Conference FAQ

Here you will find a bunch of answers to questions about the conference ticketing, T&Cs etc.

Where & when is the ‘Futuring Craft’ Conference?

The Futuring Craft conference activities take place in Perth and Fremantle, in Western Australia.

  • Day 1 Conference: Friday 17 September 2021, at the WA Maritime Museum, Victoria Quay, Peter Hughes Dr, Fremantle WA 6160; registration from 8:45am, event starts 9:30am.
  • Day 2 Conference: Saturday 18 September 2021: Curtin University, Building 501, Room 201-203, Kent St, Bentley WA 6102; registration from 8:45am, event starts 9:30am.
  • Day 3 ‘Curiosity & the Cloth’ fashion event: Sunday 19 September, at WA Museum Boola Bardip, Perth Cultural Centre. Doors open 6:30pm. GOOGLE MAP LINK


I cannot attend physically, can I attend online?

Yes you can! If you didn't register online when you purchased your ticket please send an email to conference@indianoceancrafttriennial.com

Scroll down for ‘What’s included in virtual registration for online attendance?’


How much are the tickets?

Tickets range from $55 for the fashion event to $385


Early bird tickets close 25 August 2021. All prices include GST.

Book online. Your registration will be acknowledged via email and will include an electronic tax invoice.



Full Registration
(two-day conference)
Early Bird
(closes 25 Aug)
(two-day conference + fashion event)
General Admission $330 $385
*Student/Concession/Under 30 $165 $220


Single Day Registration
(conference, not fashion event)
General Admission $190
*Student/Concession/Under 30 $99


Fashion Show Ticket only - General Admission $55


Do I need to bring a printout of my ticket?

Please bring a printout or digital copy of your ticket for physical entry.

On arrival to the conference, you will be issued with a name badge. It will act as your official pass and must be worn or on your person for entry to all sessions and social functions included with your registration.


I am a student – how can I access the student discount?

Student registrations require a student email account.
Student Card, proof of age, or Concession Card may be requested before entry.


Can I purchase tickets on the day at the door?

For physical attendance, registrations close on Wednesday 15 September for Day 1 and Thursday 16 September for Day 2 of the conference.  Registration will remain open for virtual webinar attendance only until 8am on 18 September 2021.  Please email the conference team if your registration is completed in the day of the event.

Catering will have already been arranged at this time, we can only cater for any specific dietary requirements (within reason) if you have registered before Monday September 6.


What’s included in my booking & registration?


Full registration = 17 and 18 September
This includes access to all sessions in the conference program, welcome keynote, catering (morning tea, lunch, afternoon tea at times indicated on conference program),
or optionally virtual conference attendance through the webinar portal.

Futuring Craft conference tickets include:

  • Live and online presentations from around the region
  • Artist talks from exhibiting artists in the Triennial
  • Curatorial tours of the John Curtin Gallery
  • Sector discussions crafting a path forward, hosted by the World Craft Council Australia
  • Marketplace showing works and demonstrations by emerging and established artists
  • Networking opportunities
  • Invitation to IOTA21 celebration opening at Fremantle Arts Centre on Friday 17 September at 6:30pm
  • Tickets to Curiosity & the Cloth – fashion event at WA Museum Boola Bardip on Sunday 19 September (fashion show included in Early Bird registration only).


Single Day Registration

If you’re unable to attend both days, you can select to attend either on Friday 17 or Saturday 18 September.  Single day registrations do not include the Fashion Show (Fashion show tickets can be purchased at an additional price). Please select the conference day you wish to attend when purchasing your ticket. Day tickets include:

  • Attendance to sessions on the nominated day inclusive of catering
  • Live and online presentations from around the region
  • Artist talks from exhibiting artists in the Triennial
  • Curatorial tours of the John Curtin Gallery (second day ticket holders)
  • Sector discussions crafting a path forward, hosted by the World Craft Council Australia (different sessions will run on Day 1 and Day 2 of the conference, please refer to the program)
  • Marketplace showing works and demonstrations by emerging and established artists (Day 1 only)
  • Networking opportunities
  • Invitation to IOTA21 celebration opening at Fremantle Arts Centre on Friday 17 September at 6:30pm.


What’s included in virtual registration for online attendance?

