A Report on Traditional Crafts and Economic Development in Michigan

A REPORT ON TRADITIONAL CRAFTS AND ECONOMIC DEVELOPMENT IN MICHIGAN

Edited by Marsha MacDowell and Julie Avery Michigan State University Museum This report was prepared under a grant from Michigan Council for Arts and Cultural Affairs. A downloadable copy is available at www.craftworksmichigan.org

December 2006

Michigan State University Muesum Michigan State University East Lansing, MI 48824-1045 www.museum.msu.edu

Logo by Michael Sunderman, ciesa Design Layout/design by Sharp Des!gns, Lansing, MI Contents

Introduction ...... 1 About CraftWORKS! Michigan ...... 25 Deﬁning Features of CraftWORKS! Executive Summary ...... 3 Michigan Research and Development . . . 26 Phase One Scope of Work ...... 26 What Are Traditional Crafts? ...... 5 Phase One Research Process ...... 28 Phase One Findings ...... 32 Traditional Crafts in Michigan ...... 7 Recommendations ...... 39 The Place and the People ...... 7 The Material Resources ...... 8 Notes ...... 41 The Knowledge and Skills ...... 8 Honoring Traditional Artists ...... 9 addendum a: Craft and Economic Develop- Documenting and Inventorying ment in the United States: A Sampler of Michigan’s Traditional Crafts ...... 11 Resources and “Best Practice” National, Michigan Repositories of Traditional Regional, and State Projects ...... 45 Crafts and Traditional Crafts Data ...... 13 addendum b: Craft and Economic Develop- A Craft Economy in Michigan ...... 15 ment: A Sampler of Resources and “Best Traditional Craft and Economic Practice” Projects Around the World ...... 57 Development in America ...... 16 Craft Economy in America ...... 17 Selected Bibliography ...... 63 Traditional Craft and Economy in America ...... 20

iii

Introduction

Betty Boone, Director rowing entrepreneurship and jobs is a pri- Office of Cultural Economic Development mary objective of the Department of History, Department of History, Arts and Libraries GArts and Libraries’ Cultural Economic De- November 15, 2006 velopment (CED) Strategy to leverage Michigan’s creative talent and cultural assets to spur economic growth and build community prosperity. An economic assessment of the state’s cultural industries indicated the crafts industry is under- developed and offers immense opportunities for rapid cost-efficient growth, cluster development and synergy with other sectors statewide. Craft artisans believe Michigan offers a suitable environment for their endeavors. Moreover, the CED Strategy called for creation of Craftworks! Michigan, stat- ing the crafts industry is well suited for collaboration with heritage and cultural tourism initiatives, and offers new opportunities for private investment, job creation and apprenticeship training. As Michigan redefines itself as a uniquely competitive force in a 21st-century global economy, strategic steps taken to promote economic growth, while valuing and engaging culture and personal creativity, will help us present the true beauty, vitality, and greatness of our state and ensure our ultimate success. The Office of Cul- tural Economic Development believes development of the crafts industry is such a step and is therefore pleased to work in partnership with Michigan State University Museum to develop Craftworks! Michigan.

Executive Summary

raftworks! Michigan is a Department of from reports from experienced contracted special- History, Arts, and Libraries cultural eco- ists; and from questionnaires designed to identify Cnomic development strategy (2005 policy characteristics and needs of Michigan craft artists. statement) in partnership with Michigan State These questionnaires were tested with select tradi- University Museum. Phase One of this strategy tional arts practitioners (quilting, basketry, model focused on two elements: (1) creation of tourism making, timber framing, etc.) and refined for fu- trails based on cultural assets and (2) the assess- ture use with craft artisans and business. ment of resources, needs, and potential for growth This report provides information on the po- of traditional crafts—one segment of the craft sec- tential in Michigan to develop tourism trails based tor—as a model to begin addressing the potential on cultural assets. The Leelanau (County) Histori- for broader cultural economic development. This cal Society and Museum report contains vital information about the tradi- was contracted to work tional craft sector as well as culture-based trails. with Michigan State Uni- Michigan is one of the most culturally It outlines a series of recommendations of specific versity Museum to develop diverse states in the country. The actions and next steps that can be taken to grow a database for cultural as- unique natural and physical elements, the state’s economy, steps that will benefit indi- sets that would support the together with the social, occupational, viduals, businesses, and communities. delivery of a variety of arts Craft and design in Michigan have a strong and cultural heritage–based recreational, ethnic, and religious and longstanding presence that is shaped by the trails. The Leelanau Histor- traditions of the region’s many peoples, richness of our natural resources, the diversity of ical Society and Museum form the place that is Michigan and give our people, and the vocations and avocations they then developed one curated rise to the crafts that are created. pursue. Despite many challenges in obtaining ex- heritage trail centered on act numbers of participants (makers, suppliers of Highway M-22 with six materials and equipment, marketers, etc.) in the thematic side trails. The suite of trails incorporated craft community, this report begins to quantify craft studios, businesses, events, and museums as the current depth, breadth, and potential of this well as other arts and cultural features in Leelanau creative community. A dedicated professional County such as food market stands and wineries. team at Michigan State University Museum ag- As it became evident through Phase One that there gregated data drawn from literature, archive, and exists an enormous untapped potential in Michi- Web searches; from interviews conducted with gan for tourism projects founded on culture-based craft artists and with craft-associated businesses; assets, Craftworks project leaders determined

3 that this cultural economic development activity ones to link all segments of the craft sector as deserved its own identity. A cluster of strategies, well as specific affiliated segments. under a new name, “Destination Culture: Michi- • Research on cultural assets in Michigan need gan,” began to be explored but sector leadership to continue; they need to be identified, docu- and resources are crucial to further development. mented, and mapped. Assessments of the During Phase One, project directors investi- needs of the culture sector need to be ex- gated leading-edge Web technology for strength- panded beyond the traditional crafts sector ening access to information about and benefiting surveyed in Phase One. the craft sector as a basis to develop culture-based • Develop an electronic delivery system for tourism. Interactive architecture that provides on- Destination Culture: Michigan. line planning, sorting, and mapping techniques • Create and market tourism trails based on arts suggested the power of Web portals to access the and cultural heritage assets. combined resources and offerings of Michigan cul- • Recognize and honor exceptional artists and tural assets and culture-based tourism programs. craft sector enterprises, e.g., businesses, net- Best practice and model approaches linking works, galleries, etc. craft and economy in the United States and around • Implement a comprehensive promotion and the world were identified in literature and Web re- marketing plan that addresses Michigan craft sources and a selection of these are presented in this as vital to our culture and economy. report. Nations and states are recognizing the rela- • Promote and market Michigan craft as a signi- tionship of craft production and cultural heritage ficant cultural and economic asset. trails to national trade policy, to community eco- • Develop other projects parallel to Craftworks nomic wellbeing and growth, and to issues related that are based on music, food, and other cul- to national and regional identity. Again, Michigan tural assets. has a robust craft industry that could be greatly expanded. It also has a rich reservoir of cultural assets Because Michigan’s craft sector is fragmented upon which tourism activities can be built. and not supported by a well-developed infrastruc- This report identifies a number of strategies ture, nearly all of the recommendations demand that can be explored as next steps. Recommenda- leadership and investment from state government, tions for Michigan’s craft sector include: foundations and the private sector. Given the data assembled in this report, we believe that invest- • Establish and support leadership for research, ment will have an economic impact starting with advocacy, planning, and resources individual craft artists and their businesses and • Enhance existing networks and establish new growing to their communities and the state.

4 What Are Traditional Crafts?

pair of pillowcases edged with handmade tat- Yet while some folk arts are indeed made by ting given as a wedding present from grand- elderly individuals with little formal schooling Amother to grandchild, a wooden fish decoy who live in non-urban settings, they are also made carved and painted in preparation for ice fishing by individuals of all ages and educational and eco- season, a palm frond braided for use in a Palm nomic backgrounds no matter where they live. Sunday procession, a rag rug is woven to cover the While some folk arts might look rustic or crude to sauna dressing room floor, a quilt is made as a gift the uninformed eye, they are for a new baby or to celebrate a special event, a min- not idiosyncratic. In fact folk iature boat model is crafted to recall memories of arts vary little from the estab- . . . folk arts vary little from the working on a freighter, a bent hickory rocker is sold lished patterns and codes set established patterns and codes for income, a stone wall becomes the foundation of by the communities in and for set by the communities in and for a new home, a sculpture is fashioned out of work- which the art is made. While which the art is made. place paint chips, a dance shawl made for a pow some artists are skilled in the wow dancer, a names panel made to commemo- technical aspects of folk art rate someone who has died of aids—each of these production or in mimicking folk art designs, un- examples represents an activity rooted in tradition less they have learned their arts alongside or under that results in a visual form. Most makers of these the long-time tutelage of those with more mastery items do not call their work art or craft; they simply and if their art is not connected to a clearly-defined “just make things.” Yet this work often has clearly community of individuals who understand, value, identifiable characteristics of execution, meaning, find meaning in and help to perpetuate this work, form, and beauty for which the maker strives and the artists are merely skillful imitators. And lastly, that is recognized and appreciated by others. not all ethnic arts are traditional.1 Some people think folk art is only the work of The designation of a craft—like any object—as uneducated, rural, older artists; some think that “art” is inextricably tied to its cultural context. The folk art is any handmade object that looks rustic, perception of beauty and meaning is very much tied crude, and idiosyncratic; and others think it is to an understanding of the context in which the solely the work of ethnic artists. Some people think craft is made and used. What is beautiful in terms that any artist who uses traditional techniques, de- of color, design, pattern, and technique in one cul- signs, or forms in the production of, for instance, a tural context may not necessarily be deemed beau- broom, quilt, pot, decoy, paper cutting, or woven tiful in another context. In fact, in some contexts, rug is therefore a folk artist. how or why an object is made and used may be

5 more important factors than color, design, pattern and technique in determining whether an object is art or not.2 So when is a craft a folk or traditional art and when is it not? That question can only be answered when one knows how the artist learned the techniques and from whom they learned these things, why the object was made, how it was used, and who sets the standards by which it is judged. In other words, when one knows the context. With- out knowing this information, it becomes impossi- ble to determine whether or not any object is either folk or art.3 Certainly we know that the urge to express is present in every community and the capacity for shaping deeply felt values into meaningful forms is shared by everyone. By learning more about the makers, their work, their motivations for creating, and the context in which they create we can understand more fully the ways in which traditions of artistic production are initiated, perpetuated, altered, and, in some cases, how they subside. By recognizing the complexities of meaning, ori- gin, and form of traditional arts and crafts for the

“Seventh Generation” basket. Artist Kelly Church (Grand Traverse Band of Chip- makers and their audiences we will have not only pewa and Ottawa) of Hopkins, Michigan, made this basket of plastic mini-blinds a deeper appreciation for the traditional artists’ instead of the traditional basket material of black ash to make the point that if the work but also a richer understanding of their world emerald ash borer destroys all black ash trees in the state, weavers will only have 4 plastic to be able to ply their craft. Photo #2006.103.8, courtesy Michigan State University Museum. and ours.

6 Traditional Crafts in Michigan

The Place and the People ing, and mining communities of native population and Northern and Eastern Europeans have found Michigan is, in short, one of the most culturally di- themselves bonded at least by weather and sub- verse states in the country. The unique natural and sistence patterns if not always by shared religious, physical elements, together with the social, occu- cultural, or community traits. The native popula- pational, recreational, ethnic, and religious traditions engaged in hunting, fishing, trapping, ricing, tions of the region’s many peoples, form the place sugaring, and gathering subsistence; the Northern that is Michigan and give rise to the crafts that are Europeans farmed, trapped, mined, timbered, and created.5 barged as part of the developing industries in each Michigan, “The Great Lakes State” and home of these areas. North of the parallel, cold snowy to four of the five Great Lakes, has more shoreline winters alternate with mild summers. Conifers than the entire eastern seaboard and, with Wis- mix with hardwoods such as maple, oak, ash, aspen consin, has by far the greatest volume of navigable and other northern and north-bordering decidu- waterways in the United States. The Great Lakes ous trees. Cambrian and pre-Cambrian landforms, region constitutes the gateway to the old North- sandstone laid down by glacial deposits, heavily west Territory, and the War of 1812 was fought wooded bluffs, and clear, rock bottom and sand- largely over the economic and geopolitical stakes bottom rivers and streams, and numerous inland for development of the Lakes region. The re- lakes shape the region agriculturally, economically, gion became the convergence for vested interests and thus culturally. Mining, timber, dairy farming, among native populations (principally the Seneca fruit farms, orchards, potatoes, beans, cranberries, nations, the Ojibwa/Chippewa, Ottawa/Odawa, corn, oats, barley, rye, wild rice, flax, winter wheat, and the Sioux), and French, English, Canadian, hogs, beef and lamb comprise the region’s north- and American colonists. The Lakes extended the ern climate harvests. Hunting, recreational boat- Atlantic transmigrations to the mid-continent, to ing, fishing, and winter sports combine to make the American West, and to the Gulf of Mexico via it, for both insiders and visitors, the top outdoor the Mississippi-Missouri waterway. recreational region in the nation. The forty-fifth parallel, midway between the The southern side of the parallel attracted equator and the North Pole, bisects the region lati- the main thrust of the Euro-American exodus tudinally and to a large extent culturally. On the from upstate New York, Pennsylvania, and Ohio north side of the parallel, the region’s inland for- that settled much of the American Midwest and ests and prairies and their rural farming, timber- West, first to homesteading and farming and sub-

7 The Material Resources

An abundance of native natural resources have played a key factor in many types of craftwork produced in Michigan. The state’s waters, woods, earth, plants, and animals have provided the resources for craft produced by the regions indigenous peoples: birchbark, sweetgrass, porcupine, and black ash for baskets and containers; bird feath- ers and deer, elk, moose, beaver and other hides for clothing; cattails and rush for mats; clay for pottery. The introduction of new cultural groups and access to trade increased the variety of natural, cultivated, and imported resources used for production of crafts. The manufacturing industry created a secondary industry of refuse and by-product materials that became available resources for craft fabrication.

The Knowledge and Skills

Because of the incredible diversity of Michigan’s peoples, it is no wonder that the state hosts thousands of individuals who have and can make use of the state’s material resources for a wide variety of crafts. Diverse skills and knowledge about materials, tools, processes, and forms have been cultivated within both formal and informal contexts. Expert skills and knowledge associated with a particular craft are often acquired through long practice and experience under the guidance of other practitio- Donald Naganashe (Ottawa) gathers sweet grass in Northern Michigan. Photo by ners within these communities. Mastery of a craft Al Kamuda. #94.9.5.15, courtesy Michigan State University Museum. form may, in fact, take years to achieve, even if under the tutelage of an acknowledged expert. sequently to light manufacture, and then, when Some crafts are learned within schools, guilds, industrialization was in full swing, to urban and clubs, and associations that form a community of suburban areas as the railroad, steel, and automo- artists who share a love of learning and knowledge bile industry and the related constellation of ser- about a particular craft. These contexts for learn- vices and distribution developed. Heavy industry ing provide master teachers, set standards of ex- and related commerce fostered the diaspora of cellence and systems for judging work, and foster African-Americans from the Deep South and the connections between artist and materials. Equally largest settlement of Arab-Americans outside the as important, they serve as locales for an array of Middle East. In recent years, emigration to farming other traditions as members gather, engage in ritu- and urban centers from areas of Northern Mexico, als and ceremonies associated with their organiza- the Caribbean, and East Asia has taken place. tions, and share food and stories.

8 Many state arts programs offer some form of Porkies established a new Porcupine Mountains traditional arts apprenticeship program in which Folk School at Michigan’s Porcupine Mountains an apprentice (the learner), during a designated Wilderness State Park. The school philosophy, period, learns a tradition through practical, hands- rooted in the traditions of Scandinavian “folken- on experience under the guidance and instruction højskole,” is to embrace learning for its own sake; of a respected, accomplished traditional artist (the preserve knowledge, ideas, stories, arts, and skills; master).6 In Michigan, the state art’s program des- and teach through hands-on experience, conver- ignated MSU Museum’s Michigan Traditional Arts sation and reflection. At the same time the Porcu- Program to coordinate the Michigan Traditional pine Mountains Folk School will also broaden the Arts Apprenticeship program. The program, in Park’s ability to connect with locals and tourists existence since 1988, has awarded grants totaling alike. The traditional skill of timber-framing was $320,000 to 160 master/apprenticeship teams of the focus of the school’s first classes.9 which approximately 50 percent have been to sup- Individual artists also organize and offer port craft—jewelers, lacemakers, rug weavers and classes in their homes, studios, and at sites within braiders, boat builders, instrument makers, quilt- and outside their communities. For instance, makers, decoy carvers, and more.7 Michigan Heritage Awardee Many museums, historical societies, commu- and quiltmaker Lula Wil- Mastery of a craft form may, in fact, nity centers, and other local organizations offer liams, has long taught workshops and classes in traditional crafts, either classes at a number of City of take years to achieve, even if under the as ongoing programs or associated with special Detroit–owned community tutelage of an acknowledged expert. exhibitions. Some school programs actively bring recreation centers. As an- traditional craftspeople into the classroom for other example, Jack Teegarden, a woodworker in demonstrations and sometimes sustained residen- Atlanta, Michigan, has taught daylong, week-long, cies. In Michigan, both the National Endowment and specially-tailored classes for over 25 years at for the Arts and the Michigan Council for Arts and his home in northern Michigan.10 Cultural Affairs have supported these projects. Educational organizations other than schools, like the Michigan State University Extension and, its youth component, Michigan 4-H Youth De- Honoring Traditional Artists velopment, have been influential in providing opportunities for traditional artists to share their Craft artists who excel at their skill and knowl- skills with others. The folkpatterns program, edge of their craft are usually acknowledged as in particular, has engaged youth in learning tradi- such by the members of the communities in which tional craft skills from community-based master they practice their work and for whose members artists through a variety of strategies, including at the work has meaning. In Michigan, waterfowl- club meetings and at special classes offered at the ing decoys, for instance, are judged at the Pointe annual Exploration Days held at Michigan State Mouillee Waterfowl Festival and Duck Hunters University. Tournament, an annual event held in downriver Special interest groups also provide opportu- Michigan that celebrated its 69th year in 2006.11 nities for learning. The State Historic Preservation At the Yoder’s Amish Auction and the Mio Men- Office, for instance, provides funding to support nonite Auction, bidders vie fiercely for the “best” preservation artisans in specialized instruction quilts and other crafts. and mentoring for 20 second-year vocational Many states, tribal governments, and U.S. ter- high school students.8 The Michigan Associa- ritories have established award programs honor- tion of Basketmakers contract master weavers to ing the best of its traditional artists. Most of the teach skills in a long roster of classes offered at state awards programs are hosted by the Office their annual convention. In 2006, Friends of the of the Governor, the Michigan Heritage Awards

9 Michigan’s Weaving Guilds

Weaving guilds are a significant part of Michigan history. Emerging in the 1950s, they continue today as a state-wide network dedicated to the education and promotion of handweaving and fiber arts. Today the Michigan League of Handweavers (MLH) membership has exceeded 600 individuals Guild booth at the 1992 Ann Arbor State Street Area and there are 35 guilds in Michigan. In 1972 Detroit hosted Convergence, Art Fair. Photo by Nancy Burkhalter. Courtesy Ann Arbor Fiberarts the first national convention of the Handweavers Guild of America. After Guild from “Fascination with Fiber.” 32 years and 16 national conferences, Convergence returned. June 2006 this conference was held in Grand Rapids.

Marie Gile, Michigan League of Handweavers

10 program, however, is run by the Michigan Tradi- cause this type of exploratory and applied research tional Arts Program. Nominations from commu- fit into the philosophy and mission of a land-grant nity members are adjudicated by an independent university, Michigan State University provided panel of cultural specialists. Since 1985, the year support to begin a state folk arts program based at the Michigan program was initiated, over sev- Michigan State University Museum. Within five enty individuals have received this award and this years Michigan State University Extension be- number has included quiltmakers, rag rug makers, came a partner in the program and in 1985, Michi- basketmakers, boatmakers, barn restoration spe- gan Council for Arts and Cultural Affairs joined as cialists and more.12 a third major partner. Today, the Michigan Traditional Arts Program, endeavors to “advance cross-cultural understanding in a diverse society through the identification, doc- Documenting and Inventorying umentation, preservation, and presentation of the Michigan’s Traditional Crafts traditional arts and cultural heritage of the state of Michigan.” A team of folklife and cultural heritage Although over the years many individuals have specialists, representing a wide range of expertise undertaken small studies of aspects of traditional and experience, design and implement—often in crafts, it was not until the mid-1970s that major ef- collaboration with a range forts were launched to survey, inventory, and doc- of other partners—tradi- . . . advance cross-cultural under- ument the traditional folk arts of Michigan. The tional arts research proj- standing in a diverse society through initial major statewide documentation project was ects and create nationally precipitated in the early 1970s because of a visit by acclaimed public events, the identification, documentation, two Michigan researchers to a national exhibition of education programs, folk preservation, and presentation of the folk art held at the Whitney Museum in New York art collections, and exhibi- traditional arts and cultural heritage . . . City. When they realized that this national exhi- tions. These activities serve bition purportedly showcased folk art from across as models for others and provide increased access the nation but in fact, did not include any materials to and support of folk artists and their work. Work- from several regions, including Michigan, they de- ing with a national network of state, regional, and termined to initiate a research project that would city-based folk arts coordinators and international document and showcase the state’s historical folk colleagues involved in cultural heritage work, arts. A year-and-a-half journey around the state Michigan Traditional Arts Program staff maintain to historical museums, galleries, and private col- on-going connectivity to national models and cur- lectors yielded an enormous amount of data and, rent issues in traditional arts.13 by 1974, over a hundred objects were included in The Michigan Traditional Arts Program has, the exhibition Michigan Folk Arts: Its Beginnings to since the first statewide surveys of traditional arts 1941, first mounted at Michigan State University conducted in the 1970s, engaged in a variety of re- then toured around the state. This exhibition was search projects utilizing multiple documentation quickly followed by another showcasing research strategies (ethnographic fieldwork, library and ar- on contemporary folk art. Both of these research chival research, questionnaires, oral histories, focus projects and the resulting exhibitions were funded, groups, etc.) to document and inventory the state’s in part, by the new Folk Arts Program established traditional arts and artists. These studies have been at the National Endowment for the Arts (NEA). conducted by staff, MSU students, contracted spe- Because these two initial survey projects cialists, and—often—volunteer researchers from yielded so much new information on the breadth the communities or cultures being studied. Some and history of traditional folk arts in Michigan, be- of these have been focused on all aspects of tradi- cause NEA was encouraging the establishment of a tional culture found within a particular region, i.e. network of state-based folk arts programs, and be- the Michigan Wisconsin Border Folklife Survey,

