Gender dimension and semiotic ideology of tradition. Crafting the Russian folk

The paper proposes a more holistic approach to gender in crafts and grounds it in the (post)socialist context. It focuses on traditional crafts, also known as 'folk art', and investigates the shifts in signification that are accomplished by female craftswomen over almost a century of the clay toy production located in Kargopol, a small historical town in a Northern region of Central Russia. The analysis relies on Peirce's pragmatist theory of signification and Keane's notion of semiotic ideology. It reveals the inner controversies of 'tradition' as a type of semiotic ideology and explores four shifts in signification related to the female dimension of the folk art: 1) the emergence of the iconic craftswoman, 2) the materialization of female work ethics and appropriation of symbols, 3) the transformation of craftswomen's bodies from indexes to icons, 4) challenging semiotic ideology through modelling of a modern female character. The paper demonstrates how the feminine constituent of the folk art has been gradually reshaped over time through those shifts, without major disruption.