Knitting Feminist Politics: Exploring a Yarn-Bombing Performance in a Postdisaster City

Abstract

The aim of this article is to explore urban knitting as a worldwide social movement, rather than solely a kind of “inoffensive urban graffiti” made with knitted fabric. Building on the available literature and original research, the article argues that this movement weaves together elements from craftivism, domesticity, handicraft, art, and feminism. It then explores a specific urban knitting initiative, called “Mettiamoci una pezza” (“Let’s patch it”), carried out in L’Aquila, Italy, 3 years after the earthquake that devastated the city in 2009. To analyze the sociopolitical aspects of this initiative, a series of qualitative research studies was conducted over time, to which were added semistructured interviews with the initiative’s local organizers. The findings show that the initiative in L’Aquila clearly exhibits the five original features of the urban knitting movement that emerge from the literature as being characteristic of this movement.

RajutKejut Art: Participatory Knitting Installation Artwork in Public Spaces

“…RajutKejut's works, which appear as graffiti knits in the middle of the city, can be seen as street art. According to two researchers Farinosi and Fortunati (2018) found that many countries consider graffiti knitting installations illegal because they are considered to be doing traditional graffiti, so activists usually prepare works at the beginning and then put them up at night. However, unlike graffiti in general, the effect of this installation is not permanent, because it can be removed easily with scissors without damaging the city landscape or objects and buildings that have been 'bombed'.…”

“…The installation is usually oriented towards issues in society and is intended to draw public attention to relevant social and political issues, such as conflict and war. Through urban knitting, ancient knitting techniques change their values and meanings, into effective media for citizen involvement, for activism, and a medium for protesting, as well as ways to contribute to sociopolitical discourse and engagement (Farinosi, 2018).…”

Exploring Self-existence through RajutKejut Craftivism: A case study in Penjaringan Forest, Jakarta

“…The current resurrection of knitting has grown out of the larger rediscovery of traditional handicrafts and, more generally, of DIY practices, which include not only knitting but also activities such as canning, making homemade clothes, and so forth. These practices often originate in dissatisfaction with the current economic system and represent for crafters an act of critical opposition against big corporations and mass consumer culture, as well as an autarchic desire to be self-sufficient" (Farinosi, Manuela;Fortunati, 2018). Most people in the marginal communities of Jakarta's urban villages, who work daily as laborers and mostly struggle with earning enough money to be able to feed their families, see art activities as a luxury, but through RajutKejut, art activism, the residents have a reason to catch their breath for a while, take a pause from their routines, give themselves an opportunity to feel their existence as human beings who have expressions and feelings.…”

Reasons for knitting blogging and its importance for crafting

“…A growing body of diverse international research about knitting has been concentrated on subjective well-being (e.g., Brooks, Ta, Townsend, & Backman, 2019;Corkhill et al, 2014;Lamont & Ranaweera, 2019;Parkins, 2004;Riley, 2008;Riley et al, 2013;Rosner & Ryokai, 2009;Schofiled-Tomschin & Littrell, 2001), and on the perspective of serious leisure (Court, 2020) andDIY culture (e.g., von Busch, 2010;Farinosi & Fortunati, 2018;Gauntlett, 2018;Kelly, 2014;Kouhia 2015;Wolf & McQuitty, 2011). In addition, craft has also been studied to an increasing extent as a basis for personal, social or political change via new materiality (e.g., Corkhill et al, 2014;Greer, 2008;Hosegood, 2009;Minahan & Cox, 2011;Myzelev, 2006Myzelev, , 2015O´Donald, Hatza, & Springgay, 2010;Springgay, 2010), and in craft web cultures as a basis for knitting as a feminist project (e.g., Humphreys, 2008;O'Donald et al, 2010;Minahan & Cox, 2007).…”