Papers by Eivind Falk
Safeguarding traditional crafts, 2023
Throughout human history, we have been making things with our hands. Some might even argue that t... more Throughout human history, we have been making things with our hands. Some might even argue that this very ability is what defines our humanity. In 2007, Norway ratified the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage. We strongly believe that museums around the world could have an important role to play in working out different strategies to safeguard traditional crafts. In line with the UNESCO 2003 convention, museums must ensure that craftspeople, practitioners, and communities concerned are involved in these strategies at every stage. It is essential to keep in mind that we’re discussing living traditions. These are sustained by practitioners and cannot simply be archived digitally. The essence is in people and their living practices.
Many artisans feel that museum collections are inaccessible, with museums acting more as gatekeepers than mere guardians – a role they sometimes take very seriously. We believe that museums that take a more open approach, allowing students and craftspeople access, benefit from this. Through collaboration, these collections gain newfound relevance, often in ways unanticipated a hundred years ago. These collections no longer merely offer a glimpse into a bygone era, they have become valuable scientific resources, helping us understand traditional craft techniques that have become obscure over time. This has proven immensely valuable in the field of restoration and offers guidance for sustainable and traditional uses of natural materials. In return it has given museums greater insight and understanding of their collections.
It is an unfortunate reality that many traditional crafts struggle to survive in a commercial market. For professional and semi-professional artisans to be able to sell and exhibit their crafts in museums, would connect them with a dedicated, large, and curious audience. Nevertheless, it is crucial to establish collaborative forms that render participation economically viable for these artisans. In many cases, the museum shop serves as the first point of contact for visitors, and has the potential to reflect the museum's essence, purpose and collections by presenting craft products.
We would like to encourage cultural history and ethnographical museums to invite artisans by fostering meeting spaces. Make room for traditional crafts in the museum shop, organise lectures, seminars, and workshops for those interested in crafts and living history. Arrange fairs and exhibitions with a focus on traditional living crafts, contributing to the creation of vibrant communities. We guarantee that this approach will generate interest, awareness and bring your museum to life!
This text analyses the ways how rural landscape and lifestyle is percieved by different stakehold... more This text analyses the ways how rural landscape and lifestyle is percieved by different stakeholders.
Culture. Society. Economy. Politics
I know a skilled traditional basket maker, Hege Iren Aasdal (Norsk håndverksinstitutt, 2022), who... more I know a skilled traditional basket maker, Hege Iren Aasdal (Norsk håndverksinstitutt, 2022), who lives and works in the western part of Norway. Her favorite material is willow. She doesn't have to walk far, just down the road, to find the perfect material for her baskets. She uses traditional hand tools for collecting the willow, and for splitting the material. The making of the basket is done by hand, as it has been done for generations. Hege's baskets are beautiful and will last for centuries. When necessary, they can also easily be repaired. To sum it up, the production of Hege's baskets requires no gasoline for the transport of materials, no use of environmentally unfriendly materials, no electricity for production, the materials are renewable, and finally, when the basket is broken it can return to nature, and in the end, become new trees. So, when asking if traditional crafts can help us save the world, Hege's basketry could be one of several examples.
Traditional Musical Instruments, 2021
Cet article sur la fabrication traditionnelle de la bandoura en Ukraine
a été rédigé par O. Buts... more Cet article sur la fabrication traditionnelle de la bandoura en Ukraine
a été rédigé par O. Butsenko et V. Demian, deux spécialistes de l’ONG
Democracy Through Culture (accréditée par l’UNESCO), en collaboration
avec V. Havrylenko, un expert en patrimoine culturel immatériel de la
région de Sumy. Cette ONG se consacre à l’étude et à la mise en valeur du patrimoine culturel de l’Ukraine, tout particulièrement de la musique et des arts chantés que l’on entend dans toutes les régions et de toutes les localités d’Ukraine. L’une de ces formes culturelles est au cœur de l’histoire et de la culture ukrainiennes. Elle a dépassé les frontières et gagne en popularité ailleurs dans le monde : il s’agit de la musique et les arts chantés avec la bandoura.