11 and planning for specific public outcomes, particularly festival and exhibitions programs and planned and implemented with local and statewide partners, including the Little Traverse Bay Band of Odawa, Ziibiwing Cultural Society, Nokomis Learning Center, Arab American Center for Economic and Social Services (access), Association of Michigan Basketmakers, Michigan League of Handweavers, Idlewild Cultural Center, Michigan Barn Preserva- tion Network, to name a few. Statewide surveys and documentation of living traditions began in 1985 by mtap staff and contracted consultants in preparation for Michi- gan: Whose Story?, festival of Michigan traditions held in East Lansing.14 This was quickly followed by surveys for a national presentation of Michigan traditions in conjunction with the state’s sesqui- centennial. mtap, working in partnership with the Smithsonian Institution’s Center for Folklife and Cultural Heritage, identified over 100 musicians, cooks, storytellers, craftspeople, and other tradition bearers who participated in the Michi- gan Program at the 1987 Smithsonian Institution’s Festival of American held on the National Mall in Washington, D.C.—the first major exposure to the nation of our state’s rich and diverse traditional cultural heritage. All folklife festivals conducted by the Michigan State University Museum since 1987 have involved new research and fieldwork with Michigan artists and craftspeople for differ- On-site training workshops provide teams with basics from vocabulary and materials to vernacular styles. The Michigan Barn and Farmstead Survey project is ent thematic programs. New tradition-bearers and increasing awareness and documenting traditional barns and farmsteads as a artists have presented each year at the festival. resource for history research and preservation planning. Teams across Michigan Other major documentation projects include are surveying townships and whole counties. The project is coordinated through the 4-H FOLKPATTERNS Project at Michigan State University. Photo courtesy FOLK- ones that have become ongoing: Michigan Quilt PATTERNS, Michigan State University Museum. Project, Barn and Farmstead Survey, and Michigan Stained Glass Census. Each of these has resulted in computerized data that is now being made more Traditions of the Thumb, Leelanau and Lansing publicly accessible. One project, conceived and led Folklife Surveys. Other studies have focused on by Michigan State University Museum, The Alli- particular cultural groups, i.e., Arab Americans, ance for American Quilts, and matrix: Center for Native Americans, Hmong, Finnish; occupational Humane Arts, Letters, and Social Sciences OnLine traditions, i.e., maritime, automotive, lumbering, is The Quilt Index that has created an innovative firefighting; and/or genres of traditions, i.e., stained online distributed database for thematic collec- glass, quilts, rag rugs, weaving, baskets, needle- tions housed in dispersed repositories of diverse work, building arts, architectural restoration arts, size, focus, and missions.15 The Michigan Quilt music, games and pastimes, and foodways. Many of Project data has been the beta-test site for the de- the studies were conducted as part of the research velopment of this Quilt Index and records on over

12 9,000 Michigan quilts will join thousands of quilts Through the work of the Michigan Traditional from other states in this searchable online reposi- Arts Program, the Michigan State University Mu- tory. In 2006 the MSU Museum, matrix, Michi- seum has become committed to the stewardship gan Barn Preservation Network, and the National of an extensive repository of primary source infor- Barn Alliance began planning for the creation of a mation and materials re- similar distributed database for traditional farm- lated to Michigan folk arts stead and barn information. and folklife, including Archival and museum collections of In addition to the work directly connected to extensive collections on Michigan traditional arts materials the Michigan State University Museum there have Michigan crafts. Record- can be found at nearly every historical also been a few studies done by independent schol- ings of field interviews and museum in Michigan. ars as well as scholars and students affiliated with music performances, field academic programs, particularly at Michigan State reports, inventory forms, University, Wayne State University, and Western photographs, videotapes, audiotapes, and ephem- Michigan University. Topics of these studies have era resulting from the documentation provide in- ranged from ones on W.P.A. crafts to Native Amer- valuable data on the traditional cultural assets of ican basketmaking in the Leelanau Peninsula. the state. Archival and museum collections of Michigan traditional arts materials can be found at nearly every historical museum in Michigan. Some institu- Michigan Repositories tions holding specialized collections—especially of Traditional Crafts of quilts, Native American baskets, or regional or and Traditional Crafts Data ethnic crafts—include Michigan Historical Mu- seum, Cranbrook Institute of Science, Leelanau Michigan State University Museum, established in Historical Museum, Little Traverse History Mu- 1857, has long held collections that relate to world- seum, Jesse Besser Museum, Grand Ledge His- wide traditional cultural practices, but systematic torical Museum, Ziibiwing Center of Anishinabe research and collecting of folklife and folk art ma- Culture & Lifeways, Museum of Ojibwa Culture, terials at Michigan State did not begin until the Dossin Great Lakes Museum, Finnish American 1940s with Richard Dorson’s work on Michigan’s Heritage Center & Historical Archive, Ukrainian- oral traditions and who left MSU to establish a American Archives and Museum, and the Detroit program in folklore studies at Indiana University. Historical Museum.

13 Skilled, Knowledgeable Traditional Craftspersons Needed

Michigan’s Partners for Sacred Places is the ﬁrst statewide partnership to assist religious congregations to secure and maintain their older and historic buildings. One result will be the employment of artisans who are knowledgeable and skilled in traditional building methods and techniques such as masonry, rooﬁng, decorative plaster detail, carved ornamenta- tion, decorative painting, and stained glass.

Nancy Finegood, Executive Director, Michigan Historic Preservation Network

14 A Craft Economy in Michigan

n large and small ways, crafts are an important in Flint or FiberFest (held at different locations) element of Michigan’s economy. The sector in- attract thousands of documented visitors and Icludes gatherers and producers of craft supplies, are clearly important factors in local economy. home-based cottage industries, craft tool produc- Circulation of exhibitions outside Michigan bor- tion businesses, large-scale craft supply and craft ders and the distribution of publications focused retail operations, craft galleries, craft schools and on traditional arts are important mechanisms institutes, on-line craft businesses, craft fairs and to broaden awareness of our state’s resources to festivals, county fair exhibitions, craft-based tours a greater audience. An exhibi- and events, and craft exhibitions. These form an tion of Michigan quilts, toured extensive inter-related network of artists, con- to five venues in Japan. At each . . . sales opportunities for crafts . . . sumers, agents of sales, curators of collections and venue the exhibit was promoted a cultural destination for tourists exhibitions, educators, and suppliers of raw mate- in a variety of media outlets, in- and often a nucleus for a variety of rials, tools, and finished products. cluding full-page ads in the ma- craft-based educational activities. Craft fairs, festivals, and exhibitions in mu- jor daily newspapers, and over seums and galleries provide not only sales oppor- the course of its tour, was seen tunities for crafts but also they serve as a cultural by over 90,000 visitors.18 Recently the Michigan destination for tourists and often a nucleus for a State University Museum’s quilt collection was variety of craft-based educational activities. The featured in Quilt Japan19 as one of the important study Economic Benefits of Michigan’s Arts and collections in the world. The MSU Museum’s Cultural Activities states that “People visiting 1994 exhibition Marlinespikes and Monkey’s Fists: Michigan for arts and cultural activities are esti- Traditional Arts and Knot-Tying Skills of Maritime mated to spend $65.7 million annually.”16 While Workers, funded by the National Endowment for we don’t have breakout statistics for those drawn the Arts, led to the formation and first meeting of by some element of the craft sector, we know the North American Branch of the International that thousands of individuals, drawn from both Guild of Knot Tyers, and to subsequent annual within and outside of the state, attend craft shows meetings at which knot tyers from around the and exhibits, visit craft galleries and artist studios, world gather to network, sell their crafts, and pro- attend special craft-based classes, workshops and mote the art of knot tying. conferences, buy unique supplies, and do re- In some areas of Michigan, crafts have begun search in collections and archives.17 Craft-specific to be the focus of tourism marketing campaigns, events such as Quilts at the Crossroad Festival particularly in communities in which there are

15 growing numbers of Amish. The Grand Traverse that provide specialized woods for furniture mak- region is one that has long supported regional di- ers and woodcarvers. rectories of artists, craftsmen, and galleries and has Michigan is known as the birthplace of the au- promoted arts and crafts trails. Specialized craft tomotive industry and its identity and economy are events like—custom wooden boat shows—draw linked inextricably to the production of cars and to crowds in towns like Hessell, Traverse City, and their use. Thousands of Michiganders have cre- Suttons Bay. Likewise hundreds are drawn to the atively contributed to the design and engineering annual Quilts at the Crossroad Festival which dis- of cars and have developed and honed skills within play quilts at sites all over Genesee County20 and the automotive workplace. Outside the design stu- the Michigan Stash Dash, a weekend of activities dios, production lines, and tool and die shops, an at a cluster of participating fabric shops in the mid- even more extensive creative industry exists as car Michigan and Southeastern Michigan areas.21 owners decorate and customize vehicles.26 Providing artists with craft supplies is big busi- The Economic Benefits of Michigan’s Arts and ness in Michigan on both a mega and microscale. Cultural Activities report stated that “Nearly two Michaels, Joann Crafts, and billion dollars are generated in Michigan each Hobby Lobby—all major year by arts and cultural activities. This underes- . . . traditional crafts are already a strong national craft supply store timates the economic benefit of arts and cultural factor in local and state economies chains—have a total of 100 activities, as it does not include all of the arts and . . . these activities can and should be stores in Michigan which cultural activities that are conducted in the state generate $341,280,278 at private venues such as clubs and performances strengthened . . . they hold the potential annual sales in the state spaces.”27 We know that much of Michigan’s tra- to build tourism and jobs for Michigan. and employ over 4,000 ditional craft activities are, in fact, conducted on Michiganders.22 Several a small scale, in homes, churches, community Michigan owned and based craft supply businesses centers, ethnic clubs, refugee centers and other report annual sales of over $1,000,000.23 places that are the kind of “private venues” that A 2003 study of the quilt industry reported make it difficult to measure the scope or scale of that there are over 21,000,000 quilters in the U.S. the activity itself or its role within Michigan’s alone24 and, by extraction based on Michigan’s economy. But based on the existing knowledge population numbers, it can be estimated that there about some sectors of Michigan’s traditional craft are 693,00025 individuals in this state engaged in activities and on the findings of reports like those quilting or quilting-related activities—attending cited above, it is clear that traditional crafts are classes and retreats, exhibiting and selling quilts, already a strong factor in local and state econo- seeing exhibitions and collections, and buying mies and that these activities can and should be fabric, patterns, magazines, books, and sewing strengthened and that they hold the potential to machines and tools. It is no wonder that there build tourism and jobs for Michigan. are scores of fabric and supply shops scattered throughout Michigan and that not a weekend goes by without a quilt show in at least one community. Country Stitches, a quilt supply store first located Traditional Craft and Economic in East Lansing, has now opened four other stores Development in America in Michigan and is the nation’s leading outlet for the high-end, Swedish-made Husquvarna Viking All over the world the production and marketing sewing machines. A smaller scale of craft supply of crafts are critical factors in the health of both lo- businesses exists throughout Michigan. For exam- cal and national economies. This segment of the ple, there are scores of sheep farmers who supply world of cultural production and consumption is, wool for weavers and knitters, gatherers of sweet- in fact, big business. Crafts are also often intrinsi- grass who sell at pow wows, and small sawmills cally linked not only to the cultural identities of the

16 makers and their immediate communities but also crafts have become the iconic symbols of a group, A Nation of Quilters a place, or a nation. The wooden Dala horse imme- diately conjures up an image of Sweden, a piece of Conducted every three years since 1994, this survey discovered that there turquoise and silver jewelry denotes the American are 21.3 million active quilters who spend a total of $2.27 billion each year Southwest, an Amish quilt says Lancaster County on their passion. Both numbers are impressive gains over the 2000 totals. Pennsylvania, and a Tartan plaid is Scotland. Out- The “dedicated quilter” market (those who spend more than $500 annu- side the meaning and functions crafts serve for the ally on quilting) has grown by 25 percent over the past three years. And maker and the maker’s immediate community, though a small segment of overall quilters, it accounts for a staggering crafts beckon visitors to places of production, they 94.7 percent of all dollars spent. are purchased as iconic souvenirs of travel, they From Quilting in America, a survey and report commissioned by International Quilt Market & Festival provide unique, handmade goods valued as souve- (divisions of Quilts, Inc.) and Quilter’s Newsletter Magazine (a division of Primedia). The research was nirs of travel, as items of personal adornment, as conducted by independent firms NFO Research, Inc. and Abacus Custom Research, Inc., 2003. decorations for home and workplace, and for an array of other functions. eleven specific occupational categories. This does not include craftspeople even though the Census Classified Index of Occupations (SOC) does. SOC’s Craft Economy in America “Craft Artists” #27-1212, is the classification for individuals who “create or reproduce hand-made Information about craft and economic develop- objects for sale and exhibition using a variety of ment in the United States is not easily accessible. techniques such as welding, weaving, pottery, and While some studies have been done about crafts needlecraft.” The difficulty of extracting specific and craft economy in certain regions, e.g., in Ap- statistics can be seen with a look at the wide range palachia, or about certain forms of crafts, e.g., of craft work that is included here: clay product and quilts, there has been relatively little information refractory manufacturing, glass and glass product systematically collected and analyzed about the manufacturing, home furnishings, specialized de- breadth of the craft sector in the United States. sign services, cut and sew apparel manufacturing, Federal government programs that track occupa- museums and historical sites, and more. 30 tions and focused economic patterns in other sec- Nonprofit and for-profit stakeholders in the tors fall short when it comes to crafts. By the time craft sector are beginning to identify and docu- the U.S. Census and U.S. Department of Labor ment the participation and economics of the reporting across occupational, business and eco- American craft sector. The nonprofit organiza- nomic patterns are aggregated it is not possible tion HandMade in America, for instance, has dili- too retrieve discrete data on craft, craft artisans gently worked to identify and promote craft with and craft businesses and suppliers. This sector is and for artists and communities across western not consistently identified or reported and cannot North Carolina; HandMade is dedicated to the be isolated for focused reports. “handmade object a vital element of Western The National Endowment for the Arts (NEA), North Carolina’s economy.”31 The organization an independent federal agency, does regular re- has created a contemporary model for craft- and search in the arts and publishes findings in pub- community-based economic development and lications and informal “Reports” and “Notes.”28 has begun to play a national leadership role in pro- Nothing since a 1978 report “Craft Artist Mem- viding information and raising awareness about bership Organizations”29 has addressed the entire issues related to craft and economic develop- craft sector in a focused way. Reoccurring since ment. Their 1995 Survey on the Impact of Craft on 1982, NEA’s “Artist Employment Research Notes” the Economy of Western North Carolina identified summarize the artist labor force by reporting on craft as making a $122 million contribution to

17 Documenting Maritime Heritage

Miniature boat modelers, like Herman Chapman (above), see the changing scene in the Great Lakes—fewer vessels on the water, fewer maritime workers engaged in the trades, and older vessels disappearing—and document this through a detailed craft that precisely replicate the vessels in miniature. Most modelers are self-taught. Actual boat plans and countless photos are used for accuracy. Modelers use an array of materials to fashion miniature boat parts. They maintain a rapport with present and former workers on the vessels who both inform and critique their work. Modelers replicate ships that are long gone and on the water today. Model boat builders are not always involved in selling their work. A contribution modelers make to the economy is in serving the tourist economy by having their work as essential components to the maritime and local museums around the Great Lakes.

LuAnne Kozma, Assistant Curator of Folk Arts, Michigan Traditional Arts Program, Michigan State University Museum. Photo by LuAnne Kozma.

18 North Carolina’s economy. Their work links craft Many state agencies now have staff with re- to small town development and identity, devel- sponsibilities for supporting and marketing craft- ops curriculum (both k–12 and in higher educa- spersons and craft businesses [see separate listing tion), brings craft into quality housing at all ends of selected “best practice” models]. Some programs of the spectrum, and has brought public and art- make distinctions between and showcase folk and ists together through tourism planning. traditional arts, ethnic arts, native or indigenous The Craft Organization Development Asso- craftpersons, and fine craft artists. Some state arts ciation (coda) 2001 survey, The Impact of Crafts agencies, especially those with large rural constit- on the National Economy remains a landmark uencies, have focused programs to address craft standard for research. Conducted for coda by the through grants, artist marketing directories, and Center for Business Research, Appalachian State educational programs that build entrepreneurial University and managed by HandMade in Amer- and small business in the arts. ica, these results are a baseline for estimates on the Across America, heritage tourism is expand- U.S. craft sector. The results provided information ing and is recognized as a driving force in economic for craftspeople, crafts organizations and busi- development and increasing attention is being nesses at a period when connections were emerg- given to the connections of craft and tourism. The ing on many fronts between craft, tourism and the state of Texas, for example, estimates that heritage economy. The U.S. craft industry was identified travelers spend an average of $114 per day versus as having a $13.8 billion economic impact. For the $85 per day for non-heritage travelers. Heritage first time national comparisons were possible with tourism in the state is a $1.5 billion industry, one other industry sectors such as: that Larry Oakes, director of the state’s historical commission, believes relies heavily on the skills Craft ...... $13.8 billion of craft artists.33 “The last thing any town needs is Shoes ...... $41.6 billion a gift shop that imports 5,000 trinkets from Tai- Fuel Oil & Coal ...... $13.2 billion wan and offers those to heritage Magazines ...... $31.9 billion travelers . . . Our goal is to pro- Across America, heritage tourism Taxicabs ...... $ 3.7 billion vide the heritage traveler with is expanding and . . . increasing Airline Tickets ...... $29.5 billion an authentic experience, and Tobacco ...... $ 2.4 billion that includes purchasing op- attention is being given to the tions, while revitalizing local connections of craft and tourism. The craft population in the United States was economies through marketing of estimated at 126,544 individuals with an average heritage attractions.” The Texas Historical Com- gross sales/craft household of $76,052 and aver- mission also helps create tourism brochures that age income after expenses of $50,000—26 percent feature locally made craft products.34 above the national income! This study was done In a special report to coda, sector analyst Di- with and through national and state craft mem- ane Lambdin Meyer, observed the tremendous op- bership organizations at a time when interest was portunity for the craft artist in the booming, global rising about the economic potential of craft and its tourist industry. “Enormous market potential lies power as a regional attractor for tourism In addi- in reaching the tourist, someone defined by the tion to national figures, breakout studies are avail- Travel Industry Association as an individual who able for 13 states. Since then two states have done travels more than 100 miles from home in search follow-up studies inspired by the coda survey. of leisure activities.”35 Meyer highlighted the work coda is planning a 2008 update to this study. of two states. “The undisputed pioneers in pack- For the 2001 study Michigan contributed 152 re- aging crafts and tourism together are Kentucky sponses, a 2.9 percent response to surveys that and North Carolina. Long before other states rec- were distributed. coda worked through the Ann ognized the economic benefit of linking tourism Arbor Street Fair and Michigan Artist Guild. 32 with the cultural heritage of handmade items,

19 these states had discovered that tourists would vices. Craft artists, businesses, suppliers, and carry home carloads of locally produced products showcases have their own Web sites and conduct worth hundreds of millions of dollars annually. In business over the Internet.39 Brochures and maps western North Carolina alone, craft sales had an once obtained from highway travel centers are be- economic impact of more than $122 million. Other ing replaced by in-car audio tour directories, some even accessible from cell phones and other hand- held devices. State and national membership or affiliate or- Hobby and Craft Retailers ganizations and trade associations serve the craft sector with research data, networking and profes- Retail sales of hobby and craft items increased in the early 1990s as well. sional development opportunities, and informa- In the crafts sector in 1996, general crafts made up 31 percent of pur- tion about issues of interest to the sector such as chases ($2.95 billion), while florals and naturals made up 16 percent ($1.53 marketing strategies, health and safety, and avail- billion). Frames accounted for 9 percent ($0.91 billion), needlecrafts made able opportunities for sales, exhibitions, education up 6 percent ($0.59 billion), and art materials accounted for 10 percent and grants. One monthly publication, The Crafts (96¢). The remainder of sales was in the area of sewing and notions ($2.73 Report (TCR), provides information for the profes- billion). Michaels Stores were the leaders and generated $3.091 billion in sional crafts sector focusing on growing your craft sales for 2004. business for the craft artist. With a strong print and on-line presence, this periodical is referenced www.referenceforbusiness.com/industries/Retail-Trade/Hobby-Toy-Game Craft & Hobby Association http://hobby.org/research.htm heavily in the literature. Since the publishing of the coda report in 2001, TCR has produced an annual “Survey of Crafts and the Economy.” Even though the respondent sample is small (74 respondents states and regions are catching on, creating market- from 22 states and Canada for the 2004 survey), ing and tourism promotions for artists as unique as this informal survey might suggest trends with re- the products and regions they represent.”36 spondents reporting years in business, advertising Cultural heritage tourism is now embracing budget and sales compared to past year.40 multiple features, identifying and linking crafts and other natural, agricultural, and cultural assets such as U-pick farms, specialized farm markets and restaurants specializing in local/regional food. The Traditional Craft and Economy in America Appalachian Regional Commission, for instance, recognizes craft guilds, galleries and suppliers as In 1983 a National Crafts Planning Project, spon- a part of its small business development work37. sored by funded by the National Endowment for These assets are being mapped into thematic trails the Arts, the National Assembly of State Arts that are marketed in all types of media. Agencies, and the crafts field, undertook a study According to coda’s 1995 survey, 60 per- that was probably the first and perhaps only na- cent of gross annual sales/revenue was generated tionwide assessment focused solely on the tradi- within the maker’s home state, and 39 percent out- tional craft sector in the United States. As one if its side the state.38 Today consumers can buy goods strategies to assemble data, a representative of each from all over the world in their local shops and su- existing state and territorial folk arts program was permarkets. Local crafts businesses must compete asked to write a report on traditional crafts in their on their home turf with these imports but they state. “Each correspondent was asked to supply a also have the opportunity to market their work diagnostic statement about the nature and current globally. health of craft traditions within his or her state and Technology is increasing opportunities for to respond to a list of points which included report- worldwide access to supplies, products, and ser- ing on such factors as their cultural and economic

20 health, the impact of government programs, and in studies which rely on self-identification. [and the geographical and social conditions in which that] Within a larger context of social scientific re- the craft traditions existed.”41 Responses were research, planning, and evaluation, folk artists and ceived from forty-six correspondents, including other community-based arts require a re-consid- the Michigan State University Museum, repre- eration of conventional approaches to measure- senting the state of Michigan. The publication also ment, assessment, and evaluation . . . combining reported on observations and recommendations field-based or case-study methodologies with that emanated from a congress of sector stakehold- quantitative research.”45 ers. Many highlighted the importance of honoring Craft industry reports typically do not segment master practitioners, promulgating endangered out traditional crafts; all types of crafts production craft skills, and providing governmental support are aggregated together and, in fact, surveys tend to activities that expanded economic development to use data collection methods that reach artists opportunities for craft artists. who are already connected with professional net- Three years later the New York Folklore jour- work. Traditional artists are often not connected nal carried a special issue on “Marketing Folk Art.” with those networks. One regular industry survey, One article, observing the “tremendous increase of begun in 1994 and conducted every three years, popular and commercial attention to folk art, folk focuses on quiltmaking and its economic impact stylists, and folk artists” proposed a series of con- but the survey includes both traditional and fine crete actions that could be taken to help traditional art quiltmakers.46 Because the overwhelmingly artists better market their work, consumers to be- number of quiltmakers are traditional, the Quilt- come more educated on what is traditional art, and ing in America studies provide an important view for marketers to help uphold and make explicit into the scope of traditional craft activity and eco- standards of authenticity for traditional arts.42 nomic impact. Astounding numbers are reported In 1991, the Lila Wallace Reader’s Digest Fund in the 2003 survey: “The market continues to grow commissioned the Fund for Folk Culture to con- with 15 percent (16.27 million) of U.S. households duct a nationwide survey of the folklife field to reporting quilting participation. Total quilters in ascertain the needs of the sector, and particularly the U.S. now exceed 21 million, which represents that of artists and their communities. It found that a 50 percent increase from the 14 million quilters 90 percent of the artists surveyed perform, sell, reported in 1997. With each quilter spending an or exhibit in public and would like to do more . . . average of $139.70, the estimated total dollar value [and] Many expressed a need for help with the “non- of the quilting industry stands at $2.27 billion.”47 performance aspects of presentation” such as busi- But it wasn’t until 2003,with a Ford Founda- ness, financial, and legal matters.43 tion-funded study conducted by the Urban Insti- In 1996, the National Endowment for the Arts tute for the Fund for Folk Culture, that substantive issued another research report, The Changing Faces data on traditional arts and economic of Tradition, which provided quantitative and development was collected and ana- Cultural tourism is simply not qualitative data on multiple genres of the nation’s lyzed. The study focused on a review going to happen without the traditional culture. Author and editor Betsy Pe- of eight projects that had received terson included profiles and essays of several suc- relatively modest grants ($15,000 involvement of multiple sectors cessful craft marketing programs, including those grants with a one-to-one match) within a locale or a region. promoting African American basketweaving in from the Fund for Folk Culture “for South Carolina and Native American basketweav- the purpose of encouraging members of a certain ing in Maine and California. 44 As Peterson noted in class of development agencies to help traditional the introduction, though, the realm of traditional artists gain more active and profitable access to the cultural activity remains largely unexamined since marketplace.”48 The study’s report, Culture and “traditional artists, cultural practitioners and com- Commerce: Traditional Arts in Economic Develop- munity-based organizations are rarely counted ment, identifies a number of important character-

21 Michigan Rag Rug Weaving

One of the challenges facing the future of rag rug weaving is the aging of master craftspersons. Despite the recent growing interest of young women in rag weaving and young men in loom making, the majority of weavers and loom makers are sixty and older. Loom and equipment makers, like traditional weavers, perform their craft because it gives them pleasure and satisfaction. They are experienced woodworkers whose products are needed locally. They often are weavers themselves. There is a strong symbiotic relationship between loom makers and weavers. Looms are often made on consignment, and there always is a market for shuttles, benches, and other small equipment.

