The Finnish National Core Curriculum for pre-primary education (FNBE, 2014) emphasizes the promotion of children’s interests in science and technology, as well as in creative designing and making. ...The integrative STEAM approach is seen as promising for fostering students’ creative competencies starting from early education stages. In pre-primary education, the STEAM framework has received little research interest; the empirical evidence of its implementation is especially limited. The objective of this present study is to explore pre-primary students’ designing and making processes involving both traditional and digital craft elements, and how their learning of everyday technologies can be supported. The data consists of video recorded sessions, where pre-primary students (n=19, aged 5–6 years) were creating felted “Power Creatures” with soft circuits. The results indicate that with adult and peer student cooperation, pre-primary students are able to create original creatures and use digital elements as a part of their craft product. Playing is endorsed as a learning method to support pre-primary education in both tangible and abstract elements of technology
Introduction
People across all cultures and stages of life have an innate need to create, as demonstrated by the practice of craft-making. Crafting combines skilled handwork and intellectual ...creativity to produce functional or artistic items. It has been handed down through generations and encompasses a wide range of activities, including knitting, crocheting, quilting, woodwork, and carving. Historically, crafting has been integral to societal development, serving both functional and aesthetic purposes, but it also represents a tangible connection to people’s cultural heritage and often reflects the customs and values of a community.
Since the turn of the millennium there has been a notable resurgence in textile crafts that can be attributed to a growing desire for personal expression and a return to hands-on, sustainable practices in a digitally dominated era. Research has shown that a lot of practiced knitting is now not only a meaningful leisure activity for various demographic groups (Myllys; Rosner and Ryokai) but also associated with feelings of empowerment (Myzelev). Furthermore, several studies have underscored its profound impact on health, well-being, and overall quality of life (Adey; Fields; Mayne). While traditionally seen as a predominantly feminine craft, researchers such as Beyer, Desmarais, and Morneau have studied the masculine perspective of knitting.
Contemporary reasons for knitting can be categorised into three broad areas: personal motivations, group effects (knitting with others), and altruism (knitting for others; Rusiñol-Rodríguez et al.). Unlike many crafting projects that are bound to specific locations and tools, knitting offers the flexibility of a portable work in progress, allowing hobbyists to knit virtually anywhere at any time (Rosner and Ryokai). Traditionally, knitting communities, often organised around projects and events, were found in public spaces like cafes and libraries (Price). In addition, in recent years, there has been a noticeable shift towards knitting festivals and meet-ups (Orton-Johnson) that offer knitters opportunities to gather at events centred on yarn, fibres, and all things related to them (Gajjala; Orton-Johnson).
Knitting in Online Communities
It is quite common for virtual networks and environments facilitated by technological advancement to become an integral part of modern knitting practice (Myllys). A number of online communities focussed on knitting have emerged on content-sharing platforms such blogs, podcasts, YouTube vlogs, Facebook, Instagram, and TikTok (Orton-Johnson). Modern technology allows knitting to expand beyond the realm of material creation into an experience that can involve photography and blogging (Orton-Johnson) or sharing information with the recipient of the knitted item as the project progresses (Rosner and Ryokai).
The first English-language knitting podcasts were published in late 2005 as audio recordings that listeners could download (Bell). Video-format knitting podcasts have been available on YouTube since 2010, with the first episode in Finland appearing in autumn 2015. Today, YouTube offers a wide range of communication possibilities to content creators who frequently encourage their audience to engage with them (Frobenius). On YouTube, podcasts often delve into the daily intricacies of an individual’s life, hobby, or lifestyle, enabling the creation of personalised content that resonates with others with similar interests (Rodríguez and Levido). Engaging with knitting podcasts, whether by watching episodes or creating them, can be viewed as the contemporary equivalent of traditional knitting gatherings (e.g., Shen and Cage). These podcasts not only allow viewers to interact through comments and video responses but also enable content creators to attract and cultivate a community of like-minded enthusiasts (Gauntlett).