À partir d’entretiens et de données chiffrées, l’article présente un
aperçu des connaissances sur le processus de fabrication de la bandoura traditionnelle dans l’Ukraine moderne. On y met l’accent sur la continuité de la tradition par la transmission des savoirs et des techniques d’une génération à l’autre, mais aussi sur l’ouverture et l’inclusion quant aux questions émergentes, notamment sur le genre. Y sont décrites diverses techniques et méthodes de fabrication de la bandoura, héritées du passé, puis sauvegardées et développées dans différentes régions de l’Ukraine d’aujourd’hui. La fabrication de la bandoura fait partie intégrante du tissu des traditions vivantes en Ukraine
As Intangible Cultural Heritage practices is connected to individuals, groups and communities, re... more As Intangible Cultural Heritage practices is connected to individuals, groups and communities, reflections over the NGOs role and experiences from the field will be an important part of the implementation of the convention. The NGOs work in the field, in the communities and with individuals, practitioners and bearers. I believe that by creating platforms for sharing experiences from the field we can learn from each other, improve our performance, our work, and our methodology. In my presentation I will in particular present two examples that I know quite well:
Traditional Food Sharing Experiences from the Field Eivind Falk and Seong-Yong Park Editors-in-Chief, 2019
Intangible Heritage Studies November 2019, Vol.4 No.2, 2019
According to Article 2 in the UNESCO 2003-Convention, Intangible Cultural Heritage practices are ... more According to Article 2 in the UNESCO 2003-Convention, Intangible Cultural Heritage practices are always connected to people, formally defined in the convention as communities, groups and individuals. I will therefore begin this essay introducing an example of the formative impact of ICH on the personal level.
One week e ach year I leave civilization, go into the woods and transform
myself to Robin Hood. I teach children how to make their own fishing rod and we dig for earth worms. We spend the whole week outdoors, building our own camp, making bows and arrows, having shooting contest and catch fish. We are outlaws.
After 10 years, in 2017 I wanted to dig deeper into the children’s experience from this course, and find out if the interaction with traditional crafts and nature has a transformative impact on the participants. The research was done in cooperation with Inland Norway University of Applied Sciences To address my question, I used three different approaches : A survey, my own auto ethnographical diary, and relevant theory from the field.
The impact of crafts and nature is powerful, and transformative. In the
questionnaire the parents was asked quite directly about this, and a clear
majority of them confirmed that participation:
∙Provided an opportunity to get closer to nature.
∙Helped my child learn how to interact with others in nature
∙Provided the opportunity to be able to create something real with their
own hands
∙Provided a break from the virtual world of computers and social media
∙Inspired my child to get involved in similar activities in the future
I was happy to see the course had inspired the children to continue the
activities after they came home. Some had made a bow and arrow, some had been fishing and some had been sleeping outdoors.
Compared to the listing of ICH, both on a national and an international level, I do believe that ICHs most powerful impact is on a personal level, as Intangible Cultural Heritage practices are always connected to individuals and communities; to people who are practicing woodcarving, traditional dances or female divers searching for shellfish on Jeju island.
My examples demonstrate that between individuals, groups and communities, on a personal level, ICH can have a wonderful impact. It brings people and generations together, i thelps solving conflicts and prevents deceases. ICH improves us as individuals and brings a quality into our lives. It brings health and well-being, and it link us with nature. ICH helps us connect with the past and connect us to the real world. Through ICH we develop our capacities and we are given the possibility to share knowledge with, and participate in Our communities. ICH teaches a new generation life skills in order to meet the
challenges in their future.
The rich tradition of crafts is like a treasure chest. The many variations and diversities in boa... more The rich tradition of crafts is like a treasure chest. The many variations and diversities in boat building, traditional costumes, wood carving and log houses are a rich material refined through generations – a wonderful gift handed over from our ancestors. It is amazing to open the craftsmen’s chests and see some of the complex diversity in traditional craftsmanship, and it is our responsibility, as a society, to hand it over to the next generation.
Thesis Chapters by Eivind Falk
Transmission of Crafts -and what can be used in a SEN-context., 2018
The Master Thesis explores and describes methodology and structure for transmission of crafts, an... more The Master Thesis explores and describes methodology and structure for transmission of crafts, and based on the material it suggests recommendations for the future. Furthermore this thesis shows why our society need crafts; In schools, special education, therapy, for well-being and as a part of our cultural heritage, our life. Finally this thesis shows how transmission of crafts can have a strong positive impact on people with special needs, and a true formative effect.
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Papers by Eivind Falk
Many artisans feel that museum collections are inaccessible, with museums acting more as gatekeepers than mere guardians – a role they sometimes take very seriously. We believe that museums that take a more open approach, allowing students and craftspeople access, benefit from this. Through collaboration, these collections gain newfound relevance, often in ways unanticipated a hundred years ago. These collections no longer merely offer a glimpse into a bygone era, they have become valuable scientific resources, helping us understand traditional craft techniques that have become obscure over time. This has proven immensely valuable in the field of restoration and offers guidance for sustainable and traditional uses of natural materials. In return it has given museums greater insight and understanding of their collections.