Yvonne Lockwood, Curator of Folklife, Michigan State University Museum. Photo courtesy Country Spinners and Bridge Shuttlers from Fascination with Fiber.

Rag rug by Sylvia Heikkinen. Photo by Yvonne Lockwood.

22 istics of the traditional craft sector as it relates to Cultural tourism is simply not going to happen economic development. Among these are: without the involvement of multiple sectors within a locale or a region.”51 1. success of the projects require measurements There has also been a growing acknowledg- in terms that may be new to economic devel- ment of the need to consider the potential impacts opers; of heritage tourism on local cultures and commu- 2. community-building is sometimes a requisite nities before beginning projects. Folklorist Roby pre-condition for artists’ broader market par- Cogswell summed up this sentiment in the article, ticipation; “Doing Right by the Local Folks:” “If ever there 3. the respective interests and capacities of tradi- was equal promise for success or disaster—or a tional artists and arts organizations on the one need for careful planning—cultural tourism pres- hand, and economic developers on the other, ents it.”52 Cultural specialists commonly address do not always match up in ways that support the following concerns: the possibility that profits productive partnerships; will flow out of communities as outside develop- 4. many traditional artists and arts organizations ers exploit local cultural resources; the boom-and- are not yet ready for and may not even be seek- bust cycles which can characterize poorly planned ing active participation in the marketplace; tourism developments; the ways culture changes 5. many economic development agencies lack when packaged for outside consumption; and the the business development programs that tra- relatively low wages offered for many of the jobs ditional artists need to help them produce tourism creates. Traditional crafts are a huge draw profitably for the market; and for tourists interested the unique and authentic 6. “direct relationships between traditional art- cultural goods associated with a region but careful ists and economic development agencies are planning of craft-based tourism marketing must difficult to establish and maintain, which ex- take into consideration the issues raised by Peter- plains why intermediaries between these two son and Cogswell. groups—cultural coalitions, special-purpose galleries, or community-based organizations, for example—have been important in several Crafts Are Big Business of the more successful projects.”49 Many of us have believed this for years, but the Craft Organiza- One of the most important trends in folklife tion Directors Association (CODA) has finally given us the numbers and economic development over the last few to prove it. According to the CODA survey, the first-ever survey of years has been the development of cultural tour- crafts’ impact on the national economy, the fine crafts market is a ism projects that are focused on the traditional $13.8 billion industry. As a point of comparison, the crafts industry assets of regions. The rise in development of these is about half the size of the $29.9 billion toy industry. (Source: Toy traditional culture-based tours has been mirrored Manufacturers of America) It is roughly three times the size of the by an increase of collaboration and partnerships $4 billion organic foods industry. (Source: Organic Trade Associa- in their production.50 This development is in- tion). And it is just slightly smaller than the $16 billion retail floral evitable, according to Betsy Peterson, Program market. (Source: Society of American Florists) Director for the Fund For Folk Culture, who re- The Crafts Report, May 2001. Craft Organization Directors Association (CODA). http://www. cently launched “Partnerships in Local Cultures: craftsreport.com/may01/codasurveyresults.html. Accessed July 27, 2006. Building Assets through Cultural Traditions,” a cultural tourism grant program in partnership with the National Association of Development Organizations. Peterson notes that the “kinds of activities these projects involve necessitate bringing many different types of expertise to the table.

23 A National Reputation

Riverbend Timber Framing (Blissfield, Michigan) began in the late 1970s when Frank Baker decided to build his own barn the traditional way. He found expert help and began a journey that has created one of the nations’ most successful and highly respected timber frame producers. Most of the work to produce the design and joinery is automated today in the Blissfield plant. All the workers, however, are knowledgeable and respectful of the traditional hand tools and skills that were needed long ago. Here, traditional designs need healthy doses of technology and engineering to meet modern building codes and satisfy building officials who are typically unfamiliar, and sometimes unfriendly, to timber frames. Michigan’s’ Riverbend Timber Framing adds several million dollars to Michigan’s economy and several more million to the national and international economy each year.

Steve Stier, preservation builder and Michigan Historic Preservation Network board member and Research Associate for Traditional Building Arts, Michigan State University Museum. Photo courtesy Riverbend Timber Framing.

24 About CraftWORKS! Michigan

raftworks! Michigan53 is an initiative Developing Craftworks! Michigan will sup- identiﬁed in the state’s new Cultural Eco- port preservation trades education and provide Cnomic Development Strategy (December opportunities for marketing independent artists 2005) implemented by Michigan State University and creative enterprises that will assist the growth Museum in partnership with the Michigan De- of cultural sector jobs in line with recommenda- partment of History, Arts and Libraries. The goals tions outlined in Cultural Economic Development of Craftworks! Michigan are to: Strategy.55 Why crafts? Becky Anderson, founding direc- 1. support the growth of creative enterprises and tor of the Asheville, North Carolina–based organi- sustainable cultural economic development zation Handmade in America, created a buzz with by assisting, coordinating, and promoting the her keynote speech at the 2004 statewide confer- state’s craft industry and outstanding craft ence sponsored by the Michigan Council for Arts artisans; and Cultural Affairs (mcaca)/Department of 2. stimulate collaborations with existing and new History, Arts, and Libraries and the Michigan De- heritage and cultural tourism initiatives; and partment of Labor and Economic Growth (dleg).56 3. identify and stimulate new opportunities for People began to ask why Michigan has not been able private investment, job creation, and appren- to build on its artistic capital—its scores ticeship training.” of craft artists—and do what has been done so successfully in North Carolina, Michigan offers unique Program components of Craftworks! Michi- namely to work closely with its craft and varied skill sets and gan include needs assessments, research studies sector to strengthen it and, at the same craft traditions sometimes and reports, conferences, and creation of Web- time, empower that sector for new lo- unmatched by other regions. based resources for craft producers, consumers, cal and regional economic development and educators.54 activities. Michigan, with its history and Craftworks! Michigan will contribute to the achievement in design and craft production, from revitalization of Michigan’s economy by identify- the work of its indigenous population to the prod- ing, strengthening, and creating networks of craft ucts of its highly diverse immigrant and migrant assets and creating opportunities for linking those citizenry, abounds with skilled, knowledgeable, assets with other economic development initia- and creative individuals. Michigan offers unique tives such as tourism, urban and rural business de- and varied skill sets and craft traditions sometimes velopment, etc. unmatched by other regions.

25 Because of its long history of crafts-focused re- development needs in Michigan. The project is search, education, and service activities, the Michi- marshalling the creative talents and expertise of gan Traditional Arts Program, the statewide arts key project partners while at the same time insur- partnership of Michigan State University Museum ing the broadest engagement by other key stake- and Michigan Council for Arts and Cultural Affairs, holders. Key features of the planning process was brought into discussions with mcaca leader- include: ship about the potential to focus energy and resources in this sector of activity that would: (a) yield • Synergistic relationship between the Michi- an invigorated craft community and (b) build stron- gan State University Museum and the Depart- ger connections between these unique, creative ment of History, Art, and Libraries’ Office of resources and community economic development Cultural Economic Development. hal/ced initiatives that often overlook cultural assets. provide leadership with State of Michigan Meetings were held with the leadership of cabinet level relations and mtap/msum pro- mcaca, Office of Cultural Economic Develop- vide leadership with MSU relevant units. ment, HandMade in America, and key staff of the • Active engagement of relevant stakeholders Michigan Rural Arts and Culture Program and the in strengthened and new relationships. Both Michigan Traditional Arts Program. A set of guid- hal/ced and msum work together to enjoin ing principles for Craftworks! was articulated and other mcaca partners, state cultural heritage mtap was asked to take leadership for the project. agencies, and as many stakeholders in the The Craftworks! project will: craft, tourism, and economic development sector as possible. • develop Michigan’s human creative capacity • Job creation and potential in relationship to place, culture, • Sustainability of Craftworks! Michigan pro- ethnicity, age, gender, education, disability gram; pursuit of strategies for sustainability, and socio-economic status including income generation. • restore the perception of “craft” as quality • Using new technologies to effectively deliver practice of work as well as an arts disciplinary programs, services, and information.57 category • foster perfecting “craft” as a best practice across the sector • foster transformative social and economic Phase One Scope of Work impact • create linkages to heritage, preservation, The primary partners agreed to focus first on tra- conservation, natural resources, tourism and ditional crafts, a sector of craft activity that already community vitality is supported by decades of research in Michigan. • utilize cutting-edge technology for planning While not previously tapped as a development re- and delivery of project components source in the state, traditional crafts have a strong and proven record and both historically and currently in North America, as a building block for economic development. In fact, traditional crafts Defining Features of CraftWORKS! are among the primary resources on which current Michigan Research and Development innovative and dynamic economic development strategies are being implemented in sites around The planning and development of Craftworks! the globe—from the United States to South Africa. Michigan to date has been characterized by ele- In late 2005, project leaders began developing a ments that reflect progressive and aggressive en- framework focused on traditional crafts that could ergy toward innovatively addressing the economic be expanded to all craft arts in Michigan.

26 Components of the Scope of Work Michigan Traditional Arts • Assessing and reporting on the existing Research Collections, Michigan traditional craft sector resources Michigan State University Museum and needs • Creating interactive Web-based resources This resource houses a wealth of data on traditional craft artists, busi- that would serve the various stakeholders in nesses, and organizations. Included are documentation (field reports, the traditional crafts sector and connect those photographs, essays, etc.) from numerous research projects focused on resources to existing initiatives that would thematic surveys of crafts or on individual artists or craft traditions, print- strengthen cultural tourism in Michigan. ed membership directories of a number of craft organizations, sample newsletters from many craft-based organizations, records of all of the artists nominated for the Michigan Heritage Awards and Michigan Traditional Strategies Arts Apprenticeship Program, records of craft artists who have participated in over twenty years of state folklife festivals, and inventory records • Survey and collect data on similar state- on more than 7,000 quilts and 1,000 stained glass windows. These records wide cultural economic projects related to represent the work of hundreds of artists and craftspersons. Some records traditional crafts that have been conducted are computerized and efforts are underway to expand this access and ad- in other states and/or provinces in North dress conservation issues, including consortium projects with other state America and at least one international county and national folklife archives. For information on accessing this collection, beyond Canada. go to http://museum.cl.msu.edu/s%2Dprogram/mtap/Collections/ • Consultations with Becky Anderson, director of HandMade in America, and directors of other projects regarding craft-based cultural economic strategies that can be adopted and As the project commenced, additional ac- implemented in Michigan. tivities identified as important to be explored and • Participate in the Cultural Economic Develop- tested were: (a) the applicability of the New York ment Online Tool (cedot). City program Placematters (http://www.place- • Identify and collect data on key stakehold- matters.net) as a tool for community members ers related to traditional crafts in Michigan, to identify and nominate sites of cultural mean- i.e., artists; craft organizations, schools and ing; (b) the mapping out of a potential cultural galleries; state service and/or research orga- heritage tour based on traditional culture writ nizations related to crafts (Michigan Historic broadly, e.g., crafts, foods, music, festivals but Preservation Network, Michigan Stained with a heavy emphasis on traditional crafts; and Glass Census, Michigan Native American Arts (c) begin to incorporate Craftworks! Michigan Initiative, Michigan Latino Arts Project, etc.); into mcaca state arts policy planning and gath- businesses (i.e., Country Stitches, Pewabic erings. Pottery); HAL department units (especially Craftworks! Michigan leadership58 anticipa- Michigan History Bureau and State of Michi- ted that future phases of the project would im- gan Library); state organizations related to plement strategies for the traditional arts sector history (i.e., Historical Society of Michigan), that were identified in Phase One. This includes: and mcaca partners (including, at minimum, expanding the project to include all crafts, and Michigan Association of Community Arts directing attention to developing an online cul- Agencies, Rural Arts & Culture Program, and tural marketplace, live/work spaces for creative Design Michigan) entrepreneurs, support structures for creative en- • Collect data on traditional craft sector needs terprise, and skills and knowledge of the sector’s by convening groups of key stakeholders and human capital. In addition, Craftworks! Michi- through electronic mechanisms. gan would engage in ongoing research on imple-

27 mentation, measurement of efforts and direct mtap staff also conducted a preliminary as- linkage to the state’s planned Cultural Economic sessment of the resources of the Michigan Tradi- Development Online Tool (cedot).59 tional Arts Research Collections. The collection holds a tremendous amount of data that can be used to help ground craft economic development activities, particularly its extensive holdings of Phase One Research Process specific craft genres (especially barns, lace, stained glass, quilts, rag rugs, maritime arts, baskets, Na- Preliminary research for Phase One actually com- tive American crafts) or its regional studies. Data menced prior to the official start of funding and that is already computerized, i.e., the records of the included beginning the literature review on crafts Michigan Quilt Project and the Michigan Stained and economic development and tourism, partici- Glass Census, hold readily available data on cul- pating in two national craft development work- tural assets. shops,60 participating in introductory workshops Library, archival, and Internet research yielded on cedot, and consulting with individuals in a roster of current relevant reports and publications Michigan and other states who had engaged in that provide information on policies, programs, craft-based economic development activities. and best practice activities around the globe. Web- site of particular importance include Craft Organi- zation Directors Association (coda), The United Assessment of Craft Sector Needs: Nations Educational, Scientific and Cultural Orga- Strategies Employed nization (unesco), Meetinghouse: Building Web- sites that Work, Dun & Bradstreet, Hoovers, Craft Michigan Traditional Arts Program staff developed and Hobby Association, Travel Michigan, and an a basic questionnaire to survey craft artists repre- array of craft-specific search tools61 for much of sentatives of craft businesses, modified for each the individual business data. Internet searches of stakeholder group. In some cases the questionnaire numerous craft organizations, tourism sites, busi- was distributed to individuals at existing meetings ness organizations, and artists produced scores of or events, others were sent electronically. In other names of businesses, artists, and their contact in- cases it provided the base for interviews of artists formation. A new Craftworks! database was set by telephone or in person. up and information logged in. Staff members of the Michigan Traditional Cultural specialists in regional crafts or Arts Program and key craft organization partners specific craft genres conducted surveys and wrote (Michigan Stained Glass Census, Michigan Quilt brief reports that would provide an overview of Project, Association of Michigan Bas- the history and current status of the craft, offer . . . traditional crafts have a ketmakers, etc.) provided names and quantitative information on its business activi- contact information for craft organi- ties, and address challenges and opportunities that strong and proven record . . . zations and craft-related businesses. pertain to the particular craft’s economic health. as a building block for Craftworks! project team also con- In some cases specialists also interviewed and pro- economic development. ducted Web-based, archival, and pub- duced profiles on artists and owners of galleries or lished literature searches to obtain businesses that provide craft supplies. Reports and more base line information on Michigan’s tradi- profiles covered a wide range of regions, types of tional craft sector. These efforts yielded names, craft sector workers and, together, the reports and locations, contact information, type of business, profiles provide a glimpse at the diversity of the and—for businesses—details such as numbers craft sector and its needs and opportunities. of employees, gross income, date business estab- mtap staff identified three interactive map- lished, jobs created, capital formation, and tax rev- ping models, The Peoples Atlas; MapMuse: Find enue generated. Places to Live, Learn, Work, and Play; and Human-

28 Michigan’s Stained Glass Industry Delphi Glass in Lansing. Photos courtesy Delphi Glass. Michigan’s stained glass industry is almost as old as our state. The Detroit Stained Glass Works (1861– 1970) provided windows for churches, homes, public buildings, and steamboats in Michigan and other states. The Grand Rapids Art Glass Company, created windows 1912 to 1994. Continuing today, Michi- gan’s stained glass studios and artists are helping to meet an increased demand for new windows and the restoration of older windows resulting from a renewed interest in the art of stained glass. The growing stained glass industry in Michigan, together with greater appreciation and use of this architectural art form, is enhancing our state’s cultural life and its economic stability.

Betty MacDowell, Michigan Stained Glass Census

29 ities Tennessee as possible tools to adopt or adapt Federal census records and other government for locating Michigan assets on a cultural tourism records pertaining to labor statistics either do not Web site .62 sufficiently break out craft-related data or are gov- Lastly, to ascertain the potential of creating erned by privacy protocols making it difficult to craft-based cultural tourism projects, including access and/or use these potential sources of data. craft trails, a contracted cultural heritage special- National studies of the craft sector often did not ist conducted an in-depth survey of a range of tra- break out data for individual states; one can only ditional cultural assets (i.e., crafts, foods, music, make estimates by extrapolating the impact for the festivals) in Leelanau County and mapped cultural state of Michigan at approximately 3.33 percent of tourism trails based on those identified assets. As the total U.S., based on population. Some studies, part of this component, mtap staff created a pilot such as the Craft and Hobby Association’s Attitude set of fields of information for a database of cul- & Usage Study (2005–2006) are only available to tural assets information of the Leelanau area. The subscribers or organizational members.64 A major cultural specialist entered the Leelanau data into study conducted by the Craft Organization Direc- this new database and mtap staff entered other tors Association (coda) compiled data by survey- collected data into the database. ing members of professional craft associations and readers of The Crafts Reports. Thousands of craftspeople that were not members of professional Challenges to Collecting Data crafts associations or readers of The Crafts Reports were not reached by the study. Although mtap staff gathered a substantial amount In January 2005, it was reported that Michi- of information within a relatively short amount of gan is home to 17,812 arts-related business that time, it quickly became clear that obtaining infor- employ 80,70465—but this data does not break mation about the craft sector in Michigan poses out those that are connected to traditional crafts. challenges for a variety of reasons. As one consul- Undoubtedly this data, like the coda report, does tant who assessed economic indicators for busi- not include thousands of craft producers who may nesses stated, not consider themselves artists or are not affiliated with formal art institutions. I tried to get data on quite a few of the names The resources of the Michigan Traditional Arts on your lists, but found nothing. I’m familiar Research Collections, while vast, demand intensive with a number of the shops; most are small, investigation. Information about crafts is housed in owner operated shops that are likely sole pro- multiple sources and will require substantial invest- prietors or partnerships and those guys don’t ment of time to extract the data housed. Since this is show up on the radar of the major credit re- still the most centralized and comprehensive hold- porting databases, because they are not cor- ings in the state, this effort should be addressed. porations. Sales tend to be under-reported at these kinds of businesses, to avoid taxes. I don’t know any other method [to obtain eco- Amendments to Work Plan nomic indicators] other than good old-fashioned fieldwork, like calling the businesses or Reports and Profiles mailing them a survey. If you do that, be sure Initially only a few reports on specific craft sec- to tell them that any data they give you will tors and profiles of artists, organizations, and only be used in aggregate reporting and never businesses were solicited with the intention that will their individual sales or employee data be these pieces would not only yield substantive in- shared. Even with that said, most small busi- formation about the history and current state of ness owners are reluctant to share this kind of traditional craft in Michigan but also they could info.63 be used wholly or in part as part of the report.66