Through various publishing platforms and Websites, knitters can share information about their own projects, make collaborative plans with others, enhance their skills, and be creative contributors to their communities (Rosner and Ryokai). That kind of online community plays a significant role in exchanging knitters’ perceptions of self-esteem and fostering meaningful social connections that offer support and empowerment. The diverse social communication that emerges out of and occurs alongside the hobby might even facilitate the formation of life-long friendships (Mayne). This was significant, for example, during the COVID-19 pandemic, when crafting found new digital forms, and crafts were also learned through digital communication platforms in both hobby activities and in school education (Kouhia). On the other hand, transferring knitting practices from their historical, geographical, and cultural histories can lead to a loss of rich, contextual knowledge, as these practices are deeply intertwined with the traditions, stories, and skills passed down through generations and might not be fully conveyed in online spaces (e.g., Robertson and Vinebaum).
Knitting podcasts have been studied in terms of the benefits and drawbacks they provide their viewers. Gregg explored the impact of knitting podcasts on their viewers’ knitting and video-watching motivation and found a clear connection between knitting motivation and video consumption: the social interaction on YouTube and the inspiration offered by podcasters drove viewers to knit more. Furthermore, several studies have identified video watching as not only motivating but also potentially addictive, making it a time-consuming activity (Balakrishnan and Griffiths; Chiang and Hsiao; Gauntlett). This study aims to elucidate the characteristics associated with the typical Finnish knitting podcast and its production. For this, a single research question was posed: What are the key characteristics of Finnish knitting podcasts?
The data was collected from a survey distributed in Facebook and Ravelry groups themed around knitting podcasts. All 19 respondents were female knitting podcasters, whom we refer to with pseudonyms (H1–H19) throughout this article. The data were analysed using theory-driven content analysis (Hsieh and Shannon). We delve into the research findings from the perspective of individual empowerment, knitting skills development, and online community.
Knitting Podcasting as Individual Strength
According to our data, producing knitting podcasts can be an empowering hobby that enables individual development in both skills and identity. Knitting podcasters felt that during the hobby they gained self-confidence and that their knowledge of their strengths had grown. They better understood their potential and developed not only tangible skills but also their mental capacity through the hobby. Knitting podcaster H13 mentioned that her self-esteem was strengthened by the positive feedback her recordings received. On the other hand, H18 highlighted that by recording her knitting podcasts, she felt that she had made like-minded friends: “recording is quite therapeutic for me, as I don’t really have live friends to chat with about knitting or anything else”.
Upon starting their knitting podcasts, knitters often felt that their expectations were soon met. Podcasters could express their identity by producing content that reflected their own lives and by showcasing their knitting to others. They also found that they could bring joy to others with the content they produced and had the opportunity to share their passion for knitting with like-minded individuals. By watching other knitting podcasts, hobbyists found topics that they could address in their own podcasts. Individual self-expression conveyed personal values, which is possible in such a setting. H3 highlighted how wonderful it was to find individuals whose style matched her own and how much fun it was to follow podcasters with completely different styles:
I have gotten so many ideas from others! Many patterns might go unnoticed, but when you see them on a “live” model, you might find knits that suit you. It’s also wonderful to find individuals whose style matches mine. It’s also fun to follow those whose style doesn’t match – I often get inspiration from them too.
Both similarities and differences can thus motivate individuals, simultaneously influencing the development of each person’s distinctive taste and style.