Livestreaming will include all sessions in NWS Shipping Theatre (Maritime Museum) on Day 1 and presentations on Day 2 at Curtin University taking place in Room 201 and Room 202.

Please note that the fashion event Curiosity and the Cloth, Fremantle Arts Centre opening, and the Craft Sector Discussion require in-person attendance and will not be livestreamed or broadcast through Zoom.


What if there are changes to the dates and times?

Any changes and updates relating to the conference will be posted to the conference website www.indianoceancrafttriennial.com/conference.


I booked but now cannot attend. Can I get a refund?

Cancellations postmarked on or 7 Business Days before the conference, will not incur a penalty.

Cancellations within 7 days of the conference will be subject to cancellation fee of 100% of their registration cost, however substitutions may be accepted.

Scroll down for T&Cs.


I am a vegan/gluten free/vegetarian, will there be food options for me?

Yes, when you register for the conference you will see a prompt asking for your any dietary considerations.  We will provide options, however it is important that you let us know as soon as possible so the caterers can provide what you need. If you did not see this prompt please email us at conference@indianoceancrafttriennial.com with Futuring Craft Catering in the subject line.


Are all the venues accessible by wheelchair?

Yes, Boola Bardip WA Museum, WA Maritime Museum and Curtin University are wheelchair accessible.


I am hearing impaired, will there be AUSLAN interpreters?

Unfortunately for this event no AUSLAN interpreters aren't provided. Attendance through Zoom will enable closed caption options.


I am a regional artist travelling to Perth for the Conference. Can I access any discounts on accommodation?

Yes, once you have registered for the conference send an email to conference@indianoceancrafttriennial.com with Futuring Craft Accommodation in the subject line. We will send options for accommodation and the discount codes for your booking. The discounts only apply for delegates, speakers and staff.


Will food & drink be served at the fashion event?

A welcome drink and light nibbles will be provided before the event. You will need to make your own arrangements for dinner at one of the many wonderful eating establishments in Northbridge.


Can I buy garments from the fashion show?

Some garments will be for sale. Enquiries on the night contact details TBD. Others can be ordered direct with the designer or via an expression of interest to order.




If THE INDIAN OCEAN CRAFT TRIENNIAL  is prevented from carrying out its obligations towards the conference you registered for, as a result of any cause beyond its control, such as acts of God, strikes, labour disputes, government travel restrictions, unavailability of hotel or facility, commodities or supplies, war or apparent act of war, terrorism, disaster, civil disorder, epidemic or pandemic, curtailment or restriction on transportation facilities, or any form of comparable natural calamity, casualty or condition (collectively a “Force Majeure”), THE INDIAN OCEAN CRAFT TRIENNIAL  shall have the right to immediately terminate/cancel or postpone the affected conference without liability and shall be relieved of its obligations to the registrant.



In the event of a full cancellation of the Futuring Craft 2021 Conference in Perth WA by the organisers, all registration and social function fees will be refunded in full, or if the event is postponed you will have the option to carry over your registration to the new dates.



If you want to cancel any or all aspects of your registration, please email conference@indianoceancrafttriennial.com.

Cancellations postmarked on or before 7 Business Days before the conference, will not incur a penalty.

Cancellations within 7 days of the conference will be subject to cancellation fee of 100% of their registration cost, however substitutions may be accepted.

Non-payment of registration does not constitute cancellation of registration or additional activities.

Cancellations made by the attendee/delegate must be received in writing – mail, email– the Indian Ocean Craft Triennial. Cancellations will not be deemed to be received until you have written confirmation from the Indian Ocean Craft Triennial. If you have not received acknowledgement within three business days, please contact the Conference Managers – on conference@indianoceancrafttriennial.com

For other additional terms please visit the OZTIX ticketing website available at  https://www.oztix.com.au/rescheduled-cancelled-events-info/.


Call for Submissions has now closed.

IOTA21 welcomed over 50 submissions of theoretical papers, practice-led case studies, and innovative presentations for inclusion in the ‘Futuring Craft’ conference program scheduled for 16-18 September 2021.

Audiences will enjoy a diverse range of topics that reflect the diversity of approaches to craft making and consumption.

Proposals from the broad creative field were encouraged…

… including cultural practitioners and producers, academic theorists, craftspeople, artists, designer-makers, curators, campaigners and activists.

