PROGRESS IN GEOGRAPHY ›› 2022, Vol. 41 ›› Issue (11): 2108-2122.doi: 10.18306/dlkxjz.2022.11.010

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Production practice of rural traditional craft intangible cultural heritage from the perspective of geographies of making

HUANG Suyun1,2(), TAO Wei1,3,*(), CAI Haohui1,4   

  1. 1. School of Geography, South China Normal University, Guangzhou 510631, China
    2. School of Tourism and Culture, Nanning Normal University, Nanning 530001, China
    3. Center for Sustainable Development of Villages and Towns in the Guangdong-Hong Kong-Macao Greater Bay Area, Guangzhou 510631, China
    4. Department of Geography, University of Exeter, Exeter EX4 4QJ, UK
  • Received:2022-04-01 Revised:2022-07-08 Online:2022-11-28 Published:2023-01-28
  • Contact: TAO Wei;
  • Supported by:
    Major Program of National Social Science Foundation of China(18ZDA161);National Natural Science Foundation of China(42271240)


With the rise of the third wave of craft revival in the West, "making culture" has become an emerging topic concerned by Western geographers, and the embodiment and material production forms of traditional craft making have also received attention. This research selected Shitouzhai Bouyei batik, a traditional craft intangible cultural heritage in Guizhou Province as a case study. Based on the perspective of geographies of making, we analyzed the production practice of Bouyei batik. The research found that batik production is an embodied, material, local, and relational practice. In different spaces such as human body, family, workshop, community, and online, the body of the craftsman is the subject of the batik production practice and through embodied practice, the batik skills can be improved, and the products can be innovated by using their agency. The making practice also shapes the body of the craftsman, resulting in positive or negative embodied experience. The batik production process has distinct material characteristics, and the agency of materials guide a craftsman to carry out human and material cooperative production; Local elements such as local natural environment and traditional culture are the basis and conditions of batik production, and the production practice of batik also shapes the identity and characteristics of the place; Batik production is not only a creative practice for craftsmen to express themselves, but also to construct a specific sociocultural relations. The research helps to strengthen the attention to the cultural dimension in the practice of economic production, and provides important empirical evidence for the theoretical study of cultural economy. By paying attention to the physical skills and embodied experience of the craftsmen, it also helps to provide more caring safeguards in the practice of intangible cultural heritage protection.

Key words: geographies of making, body, materials, traditional craft, production of intangible cultural heritage, rural area