At a time of seemingly endless political and social unrest across the globe, many are reacting strongly to injustices and oppression through protest and other forms of resistance. Key among efforts are the ways that art can be used as a form of activism as is expressed through craftivism or the merging of art and craft. Often associated with domestic and feminist materials, proponents claim that craftivism offers an alternative to more demonstrative forms of protest yet critics claim it to be a mostly white, global north form of activism that lacks inclusivity. This article explores the perspectives of university undergraduates enrolled in an introductory craftivism course to understand how their exploration of craftivism, contributed to or challenged their understanding of protest and activism. In this interpretive inquiry, the researcher examines student's written artefacts and research fieldnotes. Findings suggest that the students gained a greater understanding of their beliefs about protest and the nuances and relational intricacies associated with protest, resistance and social action. They also recognised that acts of resistance, fall along a spectrum of negotiations across varying intentions and can fall short of arresting, dismantling and eradicating injustices and if not carefully implemented can even marginalise or disregard the intentions and ideas of others.

中文翻译：

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通过手工艺主义谈判抗议艺术

在全球范围内似乎无休止的政治和社会动荡时期，许多人通过抗议和其他形式的抵抗对不公正和压迫做出了强烈反应。努力中的关键是艺术可以作为一种行动主义形式使用的方式，正如通过工艺主义或艺术与工艺的融合所表达的那样。支持者通常与家庭和女权主义材料联系在一起，声称手工艺主义提供了一种替代更具示范性的抗议形式，但批评者声称它是一种缺乏包容性的大多数白人、全球北方的激进主义形式。本文探讨了参加工艺主义入门课程的大学本科生的观点，以了解他们对工艺主义的探索如何促进或挑战他们对抗议和激进主义的理解。在这个解释性调查中，研究人员检查学生的书面文物和研究领域笔记。调查结果表明，学生们对他们对抗议的信念以及与抗议、抵抗和社会行动相关的细微差别和复杂关系有了更深入的了解。他们还认识到，抵抗行为属于各种意图不同的谈判，可能无法阻止、消除和消除不公正，如果不认真执行，甚至会边缘化或无视他人的意图和想法。