30 As reports began to pour in, we realized that they constituted far too much content to be substan- Economic Impact of Craft Supply tively part of the Phase One report and that a Industry in Michigan review of originally contracted reports revealed that important specialized craft sectors, artists, INDEPENDENT STORES & BUSINESSES IN MICHIGAN and businesses had been overlooked and also COMPANY LOCATION ANNUAL SALES EMPLOYEES needed to be profiled, for example, Amish crafts Country Stitches East Lansing $6,100,000 80 and musical instrument making. After reviewing Delphi Glass Lansing $10,400,000 75 data and essays collected to date, we determined Mary Maxim Port Huron $19,200,000 125 that amassed information was best suited for two Inland Craft Madison Heights $1,600,000 22 outcomes: (a) a report of findings and (b) a pub- Sassy Fabrics Grand Blanc $1,300,000 6 lication on Michigan Traditional Craft and Eco- Notions Marketing Grand Rapids $39,000,000 250 nomic Development. Delta Distributors Grand Rapids $10,000,000 140 Grand Quilt Co. Grand Rapids $3,750,000 37 Clarification of Distinctive Haberman Fabrics Royal Oak $2,200,000 42 but Related Project Components Marilyn’s Needlework Grand Rapids $4,000,000 22 As work progressed on the Craftworks! Michigan Fabri-Tech Jenison $10,000,000 71 project, it became evident that the cultural tourism Mac Enterprises Dearborn $3,750,000 17 component had to have its own identity. Thus staff The Winfield Collection Fenton $7,100,000 70 began developing a logo, identity schema, and fields TOTAL $118,400,000 957 of data for a separate but linked Web site called Source: Dun & Bradstreet, Hoovers Destination Culture: Michigan. The first stages of Destination Culture: Michigan are now under NATIONAL CHAIN CRAFT SUPPLY STORES IN MICHIGAN construction. Designed to draw visitors from near COMPANY STORES IN MI EST. SALES IN MI EST. EMPLOYEES IN MI and far to Michigan to partake in the state’s incred- Michaels Crafts 37 $152,839,101 1,817 ibly rich cultural resources, Destination Culture: Joann Crafts 50 $138,441,176 1,769 Michigan is being designed as an on-line resource Hobby Lobby 12 $50,000,000 433 center. It will feature searchable databases of the TOTAL $341,280,278 4,019 state’s cultural assets (including some of the major existing cultural asset inventories), downloadable INDIVIDUAL ARTISTS & ECONOMIC IMPACT self-designed and curated cultural heritage tours, Total U.S. Artists ...... 127,000 and links to other online Michigan travel and Estimated Michigan Artists ...... 4,229 heritage resources. Special features will include Craft-Related Annual Median Income ...... $22,000 incorporation of data on Michigan’s cultural fea- Total Estimated Income...... $93,040,200 tures that is generated by both users and by a cu- ratorial or editorial board, including those places NOTE: Only included here are companies with annual sales over $1M, so there are actually many more craft-related shops and businesses that are not included. Crafts represent thousands of matters nominated through a Place -like portal; jobs and hundreds of millions of annual revenue in the state of Michigan. Check Crafts Report the capacity to search via mode of travel (by foot, for data at www.craftsreport.com/may01/codasurveyresults.html. Income from crafts, by medium: www.craftsreport.com/may01/coda-table6.pdf. Report compiled by Tom Donaldson, Senior Busi- bike, waterway, motor vehicle); and the capacity to ness Consultant, Michigan Small Business & Technology Development Center, July 2006. make this a self-supported resource center through Google-like “pop-up” advertising. The site will employ some of the most ad- vanced and popular technology, including Project- indigenous and intangible sites, and special the- Build, GIS mapping, social mapping, and social matic interests. Destination Culture: Michigan is tagging and the creation of individualized “My being designed as a joint project of Michigan State Michigan” spaces. It also reflects current trends in University Museum and the Michigan Department cultural heritage tourism, i.e., heritage corridors, of History, Arts, and Libraries in partnership with

31 would have the capacity for user feedback, social The Big Questions tagging, and the creation of “My Michigan.” As part of the Leelanau County study, one nomina- • Who and what comprises Michigan’s traditional craft sector? tion (for Fishtown), using the format of Placemat- • How and where do artists work and market their products? ters, was made. • Do they make a living from their craft? In doing the research, for adopting the Place- • Does their work attract tourism? matters program for Michigan, however, we • From whom do they get services and supplies? found that the computer architecture supporting • What relationship does Michigan craft have to the history and heritage Placematters is outdated and maintenance of the of our state? site demands heavy involvement by staff, which • What ethnic, occupational, and religious influences are present in runs counter to the self-sustaining direction for Michigan craft? which we are striving. With matrix, we will be • Are there characteristics or crafts that are unique to Michigan? investigating development of an architecture that • Does Michigan’s craft sector provide economic benefit to our commu- will be dynamic, user-friendlier, and more self- nities and the state? sustaining. The program will still be a tool for • Does Michigan craft have national and foreign markets? Could they? individuals to nominate and search tangible and • What are the needs and issues facing Michigan’s craft sector artists, intangible sites of community meaning for Michi- marketers, presenters, suppliers, and educators? ganders. Craftworks! staff also reviewed a simi- • What role can foundations, government, higher education, and other lar site, Registry of Very Special Places68 in upstate organizations play in helping to strengthen Michigan’s traditional craft New York, and had conversations with City Lore sector? in NYC regarding possibilities of working with City Lore on an interactive mapping—with cultural features and stories—project it has initiated with Story Corps. matrix: Center for Humane Arts, Letters, and In addition the Craftworks! team will meet Social Sciences OnLine based at MSU. Preliminary with Travel Michigan and the Michigan State His- discussions are also underway with Michigan Hu- torical Preservation Office (shpo) to discuss simi- manities Council as an additional partner. larities between electronic programs being used to store, search, and present data pertaining to Clarification of Suitability of cultural heritage assets. Thus we determined that PlaceMATTERS Model for Michigan it would be best to hold on development of this Part of the original Phase One work plan was to component while we investigated more appropri- adapt the NYC-based Placematters, a tool for ate technologies. community members to nominate and then make electronically accessible, cultural sites of community importance.67 The plan, following the NYC model, was that any individual could nominate Phase One Findings tangible and intangible (with GIS coordinates) places in Michigan but a Placematters curato- In Phase One we began a process of assembling in- rial or editorial board(s) would formation to begin answering questions about the provide a mechanism for vetting characteristics and needs of Michigan’s traditional Destination Culture: Michigan . . . nominations to be uploaded with craft sector, particularly as it relates to economic will feature searchable databases perhaps a special designation for development. The collection and analysis of data of the state’s cultural assets. high-quality, high-interest sites, in Phase One is just a beginning, but it has enabled and for linking to existing known the Craftworks! team to begin seeing trends, sites (i.e., Centennial Farms, National Registry needs, and opportunities that can be addressed. of Historic Places, etc.) Placematters Michigan They are outlined as follows.

32 Economic Value of Craft

Many craftspeople who sell their work struggle with setting and obtaining a price for their craft that fairly reflects the real amount of time, labor, materials and skill that the artist invested. Cus- tomers often have little knowledge or appreciation of the extent of the artist’s investments. For instance, most individuals have no idea that a master Hmong needle artist has refined his/her craft over years of practice and training, beginning with her lessons at around age five or six. They have no idea that an Ojibway basketmaker does not get his materials at a craft store like Mi- chaels but rather has to spend hours gathering and preparing splints before even beginning to weave. The ability to be a weaver reflects a deep knowledge of where plants grow, when and how A Balancing Act: Quilting and Shop Management to harvest, and how to prepare the materials—in addition to knowing weaving techniques and a Fifty percent of my income is from tourism. Many come back every year. Word of mouth is what works best. I’m getting busier every year! repertoire of forms and designs. Time is the biggest obstacle. I run the store myself, plus make most of the New technologies and the influx of imported inventory. It is 12–14 hours a day at least 5 or 6 days per week. Even the weekends items made with cheap labor have greatly im- are often 4–5 hour days. Quilt work and the shop provide my total source of income. There was in- pacted the American craft market. The cultiva- creased income right from the first by opening a shop [vs. the craft/arts fair tion of consumer audiences for the handmade circuit]. Some of my work ends up not being paid for at all. I keep track of hours and object is successful in some areas of the country charge a varied hourly rate depending upon the complexity of the piece. I try to and for some forms. In Alaska, the Southwest, average at least $10 per hour. It is worth much more than that, but I’m scared to and the Northwest, for example, a tremendous go up. Wishing and having are two different things! I love my work; love the mountains and my friends. The challenge is fitting market exists for Native-made arts and crafts them all in. from those regions. The market for work of Na- Edna Harbison, quilt artist and In the Woods gallery and shop owner/manager, Ontonagon, Michigan. Photo tive American artists from the Woodlands area by Carol S. Huntoon. lags far behind but efforts such as the Eiteljorg Museum of American Indians and Western Art’s Annual Indian Markets (Indianapolis), ArtTrain’s touring exhibition Native Views: Influences of Centers for Research, Advocacy, Showcasing Modern Culture (multiple sites in Michigan and and Promoting Crafts across the U.S.), The Ziibiwing Center for Anish- nebak Culture and Lifeways’ annual Indigenous Many nations and some states have clearly identi- Peoples Art Markets (Mt. Pleasant) and Michigan fied national and state-level craft offices; some na- State University Museum’s Great Lakes Native tions even have cabinet or minister level officials Basket Association Gatherings (with Nokomis, whose primary portfolios are craft and/or craft in East Lansing) and Carriers of Culture: Living and economic development. Across the United Native Basket Traditions project (East Lansing and States, many states have state folk arts programs70 Washington, D.C.)69 have recently contributed to but seldom do these programs focus solely on craft building consumer interest in contemporary re- whether traditional or more broadly defined. An as- gional Native art. sessment of needs of Michigan’s Native American artists conducted during 2001–03, identified a pri-

33 ority need was to establish an ombudsman for Na- have been previously associated with what tive artists who would serve as a central connecting we call Indian art . . . Even among the Native point between artists and services or resources.71 American population it is common to not rec- Many countries and some states host physi- ognize the full spectrum of artistic expression cal centers where crafts, regularly showcased as art. As an example, a traditional dancer and through juried competition, are available for sale. singer who didn’t have a self-image as an artist Some of these are located at state welcome centers offered to help us contact some of the artists in or highway rest centers. Major museums in some his community but contended he was not an states have long-term exhibitions artist . . . Our comments came from long es- Customers often have little that showcase a range of crafts or tablished artists making a living with their art- a specific craft tradition of their work and they came from people just starting knowledge or appreciation of the state or region.72 Other museums out and hoping to network with other artists. extent of the artist’s investments. have a commitment to regular ro- Our goal of reaching beyond the common im- tation of special exhibitions and pression of “Indian” art was successful.”73 ongoing programming on crafts. Through its sustained research and educa- Another example is the Michigan Quilt Net- tional activity in the craft sector and its craft collec- work, a now nearly 600-member organization, in- tions, Michigan State University Museum serves cubated in 1987 at the state’s first quilt conference as the most centralized resource for crafts in the held during the exhibition Michigan Quilts: 150 Years state and has the potential to serve as a more ac- of a Textile Tradition.74 Shortly thereafter a group of tive force in advocacy, economic development, and dedicated quilters and quilt lovers got together and further research studies. pledged to form an organization that would hold an annual gathering. The group now hosts an annual major showcase, has a Web site, a quarterly news- Networking letter, regional clubs that also meet on a regular basis, and a series of statewide projects. There are multiple organizations, listservs, festivals, and Web sites that serve Michigan’s traditional craft sector but they typically serve only Questions of Authenticity narrowly defined, like interest constituencies. There are major craft-based, membership organi- Some artists who mimic traditional designs or are zations and associations but again, these entities skilled in technical aspects of traditional arts but tend to be narrowly focused, serving primarily art- who have neither learned nor practiced their craft ists, or scholars, or businesses, with little overlap within a clearly defined community often bill over genre, type of stakeholder, or region. Further- themselves or are billed as folk artists. Public en- more, artists and cultural organizations are rarely thusiasm across America for folk arts has skyrock- linked with community developers, economic eted in the past twenty-five years fueled, in part, development planners, travel and tourism offices, by shrewd marketers who have utilized Ameri- and higher education programs. can folk arts as tools to sell products. Influential An example of the value of networking for one designers and style mavens from Ralph Lauren to sector of artists was realized during the consulta- Martha Stewart have created products they an- tions held for the Michigan Native American Arts nounce are in the folk art tradition or, simply, are Initiative in 2001–2003. A report from the Initia- folk art.75 tive states: Entire new businesses on both local and national levels have been built around newly minted “The networking involved in this project has “folk art” products. Cheaply produced quilts, for helped to dispel the artificial limitations that instance, are now being made in sweatshops in

34 China, the Philippines, and other Southeast Asian countries and can be bought at any U.S. department store and online through outlets as varied as Lands End to Bed, Bath and Beyond and Meijers.76 The Country Folk Art Show, started in 1982 by a mother-daughter team in Davisburg, Michi- gan, has grown to a national operation with up to 33 shows a year in 10 states.77 It has estimated annual sales of $600,000 and employs 10 people but the bulk of what is offered to the hundreds that pay admission to their shows is, while of juried quality, mostly not folk.78 These products, however popular or well crafted, are not the real things—the authentic, community-bred and valued work of real folk artists. It is the appropriation of the culture of a speciﬁc group by those outside of the cultural group. It is not that there is no value to these products, it is just an issue when this adopted, adapted, and highly marketed material is presented as real folk art and when it undercuts or displaces the authentic. Scattered around Michigan are businesses that carry “Native American” crafts. Some of this indigenous craft is Native American but other items only look like Native American craft; they are, in fact, made by non-Native artists, even those from other countries. A study associated with the Michigan Native American Arts Initia- tive recognized that this problem is not unique to Michigan.79 “Federal legislation designed to stem the tide of non-Indian artists producing Indian style art and marketing it as Indian-made was passed in 1990. The Indian Arts and Craft Michigan Heritage Awardee Edmund Whitepigeon passes on his mastery of black Act was a good start in protecting Native Ameri- ash basketmaking to his daughter-in-law Katherine under a Michigan Traditional Arts can artists. This act was hard to enforce, however, Apprenticeship Program grant. Photo 80-20-2-35, courtesy Michigan State University Museum. and subsequently the Indian Arts and Crafts En- forcement Act of 2000 was passed.” While these laws provided beneﬁts to native artists, the rules Public Awareness of Traditional Crafts adopted to implement the acts created additional problems as only enrolled members of Federal Exhibitions, galleries, publications, festivals, and or State recognized tribes are considered Indians now electronic Web sites play a key role in pro- for the purposes of the acts. Non-enrolled Native viding showcases and sales outlets for Michigan’s Americans, most of the urban Native American traditional crafts. With good descriptions and in- population, and many Native Americans with terpretation, these vehicles have been critical in substantial blood quantum are now outside the educating the general public about the availability, law when they produce art that is traditional diversity, history, and quality of crafts in the state. within their families.80 That said, most of the major activity in this arena

35 has been shouldered by a handful of agencies and Folk Artists in Schools programs has been cut by institutions. over 50 percent as part of the reductions in Mich- igan’s support for arts and culture programs. Master traditional artists rarely serve as in- Access to Resources structors in either k–12 public schools or institutions of higher education. Even if they are Within some communities, access to the appro- masterful indigenous teachers, they have rarely priate materials needed to product their traditional had the opportunity to receive the kind of train- craft is a challenge. As examples, here in Michigan ing or experience needed to serve as an educator Native American artists who make baskets or birch- in a more formal academic setting in which they bark containers are experiencing must “manage” classes, construct lesson plans, increasing difficulties in obtain- and meeting standards are expected. . . . craft activity in Michigan . . . ing the sweetgrass, black ash, and represents an enormous and birchbark that are the primary essentially untapped resource to materials used in their work. The Craft-Based Cultural Tourism fencing off, restrictions to, or en- strengthen tourism which would, croachment of development on Given the range and depth of traditional craft activ- reciprocally, build the economic traditional gathering sites, the ity in Michigan, the sector represents an enormous viability of the craft sector. use of pesticides and herbicides and essentially untapped resource to strengthen in gathering areas, and, most tourism which would, reciprocally, build the eco- recently the devastation of black ash trees due to nomic viability of the craft sector. Craft-based the infiltration into Michigan of the Emerald Ash tourism is being used around the world to effec- Borer have made it ever more difficult for these tively build the individual artist’s ability to earn artists to procure their materials. income and to simultaneously grow communities New immigrant artists have often struggled economically. Why not in Michigan? to get materials locally and have had to adapt local resources or have imported, sometimes at great expense, materials from homelands. For instance, Civic Engagement of Public in Identifying, Hmong makers of the qeej, a musical instrument Collecting, and Using Cultural Assets traditionally made of bamboo reeds, have resorted in Michigan to constructing instruments out of There is a groundswell of interest across the PVC pipe. country in projects that engage citizens in documenting, sharing, and using personal, group, and community tangible and intangible cultural heri- Opportunities for Learning tage assets. Story Corps and the Veterans History Project of the American Folklife Center/Library The Michigan Traditional Arts Apprenticeship of Congress are but two examples in which indi- Program, a program of Michigan State University viduals contribute their own stories at private and Museum, has been a key factor in stimulating the public venues and then the results—the collected passing on of knowledge about some crafts by stories—are not only archived but are also being providing direct financial assistance to the learn- used to create or enhance an array of products or ing process, helping artists to set aside structured projects, including site-based cultural heritage time for teaching and learning—sometimes a tourism. Civic Tourism is a program that is predi- difficult challenge when teachers and or learners cated on civic engagement in the development of have conflicting work, family, or obligations and tourism. “Place-based tourism demands commu- when teacher and learner are separated by dis- nity involvement because the story of place is, first tance.81 Funding for this program and mcaca’s of all, the story of people who live (and have lived)

36 there—the people whose story deﬁnes the product, who are often the most affected by tourism, who know local history, who are usually the most concerned about and committed to their community’s future.”82 Civic Tourism puts forward the claim that, “in addition to economic development, the industry can help communities preserve cultures, protect the environment, save historic districts, encourage citizenship, and, in general, foster a healthier quality of life.”83

Foundation and Government Investment in Infrastructure

The examples of “best practice” and successful projects listed in this report provide evidence that foundation and government leadership in devel- A Gaylord Area Council for the Arts project taught photography and oral history oping and investing in traditional craft activities techniques to community youth. Their work with area seniors resulted in oral his- can yield impressive results, positively impacting tories and photo essays about family life crafts, and growing up in Gaylord. Photo by Jan Kellogg from Rooted in Place: Cultivating Community Culture. individual and community economic health.

for the community.” The report also outlines the New Immigrant and Refugee Artists important role of culture brokers and mediators in creating connections among artists, communi- No study is available of the status of Michigan’s ref- ties, and services. Lastly, the report offers a series ugee and immigrant arts needs but a report from St. of recommendations about what can be done to Paul’s Metropolitan Regional Arts Council (mrac) minimize barriers to supporting and assisting these provides some observations regarding their large newcomer artists and their communities.84 and diverse refugee and immigrant population that holds relevance for Michigan. The report outlines several misconceptions of new immigrants or Intangible Heritage and International Activity refugee groups and the untapped assets these newcomers represent to our nation. The author states The United Nations Educational, Scientific and that many communities fail to recognize these Cultural Organization (unesco)’s Convention newcomers’ assets: the often-specialized skills and for the Safeguarding of the Intangible Cultural knowledge along with their entrepreneurship and Heritage, adopted in October 2003, work ethic—all features that have the potential to is becoming one of the most im- enhance and build communities. portant tools for nations around Place-based tourism demands Refugee and immigrant artists are supported the world in their efforts to protect, community involvement by mrac in Minnesota to engage in “artist-driven” recognize, and support traditional because the story of place is, first projects as well as for “community-engagement” elements of their nation’s most pre- of all, the story of people who projects in which art making is a defining element. cious assets.85 Many of the Conven- live (and have lived) there . . . mrac has looked for ways to fund projects for tion’s newly developed components groups “that practice and value what we call ‘under reflect the very programs that have the radar’ activities—that is, those activities that are already been initiated in Michigan for traditional of the community, by the community, and solely arts. It will be important for Michigan arts and cul-

37 The Vertin Gallery

Nobody expected it to happen in Calumet. You do not just pass through Calumet; you have to purposefully go there. The Vertin Gallery is a 9,000- sq.-ft. fine arts and crafts gallery on the first floor of an 1885 Jacobsville sandstone brick block building in the heart of historic downtown Calumet. This gallery brought in close to $85,000 in 2005 and is anticipating dou- bling that for 2006. The Vertin Gallery and artist studios on the second and third floors are the result of owners Tim Lyons’ and Dr. Bonnie Hafeman’s dedication to preserving the building, and artist Jikiwe’s (Ed Gray) vision for a gallery and community of working artists. Jikiwe, a well established potter from Fennville, arrived in Calumet in the fall of 2004, rented studio space for himself and within months brought together a core family of artists to exhibit their work in a first floor gallery. By fall of 2005, more than 67 artists were represented in the gallery. The Vertin is an incubator for artists and crafts persons. The second and third floors, off limits to the public, offer a haven of open workspace for studios.

Julie Avery with Jikiwe, artist and Vertin Gallery Director. Photos by Vern Simula.

38 ture leaders to keep aware of new components as they are developed and to implement programs here as appropriate.

Recommendations

The results of the Craftworks! study suggest that there are multiple important directions that can be pursued and some next steps that should be imme- diately acted upon. The list below captures some of the directions suggested by Phase One ﬁndings; some are very speciﬁc to certain constituencies or regions, others address broader issues. It is clear that because the craft sector is fragmented and is not supported by a well-developed infrastructure in Michigan, nearly all of these next steps demand leadership and an investment of resources from state government, foundations, and the private sector.

First Steps

The most obvious next steps are to build on the pilot focus on traditional crafts and (1) expand Craftworks! to address the entire craft sector in Michigan; and (2) to activate the Web-based resources that have been in development during Phase One. owners, museum curators, funders, researchers, etc.) in the craft sector. Next Steps • Convene a statewide meeting of key stakeholders in the development of cultural tourism, of Leadership arts and heritage trails, and of electronic Web- • Identify an institution, agency, or office that based resources to support these efforts. will serve as a central point for advocacy, plan- • Convene a statewide meeting of artists and ning, resources, and support of Michigan’s tribal government officials to draft a proposed craft sector. procedure for the recognition of non-enrolled • Establish the location and staffing of an om- Indian artists as provided for within the Indian budsman’s office for Native American (First Arts and Crafts Act. Nations) art in Michigan. • Convene a gathering of stakeholders (refugee service providers, artists, immigrant and refu- Networking gee group leaders, community developers, • Convene a statewide meeting of key stake- funders, etc.) related to new refugee and im- holders (artists, suppliers, educators, gallery migrant groups.

39 • Continue with the on-going development of • Explore strategies to incorporate information related Web sites and listservs: Craftworks! about these masters in a variety of arts and Michigan, Destination Culture: Michigan, culture economic development programs. Placematters Michigan (or a similar name to • Develop new programs to recognize outstand- be determined), Michigan Stained Glass Cen- ing craft businesses, suppliers, showcases, and sus, Michigan Quilt Project, and Michigan others who are critical to sustaining and grow- Barn and Farmstead Survey. ing Michigan’s traditional craft activity.

Cultural Assets Inventory, Documentation, Promotion and Marketing and Mapping Research • Create ongoing showcase(s) of Michigan’s • Continue to inventory, document, and map crafts. Michigan’s cultural assets; seek innovative • Create annual Michigan Craft Fair. ways to mentor and engage widespread par- • Add text and images of Michigan crafts, craft- ticipation in this effort. making, and craft events to Travel Michigan • Continue to contract, assemble, and analyze Web site. reports on specific segments of craft activi- • Develop ways to aggressively identify, mark ties. and promote Michigan-made crafts. • Develop ways to identify, mark, and promote Evaluation of Impact of Craft-Based Michigan Traditional Arts. Economic Development • Develop system for identifying, marking, and • Apply CEDOT measures to target group or promoting Michigan Native American crafts area, ideally the Leelanau Peninsula where that would be in compliance with the Indian heritage trails have been mapped. Arts and Crafts Enforcement Act of 2000. • Create exhibitions and publications showcas- Arts and Culture-Based Trails ing Michigan crafts. • Create mechanisms that will foster develop- • Provide incentives for travel writers to write ment of both curated trails and those that are about Michigan crafts. created by “people’s choice” methods. • Provide incentives for print and radio jour- • Develop multiple craft-based tours in Michi- nalists to cover Michigan traditional crafts, gan, based on genre (especially quilts, barns, especially outstanding artists (i.e., Michigan stained glass, fibers, maritime, au- Heritage Awardees) and unique or significant tomotive); on ethnicity (especially realms of activity. . . . foundation and government Native American, Amish, Polish • Provide support to create brochures, maps, leadership in developing and American, Finnish American, Afri- toll-free numbers, and Web sites that help investing in traditional craft can American, Arab Americans, and promote craft centers, events, and trails. activities can yield impressive Mexican/Latino Americans); on re- results . . . gion (Leelanau, Thumb, Southeastern Parallel Projects Michigan, Upper Peninsula). • Initiate parallel content focused projects, i.e., Musicworks! Michigan and Foodmatters! Recognition and Honoring Exceptional Artists Michigan, the latter building on a number of and Craft Sector Workers initiatives, including the forthcoming Key In- • Investigate collaborations of Michigan’s hon- gredients/Michigan Foodways project of the oring programs, perhaps blending recognition Michigan Humanities Council and Michigan programs in Michigan, specifically the Mich- State University Museum and the existing di- igan’s Governor’s Arts Awards, Community rectories of farm markets and roadside stands. Arts Award, and the Michigan Heritage Award programs.

