Woven Communities: the warp and the weft of Scottish vernacular basketry

编织社区：《经线与纬线》的目的是利用实用的编织物作为加强公众对博物馆藏品参与的重要工具，并作为在博物馆内扩展回忆工作和促进设计思维的一种手段。我们将与苏格兰篮子制造者圈（SBC），我们的合作伙伴从早期的项目，和5个新的合作伙伴：国家博物馆的农村生活，高地民俗博物馆，苏格兰渔业博物馆，设得兰群岛博物馆，和一个Lanntair，一个多艺术中心刘易斯。该项目有四个主要目标。第一，我们会在博物馆内举办一系列与编篮藏品有关的公众参与活动，以唤起市民的生活史和社会记忆，从而增加观众的参与度。我们发现，制作和展示工艺活动，如编织是非常富有成效的回忆会议。然而，虽然人工制品经常被用作引发社会记忆的重要参考点，但制造这种人工制品的实际做法直到现在才被考虑。其次，我们将利用篮子制造商与博物馆馆长合作的技术优势，以提高对20世纪初苏格兰篮子收藏的了解。第三，我们的目的是探索编织对设计思维的意义。因为编织是不可复制的机器，许多设计过程，如规划，解决问题和创新是嵌入在篮子工作的实际行为。这使我们考虑在实践中思考的价值和动态解决问题的篮子，作为设计思维的一个重要方面。在与苏格兰手工艺协会和手工艺理事会的讨论中，我们将编写一份文件，为关于这一主题的手工艺政策提供信息。最后，我们的网站的互动性质，导致我们正在接近一个Lanntair，刘易斯，这要求我们有助于他们的双语（盖尔语/英语）痴呆症项目，借鉴我们的实用编织技巧，引发与老年痴呆症的手记忆刘易斯为了实现这些目标，我们将进行实际的回忆活动，围绕研讨会和复制品制作在每个地点。这些活动将从制作复活节草帽、渔架和双桨，到旅行者篮子，探索从收集原材料（如石楠）到成品的整个过程，并涉及所有世代。由于这些活动的区域性，甚至有可能将收藏品中的文物与以前使用者或生产者的后代联系起来。我们将邀请来自圣安德鲁斯博物馆研究的硕士生记录并上传数据作为他们论文项目的一部分。我们将视频记录实践者制作关键的篮子形式，以进一步记录与事件相关的记忆和讨论。这也将使我们能够扩大我们的能力，传达技能，并提供遗产材料供博物馆使用。其成果将包括增加公众对博物馆藏品的参与，从而增强影响力，因为更多的地区公众通过实际参与来了解他们自己的社会历史。这将导致新的和可访问的见解的社会历史的收藏。通过与制造商合作，策展人将获得更好的收藏文献。将有更多的了解手工与痴呆症患者一起工作的好处;通过我们的工艺和设计教育政策文件，手工对设计思维的价值。我们的几个合作伙伴已同意举办针对其收藏的研究日，这将进一步扩大影响和公众参与，国际研讨会也将成为该项目的高潮。我们的几个合作伙伴也表示对在该项目之后开发巡回展览和目录非常感兴趣。我们还打算制作一本图文并茂、便于阅读的书，作为该项目的进一步遗产。

Woven Communities: the Warp and the Weft aims to draw on practical basketry as an important tool for enhancing public engagement with museum collections and as a means of extending reminiscence work within museums and promoting design thinking. We will work with the Scottish Basketmakers Circle (SBC), our partners from an earlier project, and 5 new partners: National Museums of Rural Life, the Highland Folk Museum, the Scottish Fisheries Museum, Shetland Museum, and An Lanntair, a multi-arts centre on Lewis. The project has four key aims. First, we will carry out a series of public engagement activities in museums linked to their basketry collections with the aim of eliciting life histories and social memories, and thus increasing audience engagement. We have found that making and demonstrating craft activities such as basketry are very productive in reminiscence sessions. Yet while artefacts are often employed as important reference points for eliciting social memories, the actual practice of making such artefacts is only now being considered. Secondly, we will draw on the technical benefit of basket-makers working with museum curators to enhance knowledge of early 20th century Scottish basketry collections. Thirdly, we aim to explore the significance of basketry for design thinking. Because basketry is not replicable by machine, many design processes such as planning, problem-solving and innovation are embedded in the practical act of basket-work. This has led us to consider the value of thinking-in-practice and dynamic problem-solving attendant on basketry, as an important aspect of design thinking. In discussion with CraftScotland and the Craft Council, we will develop a paper for informing craft policy on this theme. Finally, the interactive nature of our website has led to us being approached by An Lanntair, Lewis, which has requested we contribute to their bi-lingual (Gaelic/English) dementia project, drawing on our practical basketry skills for eliciting hand-memories with elders with dementia on LewisTo achieve these aims we will conduct practical reminiscent events focussed around workshops and replica making in each venue. These will range from making Easter straw bonnets, fishing creels and sculls, to Traveller basketry, exploring the whole process from gathering raw materials (such as heather) to finished product, and involving all generations. Through the regionally specific nature of these events, it may even be possible to link artefacts in collections with descendants of former users or producers. We will invite a Masters student from Museum Studies in St Andrews to document and upload the data as part of their dissertation project. We will video record practitioners making key basket forms to further document memories and discussion linked to the events. This will also enable us to extend our capacity for conveying skills, and provide legacy material for use by museums. Outcomes will include increased public engagement with museum collections, and therefore enhanced impact, as more regional public contribute to knowledge about their own social history through practical engagement. This will lead to new and accessible insights to the social history of collections. Through working with makers, curators will gain improved documentation of collections. There will be greater understanding of the benefits of handwork for working with people with dementia; and of the value of handwork for design thinking through our policy document for craft and design education. Several of our partners have agreed to host study days tailored to their collections, which will further extend impact and public engagement, as will the international symposium which will form the culmination of the project. Several of our partners have also expressed a keen interest in developing a touring exhibition and catalogue following the project. We also aim to produce an illustrated and accessible book as further legacy of the project.