Sustainability 11 02487

sustainability
Article
Technique, Creativity, and Sustainability of Bamboo
Craft Courses: Teaching Educational Practices for
Sustainable Development
Ying Dai 1, * and Shyh-Huei Hwang 2
1 Graduate School of Design, National Yunlin University of Science & Technology, Douliu 64002, Taiwan
2 College of Design, National Yunlin University of Science & Technology, Douliu 64002, Taiwan;
hwangsh@gemail.yuntech.edu.tw
* Correspondence: D10530022@yuntech.edu.tw

Received: 31 March 2019; Accepted: 24 April 2019; Published: 28 April 2019
Abstract: The 18-year history of bamboo craftsmanship in the university curriculum of Taiwan
started with the popularization of concepts such as green design, community building, and cultural
and creative industries. Bamboo is an environmentally-friendly material that has received much
attention in the 21st century. Craftsmanship has drawn the attention of universities. This study
uses participatory observation and interviews to collect information on bamboo craft courses in four
departments of three universities and uses qualitative coding analysis to explore the sustainable
teaching methods of craftsmanship teachers, sustainable development learning effects on students,
and different ways of promoting sustainable development education (ESD) with bamboo craft courses
in different universities. The research results show the following: (1) There are differences in bamboo
craft courses: teachers’ craftsmanship and curricula are different, resulting in differences in technical
depth and creativity; (2) with respect to the ESD evaluation criteria of the four bamboo craft courses,
skills learning itself is not complete, but students are provided with a path to self-reliance in the craft
and in responding to cultural sustainability challenges; and (3) regarding the relationship between
ESD and bamboo craft education, bamboo craft education promotes the concept of sustainability and
is important for the creation of crafts; universities offer opportunities for testing students’ technical
talents and knowledge, but ESD is limited and blurry.
Keywords: education for sustainable development (ESD); green design; craft education; university
bamboo craft course
1. Introduction
Bamboo craft is a cultural tradition with a long history. With the spread of globalization, it has
generally become an important aspect of cultural heritage to show the unique features of different
places and symbols of cultural differences. The history of bamboo craftsmanship in Taiwan has
evolved as times have changed. In an agro-farming society dominated by kinship and clan groups,
bamboo craftsmen mainly worked in areas where bamboo was produced or where bamboo industries
congregated. In the early stages of the Industrial Revolution, as the social division of labor became
clearer, Taiwan’s bamboo products flourished. Bamboo craftsmanship emerged as an important
industry during Japanese rule, when many bamboo products, including sanitary chopsticks, bamboo
brooms, and bamboo fans, became daily necessities for the populace. Some of these products were
exported to Japan and the West [1]. However, the demand for bamboo products dropped dramatically
in the 1980s, resulting in a decreasing number of bamboo manufacturers. Soon, only a tiny number of
small, household workshops or individual bamboo handicraft practitioners remained, with their focus
Sustainability 2019, 11, 2487; doi:10.3390/su11092487 www.mdpi.com/journal/sustainability

Sustainability 2019, 11, 2487 2 of 21
turning to individual workshops or craft teaching [2]. In the age of the internet, bamboo handicrafts not
only serve as useful tools in daily life, but they are also becoming endowed with new social functions.
After Taiwan’s bamboo industry was transferred abroad in 1980s, the mass-produced bamboo
industry began to decline, whereas bamboo craft teaching flourished, resulting in the emergence of the
popularity of individually handcrafted bamboo art. In 1994, the Ministry of Culture of Taiwan began
to promote the policy of “community building”. Guided by this policy, farmer associations and town
offices in bamboo-producing areas provided courses on bamboo craftsmanship to train local talent in
the technical art of bamboo handicraft, aiming to promote local economic productivity and beautify
their homeland [3]. After the adoption of the “Convention on the Protection of Intangible Cultural
Heritage” by UNESCO in 2003, Taiwanese society also began to pay more attention to the diverse
forms of its cultural heritage. The United Nations Decade of Education for Sustainable Development
(DESD, 2005–2014) was a global movement that sought to transform education policy, investment,
and practice. Spanning from 2005 to 2014, the ultimate goal of the DESD was to engage people and
communities in meaningful, lifelong learning processes that examine how societies can live in more
sustainable ways [4]. In 2002, bamboo craftsmanship education was given new opportunities and
visibility in Taiwan’s colleges and universities thanks to two consecutive plans for cultural and creative
industry launched by the Ministry of Culture to promote the bamboo craft industry [5]. However,
facing continuing global industrialization and the impact of the information industry, Taiwan’s bamboo
craftsmanship remains haunted by poor product innovation, the lack of new learners, and the inability
to achieve large-scale production. Thus, with respect to bamboo craftsmanship, both culture and
industry are urged to identify and groom more new talent [3].
This study explores the teaching practice and promotion methods of bamboo craft courses in
universities as related to the concept of sustainable development education (ESD), including the
value of disseminating techniques and knowledge, learning effectiveness of students, and the role of
craft courses.
Based on the above, this study aimed to do the following:
1. To analyze the differences in teaching practices used in four bamboo courses through in-depth
interviews and observations.
2. To analyze the different bamboo craftsman teaching curricula and student learning in the four
bamboo courses as related to sustainable development through EDS evaluation criteria.
3. To obtain a clear understanding of the relationship between ESD and bamboo craft education in
light of ESD theory by surveying bamboo craft courses.
2. Literature Review
2.1. Education for Sustainable Development(ESD) and Green Design

As the global environment changes rapidly and society develops, the environmental and social
problems facing every locale, such as the decreasing number of natural plants, emerge in an endless
stream. As a result, people are calling for increased natural protection [6]. In the 1960s, Victor Papanek
said in his book Design for the Real World: Human Ecology and Social Change that designers should take
into account the limited resources of the Earth and protect our environment [7]. In 1987, Gro Harlem
Brundtland published a report on Our Common Future (also known as the Brundtland Report) at the
UN General Assembly. In this report, “sustainable development” was defined as follows: “Sustainable
development is a development model that meets our current needs without compromising the needs of
future generations to meet their needs” [8]. From 1987 to 1992, the concept of sustainable development
matured as committees discussed, negotiated, and wrote the 40 chapters of Agenda 21. Initial thoughts
concerning ESD were captured in Chapter 36 of Agenda 21, “Promoting Education, Public Awareness,
and Training” [9]. Since the 1980s, the concepts of “environmental protection” and “green design”
have gradually become some of the mainstream design concepts in Taiwan. The government invited
foreign experts to describe the future design trends of “green design”. In 1994, the Industrial Bureau of
the Ministry of Economy promoted the “Application and Promotion Plan of Green Design” and then
formally published the book Green Design [10]. The importance attributed by the government, industry,
and non-governmental organizations to the environment has also inspired serious thought in the field
of design. Teachers and students in the design departments of universities are developing products for
environmental protection, paying attention to the rational use and recycling of materials, and producing
goods without pollution or with low pollution to the environment. From the late 1980s to 1990s, a
large number of traditional handicraft factories were closed, coinciding with the emerging community
effort to incorporate traditional handicraft into community education [11]. Since the 1990s, schools
have designed educational models and technical curricula for handicraft courses, which are essentially
similar to traditional crafts. During this time, traditional crafts were formally introduced into the
curricula of universities, where students learn craftsmanship by creating products that combine crafts
with life [12]. Competence-based higher education enables students to gain important knowledge,
skills, values, and attitudes, which they will require in their future professional and personal lives [13].
Rychen (2002) affirms that the use of competence-based education contributes to improving the process
of assessing students regarding the abilities they acquire to face life’s challenges, but also sets key
educational goals that improve education systems and lifelong learning processes [14]. The formal,
traditional curriculum is more centered upon the transmission of knowledge, rather than the facilitation
of critical, innovative, and creative learning spaces where students can challenge their own models of
thinking and practice, develop their own innovative and creative projects, or explore alternative ideas
and choices [15]. Weinert affirms that “the theoretical construct of action competence comprehensively
combines those intellectual abilities, content-specific knowledge, cognitive skills, domain-specific
strategies, routines and subroutines, motivational tendencies, volitional control systems, personal
value orientations, and social behaviours into a complex system" [16]. The emotional system controls
the muscles of the body and changes the brain’s response through chemical neurotransmitters. Positive
emotion arouses curiosity, helps stimulate creativity, and keeps the brain open for efficient learning [17].
Research into commonly adopted ESD pedagogies in higher education—adapted from Cotton and
Winter (2010)—includes the following: role playing and simulations; group discussions; stimulus
activities; debates; critical incidents; case studies; reflexive accounts; critical reading and writing;
problem-based learning; fieldwork outdoor learning; and modeling good practice [18]. ESD helps to
develop the capacity for critical reflection and systemic and future thinking, as well as to motivate
actions that promote sustainable development [19].
In 2002, William McDonough and Michael Braungart began to promote the concept of cradle to
cradle, which advocated that humans should learn from nature and that everything is a nutrient and
can return to nature. In the pursuit of ecological benefits, the cradle-to-cradle design follows three
principles: waste elimination, renewable energy and carbon management, and diversity creation [20].
In response to the German environmental protection scholar’s cradle-to-cradle design concept, the
National Taiwan Craft Research and Development Institute held a Taiwan Bamboo Craft Exhibition
with a “Bamboo Craft and Green Earth” theme in 2009 to encourage people to use their creativity to
create a green and fashionable bamboo culture [21]. Considering that people are drifting apart from
nature, the environmental friendliness of bamboo materials and its value in a circular economy make
bamboo precious in environmental conservation. Bamboo has a short growth cycle, quick harvest and
supplement in a short span of time, and no negative impact on the environment. The whole bamboo
plant, ranging from its leaves and branches to tubes and roots, can be fully utilized [22]. According to
the website of the Bamboo Project Research Center of Musashino Art University, Japan, bamboo design
workshops of different themes have been held with regularity since 2008. In Indonesia’s post-disaster
reconstruction, teachers and students from Japan and India made a variety of sustainable bamboo
furniture and bamboo buildings to promote the development of the local bamboo industry [23]. The
local wetland of Chenglong Village, Kouhu Township, Yunlin County, is an environmental learning
field. Since 2010, Yunlin County Kuanshu Educational Foundation has been commissioned to organize
“Cheng-Long Wetland International Environmental Art” annually, inviting international artists and
residents to share their concerns on environmental issues. The materials used in these environmental
art installations are bamboo, driftwood, and other natural materials and recycled materials without
environmental hazard [24].
2.2. Craft Education and Teaching Practice

