1) Creative craftsmanship was the first phenomenon to mark man’s existence.
The crafted object – long before any other evolutionary, organisational or productive
form – was the first identifying sign of the presence of human life. In
these terms, the artistic handicraft objects contribute to create the identity of a
people, intended as collection traditions, knowledge and distinctive marks that
make them recognisable and unique.
The artistic handicraft creations are therefore to be considered as an expression
of the material culture, linked to the environment where the artistic phenomena
and the art objects are manifested or produced.
So objects of artistic and traditional craftsmanship must be considered as a
people’s artworks, bearing a spiritual and cultural message, as well as being
witness to traditions and creativity to be passed on to future generations.
2) Works of artistic craftsmanship include:
a) creations, production and works of high aesthetic value, whether inspired
by forms, models, decoration, styles and techniques that are traditional or
historical, or the result of individual creative development and of personal
and artistic forms of expression;
b) works which are mainly carried out using manual techniques, at highly professional
technical level, using equipment, but excluding wholly mass-produced
works; separate mechanised or automatic work stages are allowed,
using innovative techniques and high-technology instruments.
c) The definition of artistic craftsmanship also covers works of restoration, designed
to conserve, consolidate or restore works of art, or objects of architectural,
archaeological, ethnographic, bibliographic or archival heritage1.
3) The sectors of traditional and artistic workmanship and their respective activities
are defined in accordance with the European classification of economic
activities, NACE rev.2 published in the Journal Officiel of 20th December 2006
(see the Enclosure of this Charter).
Values
Artistic craftsmanship contains several kinds of values.
1) Economic value. As well as a cultural heritage, artistic craftsmanship is a
key economic and productive resource: a widespread productive network,
made up of small companies, workshops and SMI’s that are deeply rooted
in their local territory, and which constitute a not inconsiderable part of economic
value created by the manufacturing sectors.
2) Cultural value. Artistic craftsmanship is a unique cultural heritage and expression
of society throughout the ages. Craft businesses are the fruit of an age-old
artistic and productive tradition. They are repositories of material and immaterial
knowledge, rooted in their local territory. They are also bearers of “universal” cul-
tural values, with their emphasis on design, on the project and on history, and
contaminations between other, very different cultural sectors are frequent.
3) Social value. Artistic craftsmanship also contains a “social value”, created
through interaction with the economy and society of its local area, with the
community and with the surrounding environment. In fact, artistic craftsmanship
always has deep roots in the local territory, is integrated into the
culture and influences local society. The question of transmission of craft
skills should be considered in the light of the above: because, as well as safeguarding
traditions and skills, such transmission is essential to protect the social
structure of local areas. Craft working is a widespread type of occupation
that supports the local economy and small-scale production. It creates jobs,
social stability and potential future development. Many areas have age-old
productive realities, which risk extinction for lack of generational handover.
Artistic craftsmanship is also the primary motor of sustainable economic development
in underdeveloped or depressed areas.
Proposals
Towards a European political course for Artistic Handicraft
Introduction
In the light of the above, it is clear that artistic craftsmanship is a sector with
unique characteristics, from a productive point-of-view, from that of company
dimensions, as well as from that of its cultural and social content.
Political, strategic and action lines must therefore be defined at European and
international level, specially conceived for supporting, protecting, enhancing
and promoting the artistic handicraft sector.
1. Communication and Promotion. Decided communication efforts must
be made to promote the sector which is not clearly identified by the final
consumer. Top quality artistic products have every right to be included in
the “refined” and conceptual luxury category, which looks for values that go
beyond appearance and brand. However there is very limited real knowledge
of the artistic production “districts”, that is to say, of the places and areas
where historically such production is found, with its high, added formal and
cultural value. Finally, the field of artistic craftsmanship – in its present guise
– has little appeal to the younger generations, hence the problem of generational
handover. The image of craftsmanship should be brought up-to-date
and made known to a wider public: of course, there will have to be several
different messages, for the various “spirits” of artistic craftsmanship. The most
recent available media must be used for communicating and promoting the
artistic handicraft, especially for facilitating communication with the young
generations: we can therefore think of an increasingly greater and more profitable
use of the web, also through the creation of thematic channels where
it will be possible to tell “stories”.
