Craftivism is a form of activism, typically incorporating elements of anti-capitalism, environmentalism or third-wave feminism, that is centered on practices of craft - or what can traditionally be referred to as "domestic arts". Craftivism includes, but is not limited to, various forms of needlework. Craftivism is a social process of collective empowerment, action, expression and negotiation. In craftivism, engaging in the social, performative and critical discourse around the work is central to its production and dissemination. Practitioners are known as craftivists.
The term craftivism was coined in 2003 by writer Betsy Greer in order to join the separate spheres of craft and activism. Her favorite self-created definition of the term states, "craftivism is a way of looking at life where voicing opinions through creativity makes your voice stronger, your compassion deeper & your quest for justice more infinite"
Although the term craftivism is a recent addition to crafting lexicon, the use of craft as a subversive tactic can be found throughout history. First, the word craft is often associated with trickery. To call someone crafty is to identify them as clever and cunning  In Greek, one would say to "spin" a plot. Similarly, the French word for trick is tricoter, which means to tie or knot together. In the novel A Tale of Two Cities, the character Madame Defarge, a worker for the French Revolution, secretly encodes the names of those soon to be executed in her knitting.
Practices of craft or "domestic arts" have traditionally existed and been organized spatially within the private sphere. Therefore, the labor and production of craft was generally interpreted as unproductive female labor in the home, as it was never integrated into profit-making systems. Rather, it was marginalized and undervalued. As a result, women's significant and creative work in the private sphere—clothing the family, knitting blankets, weaving the loom—did not receive the same respect as male-dominated activity in the public realm. Furthermore, the patriarchy has been successful in claiming these domestic values for women and using it as a way to keep women in subservient roles. The rise of consumer-friendly crafts, including kits, transfers and readymade designs, has further diminished the status of craft and women's amateur practices. Women and craft have been excluded from the fine art world and as a result many women put their creativity towards craft practices. Craft was "a universal female art from transcending race, class, and national borders. Needlework is the one art in which women controlled the education of their daughters and the production of art, and were also the critics and audience." Although practices of craft were spatially organized within the private sphere, women occasionally would organize groups to engage in these practices collectively. In these craft circles or meet ups women would not only share patterns and skills but also engage in conversation about their lives in the private sphere. These groups of women would discuss their lives and personal struggles encountered as women. This type of group discussion is a form of activism rooted in Consciousness raising that was key to Second-wave feminism as it helped to raise awareness about the types of oppression women were experiencing in their everyday lives.
The Anti Capitalist, Anti Sweatshop and DIY movements popularized practices of craft for activism. These movements influenced third-wave feminists to adopt a craftivism ethos. Most forms of craftivism identify strongly with Third-wave feminism. Third Wave feminist crafters are attempting to subvert the association of craft with domesticity by embracing domestic arts while identifying as feminists who are making the choice to embrace this new domesticity.Third-Wave feminists are reclaiming knitting, sewing, and other crafting activities traditionally feminized and associated with the private sphere. Through this reclamation, contemporary women aim to reconnect with the female-dominated art forms, to legitimatize the importance of undervalued craft, and to show that 21st century women have the privilege to express themselves through craft, with fewer constraints exercised by the patriarchy. This act of resistance and shattering of the public/private binary is expressed physically through public knitting and craft circles who take a private-sphere activity and insert themselves in the male-dominated spaces of the city One example would be the Anarchist Knitting Mob who held a "Massive Knit" event in Washington Square Park to honour the death of activist and urbanist Jane Jacobs. Knitters decorated the trees, benches, and light posts with colourful yarn and unique patterns.
Women’s craft has often been undervalued or ignored in the art world. Women’s craft is considered belonging to a lesser cultural sphere and categorized under such terms as ‘applied’, ‘decorative’ or ‘lesser’ than other art forms such as painting or sculpture. This critique of women’s craft and craftivism as a ‘lesser’ art form has been contested within the discourse of feminism. Some Feminist Art discourse excludes craftivism. This feminist intervention into the art world perpetuates a hierarchy of art where craft is a lower art form. Some feminists deem craftivism as reinforcing domesticity and consider it a retrogression of the feminist cause rather than a subversive tactic.
Craftivism is also centered on ideas of environmentalism and sustainability. When buying new materials, many craftivists choose organic fabrics and fairly traded products such as home-spun yarns. Yet, even more popular within the movement is the utilization of vintage, thrifted and repurposed goods in order to minimize waste and promote reuse. This display of resourcefulness acknowledges the finite resources on Earth, and the valorization of quality over quantity. Craftivist, Betsy Greer, is quoted saying, "While I think that crafting has become something fairly elite and cliquish in some areas, at its heart, it is very much made for individuals who value both their time and their money".
Historically, craft was the pre-capitalist form of production, where each created item possessed a "use-value," a term comparing the usefulness of an item to the exchange equivalent. Now within a capitalist system of mass production, craft has become a commodity to be bought and sold for money, where it is now referred to as having an "exchange-value". Due to this movement from use-value to exchange-value, there is less emphasis on the time and skill expended to create an object, and more importance on making it available to the masses as inexpensively as possible. Traditionally associated with a strong community so vital to the creation and distribution of craft, crafting has since lost its use-value and has been "captured by capital".
A popular way to resist the commoditization of craft is through the Do-It-Yourself or DIY movement. Popularized through "zines" of the 1990s, DIY inspires people to be self-sufficient and to rely less on the market for basic necessities that can easily be created on one's own. DIY is a resistance to both the capitalist nature of the fashion industry and pressures to conform and buy a style. An example of this is the Counterfeit Crochet Project, which seeks to "debase and defile designer items one step at a time".[note 1] Crafters have also subverted the market through the use of open source patterns and information sharing on the internet. Sites like Burdastyle allow crafters to upload and download sewing projects at no charge. Similarly, Cat Mazza's online software KnitPro allows users to download images into detailed knitting patterns at no charge.
