'This is mindful activism . . . thought-out, strategic and engaging' Guardian 'I love what Sarah does! It's quiet activism for everyone including introverts' Jon Ronson 'Sarah Corbett mixes an A-grade mind with astonishing creativity and emotional awareness' Lucy Siegle If we want a world that is beautiful, kind and fair, shouldn't our activism be beautiful, kind and fair? **Award-winning campaigner and founder of the global Craftivist Collective Sarah Corbett shows how to respond to injustice not with apathy or aggression, but with gentle, effective protest. This is a manifesto – for a more respectful and contemplative activism; for conversation and collaboration where too often these is division and conflict; for using craft to engage, empower and encourage us all to be the change we wish to see in the world. Sarah's craftivism has helped change laws and business policies as well as hearts and minds; here, with thoughtful principles and practical examples, she shows that quiet action can speak as powerfully as the loudest voice.

If we want our world to be more beautiful, kind and fair, can we make our activism more beautiful, kind and fair? ‘Gentle Protest’ is a unique methodology of strategic, compassionate and visually intriguing activism using handicrafts as a tool. Since its creation in 2009, the award-winning global Craftivist Collective has helped change laws, policies, hearts and minds around the world as well as expand the view of what activism can be. This handbook is for everyone, wherever you are in the world: whether you are a skilled crafter or a burnt-out activist, an introvert, highly sensitive person, or struggling with anxiety or overwhelm. These 20 projects and tools use the slow, soothing and thoughtful process of craft to help channel feelings of sadness, anger or powerlessness into proactive, encouraging effective actions to help make hope possible.

Pussyhats, typically crafted with yarn, quite literally created a sea of pink the day after Donald J. Trump became the 45th president of the United States in January 2017, as the inaugural Women’s March unfolded throughout the U.S., and sister cities globally. But there was nothing new about women crafting as a means of dissent. Crafting Dissent: Handicraft as Protest from the American Revolution to the Pussyhats is the first book that demonstrates how craft, typically involving the manipulation of yarn, thread and fabric, has also been used as a subversive tool throughout history and up to the present day, to push back against government policy and social norms that crafters perceive to be harmful to them, their bodies, their families, their ideals relating to equality and human rights, and their aspirations. At the heart of the book is an exploration for how craft is used by makers to engage with the rhetoric and policy shaping their country’s public sphere. The book is divided into three sections: "Crafting Histories," Politics of Craft," and "Crafting Cultural Conversations." Three features make this a unique contribution to the field of craft activism and history: The inclusion of diverse contributors from a global perspective (including from England, Ireland, India, New Zealand, Australia) Essay formats including photo essays, personal essays and scholarly investigations The variety of professional backgrounds among the book’s contributors, including academics, museum curators, art therapists, small business owners, provocateurs, artists and makers. This book explains that while handicraft and craft-motivated activism may appear to be all the rage and “of the moment,” a long thread reveals its roots as far back as the founding of American Democracy, and at key turning points throughout the history of nations throughout the world.

This book explores the use of handmade crafts as a vehicle for protest. Craftivism has experienced a resurgence in recent years, often in direct response to the social, environment and political concerns of those who engage in the practice. Acts of craftivism raise important questions for criminologists about the use of public space, power, and resistance. McGovern focuses on an example of the ‘craftivist’ movement that has been steadily gaining momentum since the early to mid-2000s: yarn bombing. As an urban craft movement that melds the skills of knitting or crochet with the act of graffiti, yarn bombing has the potential to contribute to criminological understandings of graffiti and street art, particularly on issues of gender, perceptions of and motivations for graffiti, and the commodification of crime. Drawing on interviews with yarn bombers and craftivists, Craftivism and Yarn Bombing explores how such acts can be understood and explored through a criminological lens, and will be of interest to students and scholars across a range of disciplines, including criminology, sociology, cultural studies, gender studies, and urban studies.