The training of Taiwanese technicians in schools began with the Nantou County Technology
Research Course, which was held by Gan Sui-Liong from 1954 to 1958. In 1953, the Department of
Industrial Education of the National Taiwan Normal University established the Technology Education
Group. From the 1960s to 1980s, Gan Sui-Liong, who was regarded as the father of Taiwanese
craftsmanship, developed technical talents in universities and colleges, such as the National Taiwan
University of Arts [25]. In 1994, the school was restructured, and the department of art industry was
renamed as the department of craftsmanship, one of the few university departments in Taiwan that
retained “crafts” in the name [26]. Since the 1990s, schools in Taiwan have designated courses similar
to traditional craftsmanship, such as model making, craftsmanship, and practical ability training [12].
However, the courses mainly focused on artificial material techniques, including plastics, metal, and
glass. Natural materials were more popular in workshops with pedestrian equipment, where bamboo,
rattan, or hemp were rarely seen. This contrast shows the scarce attention paid by universities and
colleges in Taiwan to crafts of natural materials that demonstrate local culture and wisdom in 1990s.
In the 21st century, the traditional apprenticeship has gradually disappeared, and the inheritance of
such technique has gradually extended from folk workshops to government departments in charge of
cultural vocational training and colleges and universities. Thus, the sites of technological knowledge
transfer have changed [27].
Since 2005, the National Taiwan Craft Research and Development Institute has promoted the
“Local Craft Characteristic Counseling-Community Craft Support Plan”. It has been 13 years since
craftsmen cooperated with university teachers and students to promote craft learning in the community,
develop local craft products, and increase craft production to foster local industries [28]. These
initiatives have led university teachers and students to study in the community, through which
professional design departments have obtained creative ideas and knowledge on site by collaborating
with local industrial units to design cultural commodities, itinerary programs, and community public
spaces, especially the “Yii Craft Fashion Plan” (Cross-domain Creative Application Plan for Craft New
Appearance) that was promoted by the Technology Research and Development Center and Taiwan
Creative Design Center for five consecutive years from 2008 to 2013. In this event, a large number of
works created via collaboration by bamboo craftsmen and designers won high praise in international
exhibitions, such as those in Milan, Paris, and New York [5]. Since 2008, the National Taiwan Craft
Research and Development Institute has launched a program of “new interest in craftsmanship” to
train new-generation craftsmen through the tripartite cooperation of craftsmen, teachers, and students
of college design departments [29]. However, each young person is in close contact with a craftsman
for at most six months according to the plan. Although these various projects give young people access
to bamboo and a deeper understanding of the concept of sustainability regarding the bamboo craft,
the communication of craft education is short and not long-lasting, and the teaching of technique
and knowledge is shallow and not deep. Such a fragmented craft learning process makes education
regarding sustainability scattered and concealed.
As part of general education, craftsmanship education aims to give students access to materials
and tools, sparking students’ interest, familiarizing students with operations through design and
methods, and cultivating their personalities. In doing so, students understand the relationship between
products, labor, society, and economy and gain the experience of industry development, family life,
and interest. The value of craftsmanship education lies in the real experience, personality exertion,
common participation, independent creation, cultural inheritance, observation and experiment, and
physical and mental integration [30]. The craft teachers’ works feature skills and creativity so that
students can see the work, hear the teacher’s interpretation of the work, propose creative questions,
Sustainability 2019, 11, x FOR PEER REVIEW 5 of 20
creativity
have spaceinto real objects and
for self-expression in specific
their ownpractice [31].
practice, andStudents are inspired
turn the creativity intoto beobjects
real creative
andthrough
specific
practice
practice [31]. Students are inspired to be creative through practice and study according to thebamboo
and study according to the needs of daily life, recognize the characteristics of needs of
processing, and appreciate
daily life, recognize and apply its
the characteristics of value
bamboo [32]. The best learning
processing, methodand
and appreciate is toapply
provide students
its value [32].
with
The best learning method is to provide students with access to the most primitive first-hand dataof
access to the most primitive first-hand data or works and to experience the combination or
physical
works and strength and intelligence
to experience in artistic
the combination of creation
physical[33].
strength and intelligence in artistic creation [33].
3.3.Methods
Methods
The bamboocraftsmanship
The bamboo craftsmanship courses
courses in universities
in universities are influenced
are influenced by factorsbysuch
factors
as thesuch as the
geographical
geographical location, operation conditions, and faculty of a university; therefore,
location, operation conditions, and faculty of a university; therefore, the skills and concepts imparted the skills and
concepts
by bamboo imparted
craftsmenby and
bamboo craftsmen
the needs and the
of students areneeds of students
so complex are so that
and diverse complex andmethods
teaching diverse that
vary
teaching
from onemethods
department varyto from oneTherefore,
another. department thistostudy
another.
adoptsTherefore, this study
a qualitative researchadopts
method a qualitative
to conduct
research
in-depthmethod to conduct
observations in-depth observations
and inquiries regarding on-siteand inquiries
teaching,regarding
observe and on-site teaching,
analyze observe
the cognition
and analyze and
of teachers the cognition
students with of teachers
respectand students bamboo
to learning with respect to learning and
craftsmanship, bamboo craftsmanship,
perform qualitative
and perform
research, aimingqualitative research,
at establishing aiming with
relationships at establishing relationships
the subjects and with the and
sampling, collecting, subjects and
analyzing
sampling, collecting, and analyzing data. These factors will have an impact on the
data. These factors will have an impact on the value and validity of the research conclusions [34]. value and validity
of theThe
research conclusions
research process is[34].
divided into three parts, as shown in Figure 1. Part 1 is pre-preparation
and field observation, part 2 is courseinto
The research process is divided three parts,
observation as shown
period and datain Figure 1. Part
collection, and1 part
is pre-preparation
3 is analysis of
and field observation, part 2 is course observation period and
course records and interview data. The detailed research process is as follows. data collection, and part 3 is analysis
of course records and interview data. The detailed research process is as follows.
Figure 1. Research methodology (three parts). ESD: education for sustainable development.
Figure 1. Research methodology (three parts). ESD: education for sustainable development.
• Part 1 focuses on the teaching of bamboo craft courses in universities and used a text analysis
• method
Part to collect
1 focuses relevant
on the research
teaching works,craft
of bamboo academic
coursesjournals, special reports,
in universities news
and used reports,
a text and
analysis
website to
method content.
collectFollowing the collection,
relevant research works,the subjects journals,
academic of the course were
special observed
reports, newsin teaching
reports,
and website content. Following the collection, the subjects of the course were observed the
sites, and the class atmosphere was evaluated to gain the trust of the subjects and adjust in
subjects of
teaching study.
sites, and the class atmosphere was evaluated to gain the trust of the subjects and
• adjust
Part 2 features the participatory
the subjects of study. observation method through which researchers participated in the
• course personally to observe and record the teaching
Part 2 features the participatory observation methodprocess,
throughcourse
whichcontent, and teacher–student
researchers participated in
interaction
the course in bamboo craft
personally teaching.
to observe andStudents
record of thetheteaching
course participated in semi-structured
process, course content, and
interviews to indicate their motivation for taking the course and their early
teacher–student interaction in bamboo craft teaching. Students of the course participated in impressions of
bamboo materials.
semi-structured interviews to indicate their motivation for taking the course and their early
• impressions
Part 3 adopts ofthe grounded
bamboo theory to extract details and connotations and conduct qualitative
materials.
• analysis of word-by-word
Part 3 adopts the grounded theory editingtoand images
extract to and
details put connotations
researchers and
in the real situation
conduct of
qualitative
class teaching.
analysis of word-by-word editing and images to put researchers in the real situation of class
teaching.
In a study with limited resources and conditions, under the guidance of the sustainable
In a study with limited resources and conditions, under the guidance of the sustainable
development education literature, data was collected through participatory observation, in-depth
development education literature, data was collected through participatory observation, in-depth
interviews, social platforms, and literature review, and data collection stopped when the viewpoints
interviews, social platforms, and literature review, and data collection stopped when the
of data presentation were saturated. In an in-depth interview, the Department of Cultural Heritage
viewpoints of data presentation were saturated. In an in-depth interview, the Department of
Conservation was used to study resource and condition constraints. The Department of Cultural
Cultural Heritage Conservation was used to study resource and condition constraints. The
Department of Cultural Heritage Conservation and Department of Creative Design at National
Heritage Conservation and Department of Creative Design at National Yunlin University of Science
and Technology offers a long-term, two-year track program in which researchers participated in class
as students to see the panorama of bamboo craftsmanship curriculum in the university with respect to
different aspects of technique and creativity and to supplement new information.
The “bamboo craftsmanship” discussed in this study refers to the craft of bamboo plaiting, bamboo
carving, and bamboo tube furniture building, rather than the mechanical or deep-processing of bamboo
laminates, bamboo charcoal, bamboo paper, or bamboo fibers. When the keyword of “bamboo” is used
to search for courses on the websites of universities and colleges, the earliest course related to bamboo
craftsmanship after 2000 was “bamboo craftsmanship” offered by the Plastic Art Department of Da-Yeh
University in 2001 [35]. This study was conducted from October 2016 to November 2018, when four
departments of three universities in Taiwan offering courses related to bamboo craftsmanship were
selected as the subjects of study, including the Department of Cultural Heritage Conservation and
Department of Creative Design, National Yunlin University of Science and Technology(YC/YD); the
Department of Leisure, Recreation, and Tourism Management, Southern Taiwan University of Science
and Technology(STL); and the Department of Tea and Ceramic, Asia-Pacific Institute of Creativity(APT).
During the study, National Kaohsiung Normal University and National Chung Hsing University also
offered bamboo courses, but the courses offered by the Department of Industrial Design, National
Kaohsiung Normal University and the Department of Forestry, National Chung Hsing University
were excluded from the study due to their respective focuses on wood craftsmanship and mechanical
processing of bamboo materials. The course offered by the Department of Crafts and Design, National
Taiwan University of Arts was also not included in the study given that the bamboo craftsmen of this
course did not respond during the research and did not personally participate in the course observation
and in-depth interviews. Among the subjects of the study, the bamboo craftsmen talked about the
characteristics of university technique teaching; students mainly talked about how they perceive their
learning experience and how they master techniques; and the university teachers mainly talked about
the ideas of school craft curriculum, as shown in Table 1.
Table 1. Basic information of interviewees for the teaching of bamboo craftsmanship.
Code of Course Code of Interviewees (Personal Background, Date of Interview)
• YC-C01(Craftsman in a course on bamboo plaiting at YC,