40 Notes

1. Marsha MacDowell, “Folk Arts,” 1999 Michigan Folklife the State’s Traditions. East Lansing, Mich: Michigan State Annual, East Lansing, Mich.: Michigan State University University Museum and the Cooperative Extension Ser- Museum, 1999. vice, 1985. 2. Ibid. 15. See The Quilt Index, www.quiltindex.org. Accessed Octo- 3. Ibid. ber 15, 2006. 4. Ibid. 16. George A. Erickcek and Brad R. Watts, Economic Benefits 5. Extracted from Richard Knupfer, C. Kurt Dewhurst, Mark of Michigan’s Arts and Cultural Activities, Lansing, Mich.: Kornbluh, Marsha MacDowell, et al. Mapping Great Lakes Michigan Nonprofit Research Program. 2005. p. 3. Identity: Past, Present and Future. A Proposal for the Center 17. See Cultural Economic Development: A Strategy to Le- for Great Lakes Culture. Grant proposal submitted to the verage Michigan’s Creative Talent and Cultural Assets to National Endowment for the Humanities by Michigan Spur Economic Growth and Build Community Prosperity. State University, April 1999. A report. Lansing, Mich.: Michigan Department of His- 6. Susan Auerback, In Good Hands: State Apprenticeship Pro- tory, Arts, and Libraries, December 2005; George A. Er- grams in Folk & Traditional Arts, Washington, D.C.: Na- ickcek and Brad R. Watts. Arts and Cultural Activities and tional Endowment for the Arts, 1996. the Michigan Economy. Kalamazoo, Mich.: W. E. Upjohn 7. Michigan Traditional Arts Apprenticeship Program. www. Institute for Employment Research, April 7, 2005; and museum.msu.edu/s-program/mtap/Mtaap/mtaap.html. Daniel J. Stynes, Gail A.Vander Stoep, and Ya-Yen Sun, Accessed October 15, 2006. Economic Impacts of Michigan Museums. East Lansing, 8. Steve Stier, “Randolph Preservation Field School at His- Mich.: Department of Parks, Recreation, and Tourism Re- toric Fort Wayne.” Unpublished report to Michigan sources, Michigan State University, 2003. Historic Preservation Network on collaboration of State 18. Data provided by Toshiyuki Higuchi, e-mail communica- Historic Preservation Office, Detroit Public Schools, and tion to Marsha MacDowell, November 2003. Michigan Historic Preservation Network, October 25, 19. Quilts Japan, November 2006, p. 27. 2006. 20. See Quilts at the Crossroads, www.gfn.org/gfac/gquilt. 9. Julie Avery, “Cultivating Craft in the Porkies,” Essay pre- htm. Accessed October 15, 2006. pared for CraftWORKS. 2006. 21. See Michigan Stash Dash www.michiganstashdash.com. 10. See Jack Teegarden’s personal Web site, www.jackteegar- Accessed October 15, 2006. den.com/. Accessed October 15, 2006. 22. Report compiled by Tom Donaldson, July 2006 based on 11. Pointe Mouillee Waterfowl Festival and Duck Hunters data gleaned from www.craftsreport.com. Tournament. www.miwaterfowl.fest.org. Accessed Octo- 23. Ibid. ber 15, 2006. 24. Quilting in America. Report commissioned by Interna- 12. Yvonne Lockwood and Marsha MacDowell, ed. Honor- tional Quilt Market & Festival (divisions of Quilts, Inc.) ing Traditions: Michigan Heritage Awardees, 1985–2004. and Quilter’s Newsletter Magazine (a division of Primedia). East Lansing, Mich.: Michigan State University Museum, The research was conducted by independent firms NFO 2004. Research, Inc. and Abacus Custom Research, Inc., 2003. 13. Marsha MacDowell, A Briefing Report on the Michigan Tra- 25. An estimate based on the fact that Michigan’s population is ditional Arts Program. Prepared for Michigan Council for 3.33 percent of the total United States, based on population. Arts and Cultural Affairs, May 2006. 26. The theme of the 1997 Festival of Michigan Folklife was 14. Yvonne R. Lockwood, Marsha MacDowell, and C. Kurt “Our Culture/Workers Culture” and the festival show- Dewhurst, eds. Michigan: Whose Story?: A Celebration of cased artists who created original car designs as well as

41 custom cars and lowriders. See Yvonne Lockwood and Report on the Folk and Traditional Arts in the United States. Marsha MacDowell, eds. 1997 Michigan Folklife Annual. Washington, D.C.: National Endowment for the Arts, East Lansing, Mich.: Michigan State University Museum, 1996, p. 40. note: C. Kurt Dewhurst, folklorist at Michi- 1997. gan State University Museum, was one of eight members 27. George A. Erickcek and Brad R. Watts, Economic Benefits of a national advisory panel that provided guidance and of Michigan’s Arts and Cultural Activities, Lansing, Mich.: feedback on this study. Michigan Nonprofit Research Program. 2005. p. 2. 44. Ibid. 28. See: National Endowment for the Arts – Publication – Re- 45. Ibid., p.6. search Division Reports and Notes at http://arts.endow. 46. See Quilting in America 2003 survey conducted by NFO gov/pub. Accessed October 15, 2006. Research, Inc. and Abacus Custom Research, Inc. for 29. Craft Artist Membership Organizations. Research Division Quilter’s Newsletter Magazine, a Primedia Publication, Report #13. Washington, D.C.: National Endowment for and International Quilt Market & Festival, divisions of the Arts. Research Division, 1978. Quilts, Inc., 2003. The 2003 survey was based on a two- 30. U.S. Department of Labor, Bureau of Labor Statistics, Oc- part strategy. Phase I, conducted by NFO, involved survey- cupational Employment Statistics. www.bls.gov/oes/cur- ing 40,000 households to measure the number of adults in rent/oes271012.htm. Accessed October 15, 2006. the U.S. that participate in quilt making and to learn how 31. Dave Dinesh and Michael Evans, The Determination of the much money they spend in a 12-month period. This phase Economic Contribution of the Craft/Handmade Industry in reports a 67 percent response rate. Phase II, conducted by Western North Carolina: Executive Summary. Asheville, Abacus, involved mailing a comprehensive 12-page ques- N.C.: HandMade in America, January 1995. tionnaire to 2,500 qualified dedicated quilters. This phase 32. Linda Van Trump, CODA Managing Director. Communi- reports a 68.6 percent response rate. The report is available cations with Julie Avery. September 2006. See also Craft as a downloadable document at www.quilts.com. Organization Development Association, www.codacraft. 47. Quilting in America 2003 survey conducted by NFO Re- org. Accessed October 15, 2006. search, Inc. and Abacus Custom Research, Inc. for Quilter’s 33. Diane Lambdin Meyer, “The Department of Craft Devel- Newsletter Magazine, a Primedia Publication, and Interna- opment.” Special Report. The Crafts Report, May 2001. tional Quilt Market & Festival, divisions of Quilts, Inc., Craft Organization Directors Association (CODA). www. 2003, p. 2. craftsreport.com/may01/deptofcraft.html. Accessed July 48. Chris Walker, Maria Rosario-Jackson, and Carole Rosen- 27, 2006. stein, Culture and Commerce: Traditional Arts in Economic 34. Quoted in Diane Lambdin Meyer, “The Department of Development. The Urban Institute, Metropolitan Housing Craft Development.” Special Report. The Crafts Report, and Communities Policy Center for The Fund for Folk Cul- May 2001. Craft Organization Directors Association ture, 2003, p. 7. (CODA). www.craftsreport.com/may01/deptofcraft.html. 49. Ibid., p. 13. Accessed July 27, 2006. 50. A sampling of folklife and cultural tourism projects in the 35. Ibid. United States. Columbia, Mo.: Missouri Folk Arts Program, 36. Ibid. University of Missouri, undated. http://maa.missouri.edu/ 37. “Growing Appalachian Economies through Craft.” Appala- mfap/articles/folklifesamplingtrends.html. Accessed Octo- chian Regional Commission (ARC) Online Resource Cen- ber 15, 2006. ter. www.arc.vog/index.do/nodeld+1900. Accessed October 51. Betsy Peterson, quoted in A sampling of folklife and cul- 15, 2006. tural tourism projects in the United States. Columbia, Mo.: 38. The Crafts Report, May 2001. Craft Organization Directors Missouri Folk Arts Program, University of Missouri, un- Association (CODA). www.craftsreport.com/may01/coda- dated. http://maa.missouri.edu/mfap/articles/folklifesam- surveyresults.html. Accessed July 27, 2006. plingtrends.html. Accessed October 15, 2006. 39. As examples, see Etsy.com is an online crafts marketplace. 52. Roby Cogswell, quoted in A sampling of folklife and cul- “Your Place to Buy and Sell All Things Handmade.” http:// tural tourism projects in the United States. Columbia, Mo.: www.etsy.com/. One can sell and buy glass, crochet, quilts, Missouri Folk Arts Program, University of Missouri, un- knitting, and more can be sold and purchased. Searches dated. http://maa.missouri.edu/mfap/articles/folklifesam- can be made by region, type of craft, color. Accessed Oc- plingtrends.html. Accessed October 15, 2006. tober 15, 2006. Also see helloindie—the ezine of DIY craft, 53. The word “CraftWORKS” was coined to denote a project www.helloindie.us. Accessed October 15, 2006. that focused on the product and the process of craft and to 40. The Crafts Report on-line, www.craftsreport.com. Ac- imply that attention to the craft sector will advance em- cessed October 15, 2006. ployment opportunities for Michigan’s work force. 41. Charley Camp, editor. Traditional Craftsmanship in Amer- 54. The editors are grateful to colleagues LuAnne Kozma and ica: A Diagnostic Report. Washington, D.C.: National Yvonne Lockwood for their close read and helpful editing Council on Traditional Arts, 1983. Marsha MacDowell of this compiled report. submitted the Michigan report for this effort. 55. Cultural Economic Development: A Strategy to Leverage 42. C. Kurt Dewhurst and Marsha MacDowell, “The Market- Michigan’s Creative Talent and Cultural Assets to Spur Eco- ing of Objects in the Folk Art Style.” New York Folklore, nomic Growth and Build Community Prosperity. A report. Vol. XII, Nos. 1–2, 1986, pp. 53–54. Lansing, Mich.: Michigan Department of History, Arts, 43. Betsy Peterson, editor. The Changing Faces of Tradition: A and Libraries, December 2005, p. 6.

42 56. Tipping to Cool: Next Steps in Linking Culture, Commu- 64. The CHA Attitude & Usage Study was recommissioned in nity and the Economy MCACA 10th Annual Meeting, De- 2005 and is continuing in 2006 to provide members with cember 9, 2004, Lansing, MI. For report and images, see the most up-to-date information on participation and be- http://www.michigan.gov/hal/0,1607,7-160-17445_19272_ haviors of crafting households. The primary objectives of 38303-106790—,00.html this research are to: Estimate the size of the industry; es- 57. E-mail communication from Betty Boone to Marsha Mac- timate and track sales by distribution channel; determine Dowell, November, 2005. and track craft participation by category; provide demo- 58. The leadership for this project consisted of Betty Boone, graphic profiles and attitudinal and behavior patterns of Director, Cultural Economic Development, and Carol Cul- crafters; and document shopping patterns. ham, Deputy Director, (Michigan Department of History, 65. Michigan Council for the Arts and Cultural Affairs Strategic Arts, and Library) and Dr. Marsha MacDowell, Coordina- Plan, 2006–2010, p. 18. tor, Michigan Traditional Arts Program and Dr. Julie Avery, 66. Reports and profiles were prepared by Julie Avery, Michele Coordinator, Rural Arts and Culture Program. Key team Beltran, C. Kurt Dewhurst, Beth Donaldson, Tom Donald- members from Michigan State University Museum who son, Marie Gile, LuAnne Kozma, Yvonne Lockwood, Betty contributed essays, conducted research, and participated MacDowell, Marsha MacDowell, Laura Quackenbush, Ba- in planning meetings included Dr. Yvonne Lockwood, sil Pollard, Steve Stier, Lynne Swanson, Steve Williams, Curator of Folklife; Mary Worrall, Assistant Curator of and Mary Worrall. Folk Arts and Project Manager, The Quilt Index; LuAnne 67. See Place Matters, www.placematters.net. Accessed Octo- Kozma, Assistant Curator of Folk Arts; Lynne Swanson, ber 15, 2006. Cultural Collections Coordinator; Michele Beltran, Co-Di- 68. See Registry of Very Special Places (R.S.V.P.) www.north- rector, Michigan Stained Glass Census; Beth Donaldson, countryfolklore.org/rvsp.index.html. Accessed October Collections Assistant; Dr. Betty MacDowell, Co-Director, 15, 2006. Michigan Stained Glass Census; Dr. C. Kurt Dewhurst, 69. 14th Annual Indian Market (wwweiteljorg.org); Michigan Curator of Folk Arts and Director, Michigan State Univer- Arttrain (www.artrainusa.org/); Michigan State Uni- sity Museum; and Katie Large, Michigan Rural Arts and versity Museum Carriers of Culture: Living Native Basket Culture Program. Staff of MATRIX: Center for Humane Traditions (http://museum.msu.edu/Exhibitions/Upcom- Arts, Letters, and Social Science OnLine who provided ing/smithsonian_ project.html); and The Ziibiwing Center support for creating the Web structure included Dr. Dean for Anishnabek Culture and Lifeways (www.sagchip.org. Rehburger, Dr. Joy Palmer, and Mike Fegan. Graphic de- ziibiwing/). All accessed October 15, 2006. sign support was provided by Michael Sunderman, CIESA 70. See “State and Regional Folk Arts Programs and Link” Design and Charlie Sharp, Sharp Des!gns. Contracted and downloadable document on Traditional Arts Programs volunteer contributors were Tom Donaldson, Marie Gile, Network (TAPNET) www.afsnet.org/tapnet/. Accessed Basil Pollard, Laura Quackenbush, Steve Stier, and Steve October 15, 2006. Williams. 71. Frank Ettawegeshik and Marsha MacDowell, Native 59. “Cultural Economic Development: A Strategy to Lever- American Arts Initiative Project Final Report, Phase Two. age Michigan’s Creative Talent and Cultural Assets to Spur East Lansing: Michigan State University Museum, Febru- Economic Growth and Build Community Prosperity.” ary 2003. www.minativearts.net/phase2.html. Accessed Lansing, Mich.: Michigan Department of History, Arts, October 15, 2006. and Libraries, December 2005. 72. See, for instance “Shaping Traditions: Folk Arts in a 60. Mary Worrall to “Building Communities: Partnerships Changing South,” Atlanta History Center, Atlanta, Ga. Craft,” Paducah, Kentucky, June 2–5, 2005 and Julie Avery www.atlhist.org. Accessed October 15, 2006. to “Handmade Tourism Institute: The Tie Between Com- 73. Frank Ettawageshik and Marsha MacDowell, Native Ameri- munity, Craft, and Agriculture—Assets, Mapping, and can Arts Initiative Project: Phase One Report. East Lansing: Promotion,” Asheville, North Carolina, November 14-15, Michigan State University Museum, May 2002. www.mi- 2005. nativearts.net/phase1.html. Accessed October 15, 2006. 61. See, for instance: Meetinghouse: Building Websites that 74. The conference was held September 17–19, 1987 and in- Work (www.restorationtrades.com/artisans/zip4.shtml); spired the 1989 “Going To Pieces” conference that was the Arcat: Find Building Materials Fast (www.arcat.com/divs. first meeting of the Michigan Quilt Network. sec/sec05700.shtml); Michigan Construction Jobs (www. 75. Marsha MacDowell and C. Kurt Dewhurst, “The Market- miconstructionjobs.org); Hoovers (www.hoovers.com). ing of Objects in the Folk Art Style,” in New York Folklore, Accessed October 15, 2006. Marketing Folk Art: Special Issue, Vol. 12, No. 1–2 (Win- 62. See The Peoples Atlas (www.platial.com), MapMuse: Find ter–Spring 1986), pp. 49–56. Other articles in this special Places to Live, Learn, Work, and Play (www.mapmuse. issue include: Rosemary Joyce, “Introduction to Market- com) and Humanities Tennessee (www.tn-humanities.org). ing Folk Art”; Elaine Eff, “Traditions for Sale: Marketing Humanities Tennessee is an initiative that will eventually Mechanisms for Baltimore’s Screen Art, 1913–1983”; Egle create a statewide database to store artifacts and narratives Zygas, “Who Will Market the Folk Arts?”; Robert T. Teske, of people and places while connecting everything to GIS “‘Crafts Assistance Programs’ and Traditional Crafts”; Graphic Information Systems. Accessed October 15, 2006. Geraldine Johnson and John Michael Vlach, “Commen- 63. Tom Donaldson, e-mail communication to Marsha Mac- tary”; and Alf Walle, “Mitigating Marketing: A Window Dowell, July 27, 2006. of Opportunity for Applied Folklorists.”

43 76. Judy Elsely, “The Smithsonian Quilt Controversy: Cul- 80. Ibid. tural Dislocation,” Uncoverings 1993, the Research Papers 81. Twenty-seven states, including Michigan, recently partici- of the American Quilt Study Group. Vol. 14, 1994, pp. 119– pated in a national survey of traditional arts apprenticeship 136. The American Quilt Study Group is a 1,000-member programs. Among the findings were that these programs national organization dedicated to quilt scholarship. continue to be strong tools for bringing recognition to art- 77. Country Folk Art Show “This year, we will be celebrating ists and art traditions and also for enabling the passing on our 23nd Anniversary of Country Folk Art Craft Shows. of important traditional knowledge from one generation to Its humble beginning was in the small town of Davisburg, another. See Surale Phillips and Darcy Minter, Traditional Michigan where Betty Long and daughter Rhonda Blakely Arts Apprenticeship Program Survey 2006. Portland, Or.: premiered their first show back in 1982! Country Folk Art The Oregon Folklife Program, Oregon Historical Society Shows since then has grown to 33 shows this year in 10 and The Alliance for California Traditional Arts. states. Country Folk Art Shows, Inc., has now surpassed 82. Civic Tourism: The Poetry and Politics of Place. www. industry competitors with its large volume of exhibitors civictourism.org/principles4.html. Accessed October 15, and attendance. Artisans from across the United States and 2006. Canada are eager to participate in these prestigious shows. 83. Ibid. Every participant is juried and hand selected for their out- 84. Carolyn Bye. Issues in Folk Arts and Traditional Culture standing workmanship and integrity of creative design.” Working Paper Series, #2: Brave New World: Nurturing the www.countryfolkart.com/. Accessed September 26, 2006. Arts in New Immigrant and Refugee Communities. Santa 78. Hoovers. http://premium.hoovers.com/subscribe/basic/fact - Fe: The Fund for Folk Culture, June 2004. sheet.xhtml?ID=rhhtshrrj. Accessed September 29, 2006. 85. Living Heritage” Intangible Heritage United Nations Edu- 79. Frank Ettawageshik and Marsha MacDowell, Native cational, Scientific and Cultural Organization’s Conven- American Arts Initiative Project: Phase One Report. East tion, 2003. wwwunesco.org/culture/ich_convention/index. Lansing: Michigan State University Museum, May 2002. php. Accessed October 15, 2006. www.minativearts.net/phase1.html.