Presentation formats include short films, performance, panel discussions and formal delivery of research, and be presented physically or digitally.

Some of the important questions that will be vigorously debated at the conference include:

  • What is the future of craft practice in the Indian Ocean Region?
  • How does the evolution of the ‘handmade’ underpin micro and macro economies?
  • What is the role of crafts, and makers play in socio-political, cultural and environmental healing?
  • How can communities challenge the craft paradigm?
  • Technology and the digital age, a game changer?

The ‘Futuring Craft’ conference accompanies the IOTA21 ‘Curiosity and Rituals of the Everyday’ exhibitions and public program.


Overview / Scope

As human beings, we rely on non-human things; the objects that are central to the sustenance of our physical and mental life. Consequently, and significantly, crafts and craft-making are value-driven within the existing economic paradigm, applied across the region, reflecting communities’ transformation towards modernity, sustainable development, and beyond.

Craft can be acknowledged as an object of empowerment: not only through a monetary lens but as an artefact that interacts physically, mentally and metaphysically through the qualities inherent in its design and making, and through sensory influences of experience, emotion, and aesthetic pleasure.

Across five overlapping key themes or topics, the conference will map contemporary crafts and define the scope of craft making in the Indian Ocean region. The dynamic exchange of knowledge and ideas will critically analyse and challenge notions that crafts are embedded in the past and address the concept of, ‘Craft … as elemental to a future economy and culture.’ (Fry, 2011, p.139)

The discussions emanating from the  IOTA21 ‘Futuring Craft’ conference and exhibitions that explore ‘Curiosity and Rituals of the Everyday’ aim to inspire people to create a relevant, viable and better future through creative craft.


Submission Formats

Futuring Craft will present virtual and in-person presentations. The conference will be held at the School of Design and the Built Environment, Curtin University – Perth, and at Fremantle Arts Centre, both in Western Australia. In-person presentations and virtual presentations will be accommodated  in these formats:

Pre-recorded video Participants can make pre-recorded films or videos of their presentations and make submissions through IOTA Vimeo or YouTube channel.
These presentations will be timetabled and broadcast during the conference, then published after the conference.
Screenings Short films are welcomed from craft-oriented associations across the Indian Ocean representing social group narratives or otherwise produced by film-makers.
In-person & online presentations Written papers aligned with the conference tracks will be e-published as conference proceedings with ISBN, and be available via IOTA website.


Key Dates

Full Paper (5000 Words) submission process:
Abstract (500 Words max) submission due (updated) 15 March 2021
Notification of abstract acceptance 5 April 2021
Submission of the paper first draft for blind peer-review process 7 June 2021
Review process feedback By 5 July 2021
Submission of the revised version of the full paper following the conference template 9 August 2021
Notification of acceptance of the full paper 23 August 2021
Online presentation uploading (details will be supplied later) 6 September 2021
The Pre-Recording & Screenings submission
Abstract (500 words max) submission due (updated) 15 March 2021
Notification of abstract acceptance 5 April 2021
Upload of screenings (links will be supplied later) for reviewing process 7 June 2021
Review process feedback By 5 July 2021
Submission of the revised version following the conference guideline 9 August 2021
Notification of acceptance 23 August 2021


Topic Outlines

1.   Geography and social context

‘The craftsman is engaged in his material, and by inference, in the surrounding culture.’
(Metcalf, 1987).

What is the impact of interactional elements and relationship to place on the maker and the created object? Explore how the craft-making process, as a physical and emotional intent, is influenced by a web of factors – taking into account the geopolitical location within a socio-cultural framework, as reflected in the context of the object and its aesthetic value, including functional properties. This topic opposes the postcolonial contexts which align craft-making with aid and economic development and, subsequently, neglect its local context and its essence as ‘an object of belief’ (Fry, 2011, p.140).

Sub-topics include but are not limited to:

  • Craft making in the Indian Ocean region, in the context of post-coloniality
  • The politics of ethnicity and religion in the Indian Ocean countries
  • Local yet global contextualisation of craft making
  • Craft and regional conflicts

2.  Education as art, design, and community of practice:

‘The term ‘craft’ seems to be one of the most debated terms in the art and design world in the 20th and 21st centuries, which is nearly always defined by what it is not rather than by what it is.’
(Niedderer, 2014, p.626).

