be worn in order to lend authenticity to the craft being sold (Collored-Mansfeld 1999, 197). “Often, the construction of “authentic” or “native” and quality goods for the marketplace is largely defined by outsiders who sit in judgment of local producers” – this is especially true of merchants who market goods by describing them within the frame of “traditional cultural practices” (whether this is still or, indeed, ever was how these goods were used) (Cohen 2000, 130). Many researchers theorize that this desire for the “authentic” among First World consumers and Third World urbanites springs from the fact that handmade objects are no longer readily available. The industrialization that has reduced the necessity for handmade production has ironically opened markets for handicrafts. Those who are alienated from the production of 13
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 and 16: 2.1 Introduction CHAPTER 2 REVIEW O
Page 17 and 18: fact the last guarantors of the sur
Page 19 and 20: Low wages and exploitation of worke
Page 21: of the informal economy, slipping t
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
Page 91 and 92:
areas where weaving is only a low-s
Page 93 and 94:
colors with which they weave. In th
Page 95 and 96:
University found that weavers in th
Page 97 and 98:
Workshop production is somewhat dif
Page 99 and 100:
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
Page 105 and 106:
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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