44 Addendum A Craft and Economic Development in the United States: A Sampler of Resources and “Best Practice” National, Regional, and State Projects

Julie A. Avery and Marsha MacDowell

he following list does not, by any means, specifically to help traditional arts on the national, represent all of the creative and exemplary regional, or local level. The most important has Tprojects and resources that have recently been the National Endowment for the Arts (NEA), been or are currently available to the traditional which is directly responsible for stimulating and craft sector in the United States but the ones se- providing funds for the establishment of state folk lected below provide a sampler of the range of re- arts programs. NEA continues to fund those state ports and best practice activities across the county activities through special initiatives. that address multi-genre traditional arts.1 The best practice projects listed below provide models that could be learned from and replicated in part or whole in Michigan. Many other best practice proj- National ects or resources that focus on one type of craft form, e.g., quilts or decoys, are worth further ex- The National Endowment for the Arts, through its Folk ploration for use as models in Michigan. and Traditional Arts Program, established in 1974, Each state and territory usually has at least has been the major federal agency to distribute one state office or agency serving as a state folk arts funding that has been critical to supporting tradi- program with responsibilities for an array of state- tional craft activities in the United States. Grants wide activities associated with traditional crafts, totaling hundreds of thousands of dollars have such as inventory and documentation, presenta- underwritten surveys, exhibitions, apprenticeship tion, technical assistance, education, promotion, programs, publications, folk artist in schools, and and other services. In Michigan, the Michigan many other projects situated all over the nation.2 Traditional Arts Program, a partnership activity The Endowment also has undertaken its own re- of the Michigan State University Museum, Michi- search and published reports on traditional arts gan State University Extension, and the Michigan and convened gatherings of stakeholders in the Council for Arts and Cultural Affairs, has these crafts arena. The National Endowment of the Arts responsibilities. In Michigan as in other states, has two programs—Jazz Masters and the National private, nonprofit, civic, and higher educational Heritage Fellows—to honor the nation’s excep- institutions provide additional support to the tra- tional practitioners of jazz, folk, and traditional ditional crafts sector. arts. The Fellows program has recognized dozens A few public agencies or foundations have of masters of craft traditions. www.nea.gov been particularly active in designing programs

45 In 1976, Congress passed the American Folklife than 100 American Indian groups, and some 50 Preservation Act that established the American occupations.4 In addition to sharing their art in Folklife Center in the Library of Congress. In addition demonstrations and narrative sessions with an es- to housing the Archive of Folk Culture, the Ameri- timated million visitors, traditional craftspeople can Folklife Center actively engages in research, sell their work in a Festival Marketplace. In 2006, policy development, preservation, and presenta- the crch collaborated with the National Museum tion projects. Examples include the Veterans His- of the American Indian and Michigan State Uni- tory Project, Local Legacy Project, StoryCorps, versity Museum to present Carriers of Culture: Save Our Sounds, and an array of regional dem- Living Native Basket Traditions, the first program onstration projects, workshops, lectures, exhibits, solely devoted to craft.5 concerts, and conferences (on its own and in coop- In June of 1987, crch, Michigan State Uni- eration with other Library of Congress offices and versity Museum, and the State of Michigan col- outside agencies) to educate the American people laborated on a festival program featuring Michi- about the importance of their own cultural tradi- gan’s traditions. The MSU Museum renamed the tions and the traditions of others. The center works program the Festival of Michigan Folklife and re- closely with the American Memory Project to cre- staged it in August in East Lansing. This initiated ate online access to collections, including ones fo- an annual major folklife festival in East Lansing, cused on craft traditions. www.loc.gov/folklife/ now named the Great Lakes Folk Festival, which continues to present traditional craftspeople from The Center for Folklife and Cultural Heritage (crch) is a Michigan and the Great Lakes region. www.folklife. research and educational unit of the Smithsonian si.edu/indes.html Institution promoting the understanding and con- tinuity of diverse, contemporary grassroots cul- The U. S. Department of the Interior National Park tures in the United States and around the world. Service offers a variety of programs and resources The Center produces the Smithsonian Folklife that have supported the preservation and presen- Festival, Smithsonian Folkways Recordings, tation of traditional crafts. One document, pro- Smithsonian Global Sound, exhibitions, docu- duced as part of its National Register of Historic mentary films and videos, symposia, publications, Places program is The National Register Bulletin and educational materials. The Center conducts Guidelines for Evaluating and Documenting Tradi- ethnographic and cultural heritage policy oriented tional Cultural Properties. This tool has been used research, maintains the Ralph Rinzler Folklife Ar- in research in identifying and assessing Michigan’s chives and Collections, and provides educational craft-based sites.6 www.nps.gov/ and research opportunities through fellowships, internships, and training programs. The Center A National Heritage Area is a place designated by the also produces major national cultural events con- United States Congress where natural, cultural, sistent with its mission.3 historic and recreational resources combine to Every year the crch’s Smithsonian Folklife Festi- form a cohesive, nationally distinctive landscape val, held on the National Mall since 1967, presents arising from patterns of human activity shaped by curated, thematic programs. Over the years, it has geography. These patterns make National Heritage brought more than 16,000 musicians, artists, per- Areas representative of the national experience formers, craftspeople, workers, cooks, storytellers through the physical features that remain and the and others to the National Mall to demonstrate the traditions that have evolved in the areas. Contin- skills, knowledge, and aesthetics that embody the ued use of the National Heritage Areas by people creative vitality of community-based traditions. whose traditions helped to shape the landscapes To date the Festival has featured exemplary tradi- enhances their significance. tion bearers from 54 nations, every region of the National Heritage Areas are a strategy that United States, scores of ethnic communities, more encourages residents, government agencies, non-

46 profit groups and private partners to collabora- the FFC supports the work of folk and traditional tively plan and implement programs and projects artists and strengthens local, regional and national that recognize, preserve and celebrate many of organizations in its field through the combined America’s defining landscapes. The heritage areas services of grant making, convening, and research seek short- and long-term solutions to their con- and publications. Since 1992, the FFC has awarded servation and development challenges by fostering over $5 million in over 530 grants to more than relationships among regional stakeholders and en- 335 organizations in 46 states (including several in couraging them to work collaboratively to achieve Michigan), the District of Columbia, Puerto Rico, shared goals.7 and several island areas in the Pacific. Congress has designated 24 National Heritage In 1999, the Fund for Folk Culture initiated Areas around the country; in 1998 the Automobile a funding program to support partnerships be- National Heritage Area (MotorCities) was established in tween regional economic development organiza- Michigan.8 These heritage sites provide opportu- tions and traditional artists and arts organizations. nities for tourism and craft linkages across the na- Underwritten by the Ford Foundation, the initia- tion. www.cr.nps.gov/heritageareas tive funded about a dozen-and-a-half year-long projects chosen to show whether very modest The Alliance of National Heritage Areas is a member- amounts of money ($15,000 grants with one-to- ship organization comprised of national heritage one match) could encourage members of a certain areas and partners that support and practice sus- class of development agencies to help traditional tainable heritage development. The anha’s ac- artists gain more active and profitable access to the tivities enhance the efforts of individual Congres- marketplace. 10 www.folkculture.org sionally designated areas and promote the heritage development movement in America. The Alliance The Millennium Trails Program is a partnership be- advocates, facilitates and celebrates excellence in tween the White House Millennium Council, The cooperative initiatives that: enhance quality of life Department of Transportation, The President’s for citizens and their communities, attract cultural Committee on the Arts and Humanities, The Na- heritage tourists to communities, and provide tional Park Service, the Bureau of Land Manage- distinguished examples of sustainable heritage ment as well as organizations in the private and development for the nation. Members collaborate nonprofit sectors. The American Discovery Trail was on advocacy, marketing, and research projects and selected as the first trail through the efforts of products through various committees. citizens working with local, state and federal land The Alliance recently announced the creation managers in the localities through which the trail of the new Heritage Development Partnership, passes. As the nation’s first multi-use trail it is an Inc., a nonprofit organization dedicated to con- ideal model for a “flagship” national trail for all cit- necting heritage development professionals and izens. It exposes people to the nation’s historical, organizations and promoting sustainable heritage cultural and natural wonders as it connects large development practice through education and the cities, small towns and urban areas by integrat- sharing of best practices, techniques and tools.9 ing existing local, regional and long distance trails In 2007, the Alliance will hold its third, bi- into a national system. The ADT is unique in that annual international conference in Detroit. www. it is almost entirely on public lands. The Southeast nationalheritageareas.org Michigan Greenways Trail is one such Milleni- um Trail.11 www.discoverytrail.org; http://usparks. Based in Santa Fe, New Mexico, the Fund for Folk Cul- about.com/library ture (FFC) is a nonprofit organization dedicated to the dynamic practice and conservation of folk and The Alliance for American Quilts, a nonprofit 501(c)(3) traditional arts and culture throughout the United organization since 1993, brings together quilt mak- States. In partnership with donors and colleagues, ers and designers, the quilt industry, quilt schol-

47 ars and teachers, and quilt collectors in the cause Webb Awards honoring excellence, annual re- of documenting, preserving, and sharing our great tail and wholesale shows, and a special library on American quilt heritage. This innovative alli- contemporary craft, education grants, workshops, ance—spanning industry, artists, and scholars— seminars and other services to the public.13 www. has already incubated a number of projects that craftcouncil.org/ will bring more visibility to the work of millions of quiltmakers. The Alliance has a partnership with Michigan State University on a major documentation project and Michigan State University Regional Museum’s Great Lakes Quilt Center serves one of three Alliance Regional Centers for the Quilt. The Bush Foundation is an independent grant maker www.quiltalliance.org with a special focus on the needs of Minnesota, North Dakota, and South Dakota. In 2005, the The Craft Organization Development Association (coda) Foundation provided grants and fellowships of serves organizations with education and profes- $33,602,942 to 168 organizations and 48 indi- sional development to foster public apprecia- viduals. In 2004 the Bush Artist Fellows Program tion and understanding of craft. This is achieved awarded its first fellowships in traditional and folk through its work to strengthen craft organizations, arts. The decision to add a category specifically for doing research to provide advocacy tools and re- these artists recognized how vital they are, not only sources, providing communication and network- to their specific communities but to the broader ing opportunities as well as public education and culture as well. Traditional and folk arts bring us advocacy. depth and color, delight us with how something coda welcomes all sectors of the handmade can at once sound so foreign and yet affect us so crafts industry including, nonprofit and service or- deeply, striking at some core we perhaps did not ganizations, public agencies, community and eco- know. In addition to providing grants of $40,000 nomic development agencies, state arts commis- to selected artists, the Bush Foundation actively sions, craft centers, craft educators, craft-centric works with the Fellows to promote their work museums, craft exhibition presenters, commercial in multiple ways, including online showcases.14 craft galleries, craft guilds, craft marketing coop- www.bushfoundation.org/Fellowships eratives, and nonprofit and commercial craft/art/ gift show and festival producers, etc. The Southern Highland Crafts Guild, based in Asheville, Member organizations are from 41 states and North Carolina represents over 900 craftspeople Canada and represent 250,000 craftspeople in in 293 counties of 9 southeastern states. The Guild North America in a wide array of programs.12 has partnered with the National Park Service for coda’s 2001 survey, The Impact of Crafts on more than fifty years. Among its activities, the the National Economy, remains a landmark stan- Guild operates the Blue Ridge Parkway’s Folk Art dard for research with the craft sector. www.coda- Center and an annual Craft Fair. http://southern- craft.org highlandguild.org/

The American Craft Council is a national, nonproﬁt ed- Each August for the past eighty years, Santa Fe Indi- ucational organization founded in 1943 by Aileen an Market, produced by the Southwestern Associa- Osborn Webb. The mission of the Council is to tion for Indian Art (swaia), has brought together promote understanding and appreciation of con- the most gifted Native American artists from the temporary American craft. Programs include the U.S. with millions of visitors and collectors from bimonthly magazine American Craft, annual jur- around the world. The extended weekend of ied shows presenting artists and their work, a 2006 beauty and celebration ranks as the world’s largest leadership conference on craft, the Aileen Osborn and most highly acclaimed Native American arts

48 show and as New Mexico’s largest attended annual providing funds to create marketing programs.16 weekend event. www.brookfieldcraftcenter.org Santa Fe Indian Market is widely known as the place where Native American art and culture meets the world. As a primary vehicle for showcasing Na- Hawaii tive American arts, Indian Market also serves as a principal means for advancing the careers of many Hawaii’s Craftsmen is a statewide nonprofit mem- of today’s noted American Indian artists. bership organization to educate the public and swaia’s mission of “cultural preserva- increase awareness of fine craft and craftspeople. tion, intercultural understanding and providing www.ahwaiicraftsmen.org economic opportunities for American Indians through excellence in the arts” is not only evident throughout Santa Fe Indian Market but in all of its Illinois programs, as well. These include swaia’s Lifetime Achievement Awards, Fellowship Awards, Busi- The Illinois Department of Commerce and Com- ness Training Seminars, Youth Markets, Council munity Affairs, the Illinois Arts Council, the Capi- of Artists and committees which establish and up- tal Development Board, Department of Natural hold the highest known standards for traditional Resources, Illinois State Museum and Office of the and contemporary Native American art.15 www. Governor produced Made in Illinois: An Artisan Gallery swaia.org/index_n.php (2002), a publication showcasing Illinois artisans and the states scenic beauty.

The Illinois State Museum administers the Illinois State Artisans Program to draw attention primarily to ﬁne craft artisans but also includes traditional, ethnic, Alaska and folk craftspeople in their roster. Four Illinois Artisan Shops exist: at the Illinois State Museum in The Alaska Native Arts Foundation provides an on-line Springﬁeld, the Dickson Mounds site in Lewistown, resource to increase awareness of native cultures at Rend Lake in Whittington, and in Chicago at the and provide opportunities to educate the public of James R. Thompson Center. Twice each year a jury the diverse cultural expressions of Alaska’s indig- panel reviews applications from new artists. www. enous peoples and stimulate demand for and help museum.state.il.us/programs/illinois-artisans/ establish fair market pricing for their works of art. http://alaskanativearts.org Indiana

Connecticut An Indiana Craft Development and Marketing Initiative was established in 2000. A prior 1998 survey of The Brookﬁeld Craft Center, an educational arts center 7,600 state artists, and series of craft focus groups founded in 1954, is one of a number of arts organi- held in 2001 generated short and long-term rec- zations linking its activities to tourism that, collec- ommendations. This project did not go forward at tively, have been credited with boosting economic that time but the Indiana Arts Commission is em- development for the state of Connecticut. As a barking on a similar effort now.17 result, the state is devoting more of its resources, including grant money, to craft-related tourism, Traditional Arts Indiana and the Indiana State Fair including incentives for travel writers who focus collaborate on State Fair Masters, a showcase at the on crafts, underwriting maps and brochures, and annual fair of select individuals “recognized for

49 their mastery of a particular tradition and for their ployment and sales revenue per Kentucky craft dedication to sharing their knowledge at the fair, producers. 20 year after year.”18 Master craftsmen and women have been regularly featured. www.indiana/edu/ ~tradarts/rpgorams/statefairmasters.html Louisiana

A 2005 state study of cultural sector jobs in Loui- Kentucky siana included visual arts and crafts as one of six segments studied. This sector is growing at a faster The Kentucky Arts & Crafts Guide and the Kentucky Crafts pace than the overall economy and is now larger Marketing Program are the result of a statewide tra- than the tourism industry.21 ditional and contemporary crafts juried process. Kentucky: A Sampler of Kentucky Arts & Craft (a Fait a la Main (“made by hand”) is an economic de- 23-page guidebook) divides the state by region and velopment program identifying Louisiana craft- directs travelers to Kentucky artists and their cre- speople through a juried process as a source for ations in studios, shops, and galleries throughout gallery and shop owners, interior designers, archi- the state. www.kentuckytourism.com tects and collectors. Juried artists may then use the “Handmade by Louisiana Craftsmen” logo and re- The Kentucky Artisan Heritage Trails is a business devel- ceive professional development opportunities and opment program supported by Eastern Kentucky product development assistance for business and University’s Center for Economic Development, craft. www.crt.state.la.us/crafts/ Entrepreneurship & Technology with the Appala- chian Regional Commission. Trails showcase rich A craft heritage trail Made by Hand in Southwest Loui- local culture and Kentucky’s scenic beauty through siana follows the I-10 corridor from Lake Charles place, events, food and artisans. www.kaht.com to Lafayette. www.lafayettetravel.com/vacations/ tours/made_by_hand.cfm Berea College’s Student Crafts Program, employs more than 150 students each year, teaching them the dignity of labor while preserving and extending Maryland Appalachia’s material culture. When you pur- chase a Berea College craft item, you not only Nine arts and entertainment districts in Maryland receive a skillfully-crafted product but you also provide special tax incentives that beneﬁt artists and help the college provide full-tuition scholarships developers. Artists living in the district can receive for 1,500 students each year.” The Student Crafts income tax breaks; developers who renovate or con- Program often provides a teaching laboratory for struct spaces for arts’ use can be exempt from cer- other College departments, such as Economics and tain property taxes and arts enterprises that charge Business, Industrial Arts and Technology, and Art; may be exempt from admissions and amusement recent studies have covered design for production, taxes. www.msac.org/docs-uploaded/a_e_districts. quality improvement, and production costs.19 htm; www.bethesda.org/arts/arts.htm www.berea.edu/studentcrafts/history.asp

In a 2003 report, the Kentucky Craft Marketing Pro- Maine gram of the Kentucky Arts Council used the 2001 CODA State Study: Kentucky and a 1993 Appala- The Maine Arts Commission and governor John chian State University study to re-estimated the Elias Baldacci are promoting their “Creative Econ- results using additional information that was not omy” as a catalyst for the creation of new jobs in previously available to update average annual em- Maine communities. A Community Arts Development

50 Program was initiated to focus on sustainable capac- Michigan ity building, networking and links with economic development sectors 22 The Michigan Traditional Arts Program, the statewide folk arts partnership program of Michigan State Maine Fiberarts, a nonprofit, promotes Maine’s fiber University Museum, Michigan State University community its work through awareness and re- Extension, and Michigan Council for Arts and Cul- sources. Their site provides information on art- tural Affairs has created a variety of programs that ists, teachers and events, and a tour map directs focus on inventory, documentation, presentation, people to 144 studios and farms that are open all and technical assistance to Michigan’s traditional year. A visitor center in Topsham opened in 2003. craft community. Several of its special and ongo- Changing exhibits, a library and connections for ing craft-based programs have been recognized as Maine artists are centered here. Maine Fiberarts exemplars, including its Michigan Stained Glass has received major funding by the Main Office of Census, Michigan Quilt Project, Michigan Barn Tourism, foundations, and Maine Department of and Farmstead Survey. http://museum.cl.msu.edu/ Agriculture. www.mainfi berarts.org s-program/MTAP/

A Maine Made Program Web promotes over 1,000 The Great Lakes Folk Festival, a partnership activity of Maine companies whose products come from Michigan State University Museum and the City Maine’s rich resources. www.mainemade.com/ of East Lansing, provides multiple opportunities about_maine?made/default.asp for traditional craftspeople to demonstrate, sell, and to talk about their work with others. www. Maine Crafts Association, a nonprofit since 1983, is a greatlakesfolkfest.net membership organization of professional craft artists that promotes crafts and supports artists through education, exhibition and marketing opportunities. Mississippi www.mainecrafts.org/about/about.htm The Craftsmen’s Guild of Mississippi opened a new A Wabanki Guide to Maine: A Visitors Guide to Native Amer- Mississippi Crafts Center, November 2006. This ican Culture in Maine was created by the Maine Indian new 20,000-square-foot building is designed Basketmakers Alliance in 2000 to, as Richard Sil- specifically for the display and demonstration of liboy, miba president stated, “to make it easier for craft. The facility will serve the state’s cultural travelers to experience the unique art and culture tourism and provide a venue for fine craft. The of Maine’s Indian peoples.”23 The guide includes a guild has two other locations: at Chimneyville directory of 100 Indian artists in Maine and tours Crafts Gallery in the Agricultural and Forestry of four tribal reservations in the state, including Museum in Jackson, and the Mississippi Crafts sites of related interest and Native-run businesses Center, located on the Natchez Trace Parkway. and lodges. The Alliance received a grant from the www.mscraftsmensguild.org/about.cfm Arts Commission to train staff at tribal museums for increased tourist audiences. It is hoped that Mississippi Cultural Crossroads (MCC) began in 1978 once tourists begin to come, the infrastructure will to encourage the children of economically poor, develop organically, as small-scale entrepreneurs rural Clairborne County to explore and appreci- from within the Indian communities will start to ate the arts and culture of the community. Over provide necessary services. www.maineindianbas- the past 25 years, MCC provided programs in the kets.org/ arts and humanities for community members to celebrate their heritage, develop their talent, find new means of personal expression, create a tourism destination center, engage local craftspeople

51 in craft-based economic development activities, In the Santa Fe–based Native American Traditional and bridge economic, social, and racial divides. Crafts Web site development project, the Vendors MCC has been honored with a national Coming Committee of the Palace of the Governors and Up Taller award and the Governors Arts Award in New Mexico CultureNet collaborated on creating Mississippi. www.msculturalcrossroads.org/ basic rules for arts sales over the Internet. The initial Web site generated some orders, but further progress awaits development of quality control, Nebraska payment, and distribution mechanisms that would allow all 1,000 licensed artists to access the market. GROW Nebraska (Grassroots Resources and Opportunities www.nmculturenet.org/ for Winners) is a nonprofit entrepreneurial service organization for Nebraska businesses. A 2005– 2006 GROW Nebraska Gift Guide is available on North Carolina line. Their mission includes the promotion of Ne- braska-based artisans. www.growneb.com HandMade in America was formed to develop a sustainable community program with the region’s handmade objects at its core. The seeds of Hand- New Mexico Made were sown in the mountains of Western North Carolina where a group of community lead- The Arts Enterprise Partnerships program, a part of ers, looking to boost the region’s manufacturing New Mexico Art, Division of the Department of economy, realized that the answer to their revi- Cultural Affairs, support rural partnerships be- talization didn’t necessarily lie in recruiting in- tween cottage arts enterprise and business. One dustry, but growing one that already existed—the recipient, the Española Valley Fiber Arts Center is a “invisible industry” of craftspeople. HandMade is craft focused project focusing on traditional and regularly recruited to share their expertise, from contemporary weaving. Training addresses the helping communities revitalize themselves to creative process, business and marketing skills. statewide strategic planning in other areas of the The National Assembly of State Arts Agencies country. HandMade’s two trails guides are models: spotlighted this program through its Best Practices The Craft Heritage Trails of Western North Caro- publication (December 2005). New Mexico Arts lina and Farms, Gardens & Countryside Trails of Enterprise Partnership program and other grant Western North Carolina. HandMade is involved programs are summarized at a Web site. www. with craft and agricultural tourism, community nmarts.org/grants_programs.html#paep development, design in affordable housing, k-12 and university curriculum development, profes- New Mexico Fiber Arts Trails Guide and Maps project, sional development and cultural economic devel- slated for distribution in April 2007, is the result opment. www.handmadeinamerica.org of partnering with fiber artisans across the state to market artists, growers, processors, learning centers, suppliers, galleries, cooperatives and Pennsylvania nonprofit organizations. On-line submission and a juried selection process will result in a map and Pennsylvania-Made Crafts Centers on the Pennsylva- brochure that will serve participants and be mar- nia Turnpike at Zelienople and North Neshaminy keted to tourism and economic development agen- service plazas opened in 1997. These plazas wel- cies. Out-state marketing will be considered based come travelers entering from Ohio and New Jer- upon funding. www.nmfi berarts.org/ sey. Managed and juried by the nonprofit Penn- sylvania-Made Crafts, Inc. these galleries were the initial thrust of a statewide economic develop-

52 ment project that aimed to develop Pennsylvania connecting everything to GIS Graphic Information craftsworkers’ businesses along the same lines as Systems. The pilot, debuting in 2006, will involve some 50 other established small business and in- eight regional cultural organizations around land dustrial incubators. Partially funded by the Penn- use issues. The Englewood Textile Museum, one sylvania Council for the Arts in 1997, support has of the eight, will bring craft into the mix.25 www. included the federal Appalachian Regional Com- tn-humanities.org/ mission and Economic Development Administra- tion, Pennsylvania Department of Commerce and Center for Rural Pennsylvania. www.paturnpike. Utah com/newsletters/summer97/page11.htm The Utah Heritage Highway 89 and the Mormon Pioneer Philadelphia is enjoying a renaissance as a great Heritage Area include five distinct local areas through American city, and arts and culture are key com- a blend of art galleries, artisan studios, heritage ponents of The New Philadelphia Story. Residents lodging, historic sites, celebrations, antiques and and visitors enrich their lives with the arts in many indigenous foods. www.utahheritage.com/ ways. They experience the performing and visual arts, museums and libraries, historic buildings and The only state museum of its kind in the coun- sites, folk and traditional arts, and public art works, try, the Chase Home Museum of Utah Folk Arts in Salt parks and gardens. As such, the arts are an impor- Lake City has become the place where traditional tant part of daily life in our community and help art and artists from Utah’s ethnic, native, occupa- define our civic identity in the eyes of national and tional and rural communities share their craft, mu- international observers . . . The Pew Charitable Trust’s sic and dance with their own communities, their Culture Program assures that the region’s arts and Utah neighbors and with tourists from around heritage continue to thrive by supporting a broad the world. http://arts.utah.gov/folk_arts_program/ spectrum of institutions and artists, innovative chase_home_museum_exhibits/index.html artistic and programmatic projects, and marketing initiatives. All projects involve significant technical assistance and professional development, com- Virginia ponents that have proven to be effective means of extending the impact of our support.24 www. Since 1997, the Artisans Center of Virginia is a state pewtrusts.com/ showcase dedicated to the work of Virginia artisans through exhibition, education and retail opportunities. Annual November artisan’s studio South Carolina tours have been held throughout the state since 1994. www.artisanscenterofvirginia.org/ The South Carolina Artisans Center (Walterboro), the official state Folk Art and Craft Center, provides a juried showcase and market place for more than West Virginia 240 South Carolina artisans. www.southcaroli- naartisancenter.org/ Tamarack is the nation’s first statewide collection of handmade craft, art, and cuisine showcasing demonstrations and music and storytelling perfor- Tennessee mances. This tourist center, located on Exit 45 just off I-77/I-64, has sold $44.7 million in craft sales Humanities Tennessee is engaged in an initiative that to date. Six resident artisans work daily in observa- will eventually create a statewide database to store tion studios and live performance and storytelling artifacts and narratives of people and places while in the 178-seat theatre. www.tamarackwv.com/

