To what extent could craftivism be thought of as symbolic to patriarchal capitalism?
The 20th century was a century of extreme economic growth, technological advances and social change. This is all true. However, what most fail to see is that this increase in industry and manufacturing power has given birth to a monster. This monster goes by the name of capitalism. Otherwise known as the social system we reside in. Capitalism fuels consumerism and therefore materialism. In essence, we have become a nation of shoppers “where conspicuous consumption is not only socially encouraged, but also culturally and nationally condoned” (www.dailyavocado.net).
Within the capitalist social system, there has become an unfair distribution of wealth and power. Chief executives of huge corporate businesses can decide on the fate of their workforce, their impact on the environment and the message they sent out. In most instances these issues become secondary to gross profit.
The highest ranking and therefore highest salaried executives are white men. This is the case in any example of a power organisation. We are living in a patriarchal, capitalist society.
Despite the majority of the population in more economically developed countries mindlessly consuming, as always, a growing number of people decided to challenge this. One would call these activists. “Every day can be lived as a testament to our beliefs and ideals, every day can be our own political march’ (Greer, 2008 p 91).
In recent times the economic crisis has lead to resurgence in crafts such as knitting, sewing and crochet; stereotypical feminine pastimes. However, as they became more popular these crafts were modernised and became trendy. People would be seen knitting in coffee shops and on the bus to work. It became more ‘make cool and better’ than ‘make do and mend’. The craft networks grew bigger and soon it was realised that, “The pleasure of producing something yourself on your own terms can also be a conscious rejection of oppressive cultural and political values (Spencer, 2006 p 61). Craft could be used for activism and craftivism was born. Greer states that, “In a time of over-ease and overuse and overspending, I can take back the control over where my money goes, over what my outfit is, and over how my life is lived” (2008 p90). Taking back this control is the backbone of activism. When we do not spend and when we do not consume, we are no longer fuelling the capitalist’s power.
One might believe that women learning how to do such a gender-biased activity would be a taint on feminism. Instead, the crafts were reclaimed just like they had reclaimed the derogatory words such as bitch and slut in the third wave. “Feminism was still heavily rooted in theory and strength, but enough time had spanned between the economic and social disparities between women and men in the 1970s that women began to look again at domesticity as something to be valued instead of ignored. Wanting to conquer both a drill and a knitting needle, there was a return to home economics tinged with a hint of irony as well as a fond embracement” (www.craftivism.com). Craft not longer needs to be domestic; a once solitary act has come from the home and into the streets. This is metaphorical in the thought of women coming out from the home and into the streets also.
Yarnbombing or yarnstorming is a newly coined term used to describe knitted graffiti. According to www.arsenalpulp.com, “Knit graffiti is an international guerrilla movement that started underground and is now embraced by crochet and knitting artists of all ages, nationalities, and genders. Its practitioners create stunning works of art out of yarn, then “donate” them to public spaces as part of a covert plan for world yarn domination”. Yarnbombing can be used to highlight an important political message (as well as add a little colour to the surrounding area).
In 2006, Marianne Jorgensen made world news by yarnbombing a M.24 Chafee tank in protest to Denmark’s participation in the Iraq War. It took over 4000 pink squares to make, donated from around the world in support to the cause. The community ethos of the project was kept in keeping by the fact that the squares were sewn together by passers by.
“The tank is a symbol of stepping over other people's borders. When it is covered in pink, it becomes completely unarmed and it loses its authority” (www.marianneart.dk). One is inclined to agree with this comment. The pink colour signifies femininity and softness, which in juxtaposition to the hard, metallic tank with its connotations of war and destruction, renders the machine emasculated and powerless. However, one thinks that this connotation is not the only message to be read from this knit graffiti. The fact that this tank was knitted by over one thousand volunteers is the notion that together we, the people, are more powerful and that we care about our world. It “represents a common acknowledgement of a resistance” (www.marianneart.dk).