2016/10–2018/11)
• YC-C02(Assistant of craftsman for a course on bamboo plaiting
at YC, 2016/10–2018/11)
• YC-C03(Graduating from YC, ex-teaching assistant for bamboo
YC (Department of Cultural Heritage Conservation, National plaiting course after graduation, 2017/05/05 and 2018/01/03)
Yunlin University of Science and Technology) • YC-S01-33(Students from different grades of the same
department at the university in a course on bamboo plaiting at
YC, 2016/10–2018/11)
• YC-T01(Professor, YC, 2018/01/10)
• YC-T02(Office assistant at YC, 2017/12/13)
• YD-C01(Craftsman in a course on bamboo design at YD,

2016/10–2018/11)
• YD-S01-45(Students from different grades of different
YD (Department of Creative Design, National Yunlin departments in a course on bamboo design at YD,
University of Science and Technology) 2016/10–2018/11)
• YD-T01(Professor, College of Design, National Yunlin
University of Science and Technology, ex-dean of YC,
2018/05/29 and 2018/09/18)
Table 1. Cont.
Code of Course Code of Interviewees (Personal Background, Date of Interview)
• STL-C01(Craftsman in a course on bamboo DIY at STL,

2017/05/03 and 2018/03/07)
• STL-C02(Graduate of STL, teaching assistant for a bamboo
plaiting course after graduation, 2018/03/08 and 2018/05/09)
STL (Department of Leisure, Recreation, and Tourism • STL-S01-18(Junior and senior students of different departments
Management, Southern Taiwan University of Science and in a course on bamboo DIY at STL, 2018/03/09)
Technology) • STL-T01(Associate professor, Department of Creative Product
Design, Southern Taiwan University of Science and Technology,
multiple participation in the theme of “new interest in
craftsmanship”, 2018/03/09)
• APT-C01(Craftsman in a course on bamboo craftsmanship at

APT, 2016/11/12 and 2017/12/15)
APT (Department of Tea and Ceramic, Asia-Pacific Institute of • APT-S01-30(On-the-job students and common students in a
Creativity) course on bamboo craftsmanship at APT, 2017/12/15)
• APT-T01(Teacher of the department of Asia-Pacific Ceramic Art
Design, 2017/12/06)
4. Results and Discussion