53 MountainMade is an on-line service of the nonproﬁt events. Wyoming Arts council and State Museum MountainMade Foundation of Thomas, West partnered with the Wyoming business Council for Virginia, designed to assist West Virginia Artists this marketing tool that is distributed at state visi- with marketing and business education opportu- tor centers, hotels, galleries, and chambers. www. nities. MounntainMade.com is partially funded syomingtourism.rog/cms by a Small Business Administration grant. www. mountainmade.com

West Virginia’s Division of Culture and History NOTES released a study in June 2003 that replicated and deepened the 2001 coda study to gain more in- 1. The following reports aided in the identification of these formation on their craft industry. The coda 2001 examples: Bernadette Finnerty. “The Many States of Craft.” The Crafts Report Online. November 1996; “New study only contained 48 West Virginia responses. Support for Craft: State Initiatives Across the U.S. that The 2003 sample drew 284 respondents (11.2 per- Wed Crafts with Tourism and Economic Development,” cent response). Questions were added to learn The Crafts Report Online. 2002; “Strengthening Rural more about the training needs of the field.26 Economies through the Arts.” Best Practices Issue Brief, August 2005. National Governors Association Center for Best Practices; and TAPNET (Traditional Arts Programs Net). On-line links to traditional arts programs through- Washington out the United States. wwwafsnet.org/tapmet/home. Ac- cessed October 15, 2006. 2. The National Endowment for the Arts’ definition of folk Northwest Heritage Tours are six regional, narrated au- and traditional arts guides the types of activities that are dio tour guides, available from Washington Folk funded: “The folk and traditional arts are rooted in and Arts. Tours point out spectacular natural sites, reflective of the cultural life of a community. Community members may share a common ethnic heritage, language, places of historic interest, people and culture of the religion, occupation, or geographic region. These vital and area. www.washingtonfolkarts.com/ constantly reinvigorated artistic traditions are shaped by values and standards of excellence that are passed from The Northwest Folklife Festival, held over Memorial generation to generation, most often within family and community, through demonstration, conversation, and Day weekend, is one of the largest, varied and most practice. Genres of artistic activity include, but are not lim- vibrant free folklife celebrations in North America. ited to, music, dance, crafts, and oral expression.” www. Produced by Northwest Folklife and Seattle Cen- nea.gov/grants. Accessed October 15, 2006. ter, it hosts more than 7,000 participants, 27 stages 3. Smithsonian Institution Center for Folklife and Cultural Heritage. www.folklife.si.edu/center/about_us.html. Ac- and venues, roughly 1,000 performances, and an cessed October 15, 2006. audience of approximately 220,000 at the 74-acre 4. Smithsonian Institution Center for Folklife and Cultural Seattle Center. Participants immerse themselves Heritage. www.folklife.si.edu/center/festival.html. Accessed October 15, 2006. in four days of music and dance performances, 5. Smithsonian Institution Center for Folklife and Cultural visual arts and folklore exhibits, symposia, work- Heritage. www.folklife.si.edu/center/festival/2006/Basketry/ shops, craft and cooking demonstrations and index.html. Accessed October 15, 2006. films. “There is no question that the Festival has 6. Patricia L. Parker and Thomas F. King, The National Reg- ister Bulletin Guidelines for Evaluating and Documenting stimulated interest and activity in traditional arts Traditional Cultural Properties. U.S. Department of the in the Northwest.”27 www.nwfolklife.org/P_NWE/ Interior, National Park Service, National Register, History org.html #history and Education 1990; Revised 1992; 1998. www.cr.nps.gov/ nr/publications/bulletins/nrb38/. Accessed October 15, 2006. 7 www.cr.nps.gov/heritageareas/FAQ/INDEX.HTM. Accessed Wyoming October 15, 2006. 8 www.cr.nps.gov/heritageareas/AREAA/AUTO.HTM. Ac- cessed October 15, 2006. Wyoming Cultural Guide samples museums, galleries, 9 www.nationalheritageareas.org/. Accessed October 15, artist studios, historic sites, theatres, and cultural 2006.

54 10. Chris Walker, Maria Rosario-Jackson, and Carole Rosen- the 2000 Economic Impact of the Kentucky Craft Industry. stein, Culture and Commerce: Traditional Arts in Economic Louisville, Ky.: University of Kentucky, Center for Busi- Development. The Urban Institute, Metropolitan Housing ness and Economic Research. June 4, 2003. http://gattohn. and Communities Policy Center for The Fund for Folk Cul- uky.edu/CBER/cber ture, 2003, p. 7. 21. The Associated Press. August 25, 2005. 11. www.traillink.com/MT_active_pages/MLT/b-right. 22. “Community Arts Development Program Building Capaci- asp?Action+Detail&ID=23. Accessed October 15, 2006. ty in Maine’s Cultural Communities.” Maine Arts Commis- 12. www.codacraft.org/pages/join_coda/about_us.htm. Accessed sion Web Site. http://mainarts.maine.gov/organizations/ October 15, 2006. community/CapacityBuilding.shtml. Accessed October 15, 13. www.craftcouncil.org/. Accessed October 15, 2006. 2006. 14. See downloadable document Traditional Artists Showcase 23. Maine Indian Basketmakers Alliance. www.maineindian- available at www.bushfoundation.org/Fellowships/artists_ baskets.org/. Accessed October 15, 2006. communities.asp. Accessed October 15, 2006. 24. Pew Charitable Trust. www.pewtrusts.com/ideas/index. 15. Southwest Association of Indian Artists. www.swaia.org/ cfm?issue=15. Accessed October 15, 2006. about.php. Accessed October 15, 2006. 25. Humanities Tennessee is working with various partners 16. Diane Lambdin Meyer, “The Department of Craft Devel- to create and sustain a digital, Web-based cultural and opment.” Special Report. The Crafts Report, May 2001. historical atlas of the Tennessee Overhill region, a three- Craft Organization Directors Association (CODA). www. county region in rural eastern Tennessee. Serving as the craftsreport.com/may01/deptofcraft.html. Accessed July pilot for a projected statewide atlas, the primary product 27, 2006. of this project will be a Geographic Information Systems- 17. “Craft Marketing and Development Initiative: Executive based (GIS) database of the people, organizations, events Summary – Notes” shared by Michelle Anderson, Interim and artifacts of the region in the form of narratives. This Director and Deputy Director, Indiana Arts Commission project will bring much-needed technological resources and “Indiana Arts Commission Quarterly Meeting Min- to an area that is rich in both cultural resources and initia- utes.” www.in.gov/arts/commissioner/meeting_materials/ tive. http://humanitiestennessee.org/digital/index.php. Ac- quarterly/01-06minutes.html cessed October 15, 2006. 18. Traditional Arts of Indiana. www.indiand.edu/~tradarts/ 26. The West Virginia Crafts Study: The Impact of Crafts on the programs/statefairmasters.html. Accessed October 15, 2006. State Economy. Charleston, W. Va.: Small Business De- 19. “no child’s play: Berea College and the Appalachian velopment Division, West Virginia Development Ofﬁce. Handcraft Revival,” Berea College. www.berea.edu/stu- June 2003. dentcrafts/history.asp. Accessed October 15, 2006. 27. “History,” Northwest Folklife Festival. www.nwfolklife. 20. Thompson, Dr. Eric C., and Edgar Ghossoub. Evaluation of org/P_NWF/org.html#history. Accessed October 15, 2006.

Addendum B Craft and Economic Development: A Sampler of Resources and “Best Practice” Projects Around the World

Julie A. Avery and Marsha MacDowell

lmost any local craft activity is, today, part gible cultural heritage as a mainspring of cultural of a global community in which competitive diversity and a guarantee of sustainable develop- Awages, trade agreements, treaties regard- ment . . . that the processes of globalization and so- ing transport of materials, sourcing of materials, cial transformation, alongside the conditions they outsourcing of production, and more are shared create for renewed dia- as much locally as globally. Concerns about access logue among commu- Many other countries are far ahead of the to materials, intellectual property rights, cultiva- nities, also give rise, as United States in terms of national efforts tion of economic development, protecting and or does the phenomenon recovering items of cultural patrimony are shared of intolerance, to grave directed at investigating and developing across borders. threats of deteriora- the crafts sector as part of national Many other countries are far ahead of the tion, disappearance and economic development agendas. United States in terms of national efforts directed destruction of the in- at investigating and developing the crafts sector as tangible cultural heritage, in particular owing to a part of national economic development agendas. lack of resources for safeguarding such heritage . . . Canada, for instance, is beginning to build feder- [and], considering the invaluable role of the intan- al support for craft, treating it like other national gible cultural heritage as a factor in bringing hu- trade industries, developing policies and recom- man beings closer together and ensuring exchange mendations for marketing crafts to other coun- and understanding among them.1 www.unesco. tries—especially to the United States. org/culture/ich_convention/index.php?pg=0000 The list of resources and “best practice” projects listed below is a snapshot of the global activity Living Human Treasures are persons who possess to related to traditional craft. a very high degree the knowledge and skills re- quired for performing or creating specific elements of the intangible cultural heritage that the Member States have selected as a testimony to their living International cultural traditions and to the creative genius of groups, communities and individuals present in In 2003, the United Nations Educational, Scientific their territory. and Cultural Organization (unesco) adopted The The definition given above underpins a pro- Convention for the Safeguarding of the Intangible Cultural gram, which aims to encourage Member States to Heritage, recognizing “the importance of the intan- grant official recognition to exceptionally talented

57 tradition bearers and craftspeople and to encour- specialist conferences, that focus on many aspects age the transmission of their knowledge, know- of crafts. Members contribute to programs in di- how and skills to the younger generations. verse ways, from direct ﬁnancial support to send- With regard to the creation of new Living Hu- ing experts to meetings or workshops, and enter- man Treasures systems in Member States, unes- ing craft works in exhibitions. The WCC supports co has provided or foresees providing ﬁnancial and collaborates in these activities. 4 www.wccwis. assistance through its Participation Program and cl/bienwenido/php Extra-budgetary contributions by Member States, over and above the organization’s regular budgetary funding.2 http://portal.unesco.org/culture/en/ ev.php Regional

The Cultural Industries continue to grow steadily The World Crafts Council Asia Pacific Region forms the apace. They include publishing, music, audiovi- largest and most active part of the World Crafts sual technology, electronics, video games and the Council. It is a non-governmental organization Internet. with a NGO status at unesco. The Asia Pacific Their international dimension gives them a Region consists of countries from Central Asia to determining future role in areas such as freedom of the Pacific Islands. expression, cultural diversity and economic devel- The World Crafts Council Asia Pacific Region opment. Although the globalization of exchange organizes exhibitions, workshops and seminars and new technologies opens up exciting new pros- to: strengthen and ensure the status of crafts as a pects, it also creates new types of inequality. vital part of cultural life; promote the human val- “The world map of cultural industries reveals ues inherent in the crafts and a sense of fellowship a yawning gap between North and South. This can among the craftspeople of the Asia Pacific region; only be counteracted by strengthening local ca- offer encouragement, help and advice to craft- pacities and facilitating access to global markets at spersons; foster wider knowledge and recognition national levels by way of new partnerships, know- of the work of craftspersons; provide a forum for how, control of piracy and increased international craftspeople, to interact and lobby for their inter- solidarity of every kind.”3 http://portal.unesco.org/ ests; promote the establishment of crafts societies; culture/en/ev.php and serve as an agency for co-operation between crafts organizations through regional, national and Founded in 1964, the World Crafts Council (WCC) international meetings and events.5 www.wccapr. is a nonprofit, nongovernmental organization. Its org/about/about.html purpose is to strengthen the status of crafts as a vital part of cultural and economic life, to promote fellowship among the craftspeople of the world, to offer them encouragement, help, advice and to fos- National ter economic development through income gener- ating activities. Canada WCC members undertake craft activities of consequence all over the world. In addition to proj- Since 1996 with the formation of the Department ects characteristic of each of five regions, members of Canadian Heritage (DCH), Canada’s federal collaborate with each other and between regions in government has recognized crafts as important to carrying out large-scale programs. WCC members Canadian culture and as a potential export com- take part in a wide range of domestic and interna- modity—especially to the United States market. tional activities, such as seminars, workshops, ex- DCH’s mandate spells it out: “assist cultural in- hibitions, competitions, exchange programs and dustries and arts and heritage organizations; and

58 encourage the creation, production, distribution opportunities for Canadian fine craftspeople via and consumption, and preservation of cultural and export vs. domestic markets.12 www.canadian- heritage products and services.” Funding in 2001 craftsfederation.ca began a $500 million investment in the growth and development of Canadian culture.6 The Canadian Crafts Federation (CFF), also formed United Kingdom in 1996, brings those within the craft industry and government agencies appropriate to building Making It in the 21st Century: A Socio-Economic Canada’s crafts together through trade and arts/ Survey of Crafts Activity in England and Wales cultural support. CFF is the national organization 2002–03 reports the findings of a survey of 2,000+ of Canada’s provincial crafts councils. Inspired crafts persons, providing a picture of this indus- by the coda Survey on the Economic Impact of try across two countries. The Crafts Council, the Craft in the United States, CFF has moved beyond leading body for contemporary crafts in Britain, identifying the elements of the industry to advo- in partnership with the Arts Councils of England cate for financial support for craft trade similar to and Wales initiated this study to map the craft sec- what other Canadian cultural industries received. tor in the UK. Two prior surveys (1983 and 1994) Supported by Canada’s Department of Foreign Af- provide comparable data and the opportunity to fairs and International Trade (dfait), a 2001 study, track sector growth. A separate survey was done Profile and Development Strategy for Craft in Can- in Scotland in 2002. UK’s craft sector was found to ada, identified those within the craft industry and be very diverse in craft type, income, and business relevant governmental departments and agencies.7 maturity. A comparison with past studies shows An additional guidebook was published on market- a growing number of professional craft persons ing Canadian craft to the U.S. market.8 This study across the UK. Craft makers reported needing af- identified nearly $100 million of the $727 million fordable studio accommodation and wanting more in craft sector activity was in exports with the training. Dr. Louise Taylor, director of Britain’s United States. These reports note two key issues: Crafts Council noted: “This data will inform the first, the professional craftsperson and studios as strategic development of the sector by pinpointing the core sector and second, the need for coordinat- strains in the system and un-met needs.”13 ed action among all players of the sector was criti- The Crafts Council provides a Web resource cal—individual artists to organizations and federal with links to many resources and organizations agencies.9 In March 2002, CFF launched a Web involved with craft in the United Kingdom. www. site to link the provincial councils and distribute craftscouncil.org.uk/ref/links.htm reports and information about Canadian crafts10 This site also carries significant other studies and The National Electronic & Video Archive of the Crafts (ne- reports at on marketing Canadian craft. Examples vac) is a resource about and to aid the United King- include Market Intelligence for the Buyers Market of dom’s craft industry. Founded at the University of American Craft (2004), Craft International Trade the West of England (Bristol) in 1992, nevac gath- Action Plan (2003), Marketing Guide for Contem- ers digital video and sound recordings of individu- porary Fine Craft in the United States (2003), and als involved with the development of the crafts in Study of the Canadian Crafts Sector (2001) that in- Britain. Covering all the crafts, nevac is intended cluded sections on current literature and defining for educational and museological purposes and for and developing the [craft] sector.11 those researching the nature of crafts. Included are Most recently, Canadian Fine Craft Niche historical, technical, sociological, political, aes- Market Study (2005) was commissioned by the thetic and economic issues. In September 2006 Department of Canadian Heritage, Trade Routes nevac included 278 hours of interviews with 128 Program, to better understand trends of Canadian individuals involved with ceramics, textile, wood, fine craft exporters and to identify niche market glass, and enamel artists and curators.14

59 The Scottish Arts Council’s Web site for crafts moved munity has. . . . For the craft industry, the premise from pilot phase (Highlands and Islands) to Scot- was that contemporary crafts needed to be rooted land as a whole in June 2004. It provides a national in traditional crafts, and that the practices of pre- and international showcase for Scottish craft for vious generation of crafters, the environment in both the public and the crafts community. The which they lived and produced, and the meanings site provides every maker and craft outlet in Scot- and symbols attached to their production, were all land their own free Web page. A searchable direc- vital sources of inspiration and affirmation for con- tory and mapping option extends access.15 www. temporary producers.”16 craftscotland.org/ In 1999, the Smithsonian Institution’s Center for Folklife and Cultural Heritage collaborated with South Africa the South African Department of Arts, Culture, Science, and Technology and the National Arts The Bus Factory, at number 3 President Street, New- Council to produce the program South Africa: Craft- town, was built in the late 1930s as a bus depot. ing the Economic Renaissance of the Rainbow Nation at It operated from the early 1940s until the early the 1999 Smithsonian Folklife Festival held on the 1990s. During 2001–02, Blue IQ and the Gauteng National Mall in Washington, D.C. The program Province Department of Sport, Arts and Culture featured 100 South African grassroots community jointly funded the revamping of the Bus Factory artisans and cultural officials in an effort to “ad- and the first Gauteng Craft Fair was staged at the dress the role of handicraft and statecraft in the Bus Factory during the World Summit for Sustain- formulation of a new South African national iden- able Development in 2002. With additional sup- tity, economy, and political democracy.”17 port from the Johannesburg Development Agency and the national South African Department of Art Due-South: Travel Guide to South African Craft Sites18 was and Culture, the Bus Factory was transformed produced by a group of individuals committed into an integrated business co-operative special- to “uplifting craftsmen and women throughout izing in manufacture, marketing, sales and export South Africa. With the country’s very high level of of South African inspired craft, jewelry and home unemployment and lack of basic education, espe- decor products. It is now home to the National De- cially in rural areas, creating growth opportunities sign And Craft Centre, Create SA, Visual Arts and and sustainable jobs are major concerns that should Crafts Academy (vaca) and the Drum Café and be a priority for every South African.” Due-South has become a tourist destination, ideal for those has several goals: suggesting how crafts can be used tourists who want a one-stop shop for the best in in everyday homes, promoting regional tourism, South African arts and crafts. www.craftcouncil. revealing how crafts are made—from raw materi- co.za/busfactory.asp als to finished products; and providing a glimpse into the lives of the craftmakers. As part of the economic initiatives that were put Eskom, Africa’s leading energy supplier, is the into place in the new, post-apartheid South Africa, main corporate sponsor of the Due-South Craft government attention was directed to not only the Route Project with the goal of its company: becom- extensive existing craft production but also the po- ing involved in job creation and job sustainability; tential to stimulate and market new craft produc- supporting locally produced products; supporting tion to cultivate economic development. Steven communities where job-creation opportunities Sack, one-time Chief Director, Cultural Industries are needed the most; celebrating the authentic- and Creative Crafts, South African Department of ity, creativity and quality of South African crafts; Arts and Culture, firmly stated that [for] poor com- and enhancing the opportunities created for South munities one has to begin by identifying the tangi- African craftspeople through tourism. www.due- ble and intangible assets that each and every com- southcraftroute.co.za/default.html

60 of handicrafts industries is the primary responsi- The Catalogue of Eastern Cape Craft is an initiative of bilities [sic] of State Governments. However, the the provincial Department of Sport, Recreation, Office of the Development Commissioner [Handi- Arts and Culture to focus on the growth and devel- crafts] has been implementing various depart- opment of the craft industry in the Eastern Cape mental schemes at the central level to supplement Province in South Africa. The Eastern Cape hosts state’s activities in the handicrafts sector besides scores of rural crafters who lack the accessibility the new thrust areas. The Office of the Develop- and finances to market their products effectively. ment Commissioner [Handicrafts] functions un- “Through this project the Department seeks to der Ministry of Textiles for promotion and exports contribute to poverty alleviation, urban renewal of handicrafts and advises the Government of India and rural development through the promotion of on matters relating to development and exports of cultural industries and cultural tourism . . . [the handicrafts and assists in planning and executing project intends] to broaden the market of local ar- development schemes for handicrafts.21 www.indi- tisans so their businesses can grow, enabling them anhandicrafts.org.in/Biz/ContactUs/dch.htm to feed the future generations, physically, intellec- tually, and emotionally.” The policy of the Indian Government to support In addition to the publication, the project is es- cottage industries has helped to increase profits tablishing the Eastern Cape Craft Hub in Mthatha, substantially. For example, in a dusty village near Eastern Cape Province, to help develop sustainable Jaipur, 15 families, spanning three generations, use craft enterprises and sound trade practices.19 www. discarded cotton rags and waste paper to create an easterncapecraft.co/za all-natural paper. There are many such papermak- ing families in India. They use their skills to keep them from abject poverty. However the returns Vietnam for their labor need to be multiplied by the inter- vention of governments and agencies. The value of Traditional Crafts as a Window to Job Opportunities for exports from handmade paper now stands at US the Poorest Youth is a co-operation project between $2.5 million annually. The United Nations Devel- unesco Hanoi Office and Viet Nam Museum of opment Programme has contributed to the mod- Ethnology. The project provides disadvantaged ernization of the Kumarappa National Hand-made children (aged 10–14) with the opportunity to re- Paper Institute that now offers training and labora- ceive basic skills training in selected crafts. This tory testing to ensure that the industry produces educational endeavor attempts to teach children good quality products for export. This is an ex- the value and practice of the craft, enhance the ample of how the traditional skills of poor people status of the craft in the eyes of the children and can be used to raise them out of poverty. This is stimulate their creativity.20 www.unseco.org/vn/ achieved with the support of government policies, programmes/prog_cul_OP_crafts_in_the_class- international marketing strategies, and the support room.asp of an international agency to maintain quality and market promotion. www.unesco.org/education/ poverty/craft.shtml India

The Handicrafts Sector is able to provide substantial direct employment to the artisans and others NOTES engaged in the trade and also employment to many input industries. In recognition of the above facts, 1. United Nations Educational, Scientiﬁc and Cultural Orga- the Government of India set up an autonomous nization. www.unesco.org/culture/ich_convention/index. php?pg=00022. Accessed October 15, 2006. All India Handicrafts Board in 1952. The promotion 2. United Nations Educational, Scientiﬁc and Cultural Orga-

61 nization. http://portal.unseco.org/culture/en/ev.php. Ac- 13. Making it in the 21st Century: A Socio-Economic Survey of cessed October 15, 2006. Crafts Activity in England and Wales 2002–03—A sum- 3. Ibid. mary of the main findings and related trends. London, Eng- 4. World Crafts Council International. www.wccwis.cl/bien- land: Crafts Council, Arts Council [of] England and Arts venido/php. Accessed October 15, 2006. Council of Wales, 2004. www.craftscouncil.org.uk. Ac- 5. World Crafts Council International, Asian Pacific Region. cessed October 15, 2006. “Socio-Economic Survey: Blaz- www.wccapr.org/about/about.html. Accessed October 15, ing the Trail.” Crafts, No. 1889 (July/August), 2004, pp. 2006. 62–63. Via WilsonWeb # 0418803682023l 6. “Go Canada! An In-depth Look at Canada’s Growing 14. National Electronic & Video Archive of the Crafts Univer- Crafts Community.” The Crafts Report, June 2002. www. sity of West England, Bristol. www.media.uwe.ac.uk/ne- craftsreport.com/june02/canada.html. Accessed October vac/. Accessed October 15, 2006. 15, 2006. 15. Craftscotland. www.craftscotland.org. Accessed October 7. “Canada’s $727 Million Craft Industry is Forging a Strat- 15, 2006. egy for Growth.” The Crafts Report, June 2004. www. 16. Steven Sack, “National Policy and the Handmade,” Coex- craftsreport.com/june04/feature.html. Accessed October istence: Contemporary Cultural Production in South Af- 15, 2006. rica. Waltham, Massachusetts: Brandeis University, 2003, 8. “U.S. Marketing Guide for Fine Contemporary Craft.” p. 15. Canadian Crafts Federation and Canadian Department of 17. James Early, “South Africa at the Festival: The Historical Foreign Affairs and International Trade. 2002 Context,” Smithsonian Folklife Festival Program, Wash- 9. “Canada’s $727 Million Craft Industry is Forging a Strat- ington, D.C.: The Smithsonian Institution, 1999, p. 59. egy for Growth.” The Crafts Report, June 2004. www. 18. Due-South: Travel Guide to South African Craft Sites. Eras- craftsreport.com/june04/feature.html. Accessed October mukloof, South Africa: Eskom Due-South Craft Route 15, 2006. Project, 2006. 10. “Go Canada! An In-depth Look at Canada’s Growing 19. The Catalogue of Eastern Cape Craft. Grahamstown, South Crafts Community.” The Crafts Report, June 2002. www. Africa: Department of Sport, Recreation, Arts and Culture, craftsreport.com/june02/canada.html. Accessed October 2006. 15, 2006. 20. United Nations Educational, Scientific and Cultural Orga- 11. ‘Advocacy—Fire Your Energy,’ Canadian Crafts Federation. nization. www.unesco.org/vn/programmes/prog_cul_OP_ www.canadiancraftsfederation.ca/html/advocate_ccf.html crafts_in_the_classroom.asp. Accessed October 15, 2006. @Anchor-Canadian-49575. Accessed October 15, 2006. 21. Indian Handicrafts. www.indianhandicrafts.org.in/Biz/ 12. Canadian Fine Craft Niche Market Study. Canada, Depart- ContactUs/dch.htm. Accessed October 15, 2006. ment of Canadian Heritage and the Trade Team Canada 22. Due-South: Travel Guide to South African Craft Sites. Eras- Cultural Goods and Services Working Group for Crafts, mukloof, South Africa: Eskom Due-South Craft Route 2004. Project, 2006.