What is the strength of futuring craft education? Common practice sees continued debates concerning the position of craft as supplemental to art and/or to design, with education providing an incubation field for these debates to take place. Dominating assertions emphasise a lack of intellectual requirements for craft making which influences the inferior status of the crafts, when compared to the arts. Similarly, the lack of use of technology, mass-production, and the economic value of crafts are major factors strengthening the position of design over craft (Niedderer, 2014).

Sub-topics include but are not limited to:
  • The social engagement and utopian aspirations and characteristics of the crafts
  • Self-reliance and creativity
  • Making process a social narrative
  • How do terminologies define, redefine or change education practices?

3.  Materiality, consumption, lifestyle, and sustainability

Craft making plays a significant role, as an empowering agent, in social sustainability, based on effective practices concerning ‘social equality, social innovation, and socially embedded practices including social entrepreneurialism’.
(Brown, not dated).

How can we broaden engagement with craft as an object outside its aesthetic, functional and emotional considerations, to encompass its broader environmental and physical scopes?

The physicality of the nature of craft making offers an efficient response to environmental sustainability, concerning (1) the utilisation of local material resources, (2) the demonstration of creative practices to re-use and sustain local sources of material, (3) the effective utilisation of human power in the production of resources and available production techniques, and (4) ethical trade and consumption.

Sub-topics include but are not limited to:
  • How do artists, working in a variety of media, make sense of people’s significant mix of ethnicity, religion, identity, etc., past and present?
  • What do global warming and the effects of rising water in the Indian Ocean have on the craft sector?
  • Questioning the authenticity of craft in the context of prevailing notions of primitive fakeness.

4.  Digital media and production

How can communities and the craft sector better utilise technology (social media and digital production) to enhance the future transformation of the crafts, in terms of contexts, practices, and the making of crafts while retaining authenticity?

The growth of the craft sector will rely on craft makers gradually adopting digital technologies in their practices to enhance the production and promotion of their products, to fulfil expanded consumer demands and to enhance their own financial benefits. This topic offers a platform to argue and question the role of digital media and its alignment with craft in terms of contexts, aesthetics, production practices, ethics, authenticity and sustainability.

Sub-topics include but are not limited to:
  • The authenticity of ethics and tourist arts
  • Technology-integrated craft
  • Interactional experience and the crafts
  • What is authenticity in the current global market?

5.  During and post COVID-19

How can we leverage the relevant factors and knowledge of current social practices to help maintain and develop the craft sector in the post COVID-19 era?

COVID-19 triggered a global revitalisation for craft practices, enforced by the regulations imposed by the pandemic and in response to personal demands; mentally, physically, and financially. The current situation attests to the studies that confirm the significance of practices that support human mental and physical health. We are witnessing an era of boom demand for the development of practices and for more learning of craft-making, as it occurs inside local communities. Digital media supports the essential need for fulfilling these demands, relating to skills development in the production and material availability of crafts, and enhance communication between the newly established social innovation groups.



Submission of abstract for review free of charge
Accepted abstract, invited to submit the full contribution (a full paper, or workshop description, etc.) for review process free of charge
Submission of final work & registration to present (all formats)* AU$300 **
Conference Delegate Registration/Booking** To Be Advised

* At least one of the authors, must register and present the work in the conference; either virtually or face-to-face attendance.

** The presenters’ and delegates’ registration fees cover:

  • Admission to the conference sessions, workshops, keynote presentations.
  • Morning and afternoon tea/coffee and lunch
  • Invitations to VIP ancillary events
  • Closing session and celebration
  • [IT support for presenters.]

The registration fees do not include:

  • Travel expenses
  • Accommodation



If we have not answered your question above please send us an email.



Fry, Tony (2011) Design as Politics. Berg, Oxford. NY
Niedderer, Kristina & Townsend, Katherine (2014) Designing Craft Research: Joining Emotion and Knowledge, The Design Journal, 17:4, 624-647, DOI:10.2752/175630614X14056185480221
Metcalf, Bruce (1987) Replacing the Myth of Modernism. https://www.brucemetcalf.com/replacing-the-myth-of-modernism Retrieved 1 August 2020.