Efforts within the craftivist movement against capitalism focus primarily on the international issue of sweatshops. Some craftivists believe that either sewing one's own clothing or buying only hand-made is the best way to protest unfair labor practices around the globe. Other craftivists take the issue even further, using the act of crafting as a protest against sweatshops. Artist and activist Cat Mazza created a campaign against the inhumane labor practices of Nike through the creation of a giant blanket depicting Nike's trademark swoosh. From 2003-2008, international crafters were asked to mail in 4x4 inch stitched squares to border the blanket and to sign a petition against Nike. Mazza also created a second web-based software called Knitoscope that transforms video into animated knitted stitches. Each video has a corresponding testimony featuring various professionals who work against sweatshop labor.
Artist and Activist Kirsty Robertson feels that the subversive efforts of craftivists against capitalism are limited by their dependency on the internet and new communication. She points out that for this reason, global justice knitters are not completely removed from the economy themselves 
Some craftivists see their art form as a protest against war and violence. Anti-war craftivists choose to make their statement by juxtaposing a colorful, soft, and fuzzy yarn with cold and dangerous weapons. In 2006, Danish artist Marianne Jorgensen stitched a giant pink "tank blanket" and placed it over a M24 Chafee combat tank to protest the Iraq war. She has been making these blankets since Denmark entered the Iraq War, and doesn't plan to stop until it is over. She writes on her website that, "Unsimilar to a war, knitting signals home, care, closeness and time for reflection...When [the tank] is covered in pink, it becomes completely unarmed and it loses its authority". Much like Jorgensen, Canadian artist Barb Hunt works to question the acceptance of military logic in society by creating knitted antipersonnel land mines out of wool.
Similar to her campaign against Nike, Cat Mazza started an anti-war effort entitled "Stitch for Senate" on the fourth anniversary of the Iraq War. She enlisted two people from each state to knit a soldier's helmet liner which would be sent on to every senator. Unlike the apolitical Operation Home Front efforts that knitted gear for soldiers, Mazza wanted "to start a dialogue about the war and to get politicians to keep the promises they made during the midterm elections".
The Viral Knitting Project is an anti-war effort that translates the 0/1 binary code of the dangerous Code Red computer virus into a knitting pattern of knit/purl. The color and code relate to the anti-terrorism alerts of post 9/11 United States. The project is attempting to "draw together links between technology, culture, capitalism and war".
Social justice issues
The Craftivist Collective is an activist social enterprise which uses craftivism to engage people in social justice issues. There is a manifesto and a checklist of goals for the work of the group which includes being welcoming, encouraging and positive, creative and non-threatening, and focusing on global poverty and human rights injustices.
Australian artist Sayraphim Lothian uses craftivism to "make people's day brighter". She leaves small handcrafted works of art on the streets for people to find and take home “aimed at creating tiny bubbles of joy in the lives of passersby, tiny surreal moments that might make people do a double take.".
When craftivists take to the street, they utilize various protest models.
A popular form of protest is the "knit-in," where knitters infiltrate a public space and knit. They might ride a subway, occupy a civic building, or sit in a park. They use the knit-in to draw attention to their issue of concern. The Revolutionary Knitting Circle of Calgary, Canada stage a knit-in in front of Calgary's financial office buildings during the summit of the G-8 nations in 2002. The Knit-in not only provides an opportunity to protest against injustice, but also allows for a running discussion about social issues between the stationary knitters. Jack Bratich of Rutgers University argues that, "Knitting in public also creates a gendered question of space. It rips open the enclosure of the domestic space to public consumption, exposing productive work that has contributed to women's invisible and unpaid labor". Women are, thereby, able to gain power from an activity that previously symbolized their repression.
Craftivist Carrie Reichardt has covered her home, car and studio with mosaics which utilizes ceramics, screen-printing and transfers to highlight "plight of inmates on death row, the Black Panthers, and the spirituality of the planet."
Another form of craft-themed activism is guerilla art. The Texas-based group Knitta places street art such as street pole cozies and antenna warmers in cities throughout the country. Similarly, a blogger in England, Sarah Corbett, "creates textile art with political messages in public spaces first by herself at a blog called and then as the head of the worldwide Craftivist Collective.
In the spring of 2009, an online debate began over the definition of craftivism. The debate spread after the self-titled Craftivism team on Etsy had an inner-group argument about the political affiliation of its members, causing some members to leave the group. The original description of the group states, "The Etsy Craftivism Team is a team of progressive Etsyans who believe that craft and art can change the world. Some of us use our work to carry messages of protest and political activism. Others believe that the act of making craft can be an act of resistance. Still others see that by buying and selling directly from the maker we are challenging the all pervasive corporate culture that promotes profit over people.". Conservative members accused the group of assuming a liberal agenda, and argued that politics should not be involved. Some members of the group felt that the mere act of crafting itself was political, while others felt that the act must also be attached to a political message. Rayna Fahey from Radical Cross Stitch replied to a thread stating "Personally if a John McCain supporter joined this group and told me that my latest piece in support of indigenous sovereignty was a well-made piece that serves the purpose for which it was designed well, I'd think that was awesome and I'd have hope for the future of this world.". In contrast, craftivist Betsy Greer believes that "the personal is political," and that you cannot separate the two.
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