Showcasing One’s Skills and Learning from Others
Based on the survey, making knitting podcasts allows enthusiasts to learn new things, show off their skills, and celebrate their personal growth with others. The podcasters felt they had gained confidence during the whole process of producing knitting podcasts. The knitting podcast community was described as a welcoming and uplifting place, where everyone is always keen to help others. Perhaps the most tangible benefit of the knitting podcast hobby was mentioned by a podcaster who, after starting to create podcasts, became so passionate about video editing that she now regularly uses that skill in her professional life. Creating a knitting podcast was motivated by the desire to produce diverse content, share one’s own creations, and inspire others to try recently developed materials or knitting techniques. For example, H6 described her motivation as follows:
the opportunity to speak and share information about a hobby that’s important to me. ... I get to share my passion for crafts. Additionally, there are viewers’ comments on the videos and a few live meetings. Especially when someone says my videos inspired them or helped them try something new, it motivates me to continue making videos.
Feedback and positive comments from viewers about their own ideas encouraged podcasters to continue with the hobby and engage in discussions. Enthusiasts mentioned being delighted when someone commented on being inspired by the topic of a knitting podcast or perhaps used the videos to try something new and to learn. H3 was particularly pleased by this: “i
The present study explored pre-primary students' investigative activity during a longitudinal, integrative technology education project: the Power Creatures project. Investigative activity refers to ...the way young children act in a learning context that combines inquiry-based activities with creative hands-on activities, such as designing and crafting. Nineteen pre-primary students (aged five to six years) and two teachers participated in the case study. The main data set consisted of six video-recorded small-group sessions in which the children experimented with electronics and designed and made felted creatures containing soft circuits. The data were analysed using a theory-based, deductive content analysis. The results indicate that playful, investigative activities support pre-primary students' learning of everyday technologies and that children can transfer their understanding of the technological process from one situation to another. This process requires careful pedagogical planning and scaffolding that maintains the longitudinal process and adapts to its established and evolving goals.
The aim of this study was to explore a preschooler craft-making process in which 18 preschool novices cut pieces for fabric bags and designed and printed patterns to decorate the bags. Through the ...task, children were familiarised with a small-scale holistic craft process. The intention was to determine how preschoolers perceived, verbalised and interpreted the craft-making process and how children used bodily expressions when explaining a learned craft skill. The present study relies on the videographic method: two preschool groups’ stamp printing activities were recorded, and each child was interviewed individually. Children’s embodied expressions were particularly in focus in video analysis. The results reveal that all the children were able to sufficiently explain the making phase, however, some children compensated for missing words using bodily and facial expressions and gestures when talking about making. The results showed that children worked logically, and the skill learning phases of perceiving, making, and interpretation were revealed from their learning.
The purpose of this study was to explore six-year-old Finnish preschoolers' collaboration during a designing session, where they received a task to collaboratively design and sketch forest animals' ...nests. Peer interaction is a natural part of craft, design and technology education because the learning situation itself provides various possibilities for collaboration. Craft making is traditionally seen as an individual execution, where makers are producing their own craft products instead of collaboration and shared outcomes. During this intervention, an experience of a shared designing and making situation was provided for children. The article focuses particularly on children's verbal and embodied interactions, as well as children's social roles in their groups, depending on their ability to use language during the designing process. Children's activities were examined within Vygotsky's sociocultural framework for learning and classified using a micro-level analysis methodology for tracking children's collaboration and meaning making in designing. The results showed that six-year-old pre-schoolers succeeded in working collaboratively and they managed to solve the designing task with their peers, but embodied expressions also played a notable role in designing. Four types of roles, which children had in their peer groups, were found.
The purpose of this study was to explore preschoolers’ collaboration during a designing session, where they received a task to collaboratively design and sketch forest animals’ nests. The article ...focuses particularly on children’s verbal and embodied interactions, as well as children’s social roles in their groups, depending on their ability to use language. Children’s activities were examined within Vygotsky’s (1978) sociocultural framework for learning and classified using a micro-level analysis methodology for tracking children’s collaboration and meaning making in designing (Ash, 2007). The results showed that six-year-old preschoolers succeeded in working collaboratively and they managed to solve the designing task with their peers, but embodied expressions also played a notable role in designing. Four types of roles, which children had in their peer groups, were found.
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