Through meticulous examinations, this book analyzes how women update their identities and articulate their feelings through clothing and art in protests, politics in the United States in the 20th century. Topics explored include the suffragists and their impact on contemporary art, the significance of the red dress in both The Handmaid’s Tale and the Missing and Murdered Indigenous Women movement, the impact of the Miss America protests, the rising popularity of the pantsuit for women, the recent dominance of the pussyhat, and the way that feminist slogans are disseminated on t-shirts. Movements discussed include craftivism, hashtag culture, feminism, the CROWN act, Pantsuit Nation, socially-committed stores, and more. Interdisciplinary and intersectional at its core, addressing numerous areas, including fashion, sociology, visual culture, art history, feminism, and popular culture; Fashioning Politics and Protests uncovers how women continue to use visual means, explored via their clothing, to change the world.

Tailored for fashion students and equally relevant for fashion professionals, Pioneering New Perspectives in the Fashion Industry: Disruption, Diversity and Sustainable Innovation presents a ground-breaking, comprehensive and cutting-edge analysis of the challenges and opportunities reshaping the global fashion industry.

Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.

Craftivism is a worldwide movement that operates at the intersection where craft and activism meet; Craftivism the book is full of inspiration for crafters who want to create works that add to the greater good. With interviews and profiles of craftivists who are changing the world with their art, and through examples that range from community embroidery projects, stitching in prisons, revolutionary ceramics, AIDS activism, yarn bombing, and crafts that facilitate personal growth, Craftivism provides imaginative examples of how crafters can be creative and altruistic at the same time. Artists profiled in the book are from the United States, Canada, the United Kingdom, Australia, and Asia, and their crafts include knitting, crocheting, sewing, textiles, pottery, and ceramics. There's the Brooklyn writer who creates large-scale site-specific knitted installations; the British woman who runs sewing and quilting workshops for community building and therapy; the Indonesian book maker and organizer of a DIY craft center; and the Oxford, England, cultural theorist and dress designer. A wonderful sense of optimism and possibility pervades the book: the inspiring notion that being crafty can really make the world a better place. Betsy Greer is a writer, crafter, researcher, and the author of Knitting for Good!: A Guide to Creating Personal, Social and Political Change Stitch by Stitch. She also runs the blog craftivism.com and believes that creativity and positive activism can save not only the soul, but also the world.

Young people are doing faith differently. They are redefining community, ministry and ritual for a new era. In the face of planetary crisis, the next generation no longer see faith as a private matter, instead they are integrating it with activism and the need for systemic change. Influenced by the wealth of different teachings and traditions available around them, their identities are increasingly multifaceted and emphatically global. This collection of stories and interviews with young adults and their allies explores this new landscape, reflecting both the energy and inspiration of the next generation and the tremendous challenges they face. It points towards an exciting evolution in the way we are relating to the sacred. With stories from: Adam Bucko, Xiuhtezcatl Martinez, Emmanuel Vaughan-Lee, Kara Moses, Abbas Zahedi, Camille Barton, Bruna Kadletz, Dekila Chungyalpa, Matt Youde, Amrita Bhohi, Sun Kaur, and many others. With supporting stories from senior leaders including: His Holiness the 17th Karmapa Ogyen Trinley Dorje, Llewellyn Vaughan-Lee, Dr John Sentamu, Archbishop of York, Tiokasin Ghosthorse, Rabbi Laura Janner Klausner, Bhai Sahib Dr Mohinder Singh, and more.

This book demonstrates the fragility of democratic norms and institutions, and the allure of fascist politics within the Trump era. The chapters consider the antagonistic cultural practices through which divergent political machinations, including white (patriarchal) nationalism, are staged, and examine the corresponding policies and governing practices that threaten the civil rights, security, and wellbeing of racialized minorities, immigrants, women, and gender nonconforming people. The book contributes to social theory on nation-building by delineating processes of exclusion, intimidation, and violence, with a focus on rhetoric, performance, semiotics, music, affectivity, and the power of media. Various chapters also analyze creative, restorative, and at times unruly practices of community building, which reknit the social fabric with expansive visions of the polity. This anthropology-led volume incorporates contributions from a number of disciplines including sociology, American studies, communication, and Spanish, and will be of interest to scholars across the social sciences and humanities.