Jennifer Way's study The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America. Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the 'Free World', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and manage its production, distribution and consumption abroad and at home. Way shows how Wright and his staff brought American ideas about Vietnamese history and culture to bear in managing the making of Vietnamese craft.

Jennifer Way's study The Politics of Vietnamese Craft uncovers a little-known chapter in the history of American cultural diplomacy, in which Vietnamese craft production was encouraged and shaped by the US State Department as an object for consumption by middle class America. Way explores how American business and commerce, department stores, the art world and national museums variously guided the marketing and meanings of Vietnamese craft in order to advance American diplomatic and domestic interests. Conversely, American uses of Vietnamese craft provide an example of how the United States aimed to absorb post-colonial South Vietnam into the 'Free World', in a Cold War context of American anxiety about communism spreading throughout Southeast Asia. Way focuses in particular on the part played by the renowned American designer Russel Wright, contracted by the US International Cooperation Administration's aid programs for South Vietnam to survey the craft industry in South Vietnam and manage its production, distribution and consumption abroad and at home. Way shows how Wright and his staff brought American ideas about Vietnamese history and culture to bear in managing the making of Vietnamese craft.

With their festivals and traditional industries, their commun halls, pagodas, temples, and vernacular buildings, the villages around Hà Nội possess a rich body of cultural, architectural and craft heritage. Less than one hour from the capital are over 500 specialist craft villages, producing an array of religious or artistic objects, as well as food products, industrial goods, textiles, basketware and much more. Despite the trials and tribulations Vietnam has endured, these traditions have remained alive; today they constitute the basis of material, social and spiritual culture among the village communities of the Red River delta. The artisans themselves, and their local institutions, see cultural tourism as a way of further improving the fortunes of the craft village communities and bringing their heritage to wider attention. Until recently, few guides or tourists had forayed into these settlements, some of which are lost in the maze of routes and tracks that criss-cross the rice paddies of the Hà Nội hinterland. The history and skills they harbour have been inaccessible to all but a few specialists. Few of the villages are signposted, yet between them they are home to three quarters of the architectural, religious and craft heritage of the upper delta. This book, the fruit of several years' research by specialists working in northern Vietnam, comprises ten itineraries, blending potted histories, legends, descriptions of craft techniques, signposted walks and maps, designed to introduce travellers and lovers of Vietnamese culture to forty or so villages around Hà Nội. Many of us have seen their wares on sale in shops in and around the 36 streets of Hà Nội Old Quarter or in other cities in West. This book is about the true lives and enduring skills of the nameless artisans who made them.

Craft practice has experienced a sharp rise in popularity since the late 2000s, partly through the ‘aura of the analogue’ and the desire for authentic, handmade products in an increasingly fast paced, digitalised world (Luckman, 2015) but also because of digital platforms such as Etsy and social media enabling ‘anyone’ to become a craft entrepreneur. This book brings together historical, policy and individual narratives to inform a broad understanding of craft entrepreneurship. Drawing on case studies from around the world, Craft Entrepreneurship considers questions of identity, community, and the digital in craft entrepreneurship. In doing so, it finds craft activities to be positioned between or across the arts, heritage, notions of a bohemian lifestyle and the challenges of micro-entrepreneurship. By engaging with the contradictions and fragility of sustaining a craft practice, the chapters in this book contribute to different perspectives for entrepreneurship studies. The contributions to this volume illustrate the craft entrepreneurs’ identity, motivation and sense of creative purpose through their craft, as these collide with the tensions brought about through entrepreneurship.

Written by a cultural historian, this text offers a wide-ranging exploration of the causes, meaning and continuing significance of the American war in Vietnam, arguing that the war was not a mistake, or a quagmire but a defining event in global history.

This volume is a comprehensive study of VietnamÕs greatest and most controversial 20th century writer who died tragically in 1939 at the age of 28. Vu Trong Phung is known for a remarkable collection of politically provocative novels and sensational works of non-fiction reportage that were banned by the communist state from 1960 to 1986. Leading Vietnam scholar, Zinoman, resurrects the life and work of an important intellectual and author in order to reveal a neglected political project that is excluded from conventional accounts of modern Vietnamese political history. He sees Vu Trong Phung as a leading proponent of a localized republican tradition that opposed colonialism, communism, and unfettered capitalismÑand that led both to the banning of his work and to the durability of his popular appeal in Vietnam today.

“Provides clear and succinct descriptions of the various craft used not only by American forces but those of the French and South Vietnamese Navy.” —Army Rumour Service (ARRSE) The ShipCraft series provides in-depth information about building and modifying model kits of famous warship types. Lavishly illustrated, each book takes the modeler through a brief history of the subject, highlighting differences between ships and changes in their appearance over their careers. This includes paint schemes and camouflage, featuring color profiles and highly detailed line drawings and scale plans. The modeling section reviews the strengths and weaknesses of available kits, lists commercial accessory sets for super-detailing of the subjects, and provides hints on modifying and improving the basic kit. This is followed by an extensive photographic gallery of selected high-quality models in a variety of scales, and the book concludes with a section on research references—books, monographs, large-scale plans and relevant websites. This volume is something of a departure for the series in covering a wide variety of the types, at first improvised and then purpose-built for the Brown Water conflict. Besides the well-known American involvement, the book also covers some of the craft used by the French in their earlier struggle with Vietnamese guerrillas. With its unparalleled level of visual information—paint schemes, models, line drawings and photographs—this book is simply the best reference for any modelmaker setting out to build one of these unusual craft. “Very well written . . . The author’s interest, knowledge and enthusiasm come through the content and make the title so appealing to the reader.” —Armorama