Crafting Futures Georgia Craft Research Report

This study of a sample of the perspective of 50 craftspeople from across Georgia explores their business practices (including income and growth), teaching and learning, physical making spaces, internet use, attitudes to environmental sustainability, and perceptions of their own sector. It also considers the impact of the covid-19 pandemic.

One aim was to gauge the progress or difference in the craft sector since the extensive study by the Georgian Arts and Culture Centre was undertaken in 2012, particularly understanding changes to incomes and whether growth is occurring in the sector. Though there is variation at an individual level, it appears that craft in Georgia is growing. Production and income from craft is increasing, though held back significantly by the pandemic in 2020 and 2021. There was comparatively little adaptation to the circumstances of the pandemic by our respondents, which needs addressing to build future resilience. 64% reported a loss of income due to reduced sales during the pandemic.

Craft practice is generally an individual pursuit for our respondents, who work in a direct manner with their customers, and are in control of the narrative of their work. Where they do work within family groups, people are more likely to be educated informally. Most makers’ work at home or in their own workshops, which poses an issue for those entering the market who do not have access to a suitable environment. Georgians are making good use of the internet for craft businesses (mostly for selling, not sourcing materials) but this should be developed further to increase resilience in the face of political and economic instability, and regional conflict. 20% of our respondents saw an increase in online sales during the pandemic, and only 6% reported fewer online sales.

While designs are generally a mix of traditional and contemporary styles that for most makers are regularly changed and updated, techniques tend not to change as much. People are mostly sourcing their materials in the same way as they were 5 years ago with a shift to sourcing materials online for a small number of respondents. Awareness of digital technologies is high, but uptake is low (18%).

Georgian craft is being bought by locals, domestic visitors and international tourists, with tourism badly affected by the pandemic this has had an adverse effect on craftspeople but partly because of a varied customer base, this has not been completely catastrophic, with a small number of makers reporting an increase in sales during the pandemic.

Craftspeople have a fairly good idea of how to improve their businesses but perhaps need some support to achieve this. This could come from peer learning. However, some have a more passive attitude, reflecting the challenging economic and political circumstances, but also this is a barrier to progress.

We surveyed a high number of self-taught craftspeople; they remain a significant proportion of informally educated craftspeople. Most have gone on to teach others formally or informally. The studio/workshop or home studio are important sites of teaching. There is significant interest in the craft from young people, whose interest can be encouraged and facilitated in both formal and informal settings. Our respondents are more likely to pass their skills on to someone outside of their family group, but there is still a significant tradition of passing crafts skills on within families that has great potential for further research and investigation.

We have learnt that environmental sustainability and notions of being environmentally friendly are important Georgian makers, though they may not always know or understand how to articulate this in the narrative around their work. Learning more about this area will be beneficial to craftspeople.

While the perception of the sector is not overwhelmingly positive, it suggests a strong, resilient and active community of makers working in challenging circumstances.

• Publisher
• https://www.gaccgeorgia.org/