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Very little has yet been written about the cultural or economic contributions of woodcarving to people's livelihoods or the consequences of felling hardwood and softwood trees for the international woodcarving trade. Carving Out a Future is the first examination of this trade and its critical links to rural livelihoods, biodiversity, conservation, forestry and the international trade regime. A range of case studies from Australia, Bali, India,Africa and Mexico provides a lens for examining the critical issues relating to the significant impacts of woodcarving on forests, conservation efforts,

Wood-carving industry --- Environmental aspects --- Woodworking industries

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"Joseph Hillaire (Lummi, 1894-1967) is recognized as one of the great Coast Salish artists, carvers, and tradition-bearers of the twentieth century. In A Totem Pole History, his daughter Pauline Hillaire, Sca;lla-Of the Killer Whale (b. 1929), who is herself a well-known cultural historian and conservator, tells the story of her father's life and the traditional and contemporary Lummi narratives that influenced his work. A Totem Pole History contains seventy-six photographs, including Joe's most significant totem poles, many of which Pauline watched him carve. She conveys with great insight the stories, teachings, and history expressed by her father's totem poles. Eight contributors provide essays on Coast Salish art and carving, adding to the author's portrayal of Joe's philosophy of art in Salish life, particularly in the context of twentieth century intercultural relations. This engaging volume provides an historical record to encourage Native artists and brings the work of a respected Salish carver to the attention of a broader audience. "--

ART / Native American. --- Totem poles --- Indian wood-carving --- Indian artists --- Lummi Indians --- Totems --- Indians --- Wood-carving, Indian --- Wood-carving --- Artists, Indian --- Artists --- Lummas Indians --- Lumme Indians --- Lummie Indians --- Lumni Indians --- Coast Salish Indians --- Indians of North America --- Hillaire, Joe,

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This book argues for an important shift in cultural heritage conservation, away from a focus on maintaining the physical fabric of material culture toward the impact that conservation work has on people's lives. In doing so, it challenges the commodification of sacred objects and places by western conservation thought and attempts to decolonize conservation practice. To do so, the authors examine conservation activities at Maori marae-meeting houses-located in the US, Germany, and England and contrasts them with changes in marae conservation in New Zealand. A key case study is the Hinemih

Architecture, Māori --- Wood-carving, Māori --- Māori (New Zealand people) --- Cultural property --- Protection --- Material culture --- Architecture, Maori --- Wood-carving, Maori --- Maori (New Zealand people) --- Architecture, Māori --- Wood-carving, Māori --- Māori (New Zealand people)

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Chains carved from a single block of wood, cages whittled with wooden balls rattling inside -- all ""made with just a pocketknife"" -- are among our most enduring folk designs. Who makes them and why? what is their history? what do they mean for their makers, for their viewers, for our society? Simon J. Bronner portrays four wood carvers in southern Indiana, men who had been transplanted from the rural landscapes of their youth to industrial towns. After retiring, they took up a skill they remembered from childhood. Bronner discusses how creativity helped these men adjust to change and how vie

Chains --- Folk art --- Wood-carving --- Wood-carvers --- Links and link-motion --- Peasant art --- Popular art --- Art --- Art, Primitive --- Whittling --- Wood-carving, Primitive --- Wood carvings --- Wood craft --- Woodcarving --- Woodcraft --- Carving (Decorative arts) --- Woodwork --- Wood sculpture --- Woodcarvers --- Woodworkers --- Folklore. --- Psychological aspects. --- Interviews.

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Unlike many other handicrafts in the Mexican state of Oaxaca, which have long cultural and historical trajectories, Oaxacan woodcarving began in the second half of the twentieth century and has always been done for the commercial market. In The Value of Aesthetics, Alanna Cant explores how one family’s workshop in the village of San Martín Tilcajete has become the most critically and economically successful, surpassing those of neighbors who use similar materials and techniques. The dominance of this family is tied to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the national market for traditional Mexican artesanías, and the international market for indigenous art. Offering a new analytical model by which anthropologists can approach visual aesthetics and conceptualize the power of artworks as socially active objects, The Value of Aesthetics shows how aesthetic practices produce and redefine social and political relationships. By investigating the links between aesthetics and issues of production, authorship, ownership, and identity, Cant shows aesthetic change to be a process that ultimately repackages everyday life into commodified objects in Oaxaca.

Indian wood-carving --- Wood-carving industry --- Aesthetics --- Culture --- Indians of Mexico --- Economic aspects --- Material culture --- Indians of North America --- Indigenous peoples --- Meso-America --- Meso-American Indians --- Mesoamerica --- Mesoamerican Indians --- Pre-Columbian Indians --- Precolumbian Indians --- Ethnology --- Cultural sociology --- Sociology of culture --- Civilization --- Popular culture --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Woodworking industries --- Indians --- Wood-carving, Indian --- Wood-carving --- Social aspects --- Psychology --- Radio broadcasting Aesthetics