This chapter mainly discusses the teaching methods, learning effectiveness, and methods of
promotion regarding bamboo craftsmanship courses from October 2016 to November 2018offered by
the following departments and institutions: YC; YD; STL; and APT. The following analysis will begin
with teaching practices, followed by student learning, and promoting ESD competencies.
4.1. Teaching Practices of Four Departments of Three Universities: Dissemination of Knowledge, Techniques,
and Creativity of Bamboo Craftsmanship
4.1.1. YC: Learning Complete Advanced Bamboo Plaiting Techniques through Serial Courses Covering
Bamboo Processing, Bamboo-making Machines, and Spray Painting
Bamboo can be processed into thin strips or sheet materials for bamboo plaiting, commonly known
as bamboo strips. The processing procedures of bamboo strips include selecting materials, sawing
bamboo, pruning, scraping, dividing, splitting, setting the width, thinning, and chamfering [36]. In
this study, YC is the only department that teaches students bamboo processing. Teachers provide
students with the boiled insect- and mold-free bamboo pipes in advance for the learning of follow-up
bamboo processing. This is closely related to how bamboo craftsmen begin work on bamboo art.
Subject YC-C01, a craftsman, believes that the “bamboo cutting technique is the most fundamental
technique of bamboo plaiting, and only by mastering bamboo cutting technique can bamboo be woven
independently. The process is complex and highly technical, resulting in the difficult inheritance of
bamboo plaiting” (respondentYC-C01, 2018/05/29). Considering that students can select different
courses at the four-year university, teaching bamboo technique during university is a sustainable
practice; craftsmen offer serial bamboo plaiting courses of (1)–(8) each semester. Students who are
really interested in bamboo plaiting may take related courses from freshman year to senior year and
graduate after having learned the technique for three years and four months, as required by the
traditional apprenticeship system. In doing so, they have the opportunity to master a set of techniques
in bamboo plaiting within four years. However, this will cause the level of bamboo plaiting techniques
to vary in the same course, which requires teachers to teach students of different ages.
The bamboo plaiting of students in the same semester can be divided into three different levels.
All students have class in one area of the classroom for demonstration guidance and peer learning.
The teaching process is roughly as follows (Table 2): (1) The teaching assistant asks beginners to use
machines to cut bamboo bars with which they make some objects, such as a fruit tray, round bowl, or
basket, so that they learn better the warp and weft of bamboo plaiting and practice the techniques
of character plaiting, roulette plaiting, and brush raw lacquer; (2) YC-C02 instructs students who
individual
individual
take the course counseling,for theaction
counseling, action
second demonstration,
or third time and
demonstration, to and cutmaterial
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bamboo crafts: (1) bamboo-woven fish, learning the simplest way to make a three-dimensional shape
and color painting decoration; (2) bamboo-balanced birds, the ability to cut and slash the bamboo
with a knife and to understand the relationship between the control of upper strength and angle
and the change of bamboo shape, as well as bamboo heating and bending; and (3) eyeglass frames,
conducive to learning pentagonal plaiting and free plaiting, is a unit component of modern bamboo
household products.
4.1.3. STL: Simple Bamboo Art DIY to Foster Bamboo Art Aesthetics and Disseminate Bamboo Culture
STL-C01 said, “At the beginning, it was a co-operation between production and learning on a
leisure farm. During the cooperation, we trained several students. They would teach tourists with
spare time to learn bamboo plaiting, and these teachers earned good reputation from tourists, so the
university was told that the students met the current needs very well” (STL-C01, 2018/03/07). Thus, the
bamboo art course was held at STL to combine the leisure industry with technique, add a personal
touch to a large number of manufactured products, and use traditional materials in daily life to bring
deep feelings to consumers. In the past, bamboo was available everywhere. After the Industrial
Revolution, different thinking regarding daily necessities emerged, and bamboo products were found
to mold easily if not handled properly. As a result, consumers were less likely to demand bamboo
products, and they gradually disappeared from our daily life.
In the beginning of the course, the main consideration is the technological needs of the department.
Later, considering the needs of the students selecting this course, graduated students also contribute
ideas. Then, teachers put the adjusted teaching content regarding bamboo art into later courses.
STL-C01 intends to cultivate people who understand bamboo culture and consumers of bamboo
products and increase the motivation for bamboo craft inheritance. Teachers prepare long-branch
bamboo strips and related DIY accessories from Tainan. In each weekly two-hour course, students can
work on a different type of bamboo art, completing it as much as possible, and can make more than 10
works of DIY bamboo plaiting in a semester. The required tools are only scissors, spray kettles, pins,
and cones. STL-C01 is mainly responsible for explaining the relationship between bamboo growth
characteristics and utilization, bamboo in different parts of Taiwan and the distribution of the bamboo
industry in Taiwan, and the supplementing of other techniques. STL-C02, the teaching assistant,
demonstrates every single step of bamboo plaiting for the students, such as creating bamboo rings
and balls.
4.1.4. APT: Simple and Basic Techniques for Free-shape Changes; Slow-paced Life with Tea
APT specializes in cultivating creative talents for tea and ceramics to improve people’s quality of
life with respect to tea and taste. Through the teaching of the manual chopping of bamboo strips and
basic bamboo plaiting techniques by bamboo artists, these ceramists and tea businessmen are guided
to create bamboo wares that can improve the aesthetics of living spaces. In doing so consumers can
experience a variety of features offered by bamboo, such as flexibility, warmth, and environmental
protection, and understand and cherish the compatibility between traditional and modern bamboo art.
APT-C01 asks students to produce 2–3 pieces of work in one semester. Every two weeks students
will learn techniques of basic square-mouth plane plaiting and wheel-mouth plaiting for three hours.
In the first lesson, the teacher brings more than 20 pieces of bamboo crafts collected from foreign
countries, such as Indonesia, Japan, and Thailand. At the same time, he shows students his works from
different periods and introduces changes in bamboo craftsmanship and people’s living requirements.
In the second lesson, the teacher begins to teach students to understand bamboo materials and to
demonstrate the process of bamboo strip processing in turn. APT-C01 demonstrates the process of
bamboo stripping while explaining the material treatment methods to students, such as being careful
not to leave scars on bamboos because scars affect the skin of bamboo strips and make bamboos more
fragile in plaiting. Next, students are taught basic plaiting and free shaping. APT-C01 said: “This time
I teach square plane plaiting that can be applied to flower-related tools and lamps, instead of dense
plaiting and
bamboo free shaping.
for more than 40 APT-C01
years andsaid:
the "This time
first 30 I teach
years weresquare plane plaiting
very bitter. that the
I was using can traditional
be applied
to flower-related
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with this, so I aminstead of dense
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large orFirstly, shape with
small quantities”
wire, then 2017/12/15).
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bamboo for more than 40 years and the first 30 years were very bitter. I was using the traditional
4.1.5.
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than 40 of teaching
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very bitter. I was using the traditional method and then with this, so I am interested in the variety of
(Table 3) with respect to perspectives on teaching purposes and the curricula used to convey
bamboo
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three Universities
universities.
theSummary:
next sectionComparison
and the assessment of ESD Practices
competencies.
4.1.5. of Teaching of Bamboo Craft Courses in Four Departments of
Three The teaching practices inTeaching
Universities
Department the university
Purposeclasses on bamboo art with bamboo craftsmen vary
Teaching content
Table 3. Comparison of teaching practices of bamboo craft courses in four departments of three
(Table 3) with respect to perspectives on teaching purposes and the curricula used to convey
The teaching
universities.
knowledge, practices
Mastering
technique, in
thethe
coreuniversity
and creativity relating to classes
foundation of
bamboo on bamboo art with
art.Understanding
These analyses bamboo
material
providetools, craftsmen
for vary
practicing
a reference
(Table
the 3) with respect to
bamboo
next section and perspectives
dissection
the assessment on
ofandteaching
ESDlearning purposes
basic
competencies. and the curricula used to
bamboo cutting techniques, and convey knowledge,
Department Teaching Purpose Teaching content
technique, and creativity
plaitingrelating to bamboo
techniques art. These
and advanced analyses
serial provide
learning bamboo a reference
plaiting. for the next section
Table 3. Mastering
Comparison of the core
teaching
and the assessment of ESD competencies. foundation
practices of of
bamboo craftUnderstanding
courses in four material tools,
departments of practicing
three
universities.
courses of refined techniques.
YC bamboo dissection and learning basic bamboo cutting techniques, and
Table 3. Comparison
plaiting of teachingand
techniques practices
advanced of serial
bamboo craft bamboo
learning courses plaiting.
in four departments of
Department Teaching Purpose Teaching content
three universities.
courses of refined techniques.
YC Mastering the core foundation of Understanding material tools, practicing
Department Teaching Purpose Teaching Content
bamboo dissection and learning basic bamboo cutting techniques, and
Understanding material tools, practicing
plaiting techniques and advanced serial bamboo
learningcutting
bamboo plaiting.and learning
techniques,
Mastering the core foundation of Simple bamboo plaiting techniques,
courses of refined techniques. bamboo plaiting.
YC bamboo dissection and learning bamboo cutting and bending skills, and
YC basic plaiting techniques and
advanced serial courses of refined transformation and application of
Simple bamboo plaiting techniques,
Familiarity with material characteristics, process design.
techniques.
basic bamboo shaping ability, and bamboo cutting and bending skills, and
YD
independent design of cultural transformation and application of
Simple bamboo plaiting techniques, bamboo
Familiarity with material characteristics,
commodities. process design.
cutting
Simpleand bending
bamboo skills, and
plaiting transformation
techniques,
basic bamboo shaping ability, and and application of process design.
YD Familiarity with material
independent design of cultural bamboo cutting and bending skills, and
characteristics, basic bamboo
YD commodities.
shaping ability, and independent transformation and application of
design
Familiarity of material
with cultural commodities.
characteristics, process design.
basic bamboo shaping ability, and Understanding bamboo culture,
YD
independent design of cultural materials, and techniques and
commodities. Understanding bamboo culture, materials, and
experiencing
techniques andbamboo art practice.
experiencing bamboo art
Simple bamboo art DIY, cultivating Understanding bamboo culture,
Simple bamboo art DIY, practice.
STL bamboo cultivating
art aesthetics, andart aesthetics, materials, and techniques and
bamboo
STL
and disseminating
disseminating bamboo
bamboo culture. experiencing bamboo art practice.
Simple bamboo
culture. art DIY, cultivating
STL 2019, 11, xbamboo
Sustainability FOR PEER REVIEW
art aesthetics, and Understanding bamboo culture, 11 of 20
disseminating bamboo culture. materials, and techniques and