Yarnbombing or indeed craftivism in any form does not always have to be in response to an international issue. “Sometimes it’s just that there is a lot of cement and steel that we are not very comfortable seeing on a daily basis. […] Pinks and reds are a lot prettier than grays” (Cotn and Nekklas, 2008 p100). Reclaiming social space in one’s local area is the main use of yarnbombing, much like spray paint graffiti. However, yarnbombing is less confrontational in the sense that if the public “don’t like it they can just cut it off. […] It’s not vandalism” (Knitty, 2008 p100). Lefebvre, indeed would be proud.
This is not to say that all forms of craftivism are restricted to been displayed solely in the streets. Websites such as Etsy and Folksy now serve as handmade versions of Ebay. The Internet is being used as a tool to aid craftivists and those that would not call themselves craftivists, alike. However, the sheer act of creating something with your own hands is in itself anti-capitalist and therefore craftivist. Small businesses are able to thrive despite the presence of corporate retailers. Handmade sells, as it tends to have various emotional attachments and the unique selling point of it actually being unique. Dormer states that, “the craftsperson remains the master or mistress of the craft. Whereas with technology, the craft of a process is diffused into tools and into the systems of manufacture” (1997 p102). It seems that craft by nature is able to advance in methodology yet keep its DIY ethos.
Erin Dollar is one of many crafters that earns a living from her work as well making “a subtle statement about gender roles and what women are expected to make as craftspeople” (Dollar, 2010 p28). Using her skill and humour, she creates crafted beards. A beard being such symbolism of masculinity, yet when put in contrast to the tactile quality of the craft, becomes much softer and playful. One can connote from Dollar’s work that she is commenting on the patriarchal society by the use of symbolism and how she is entering into the male-dominant world using her craft. Much like the artist Frida Kahlo did by responding to how women are socially controlled and self-regulate in terms of bodily hair.
In the UK, the Craftivist Collective’s manifesto is, “To expose the scandal of global poverty, and human rights injustices though the power of craft and public art. This will be done through provocative, non-violent creative actions” (www.craftivist-collective.com). Started in 2008 by Sarah Corbett as a means to be combine activism with fun. One believes this is the reason craftivism has been such a success. Politics don’t have to be boring.
In 2011, the Craftivist Collective aimed to hijack Valentines Day in a national project giving Valentines cards, containing a letter and crafts, to strangers. The point of this exercise was to draw attention to the consumerism attached to Valentines Day itself; to convince people to show their ‘love’ in a more activist nature. To “brighten up someone’s day and remind them of our global community” (www.craftivist-collective.com).
I personally took part in the Leeds branch of the project. Our message was one of gender equality throughout the world. The group created key rings with inspirational messages of love and equality as well as writing our own letters depicting the plight of international women in contrast to the UK where love is represented by roses and chocolates. There is still gender inequality here in the UK, however, in less economically developed countries, the situation is much worse. Women are in fear of their lives, under educated, forced to sell their bodies and even sold as slaves.
One’s personal response to craftivism is that it is dynamic and that form is just as important as function. Never has activism been so colourful and self-actualising as well as a joy to create. “In our capitalist society bigger isn’t always better; a meeting is still great and serves it’s purpose if only one or two people show up […] Consumption eats self-esteem; creation makes it grow” (Janoff, 2008 p57). Our world’s resources are dwindling due to manufacturing levels and we need more people to stop buying and start making.
As a feminist, an activist and a visual communicator one feels compelled to join in with this revolution of craft. In a world that states there is equality, there are obvious gender definitions when it comes to craft. As most crafters are women, does this mean that men are in fear of craft as it may rid them of their so cherished masculinity? If so, there lies the power of craft and craftivism. It serves as a platform and as a medium to express our ideas and the dissatisfaction in the patriarchal society; supported by networks of women, fighting for the same cause. We have created ways in which to assemble and sell our creations, yet create a community at the same time. In one’s opinion, this is the fourth wave of feminism, I just don’t think everyone has realised it yet.
