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Jennifer Way's study The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America. Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the 'Free World', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and manage its production, distribution and consumption abroad and at home. Way shows how Wright and his staff brought American ideas about Vietnamese history and culture to bear in managing the making of Vietnamese craft.
Jennifer Way's study The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America. Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the 'Free World', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and manage its production, distribution and consumption abroad and at home. Way shows how Wright and his staff brought American ideas about Vietnamese history and culture to bear in managing the making of Vietnamese craft.
With their festivals and traditional industries, their commun halls, pagodas, temples, and vernacular buildings, the villages around Hà Nội possess a rich body of cultural, architectural and craft heritage. Less than one hour from the capital are over 500 specialist craft villages, producing an array of religious or artistic objects, as well as food products, industrial goods, textiles, basketware and much more. Despite the trials and tribulations Vietnam has endured, these traditions have remained alive; today they constitute the basis of material, social and spiritual culture among the village communities of the Red River delta. The artisans themselves, and their local institutions, see cultural tourism as a way of further improving the fortunes of the craft village communities and bringing their heritage to wider attention. Until recently, few guides or tourists had forayed into these settlements, some of which are lost in the maze of routes and tracks that criss-cross the rice paddies of the Hà Nội hinterland. The history and skills they harbour have been inaccessible to all but a few specialists. Few of the villages are signposted, yet between them they are home to three quarters of the architectural, religious and craft heritage of the upper delta. This book, the fruit of several years' research by specialists working in northern Vietnam, comprises ten itineraries, blending potted histories, legends, descriptions of craft techniques, signposted walks and maps, designed to introduce travellers and lovers of Vietnamese culture to forty or so villages around Hà Nội. Many of us have seen their wares on sale in shops in and around the 36 streets of Hà Nội Old Quarter or in other cities in West. This book is about the true lives and enduring skills of the nameless artisans who made them.
Craft practice has experienced a sharp rise in popularity since the late 2000s, partly through the ‘aura of the analogue’ and the desire for authentic, handmade products in an increasingly fast paced, digitalised world (Luckman, 2015) but also because of digital platforms such as Etsy and social media enabling ‘anyone’ to become a craft entrepreneur. This book brings together historical, policy and individual narratives to inform a broad understanding of craft entrepreneurship. Drawing on case studies from around the world, Craft Entrepreneurship considers questions of identity, community, and the digital in craft entrepreneurship. In doing so, it finds craft activities to be positioned between or across the arts, heritage, notions of a bohemian lifestyle and the challenges of micro-entrepreneurship. By engaging with the contradictions and fragility of sustaining a craft practice, the chapters in this book contribute to different perspectives for entrepreneurship studies. The contributions to this volume illustrate the craft entrepreneurs’ identity, motivation and sense of creative purpose through their craft, as these collide with the tensions brought about through entrepreneurship.
“Provides clear and succinct descriptions of the various craft used not only by American forces but those of the French and South Vietnamese Navy.” —Army Rumour Service (ARRSE) The ShipCraft series provides in-depth information about building and modifying model kits of famous warship types. Lavishly illustrated, each book takes the modeler through a brief history of the subject, highlighting differences between ships and changes in their appearance over their careers. This includes paint schemes and camouflage, featuring color profiles and highly detailed line drawings and scale plans. The modeling section reviews the strengths and weaknesses of available kits, lists commercial accessory sets for super-detailing of the subjects, and provides hints on modifying and improving the basic kit. This is followed by an extensive photographic gallery of selected high-quality models in a variety of scales, and the book concludes with a section on research references—books, monographs, large-scale plans and relevant websites. This volume is something of a departure for the series in covering a wide variety of the types, at first improvised and then purpose-built for the Brown Water conflict. Besides the well-known American involvement, the book also covers some of the craft used by the French in their earlier struggle with Vietnamese guerrillas. With its unparalleled level of visual information—paint schemes, models, line drawings and photographs—this book is simply the best reference for any modelmaker setting out to build one of these unusual craft. “Very well written . . . The author’s interest, knowledge and enthusiasm come through the content and make the title so appealing to the reader.” —Armorama
In The City in Time, Pamela N. Corey provides new ways of understanding contemporary artistic practices in a region that continues to linger in international perceptions as perpetually “postwar.” Focusing on art from the last two decades, Corey connects artistic developments with social transformations as reflected through the urban landscapes of Ho Chi Minh City and Phnom Penh. As she argues, artists’ engagements with urban space and form reveal ways of grasping multiple and layered senses and concepts of time, whether aligned with colonialism, postcolonial modernity, communism, or postsocialism. The City in Time traces the process through which collective memory and aspiration are mapped onto landscape and built space to shed light on how these vibrant Southeast Asian cities shape artistic practices as the art simultaneously consolidates the city as image and imaginary. Featuring a dynamic array of creative productions that include staged and documentary photography, the moving image, and public performance and installation, The City in Time illustrates how artists from Vietnam and Cambodia have envisioned their rapidly changing worlds.