with tea pottery. practicing basic
Introducing bambootechniques of bamboo
art knowledge,
experiencing bamboo art practice.
Simple
Simple basic
bamboo techniques, free-shape
art DIY, cultivating Introducing
plaiting.
demonstrating bamboo
bamboo art knowledge,
processing, and
APT practicing basic techniques of bamboo plaiting.
change, and enjoying a slow-paced life demonstrating bamboo processing, and
STL bamboo Simple
art aesthetics, and
basic techniques,
APT free-shape change, and enjoying a
disseminating
Simple basic bamboo culture.
techniques, free-shape Introducing bamboo art knowledge,
APT slow-paced life with tea pottery.
change, and enjoying a slow-paced life demonstrating bamboo processing, and
Simple basic techniques, free-shape Introducing bamboo art knowledge,

4.2.4.2.
EDS APT
Evaluation Criteriaof Four Bamboo Craft Courses(YC, YD,
EDS Evaluationchange, and
Criteriaof enjoying
Four a slow-paced
Bamboo Craft life YD,
Courses(YC, STL,STL, APT):
demonstrating
APT): The processing,
bamboo
The Different
Different BambooBamboo
and
Craftsman Teaching Contents and Student Learning Effects of Sustainable Development Recognition
Craftsman Teaching Contents and Student Learning Effects of Sustainable Development Recognition
4.2.1. ESD
4.2.1. Evaluation
ESD EvaluationCriteria of Four
Criteria of FourBamboo
Bamboo Courses:
Courses: TheThe Different
Different Bamboo
Bamboo Craftsman
Craftsman Teaching
Teaching
Contents of Sustainable Development Recognition
Contents of Sustainable Development Recognition
When
WhenYCYC waswas
newly established,
newly the the
established, study of handicraft
study was was
of handicraft the foundation of cultural
the foundation heritage for
of cultural
cultural sustainability,
heritage especially looking
for cultural sustainability, to the
especially futuretowhen
looking students
the future whenwill be engaged
students in the restoration
will be engaged in
the restoration or preservation of cultural relics and management. Therefore, currently, several
optional courses of handicraft are offered, including woodcarving, lacquer-ware, bamboo plaiting,
and sculpture modeling. Teachers equipped with professional traditional skills have been hired.
Courses of bamboo craft, wood carving and sculpture modeling are all given in a special
craftsmanship classroom, with a special tool cabinet equipped with a complete set of tools, including
a scraper, chopper, clamp, thinner, chamfer, and spray kettle, as well as a cutting machine, grinding
or preservation of cultural relics and management. Therefore, currently, several optional courses of
handicraft are offered, including woodcarving, lacquer-ware, bamboo plaiting, and sculpture modeling.
Teachers equipped with professional traditional skills have been hired. Courses of bamboo craft, wood
carving and sculpture modeling are all given in a special craftsmanship classroom, with a special tool
cabinet equipped with a complete set of tools, including a scraper, chopper, clamp, thinner, chamfer,
and spray kettle, as well as a cutting machine, grinding wheel, and some mechanical equipment.
YD, aiming to train talents of creative design and local design, offers various optional craftsmanship
courses, such as metalworking, ceramics, glass, and bamboo. The professor of the Design Institute
mentioned that “at the beginning of the department, these craftsmanship courses were offered to let
students know that craftsmanship is more than plastics and metals. Not only can modern materials be
used to design objects, but also different kinds of materials. Later, it was found that students would
use bamboo to design large objects and cooperated with teachers to participate in IF, Reddot and New
Generation Design Competition” (Interviewee YD-T01, 2018/05/29).
In 2013, the bamboo art course was offered in response to the needs of STL students with regards
to market experience. The teaching focuses on the cultural education of bamboo technique so that
students can master basic knowledge and understand Taiwan’s bamboo craftsmanship culture, such as
the significance of Guanmiao in Tainan—home to long-branch bamboo. The Department of Creative
Product Design did not offer specialized craftsmanship courses, but it did offer optional courses, such
as technical design and technical creation. To prepare for these courses and the need for graduation
projects, students will choose technical courses in other departments to supplement their knowledge.
In order to enhance the professionalism of tea and ceramics professionals in Taiwan, APT extended
the recruitment of tea and ceramics experts, set up first-class professional equipment and sites, and
invited bamboo plaiting technicians to verify and test the sites. In 2015, Hsien-ping Chang was invited
to lecture on-the-job students and full-time students in the Department of Tea and Ceramic every week.
Students are taught how to make flowers or lanterns for tea space arrangement.
These four departments set up bamboo craft courses under different contexts, and the educational
development methods of knowledge, culture, natural attributes, creativity, design, and life applications
are different. Undergraduate students have the opportunity to learn one or more traditional Taiwanese
crafts. Table 4 shows the ESD evaluation criteria that emerged from analyzing the bamboo craftsman’
interview responses and behaviors relating to knowledge, practical skills, ethical values, system
thinking, and emotions.
Table 4. Evaluation criteria of the four bamboo courses: results obtained from observation and
interviews with bamboo craftsman.
Category Subcategories YC YD STL APT

√
Knowledge of cutting bamboo strips
Knowledge of bamboo species and √ √ √ √
characteristics
√ √ √ √
Knowledge of bamboo plaiting
Knowledge [15] Knowledge of using a knife to make the √
shape of a bamboo tube
Knowledge of using fire to make √
skewers
Knowledge of bamboo surface √ √
treatment techniques
√
Bamboo cutting skills
√ √
Tool usage
Practical skills [18] Execute the basic rules of bamboo √ √ √ √

plaiting
Understand the applications of bamboo √ √ √ √
in life
Table 4. Cont.
Category Subcategories YC YD STL APT

Bamboo cutting is the most √
fundamental technique
Ethical values Be familiar with the characteristics and √ √ √ √

