Coda

Knowledge, their works claim, has historically been evaluated based on where it emerges; this preoccupation with ‘roots’, ‘origins’ and ‘centre’ of knowledge is addressed by reorienting craft studies from ‘epistemological habits’ to focusing on a multiplicity of ontologies. The re-presentation of Europe as a particular geography where knowledge is generated and emanated through historically constructed practices also warrants our re-imagination of the geographical sources of our knowledge. Art historians like Tim Barringer, Pamela Corey, James Elkins and Kajri Jain have pointed to the limitations of structural changes within universities towards ‘additive inclusion that amounts to tolerance’. Disciplinary traditions have emerged through research practices outlined, documented, represented and circulated for upholding the supremacy of a colonial and Eurocentric patriarchy. Research on craft, material objects and subjectivities emanating from these practices have been an integral part of the way Western science and scientific methodology have disciplined and controlled how (post)colonies perceive and think of themselves.