It is an unfortunate reality that many traditional crafts struggle to survive in a commercial market. For professional and semi-professional artisans to be able to sell and exhibit their crafts in museums, would connect them with a dedicated, large, and curious audience. Nevertheless, it is crucial to establish collaborative forms that render participation economically viable for these artisans. In many cases, the museum shop serves as the first point of contact for visitors, and has the potential to reflect the museum's essence, purpose and collections by presenting craft products.
We would like to encourage cultural history and ethnographical museums to invite artisans by fostering meeting spaces. Make room for traditional crafts in the museum shop, organise lectures, seminars, and workshops for those interested in crafts and living history. Arrange fairs and exhibitions with a focus on traditional living crafts, contributing to the creation of vibrant communities. We guarantee that this approach will generate interest, awareness and bring your museum to life!
a été rédigé par O. Butsenko et V. Demian, deux spécialistes de l’ONG
Democracy Through Culture (accréditée par l’UNESCO), en collaboration
avec V. Havrylenko, un expert en patrimoine culturel immatériel de la
région de Sumy. Cette ONG se consacre à l’étude et à la mise en valeur du patrimoine culturel de l’Ukraine, tout particulièrement de la musique et des arts chantés que l’on entend dans toutes les régions et de toutes les localités d’Ukraine. L’une de ces formes culturelles est au cœur de l’histoire et de la culture ukrainiennes. Elle a dépassé les frontières et gagne en popularité ailleurs dans le monde : il s’agit de la musique et les arts chantés avec la bandoura.
À partir d’entretiens et de données chiffrées, l’article présente un
aperçu des connaissances sur le processus de fabrication de la bandoura traditionnelle dans l’Ukraine moderne. On y met l’accent sur la continuité de la tradition par la transmission des savoirs et des techniques d’une génération à l’autre, mais aussi sur l’ouverture et l’inclusion quant aux questions émergentes, notamment sur le genre. Y sont décrites diverses techniques et méthodes de fabrication de la bandoura, héritées du passé, puis sauvegardées et développées dans différentes régions de l’Ukraine d’aujourd’hui. La fabrication de la bandoura fait partie intégrante du tissu des traditions vivantes en Ukraine
One week e ach year I leave civilization, go into the woods and transform
myself to Robin Hood. I teach children how to make their own fishing rod and we dig for earth worms. We spend the whole week outdoors, building our own camp, making bows and arrows, having shooting contest and catch fish. We are outlaws.
After 10 years, in 2017 I wanted to dig deeper into the children’s experience from this course, and find out if the interaction with traditional crafts and nature has a transformative impact on the participants. The research was done in cooperation with Inland Norway University of Applied Sciences To address my question, I used three different approaches : A survey, my own auto ethnographical diary, and relevant theory from the field.
The impact of crafts and nature is powerful, and transformative. In the
questionnaire the parents was asked quite directly about this, and a clear
majority of them confirmed that participation:
∙Provided an opportunity to get closer to nature.
∙Helped my child learn how to interact with others in nature
∙Provided the opportunity to be able to create something real with their
own hands
∙Provided a break from the virtual world of computers and social media
∙Inspired my child to get involved in similar activities in the future
I was happy to see the course had inspired the children to continue the
activities after they came home. Some had made a bow and arrow, some had been fishing and some had been sleeping outdoors.
Compared to the listing of ICH, both on a national and an international level, I do believe that ICHs most powerful impact is on a personal level, as Intangible Cultural Heritage practices are always connected to individuals and communities; to people who are practicing woodcarving, traditional dances or female divers searching for shellfish on Jeju island.
My examples demonstrate that between individuals, groups and communities, on a personal level, ICH can have a wonderful impact. It brings people and generations together, i thelps solving conflicts and prevents deceases. ICH improves us as individuals and brings a quality into our lives. It brings health and well-being, and it link us with nature. ICH helps us connect with the past and connect us to the real world. Through ICH we develop our capacities and we are given the possibility to share knowledge with, and participate in Our communities. ICH teaches a new generation life skills in order to meet the
challenges in their future.