[15,18] limitations of bamboo to produce good
work
Identification and recognition of natural √ √ √ √
diversity
Bamboo techniques from easy to √
Systems thinking difficult
[16] A combination of craftsmanship and √ √ √
artistic expression
The relationship between the size, √ √
thickness, and product fabrication
Beginners learn easy techniques, which √ √ √ √
gives them a sense of achievement
Plaiting simple, free expression of √ √ √
Emotions [17] beauty
√ √
Takes a lot of time and effort to shape
Be patient and follow the steps, fast √
plaiting can lead to errors
In relation to the knowledge dimension, bamboo craftsmen tend to focus on bamboo species and
characteristics and bamboo plaiting. Only a few assign importance to knowledge about the cutting of
bamboo strips, such as YC, which is caused by the culture heritage department and bamboo craftsmen’s
personal backgrounds. Referring to the practical skills dimension, the focus of the bamboo craftsmen
remains on skills related to the basic rules of bamboo plaiting and the application of bamboo in life. A
small number of bamboo craftsmen take into account bamboo cutting skills and tool usage, which is too
difficult for students learning in university. Considering the ethical values, bamboo craftsmen referring
to this dimension were familiar with the characteristics and limitations of bamboo to produce good
work and the identification and recognition of natural diversity. Issues related to the systems thinking
dimension were related to craftsmanship and artistic expression. A few bamboo craftsmen took into
account other systems thinking concerns, such as a bamboo technique advancement system and the
relationship between bamboo strip size and product. Finally, the emotions dimension is characterized
by learning easy technique through which they obtain a sense of achievement. In short, bamboo
craftsmen assign more relevance to the basics of bamboo technique and simple bamboo procedures,
quickly giving a sense of accomplishment, than to the more difficult techniques, such as cutting bamboo
strips, making a shape on bamboo with a knife, and craft surface treatment to make decorations.
4.2.2. ESD Evaluation Criteria for the Four Bamboo Courses: The Different Student Learning Effects of
Sustainable Development
1. YC: knowing bamboo tools, controlling strength, mastering bamboo plaiting and mutual help
among students of primary and advanced levels.
Generally speaking, the motivations of YC students who are influenced by cultural heritage is as
follows: (1) they have taken other courses on traditional crafts before and are interested in developing
more skills; (2) they have been recommended the courses by elder students; (3) they are available
for the course; (4) they have taken several bamboo plaiting courses and admire their teachers very
much; (5) they feel very healing and relaxing when plaiting bamboo; and (6) the community offers
bamboo plaiting courses at a cost so students prefer to learn in university. These students can basically
be divided into three groups: (1) students taking the course for the first time; (2) students taking the
course for the second or third time; and (3) senior students who have taken more than three courses.
Students taking the course for the first time were completely unfamiliar with the operation of bamboo
plaiting, some of whom had seen bamboo baskets and chairs in the houses of the elderly but had never
used them. These students gradually acquired a basic understanding of bamboo plaiting materials
and tools, and their interest was aroused after they found that the technique was not as difficult as they
imagined. In the process of plaiting, their eyes ached, and they forgot the plaiting methods from time
to time, but their teachers taught them patiently and guided them to find the plaiting rules slowly.
Some of the students taking the course for the second or third time learned to dissect bamboo and
handle the bamboo strips well. These students have not yet finished their work. When they return to
take classes, their teachers will ask them what they want to learn going forward. Part of the course is to
learn how to cut a two-section bamboo branch, and the other part is to plait baskets of complex patterns.
Regarding the practice of bamboo cutting, the teacher first demonstrates each step, and the students
slowly adapt the methods of bamboo cutting according to the correct method taught by the teacher.
Bamboo strip processing starts from material preparation. The techniques of calculation and plaiting
of the width and thickness of bamboo strips should be carefully considered in advance. It cultivates
students’ rigorous, orderly, and systematic thinking. When in YC, YC-C03 began to learn bamboo
plaiting techniques and has been specialized in bamboo craftsmanship since graduation. YC-C03
mentioned that bamboo cutting is what makes her enjoy bamboo plaiting. “I think bamboo plaiting is
a very interesting craft, because I like it. My previous experience was that plaiting will be limited by
materials, which is true. Later, when the teacher teaches bamboo cutting and gives me bamboo tube, I
am not limited by materials by preparing materials I need” (interviewee YC-C03, 2018/01/03). Students
who have been regularly trained by bamboo plaiting teachers in university will appreciate the skills of
bamboo art in the actual field, make outdoor devices with free plaiting in practice, learn to apply what
they have learned, have a better understanding of bamboo technique, and recognize the link between
traditional culture and local sites.
2. YD: learning the relationship between bamboo art and design, using tools to shape bamboo
materials, and testing resources and ability.
This course is offered in the fourth academic year of YD, but in fact, students of all grades in all
departments are allowed to take it, from YC/YD, the Department of Industrial Design, the Department
of Visual Communication Design, and so on. More than half of the students are junior and senior
students of the design department, most of whom come to the class because they are interested in
handicrafts or they are available when the course is offered. The motivations for selecting the course
are as follows: (1) they have seen finished bamboo products and want to know the manufacturing
process; (2) they are interested in bamboo crafts and enjoy the texture of bamboo; (3) bamboo represents
Taiwan’s culture, but they are not familiar with the tradition; (4) they want to know more about
bamboo crafts, which may be used in their future creations; (5) they enjoy handicraft courses; (6) they
thought the course was about learning bamboo plaiting, and they believed that it was interesting
because they used to take DIY experience classes; and (7) they want to learn handwork as the craft
courses of YD are well-known. The teacher explains the structure and techniques of traditional bamboo
craftsmanship in detail for the students in the first two courses and tells them how to use these practices
in modern bamboo craftsmanship and designate methods to transform them. In class, students will
learn more about bamboo materials and learn techniques of bamboo cutting and bamboo bending while
adding their own creativity to develop the final effect through experimentation and the accumulation
of experience regarding the combination of bamboo technique and design. These students are not
familiar with bamboo techniques, but they follow the guidance of teachers and conscientiously learn
the techniques without neglecting any detail. The creativity of the students of the department of
design is influenced by their personality, especially when faced with unfamiliar techniques, and they
practice everything taught by their teachers in class, ranging from plaiting and cutting to baking and
bending. When the skills are mastered to a certain extent, they unconsciously give full play to their
creativity in shape making, and teachers often encourage them to experiment with their shape and
color preferences. Students gradually become familiar with bamboo materials through experiments,
explore the diversity of bamboo crafts, and also test their own technological resources and abilities.
They will not turn to their teachers for help unless they have problems beyond their skills, such as the
ruptured bamboo. In the interview, one student mentioned that “learning the craft course in university
helps them understand the resources they have and their own limitations. Learning to make traditional
bamboo-related tools owns the advantages of low price, rapid growth and accessible materials over
lacquer, glass and metalworking. The external cost for learning bamboo art is low, and only the input of
tools, physical strength and time is needed to start learning.” (YD-S12, 2017/12/11). The annual “New
Generation” Design Exhibition for Taiwan’s design graduates includes process design, which attracts
about 10 bamboo-based works designed by students each year. The same is true for YD students.
Several senior students come to study bamboo art every semester conscientiously. Not only do they
complete the exercises according to the teacher’s requirements, but they also experiment and consult
the teacher for suggestions. The open discussions with the teacher in class allows the students not only
to learn and understand bamboo technique in class, but also to start their students’ creative journey
and rediscover their enthusiasm and all kinds of possibilities for design.
3. STL: learning about bamboo art materials, knowing historical stories, and experiencing bamboo
plaiting techniques.
This course was offered in STL in 2013. Later, the students of the Department of Creative Product
Design (DCPD) wanted to use bamboo to make designs for STL. Almost every semester, students
of DCPD, who typically account for about half of the total number of students, often stay in the
classroom until very late and go to the teacher’s studio to practice bamboo dissection after class to
further learn bamboo plaiting. Their motivations for selecting the STL bamboo craft course are as
follows: (1) Students of DCPD may apply bamboo art to the future creations; (2) they have seen bamboo
products, but they have not made such products by themselves; and (3) bamboo art is so interesting
that deserves a try. STL has provided a course on bamboo art every semester since2013 for two hours a
week. Students are unfamiliar with bamboo materials before they take the course on bamboo art. In an
interview, one student said, “It’s hard to get in touch with something on which you had no memory
in your childhood. Without contact, it is very difficult to have connections. People need emotional
connections to feel.” (Interviewee STL-S01, 2018/03/09). Students can hear the teacher’s explanations of
bamboo growth in the course, such as the different density of skin and meat, different hardness, and
different usage. In the process of practice, students first watch the teacher’s demonstration and then
do it on their own, familiarizing themselves with bamboo plaiting by asking the teacher questions. At
the same time, the graduation projects of these students receive good comments because of their basic
knowledge of the characteristics of bamboo and their good communication with bamboo artists.
4. APT: learning simple bamboo plaiting, adapting to features of bamboo materials, and giving full
play to creativity.
APT has seven ceramic firewood kilns of different forms, the guidance of excellent teachers
from the tea and ceramics industries, and collaboration between a number of studios and the tea and
ceramics industries. The bamboo art course is a compulsory course of APT, which a small number
of full-time college students attend, mainly for the improvement of professional skills. In the survey
conducted from September 2017 to January 2018, 30 students who had studied bamboo art courses were
interviewed, of which 24 were from APT, namely social workers and 6 full-time college students. Their
motivations for selecting the course are as follows: (1) Bamboo art teachers are masters, and students
have an opportunity to learn from masters; (2) to know people interested in tea and ceramics and
make friends with them; and (3) bamboo and tea pottery are very related trades. After demonstrating
knowledge of bamboo art and techniques of bamboo cutting, the teacher asks students to split the
material by themselves. Only 5–6 students typically want to try cutting bamboo, because everyone
understands the difficulty and complexity of bamboo strip processing. They also admire the bamboo
plaiting technique. Students first complete the basic square-plane plaiting on the table, followed by 2–3
units of shape. Then, they combine and curl them up. After seeing their work, teachers will instruct
the students on how to make the shape they want and will think about how to adjust it according to
students’ needs. Then, they will start to make the shape. They will improve their work by adding a
rattan core and fur closure decorations. These students will use bamboo to make tea rules, tea trays,
flower sets, and tea needles, especially with silver, because silver will conduct heat. Thus, silver is
used inside the product, while bamboo is used outside for insulation.
5. Summary: comparison of student learning effects of sustainable development recognition in the