2. Internationalisation and commercialisation. Artistic craftsmanship requires
customised projects to aid internationalisation and to sustain commercialisation.
The process of internationalisation promotes the products
of artistic craftsmanship, but also a lifestyle, a philosophy and a production
ethic: for these reasons, artistic craftsmanship is the best possible ambassador
of “Made in…” products. Internationalisation and commercialisation
should follow four main guidelines:
a. Participation in trade fairs and expos. There should be a circuit of trade
manifestations for business visitors and/or for the general public. These
should be “approved” by the artistic craftsmanship trade associations and
should be marketplaces for the sale of craft products. Next to the trade fair
event it is necessary to consider the implementation of support, training
and accompaniment tools for the businesses, allowing them to best take
advantage of the commercial and exhibition occasions.
b. Specialist shops and/or galleries. Networks of shops specialising in the
sale of artistic craftsmanship should be identified and/or created.
c. Links with standard commercial circuits and with top level interior design.
d. Co-promotion initiatives with large-scale distribution.
3. Research and innovation. In order to give strategic responses to businesses’
needs of innovation, a new concept of innovation should be defined,
that is compatible with the dimensions and characteristics of artistic
craft companies. Alongside the classic innovation regarding the product or
technology, this new concept involves innovation of the cognitive and organisational
processes required to create innovation that is lasting and not
sporadic. This is strategic innovation, sustained by a type of organisational
innovation, partly thanks to the elaboration of models for the development
of network systems2.
4. Training. Sustaining training models inside businesses and activating tutoring
circuits. Mapping on a European scale, both at secondary and tertiary levels,
training suitable for artistic craftsmanship, with the further aim of setting
up a European training system. A network might also be set up of schools of
excellence that already have traditional artistic craftsmanship in their training
courses. A sort of “continuous training” for craftsmen might be foreseen, or
rather, their constant updating in technical and productive aspects, as well as
aesthetic and formal ones, in marketing, product communication and legislation.
Creating an integrated service system that includes schools as research
locations. Training in craftsmanship at European level is made necessary, too,
by new requirements for continuous training and lifelong learning that are
brought about by technological innovation, communication and other aspects
of business activities.
5. Education. The history of artistic craftsmanship must be written on a national
and international level, with reference also to the development and
history of the principal arts: there is need to introduce courses in the history
of artistic craftsmanship at all educational levels. This would have the effectof strengthening a common European culture and creativity, necessary for
the affirmation of a common European identity in artistic craftsmanship.
6. Tourism. Tourism is one of Europe’s chief industries in terms of job creation
and turnover: around 80% of European tourists travel for pleasure, while
the remaining 20% travel for business3. The craft sector is a fundamental
component of tourism4, an authentic “tourist attraction”, thus it is essential
to exploit the synergy between crafts and tourism, for reciprocal benefits
and development.
7. Museums. The connection between artistic craftsmanship and museums
or museum circuits is yet another facet of the extremely close link, already
mentioned, between artistic craftsmanship and the culture – in the widest
sense – of the place of production and origin. This is why the museum system
is an important partner in the development and exploitation of artistic
craftsmanship, using two main lines of action:
a. Artistic craftsmanship and museum bookshops. Objects inspired by
the artistic heritage should be produced and sold, in order to develop
a link between craft and art, and to contrast the “souvenir” mentality by
offering quality products, that suggest an original interpretation of the
work of art itself.
b. Temporary exhibitions connected with museums. Spaces attached
and/or close by museum institutions can serve as places for organising
temporary exhibitions - personal or collective - dedicated to the best
of artistic and traditional craftsmanship, contributing to certain types of
production such as modern decorative arts. The organisation and co-organisation
must be developed, in partnership with associated museums,
of exhibitions dedicated to artistic craftsmanship.
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