Vietnamese Americans have transformed the social, cultural, economic, and political life of Orange County, California. Previously, there were Vietnamese international students, international or war brides, or military personnel living in the United States, but the majority arrived as refugees and immigrants after the end of the Vietnam War in 1975. Although they are lumped together as "refugees," Vietnamese Americans are diverse in terms of their class, ethnic, regional, religious, linguistic, and ideological backgrounds. Their migration path varied, and they often struggled with resettling in a new homeland and rebuilding their lives. They are dispersed throughout the country, but many are concentrated in central Orange County, where three cities--Westminster, Garden Grove, and Santa Ana--have "Welcome to Little Saigon" signs. They constitute the largest population of Vietnamese outside of Vietnam and have created flourishing residential neighborhoods and bustling commercial centers and contribute to the political and cultural life of the region. This book captures snapshots of Vietnamese life in Orange County over the span of 40 years and shows a dynamic, vibrant community that is revitalizing the region.
Depicts U.S. political leaders as the consistent driving force behind America's Vietnam commitment.
The Journal of Modern Craft is the first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. It addresses all forms of making that self-consciously set themselves apart from mass production-whether in the making of designed objects, artworks, buildings, or other artefacts. The journal covers craft in all its historical and contemporary manifestations, from the mid-nineteenth century, when handwork was first consciously framed in opposition to industrialization, through to the present day, when ideas once confined to the ‘applied arts' have come to seem vital across a huge range of cultural activities. Special emphasis is placed on studio practice, and on the transformations of indigenous forms of craft activity throughout the world. The journal also reviews and analyses the relevance of craft within new media, folk art, architecture, design, contemporary art, and other fields. The Journal of Modern Craft is the main scholarly voice on the subject of craft, conceived both as an idea and as a field of practice in its own right.
For anyone who has ever felt like they don't belong, Sigh, Gone shares an irreverent, funny, and moving tale of displacement and assimilation woven together with poignant themes from beloved works of classic literature. In 1975, during the fall of Saigon, Phuc Tran immigrates to America along with his family. By sheer chance they land in Carlisle, Pennsylvania, a small town where the Trans struggle to assimilate into their new life. In this coming-of-age memoir told through the themes of great books such as The Metamorphosis, The Scarlet Letter, The Iliad, and more, Tran navigates the push and pull of finding and accepting himself despite the challenges of immigration, feelings of isolation, and teenage rebellion, all while attempting to meet the rigid expectations set by his immigrant parents. Appealing to fans of coming-of-age memoirs such as Fresh Off the Boat, Running with Scissors, or tales of assimilation like Viet Thanh Nguyen's The Displaced and The Refugees, Sigh, Gone explores one man’s bewildering experiences of abuse, racism, and tragedy and reveals redemption and connection in books and punk rock. Against the hairspray-and-synthesizer backdrop of the ‘80s, he finds solace and kinship in the wisdom of classic literature, and in the subculture of punk rock, he finds affirmation and echoes of his disaffection. In his journey for self-discovery Tran ultimately finds refuge and inspiration in the art that shapes—and ultimately saves—him.