four bamboo courses through ESD evaluation criteria.
Table 5 shows the relationship between the subcategories emerging from the data and the “learning
for ESD” framework for professional competencies in ESD. Based on the relationship established
between the subcategories that emerged and the ESD competencies framework [37], expectations for
“students [in]ESD learning refers to: learning to ask critical questions; learning to clarify one’s own
values; learning to envision more positive and sustainable futures; learning to think systemically;
learning to respond through applied learning; learning to explore the dialectic between tradition and
innovation” (see Table 5).This important component of the bachelor’s degree course allows students
to learn more about how cultural objects are created and how their construction can influence future
deterioration, as well as keeping alive a tradition of Taiwan’s unique blend of Chinese and local artisan
culture. The school employs several nationally recognized craftsmen as external teachers for this part
of the teaching program. Naturally, some students show a greater aptitude and interest in a particular
medium that allows them to develop their artistic skills beyond what is required for completion of
their coursework. The students should be able to acquire the ESD competencies that enable them to
cope with the different culture sustainability challenges that current society is facing.
Table 5. Evaluation criteria of four bamboo courses: the relationship between learning for ESD and the
subcategories that emerged from student interviews.
Learning for ESD [37] Subcategories Emerging from the Data
YC 1. Know how to recognize the value of manual work
1. Understand that the craft and people are getting are growing
YD farther apart
Ask critical questions
1. In Taiwan, there are a wealth of crafts and skilled craftsmen who

STL need us to learn and understand them
APT 1. Advanced technology, expand horizons
1. A life of natural quality

YC 2. Make people close and relax
1. Natural and fresh temperament

YD 2. Cultural sustainability should be combined with life application
Clarify one’s own
values
1. More understanding of bamboo crafts can make more

STL people knowledgeable
1. Can learn with different craftsmen

APT 2. Make friends and expand your network
Table 5. Cont.
Learning for ESD [37] Subcategories Emerging from the Data
1. Reasonable structure and material saving

YC 2. Plaiting techniques can be applied to different materials
1. Design creation will not be limited to industrial materials

Envision more positive YD 2. Bamboo technology has lower cost
and sustainable futures
STL 1. More understanding of bamboo crafts makes more people aware
1. Different techniques of pottery, glass, and bamboo can be applied

APT in pottery, tea ceremonies, and flower paths
1. Only after accurate calculation can the work be completed

YC 2. Strict working procedures
YD 1. Culture, structure, mechanics, and life

Think systemically
STL 1. Culture, technique, and life
1. Different process technologies, tea pottery industry experience,

APT friends in different fields
1. Experience and understand the process of product making

YC 2. Achieve their own ideas.Bamboo is tough
1. Experience is the key to good control

Respond through
applied learning YD 2. Bamboo is tough and elastic
3. Bamboo is not as easy to shape as porcelain
1. Make emotional connections by familiarizing themselves with

STL bamboo plaiting
APT 1. Different crafts are interesting
1. The plaiting methods are various and varied

YC 2. Organizing a bamboo products summer camp as a
community activity
Explore the dialectic 1. Teaching foreigners to make bamboo product can be used in
between tradition and international cultural exchanges
innovation YD 2. Mastering certain technology can free the expression of
creative ideas
3. Study the bamboo technique, which may be used later in design
STL 1. Making more people aware of bamboo culture
APT 1. Different creative applications