Thesis Chapters by Eivind Falk
Many artisans feel that museum collections are inaccessible, with museums acting more as gatekeepers than mere guardians – a role they sometimes take very seriously. We believe that museums that take a more open approach, allowing students and craftspeople access, benefit from this. Through collaboration, these collections gain newfound relevance, often in ways unanticipated a hundred years ago. These collections no longer merely offer a glimpse into a bygone era, they have become valuable scientific resources, helping us understand traditional craft techniques that have become obscure over time. This has proven immensely valuable in the field of restoration and offers guidance for sustainable and traditional uses of natural materials. In return it has given museums greater insight and understanding of their collections.
It is an unfortunate reality that many traditional crafts struggle to survive in a commercial market. For professional and semi-professional artisans to be able to sell and exhibit their crafts in museums, would connect them with a dedicated, large, and curious audience. Nevertheless, it is crucial to establish collaborative forms that render participation economically viable for these artisans. In many cases, the museum shop serves as the first point of contact for visitors, and has the potential to reflect the museum's essence, purpose and collections by presenting craft products.
We would like to encourage cultural history and ethnographical museums to invite artisans by fostering meeting spaces. Make room for traditional crafts in the museum shop, organise lectures, seminars, and workshops for those interested in crafts and living history. Arrange fairs and exhibitions with a focus on traditional living crafts, contributing to the creation of vibrant communities. We guarantee that this approach will generate interest, awareness and bring your museum to life!
a été rédigé par O. Butsenko et V. Demian, deux spécialistes de l’ONG
Democracy Through Culture (accréditée par l’UNESCO), en collaboration
avec V. Havrylenko, un expert en patrimoine culturel immatériel de la
région de Sumy. Cette ONG se consacre à l’étude et à la mise en valeur du patrimoine culturel de l’Ukraine, tout particulièrement de la musique et des arts chantés que l’on entend dans toutes les régions et de toutes les localités d’Ukraine. L’une de ces formes culturelles est au cœur de l’histoire et de la culture ukrainiennes. Elle a dépassé les frontières et gagne en popularité ailleurs dans le monde : il s’agit de la musique et les arts chantés avec la bandoura.
À partir d’entretiens et de données chiffrées, l’article présente un
aperçu des connaissances sur le processus de fabrication de la bandoura traditionnelle dans l’Ukraine moderne. On y met l’accent sur la continuité de la tradition par la transmission des savoirs et des techniques d’une génération à l’autre, mais aussi sur l’ouverture et l’inclusion quant aux questions émergentes, notamment sur le genre. Y sont décrites diverses techniques et méthodes de fabrication de la bandoura, héritées du passé, puis sauvegardées et développées dans différentes régions de l’Ukraine d’aujourd’hui. La fabrication de la bandoura fait partie intégrante du tissu des traditions vivantes en Ukraine
One week e ach year I leave civilization, go into the woods and transform
myself to Robin Hood. I teach children how to make their own fishing rod and we dig for earth worms. We spend the whole week outdoors, building our own camp, making bows and arrows, having shooting contest and catch fish. We are outlaws.
After 10 years, in 2017 I wanted to dig deeper into the children’s experience from this course, and find out if the interaction with traditional crafts and nature has a transformative impact on the participants. The research was done in cooperation with Inland Norway University of Applied Sciences To address my question, I used three different approaches : A survey, my own auto ethnographical diary, and relevant theory from the field.
The impact of crafts and nature is powerful, and transformative. In the
questionnaire the parents was asked quite directly about this, and a clear
majority of them confirmed that participation:
∙Provided an opportunity to get closer to nature.
∙Helped my child learn how to interact with others in nature
∙Provided the opportunity to be able to create something real with their
own hands
∙Provided a break from the virtual world of computers and social media
∙Inspired my child to get involved in similar activities in the future
I was happy to see the course had inspired the children to continue the
activities after they came home. Some had made a bow and arrow, some had been fishing and some had been sleeping outdoors.
Compared to the listing of ICH, both on a national and an international level, I do believe that ICHs most powerful impact is on a personal level, as Intangible Cultural Heritage practices are always connected to individuals and communities; to people who are practicing woodcarving, traditional dances or female divers searching for shellfish on Jeju island.
My examples demonstrate that between individuals, groups and communities, on a personal level, ICH can have a wonderful impact. It brings people and generations together, i thelps solving conflicts and prevents deceases. ICH improves us as individuals and brings a quality into our lives. It brings health and well-being, and it link us with nature. ICH helps us connect with the past and connect us to the real world. Through ICH we develop our capacities and we are given the possibility to share knowledge with, and participate in Our communities. ICH teaches a new generation life skills in order to meet the
challenges in their future.