Psychology of Movement Performance in Heritage Crafts (Hand Movement Model)

Heritage crafts have been deep in Egyptian civilization since ancient times, It is one of the most important means of artistic expression for the timeless cultural products presented by the Egyptian artist through the ages, there is no line immortalized in Egyptian history, but you may see the heritage crafts as an integral part of this great history of Egyptian art

The methods of product makers or manufacturers and craftsmen have varied through the ages and artisans are reshaped according to the needs of society for transformation and change in its popular culture,

The heritage crafts in Egypt are a cultural and cultural stock in practice and theory and a popular heritage since ancient times, heritage crafts have features in the performance of the movement inside or outside the workshop, each human activity contains a certain aspect of the performance of the movement, whether in art or otherwise and it is worthwhile to master or have a grasp of these creative activities whatever field he performs

We point out that the concept of performance in its general sense to the human behavior or artistic performance carried out by the performer instead of artistic a particular art of the arts.

In Cairo, artisans in all their fields keep up with their daily life, and the popular artist's workshop is a social arena, such as theater, movie halls, television, and social media channels, but there are groups of people who communicate with each other, from the merchant of raw material, textile, wood or copper, to the seller of the handmade number used in the craft.  And the seller of fava beans and falafel and the seller of pedlars of tea and coffee and the recipient of these arts from tasters and consumers, the artist himself and those who work with him inside the workshop as well as the man who sprays or burns incense instead in the workshop.

The kinetic performance of heritage crafts is important for all researchers in this field since it is constantly renewed and produced by artisans whether to restore part of it in a cultural product, or through what they learned from their parents in the craft, and the performance of the movement is a skill acquired by artisans and develops over time and generations progression  through observation, experience and simulation practiced by artisans in their interaction with their environment

Lamb and Watson defined gestures as movements limited to certain parts of the body such as hand and eye sight, which are usually chosen to communicate a certain message to others and are characterized by changing significance, according to their culture, we will see them shortly when explaining the critical performance inside and outside the workshop

The kinetic performance of the craft is through an experience inherited collectively or from an inpidual experience gained by the popular artist as a result of his practice and depends on the artist's own ability to learn and develop it in accordance with the spirit of his time and the environment belonging to it, As we will see from one artist to another, according to the experience of each of them and the extent to which he is influenced and emotional by this creative human experience

Each craftsman has manual skills and techniques that he refines with his expertise to employ them to serve the creative product that he makes a composition to be accepted by the recipients to adopt afterward

And let's go together to special workshops that use the hands in the silk performance to make sure of these gestures, the first of which is the workshop of the artist of appliqué Mahmud -Al- Hariri

The artist sits inside his workshop on Khiyamiya Street on a bench and squares another man and drape and uses the needle in sewing colored cloth on the required drawing, and the right hand repeats the needle of cloth and the left hand holding the same cloth for the rules during the sewing phase

And the professional artist Hosni Abu Zeid in the Arab carpentry craft where the artist raises his right hand holding the chisel tool to install some of the wooden fillings inside the door and the left hand holds the filling in a distinctive dynamic performance

Then to the art of cane weaving, where the artist Nabiel Rajab, sitting in the process of sitting with the thin bamboo threads between the openings of the back of the chair, using both hands in a distinctive dynamic performance.