5. Conclusions
5.1. There Are Differences in the Position of Bamboo Craft Courses: Teachers’ Craftsmanship and Curriculum
Orientation Are Different, Resulting in Differences in Technical Depth and Creativity
Based on the above analysis of the teaching methods of bamboo craft courses in four departments
of three universities, it is recognized that the teachers and students in different departments have
different backgrounds and have different levels of skill and creativity. Students of the YC study bamboo
craftsmanship for the preservation and operation of cultural heritage. Bamboo art teachers focus on
the improvement of bamboo cutting and plaiting skills, and students can learn a set of rigorous and
standardized bamboo plaiting techniques for years, while creativity is something natural with no need
to teach. Students of the YD learn bamboo art for the needs of cultural commodity design, so teachers
pay attention to the training of bamboo curing, cutting, and other shaping methods, as well as some basic
bamboo plaiting techniques. The decomposition of technical wisdom and the interpretation of oriental
culture are also taught, and the exploration of creative design is required. Students of STL regard
bamboo craftsmanship as a kind of leisure experience, which can be popularized and used. Therefore,
while explaining the knowledge and culture of bamboo art, bamboo craftsmanship teachers provide
experience packages for students to experience bamboo. Students of APT are majoring in tea pottery
design, and they learn bamboo art to increase their understanding of bamboo-made tea materials,
which may include bamboo tea trays, bamboo flower vessels, and bamboo tea rules. Therefore, the
bamboo craft teachers educate students about the collection of tea table-related bamboo utensils.
Overall, bamboo art learning in design departments tends to be a creative practice, and the
learning of bamboo art is moderate: YC focuses on deep learning of bamboo art, while creativity is
something natural with no need to teach; STL sparks interest through the experience of bamboo art,
while skills and creativity are not required; and APT studies the manifestations of diverse bamboo
Sustainability 2019, 11, x FOR PEER REVIEW
art
17 of 20
in tea tables and requires a certain degree of basic skills and shaping ability, as is shown in Figure 2.
Figure 2. Comparing the techniques and creativity requirements of the courses of study of the four
Figure 2. Comparing
departments the schools.
of the three techniques and creativity requirements of the courses of study of the four
departments of the three schools.
5.2. ESD Evaluation Criteriaof Four Bamboo Craft Courses: Skills Learning Itself is Not Complete, But
Provides
5.2. ESDStudents With
Evaluation a Path to
Criteriaof Craft
Four Self-Reliance
Bamboo in Confronting
Craft Courses: CulturalSustainability
Skills Learning Challenges
Itself is Not Complete, But
Provides Students With a Path to Craft Self-Reliance in Confronting CulturalSustainability Challenges
At present, some of the young craftsmanship entrepreneurs in Taiwan are exposed to technique
in universities.
At present, The
someyoung people,
of the young who are the minority
craftsmanship in the craftinindustry,
entrepreneurs Taiwan spring up in the
are exposed to
international community thanks to their distinctive personal characteristics and the marketing and
technique in universities. The young people, who are the minority in the craft industry, spring up in
the international community thanks to their distinctive personal characteristics and the marketing
and aesthetics of Oriental arts and crafts. Relatively speaking, the number of bamboo craft learners
in universities is not very large, with a certain degree of rarity. They will be tested as to whether
they are talented in craftsmanship when studying in university to see whether they will be
competitive in the future. Students do not understand the characteristics of bamboo before they
aesthetics of Oriental arts and crafts. Relatively speaking, the number of bamboo craft learners in
universities is not very large, with a certain degree of rarity. They will be tested as to whether they
are talented in craftsmanship when studying in university to see whether they will be competitive
in the future. Students do not understand the characteristics of bamboo before they take bamboo
art courses. They practice according to the teachers’ requirements first, then add some design ideas
or apply them to new works. Flexible use of bamboo techniques includes not only the good use of
body, but also creative thinking, because a person has experience that did not exist before and has
been developed in another learning space. The university can provide students with a possible way
to develop their craft workshops or studios independently in the future, so that they can establish a
certain foundation of technical knowledge and skills, and pre-estimate the cost of materials, tools, and
equipment investment. Taiwan’s large-scale industrial transfer of handicraft manufacturing in the
1980s due to the high manual cost has made the process more and more artistic in recent years. The
limitation of bamboo technological materials and the high level of technological advancement also
hindered the inheritance and development of its talents. Therefore, teaching bamboo techniques is a
choice that is not mainstream for departments of materials and crafts in universities, so typically only
part-time technical teachers are hired. There is no independent bamboo art specialty, regardless of
professional direction and studios.
5.3. The Relationship between ESD and Bamboo Craft Education: Bamboo Craft EducationResponds to the Need
forSustainable Concepts and Craft Creation andUniversities Offer Opportunities for Testing Students’
Technological Talents and Resources, but ESD is Limited and Blurry
Teachers and students in Taiwan’s colleges and universities pay close attention to the significance
of environmental protection, local culture, and modern life. At the same time, they enhance their
learning effectiveness, connect with local industries and society, and prepare for teaching practice
and the cultivation of cross-regional creative talents. However, due to the influence of industrial
and technological development, the university’s view on bamboo craftsmanship is still a position of
assisted design, in terms of curriculum time. The practice of bamboo craftsmanship is relatively short,
but actually it requires long and sustained training. Moreover, the operators of individual bamboo
craftsmanship studios need not only solid skills, but also aesthetic cultivation, cultural knowledge,
shaping ability, creative design thinking, and a marketing brand concept. In view of the current
teaching practices and promotion of methods of bamboo craftsmanship in universities, students are
only allowed to understand bamboo craft on a very fundamental level before they give full play to
their creativity. The bamboo crafts courses of the four departments of the three universities in this
study address the need for a sustainable concept and craft creation, and their development tendencies
are different, as is shown in Figure 3.
Universities offer opportunities for testing students’ technological talents and resources, but the
course time is limited, except for the multi-semester serial courses of YC. Taiwan’s social technological
education is so diverse that students interested in bamboo craftsmanship have a choice. There are
many courses related to bamboo craftsmanship, such as the improvement of craftsmanship and design
ability, intellectual property rights and branding, and courses of bamboo art provided by bamboo
craftsmanship development centers, cultural bureaus, community development associations, and
personal studios of craftsmen, the cultural and creative industry assistance plan of the Ministry of
Culture, technological skill identification test of the Labor Committee, bamboo craftsmanship research
association, Nantou bamboo craftsmanship association, activities, and study camps organized by the
Taiwan Bamboo Association, as well as learning plans for artists who preserve important cultural
heritage and techniques. Although there are many opportunities for further study of bamboo crafts in
society, after all, due to the limited personal resources and abilities of college students, they are more
likely to participate in the teaching and practice platforms formed by the university and to be guided
to develop independently in the future. Therefore, universities may set up social ESD practice plans of
cross-regional cooperation for the cultivation of creative talents and bamboo craftsmanship to provide
influence of industrial and technological development, the university's view on bamboo
craftsmanship is still a position of assisted design, in terms of curriculum time. The practice of
bamboo craftsmanship is relatively short, but actually it requires long and sustained training.
Moreover, the operators
Sustainability 2019, 11, 2487 of individual bamboo craftsmanship studios need not only solid skills, but
19 of 21
also aesthetic cultivation, cultural knowledge, shaping ability, creative design thinking, and a
marketing brand concept. In view of the current teaching practices and promotion of methods of
more opportunities for college students to participate in the research and cooperation of teachers’
bamboo craftsmanship in universities, students are only allowed to understand bamboo craft on a
craftsmanship, culture, and industry. The knowledge and skills learned in the bamboo craftsmanship
very fundamental level before they give full play to their creativity. The bamboo crafts courses of
course can be better brought into play in social practice to make their learning effective and build
the four departments of the three universities in this study address the need for a sustainable
students’ cultural self-confidence in bamboo craftsmanship.
concept and craft creation, and their development tendencies are different, as is shown in Figure 3.
Figure 3.
Figure The relationship
3. The relationship of
of between
between ESD
ESD and
and bamboo
bamboo craft
craft education.
education.
Author Contributions:
Universities Y.D.
offer wrote and revised
opportunities for the manuscript,
testing S.-H.H.
students' conceptualized
technological the project
talents and and methodology.
resources, but
Funding:
the courseThis research
time receivedexcept
is limited, no external
for funding.
the multi-semester serial courses of YC. Taiwan's social
technological
Acknowledgments: education is sowould
The authors diverse
like that students
to express interested
sincere in bamboo
thanks to bamboo craftsmanship
craftsman have a
and students.
choice. There are many courses related to bamboo craftsmanship,
Conflicts of Interest: The authors declare no conflicts of interest. such as the improvement of
craftsmanship and design ability, intellectual property rights and branding, and courses of bamboo
art provided by bamboo craftsmanship development centers, cultural bureaus, community
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Sustainability 2019, 11, 2487; doi:10.3390/su11092487 www.mdpi.com/journal/sustainability

2.1. Education for Sustainable Development(ESD) and Green Design

2.2. Craft Education and Teaching Practice

Table 1. Basic information of interviewees for the teaching of bamboo craftsmanship.

Code of Course Code of Interviewees (Personal Background, Date of Interview)

• YC-C01(Craftsman in a course on bamboo plaiting at YC,

• YD-C01(Craftsman in a course on bamboo design at YD,

Code of Course Code of Interviewees (Personal Background, Date of Interview)

• STL-C01(Craftsman in a course on bamboo DIY at STL,

• APT-C01(Craftsman in a course on bamboo craftsmanship at

4. Results and Discussion

disseminating bamboo culture. materials, and techniques and

Simple basic techniques, free-shape Introducing bamboo art knowledge,

Category Subcategories YC YD STL APT

Practical skills [18] Execute the basic rules of bamboo √ √ √ √

Category Subcategories YC YD STL APT

Ethical values Be familiar with the characteristics and √ √ √ √

5. Summary: comparison of student learning effects of sustainable development recognition in the

Learning for ESD [37] Subcategories Emerging from the Data

YC 1. Know how to recognize the value of manual work

1. In Taiwan, there are a wealth of crafts and skilled craftsmen who

APT 1. Advanced technology, expand horizons

1. A life of natural quality

1. Natural and fresh temperament

1. More understanding of bamboo crafts can make more

1. Can learn with different craftsmen

Learning for ESD [37] Subcategories Emerging from the Data

1. Reasonable structure and material saving

1. Design creation will not be limited to industrial materials

STL 1. More understanding of bamboo crafts makes more people aware

1. Different techniques of pottery, glass, and bamboo can be applied

1. Only after accurate calculation can the work be completed

YD 1. Culture, structure, mechanics, and life

STL 1. Culture, technique, and life

1. Different process technologies, tea pottery industry experience,

1. Experience and understand the process of product making

1. Experience is the key to good control

1. Make emotional connections by familiarizing themselves with

APT 1. Different crafts are interesting

1. The plaiting methods are various and varied

STL 1. Making more people aware of bamboo culture

APT 1. Different creative applications

9. Rosalyn, M. Education for Sustainable Development Toolkit. Available online: http://www.esdtoolkit.org

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