62 Selected Bibliography

his selected bibliography provides an in- zation Development Association, 2002. troduction to resources related to craft and “Community Arts Development Program Build- Teconomy. It includes sources cited in the ing Capacity in Maine’s Cultural Communi- Craftworks! Michigan report and other referenc- ties.” Maine Arts Commission. http://mainearts. es related to “best practices” and model programs. maine.gov/organizations/community/Capaci- Published materials are listed ﬁ rst then websites. tyBuilding.shtml. References primarily related to crafts and cultural Craft Artist Membership Organizations. Research tourism are listed separately. note: All URLs list- Division Report #13. Washington, D.C.: Na- ed were active as of October 15, 2006. tional Endowment for the Arts, 1978. Cultural Economic Development: A Strategy to Le- “Advocacy—Fire Your Energy,” Canadian Crafts Fed- verage Michigan’s Creative Talent and Cultural eration. www.canadiancraftsfederation.ca/html/ Assets to Spur Economic Growth and Build Com- advocate _ccf.html@Anchor-Canadian-49575. munity Prosperity. Lansing, Michigan: Michi- AgriCultural Tourism: Asset Building and Market- gan Department of History, Arts, and Libraries, ing. Asheville, North Carolina: HandMade in December 2005. America, 2005. Deﬁ ning the Craft Sector: Working Together to De- “Canada’s $727 Million Craft Industry is Forging a velop the Crafts Sector. Gatineau, Quebec, Can- Strategy for Growth,” The Crafts Report, June ada: Canadian Craft Federation, 2001. 2004. www.craftsreport.com/june04/feature. Due-South: Travel Guide to South African Craft html. Sites. Erasmukloof, South Africa: Eskom Due- Canadian Fine Craft Niche Market Study. Gatineau, South Craft Route Project, 2006. Quebec, Canada: Department of Canadian Heri- “The Economy of Mountain Crafts,” Mountain tage and the Trade Team Canada Cultural Goods Promise: The Newsletter of the Brushy Fork In- and Services Working Group for Crafts, 2004. stitute, Vol. 12, No. 2, (Fall, 2001). [available as downloadable document at dsp-psd. “Go Canada! An In-Depth Look at Canada’s Grow- pwgsc.gc.ca/Collection/CH4-103-2005E .pdf] ing Crafts Community, Special Focus: The Ca- The Catalogue of Eastern Cape Craft. Graham- nadian Craft Market.” The Crafts Report, June stown, South Africa: Department of Sport, 2002. http://www.craftsreport.com/june02/ Recreation, Arts and Culture, 2006. canada.html. The CODA Survey: The Impact of Crafts on the Na- “Growing Appalachian Economies through Craft.” tional Economy. Onia, Arkansas: Craft Organi- Appalachian Regional Commission (ARC)

63 Online Resource Center. www.arc.gov/index. nationalgeographic.com/news/2006/04/0425- do?nodeld+1900. 060425_map_blogs_2.html “History,” Northwest Folklife Festival. www.nw- “New Support for Craft: A Complete List of State folklife.org/P_NWF/org.html#history. Initiatives Across the U.S. That Wed Crafts “Intellectual Property Rights Help Crafts and Vi- With Tourism and Economic Development.” sual Arts Exporters.” International Trade Fo- The Crafts Report, 2002. www.craftsreport. rum, No. 2, 2004. com/commmonfi les/articles/support/html. Investing in Michigan’s Future: The Economic Ben- “no child’s play: Berea College and the Appala- efi ts of Historic Preservation. Lansing, Michi- chian Handcraft Revival,” Berea College. www. gan: Michigan Historic Preservation Network, berea.edu/studentcrafts/history.asp. 2002. Quilting in America. Chicago: NFO Research, Inc. A Legacy of Leadership: Investing in America’s Liv- and Abacus Custom Research, Inc. for Inter- ing Cultural Heritage Since 1965. Washington national Quilt Market & Festival (divisions of D.C.: National Endowment for the Arts, 2000. Quilts, Inc.) and Quilter’s Newsletter Magazine [downloadable document at www.nea.gov/pub/ (a division of Primedia), 2003. [downloadable index.php] document available at www.quilts.com] “Living Heritage,” Intangible Heritage United Na- A Sampling of Folklife and Cultural Tourism Proj- tions Educational, Scientifi c and Cultural Or- ects in the United States. Columbia, Missouri: ganization’s Convention, 2003. www.unesco. Missouri Folk Arts Program, Museum of Art and org/culture/ich_convention/index.php. Archaeology, University of Missouri-Colum- Louisiana: Where Culture Means Business. Baton bia. c. 2005. [downloadable document available Rouge: Offi ce of the Lieutenant Governor, De- at http://maa.missouri.edu/mfap/pubs.html]. partment of Culture, Recreation and Tourism, “Shaping Traditions: Folk Arts in a Changing 2005. South,” Atlanta History Center, Atlanta, Geor- Made in Illinois: An Artisan Gallery. Springfi eld: Il- gia. www.atlhist.org. linois State Museum. 2002. “Socio-Economic Survey: Blazing the Trail.” Making It in the 21st Century: A Socio-economic Crafts, No. 1889 (July/August), 2004, pp. 62– Survey of Crafts Activity in England and Wales, 63. Via WilsonWeb #0418803682023l 2002–03, a Summary of the Main Findings and Strategic Plan, 2006–2010. Lansing: Michigan Related Trends. London: Crafts Council for the Council for Arts and Cultural Affairs, 2005. Arts Council of England and Arts Council of Strengthening Rural Economies Through the Arts: Wales, April 2004. www.craftscouncil.org.uk. Best Practices Issue Brief. Washington, D.C.: Na- Marketing Guide for Fine Contemporary Craft in tional Governor’s Association, August 2005. the United States. Gatineau, Quebec, Canada: Tipping to Cool: Next Steps in Linking Culture, Canadian Craft Federation,Government of Community and the Economy. Michigan Coun- Canada, Department of Foreign Affairs and In- cil for the Arts and Cultural Affairs 10th Annual ternational Trade, Arts & Cultural Promotion Meeting, Lansing, Mich., December 9, 2004. Division, November 2002. [available as down- http://www.michigan.gov/hal/0,1607,7-160- loadable document at www.canadiancraftsfed- 17445_19272_38303-106790--,00.html eration.ca/pdfs/Trade%20Action%20Plan_Eng- “U.S. Marketing Guide for Fine Contemporary lish.pdf/ Craft.” Gatineau, Quebec, Canada: Canadian National Heritage Fellowships 1982–2002. Wash- Crafts Federation and Canadian Department of ington, D.C.: National Endowment for the Arts, Foreign Affairs and International Trade, 2002. 2002. [downloadable document available at West Virginia Crafts Study: The Impact of Crafts on www.nea.gov/pub/index.php] the State Economy. Charleston, West Virginia: “‘Neogeography’ blends Blogs with Online Small Business Development Division, West Maps,” National Geographic News. http://news. Virginia Development Offi ce, June 2003.

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67 the Great Lakes: Art of American Indian Women. Owen, Maida, ed. Fait A’ La Main: A Source Book East Lansing, Michigan: Michigan State Uni- of Louisiana Crafts. Baton Rouge: Louisiana versity Museum in collaboration with the No- Crafts Program, Division of the Arts, Offi ce of komis Learning Center, 1995. Cultural Development, Department of Cul- MacDowell, Marsha and Ruth D. Fitzgerald. Mich- ture, Recreation and Tourism. 1988. [available igan Quilts: 150 Years of a Textile Tradition. East as downloadable document at www.crt.state. Lansing: Michigan State University Museum, la.us/crafts/about.html] 1987. Parker, Patricia L. and Thomas F. King. The Nation- Marston, Gwen and Joe Cunningham. Mary Schafer al Register Bulletin Guidelines for Evaluating and and Her Quilts. East Lansing, Michigan: Michi- Documenting Traditional Cultural Properties. gan State University Museum, 1990. U.S. Department of the Interior, National Park Marshall, Caroline. Envisioning Convergence: Cul- Service, National Register, History and Educa- tural Conservation, Environmental Steward- tion 1990; Revised 1992; 1998. www.cr.nps.gov/ ship, and Sustainable Livelihoods. Santa Fe: The nr/publications/bulletins/nrb38/. Fund for Folk Culture, 2003. [downloadable Pereboom, Bert. Profi le and Development Strategy document available at www.folkculture.org/ for Craft in Canada. Gatineau, Quebec, Canada: about/research.html] Canadian Crafts Federation, October 2003. May, Marian, ed. “Marketing Crafts and Visual Pereboom, Bert. Study of the Crafts Sector in Can- Arts: The Role of Intellectual Property—A ada: Inventory and Summary of Current Lit- Practical Guide.” American Crafts Guide: A erature. Gatineau, Quebec, Canada: Canadian comprehensive directory to craft shops, galleries, Craft Federation, May 2001. crafts schools, museums and studios of individu- Peterson, Elizabeth. Changing Faces of Tradition: al craftsmen across the United States. San Jose, A Report on the Folk and Traditional Arts in the California: Gousha Times Mirror, 1973. United States. Washington, D.C.: National En- McFall, Tom, Anne Manuel, Louise Chapados, dowment for the Arts, Research Division Re- Rosalyn Morrison, and Susan Greene. Craft In- port #38, 1996. ternational Trade Action Plan: a report from the Phillips, Surale and Darcy Minter. Traditional Arts research and fi ndings of “Profi le and Develop- Apprenticeship Program Survey 2006. Portland, ment Strategy for Craft in Canada.” Gatineau, Oregon: The Oregon Folklife Program, Oregon Quebec, Canada: Canadian Craft Federation, Historical Society and The Alliance for Califor- October 2003. nia Traditional Arts, 2006. Meyer, Diane Lambdin. “The Department of Craft Pollard, Basil D. “A Brief History of Clothing in Development.” Special Report. The Crafts Re- Detroit: Creation, Cleaning and Repair.” Un- port, May 2001. Craft Organization Directors published report prepared for CraftWORKS! Association. http://www.craftsreport.com/ Michigan project at Michigan State University may01/deptofcraft.html. Museum, 2006. Morris Jr., Walter E. Handmade Money: Latin Quackenbush, Laura. Leelanau County Report. American Artisans in the Marketplace. Wash- Unpublished report prepared for Michigan State ington, DC: Organization of American States, University Museum and the CraftWORKS! 1996. Michigan project, 2006. Moses, Sarah. “First Peoples’ Festival Promotes Sack, Steven. “National Policy and the Hand- Cultures with Aboriginal Day Events,” Indian made,” Coexistence: Contemporary cultural Country Today, Vol. 26, No. 1 (June 14, 2006). Production in South Africa. Waltham, Massa- O’Hagan, Heather. Market Intelligence for the Buy- chusetts: Brandeis University, 2003/. ers Market of American Craft: Trade Event Re- Stevens, Dennis. “Redefi ning Craft for a New port. Vancouver, British Columbia: Crafts Asso- Generation.” Keynote address given at “Rede- ciation of British Columbia, September 2003. fi ning Craft” conference organized by the Craft

68 Organization Development Association, 2006. at www.folkculture.org/about/research.html] http://www.redefiningcraft.com/wp-content/ Wali, Alaka, Rebecca Severson, and Mario Lon- coda2006/player.html. goni. Informal Arts: Finding Cohesion, Capac- Stapleton, Constance. Crafts of America. New ity and Other Cultural Beneﬁ ts in Unexpected York: Harper & Row, 1988. Places. Chicago Center for Arts Policy Colum- Sommers, Laurie K. Fiesta, Fe, y Cultura: Celebra- bia College. http://artspolicy.colum.edu/publi- tions of Faith and Culture in Detroit’s Colonia cations.html. Mexicana. East Lansing, Michigan: Michigan Williams, Steve. A Brief History of Musical Instru- State University Museum and Casa de Unidad, ment Making in Michigan. Unpublished report 1995. prepared for Michigan State University Mu- Stier, Steve. “The craft of timber framing is alive seum and the CraftWORKS! Michigan project, and well in Michigan” Unpublished report pre- 2006. pared for Michigan State University Museum Zeiger, Diane and Anthony Radich. New Mexico and the CraftWORKS! Michigan project, 2006. Arts: Nurturing the State’s Economy. Santa Fe: ———. Michigan Barn & Farmstead Survey Manu- New Mexico Arts, January 2005. al. East Lansing, Michigan: Michigan State Uni- versity Museum, 2000. ———. Randolph Preservation Field School at His- The Alliance for American Quilts. www.center- toric Fort Wayne. Unpublished report to Michi- forthequilt.org gan Historic Preservation Network on collabo- American Craft Council. www.craftcouncil.org ration of State Historic Preservation Ofﬁ ce, American Folklife Center, Library of Congress. Detroit Public Schools, and Michigan Historic www.loc.gov/folklife/ Preservation Network Collaboration, October American Folklore Society. www.afsnet.org/ 25, 2006. Amish Direct Furniture of Utica, Michigan. http:// Swanson, Lynne and Marjorie Hunt. “Masters of www.amishdirectfurniture.com/index.asp?Pag the Building Arts: Restoration of the Michigan eAction=Custom&ID=7 State Capitol Building,” report prepared for Amish Shopping (Clare, Michigan). http://www. Great Lakes Folk Festival, 2002. claremichigan.com/amish.html Stynes, Daniel J., Gail A.Vander Stoep, and Ya-Yen Arcat: Find Building Materials Fast. www.arcat. Sun. Economic Impacts of Michigan Museums. com/divs/sec/sec05700.shtml East Lansing, Michigan: Department of Parks, Artes Unidas (Michigan). http://www.artesunidas. Recreation, and Tourism Resources, Michigan org/artes.php State University, 2003. Association of Michigan Basketmakers. www. Thompson, Eric C., and Edgar Ghossoub. Evalu- michiganbasketmakers.com. ation of the 2000 Economic Impact of the Ken- The Athens County Quilt Barn Cycling Challenge. tucky Craft Industry. Louisville: University of http://www.athenscyclepath.com/QuiltBarns. Kentucky, Center for Business and Economic html Research. June 4, 2003. http://gattohn.uky.edu/ Benchley Furniture. http://www.benchleysfurni- CBER/cber//. ture.com/ Van Trump, Linda. Phone communication with Branch Hill Joinery. http://www.branchhill.com/ Julie Avery. September 2006. Bus Factory. http://www.craftcouncil.co.za/bus- Walker, Chris, Maria Rosario-Jackson, and Carole factory.asp Rosenstein.Culture and Commerce: Traditional Bush Foundation. www.bushfoundation.org/Fel- Arts in Economic Development. The Urban lowships Institute, Metropolitan Housing and Commu- Canadian Crafts Federation. www.canadiancrafts- nities Policy Center for The Fund for Folk Cul- federation.ca ture, 2003. [downloadable document available Carriers of Culture: Living Native Basket Tradi-

69 tions. http://museum.msu.edu/Exhibitions/Up- Leelanau Historical Museum. www.leelanauhis- coming/smithsonian_project.html. tory.org/ Civic Tourism: The Poetry and Politics of Place. Maine Arts Commission. mainearts.maine.gov/ www.civictourism.org/principles4.html. Maine Fiber Arts. www.maineﬁ berarts.org Country Folk Art Show. www.countryfolkart.com Maine Indian Basketmakers Alliance. www.main- Country Stitches. www.countrystitches.com eindianbaskets.org Craft and Hobby Association (CHA). www.hobby. MapMuse: Find Places to Live, Learn, Work, and org/ Play. www.mapmuse.com Craft Showcase. www.craftcouncil.co.za/beautiful MATRIX: Center for Humane Arts, Letters, and -things.asp Social Sciences OnLine. www.matrix.msu.edu The Crafts Report. www.craftsreport.com. Meetinghouse: Building Websites that Work. Craftscotland. www.craftscotland.org. www.restorationtrades.com/artisans/zip4.shtml Cultural Policy & the Arts National Data Archive Michigan Arts and Crafts. www.artsandcrafts.com (CPANDA). www.cpanda.org/about/mission.html Michigan ArtTrain. www.artrainusa.org Delphi Stained Glass. www.delphiglass.com/ Michigan Back Roads. www.michiganbackroads. Disenos. http://disenosiron.com/ com Eiteljorg Museum. www.eiteljorg.org. Michigan Barn and Farmstead Survey. museum. Elderly Instruments. www.elderly.com/ msu.edu/s-program/mtap/barn Etsy.com online crafts marketplace: “Your Place to Michigan Barn Preservation Network. www.mi- Buy and Sell All Things Handmade.” www.etsy. barn.net com Michigan Construction Jobs. www.miconstruc- Folk and Traditional Arts Programs: State and Sites tionjobs.org with Statewide Scope. Traditional Arts Program Michigan Council for the Arts and Cultural Affairs. Net (TAPNET). www.afsnet.org/tapnet. www.michigan.gov/hal/ FOLKPATTERNS. museum.msu.edu/s-program/ Michigan Department of History, Arts, and Librar- folkpatterns/index.html ies. http://www.michigan.gov/hal Frog Hollow Vermont State Craft Center. http:// Michigan Department of History, Arts, and Librar- www.vermontvacation.com/TravelPlanner/ ies; Ofﬁ ce of Cultural Economic Development. ItemDetail.aspx?outsideLink=false&spID=10735 http://www.michigan.gov/hal/0,1607,7-160- Fund for Folk Culture. www.folkculture.org/ 38960---,00.html Great Lakes Folk Festival. www.greatlakesfolkfest. Michigan Heritage Awards. http://museum.msu. net edu/s-program/MH_awards/mha.html Great Lakes Quilt Center. http://museum.msu.edu/ Michigan Historic Preservation Network. http:// glqc/index.html www.mhpn.org Great Lakes Rustics. http://www.glrustics.com/ Michigan Native Arts Initiative. www.mina- rocking_chairs.htm; http://www.glrustics.com/ tivearts.net hickory_furniture.htm Michigan Quilt Project. http://museum.msu.edu/ HandMade in America. www.handmadeinameri- glqc/mqp.html ca.org Michigan Stained Glass Census. http://museum. Helloindie, the ezine of DIY craft. www.helloindie. msu.edu/museum/msgc.htm us. Michigan Stash Dash. www.michiganstashdash. Hoovers. http://premium.hoovers.com; www. com hoovers.com Michigan State University Museum. www.mu- Humanities Tennessee. www.tn-humanities.org seum.msu.edu Indian Handicrafts. www.indianhandicrafts.org. Michigan Traditional Arts Apprenticeship Pro- in/Biz/ContactUs/dch.htm. gram. www.museum.msu.edu/s-program/mtap Jack Teegarden. www.jackteegarden.com /Mtaap/mtaap.html

70 Michigan Traditional Arts Program. http://muse- afsnet.org/tapnet/home um.cl.msu.edu/s-program/MTAP. Tillers International. www.tillersinternational.org Michigan Traditional Arts Research Collections, Traditional Arts of Indiana. www.indiana.edu/ Michigan State University Museum. www.mu- ~tradarts/programs/statefairmasters.html seum.cl.msu.edu/s%2Dpro-gram/mtap/Collec- Traditional Artists Showcase, Bush Foundation tions Fellowships. www.bushfoundation.org/Fellow- Mississippi Cultural Crossroads. http://www.ms- ships/artists_committees.asp culturalcrossroads.org/ United Nations Educational, Scientifi c and Cul- National Council for Traditional Arts. www.ncta. tural Organization. www.unesco.org/culture/ net/ ich_convention/index.php?pg =00022 National Electronic and Video Archive of the United Nations Educational, Scientifi c and Cul- Crafts. www.media.uwe.ac.uk/nevac tural Organization. http://portal.unesco.org/ National Endowment for the Arts: Grants Pro- culture/en/ev.php grams. www.nea.gov/grants United States Department of Interior, Indian Arts National Endowment for the Arts: Publications, and Crafts Board. www.doi.gov/iacb Research Division Reports and Notes. http:// United States Department of Labor, Bureau of La- arts.endow.gov/pub bor Statistics, Occupational Employment Sta- National Park Service. www.nps.gov/ tistics . www.bls.gov/oes/current/oes271012.htm New Mexico Fiber Arts Trails. www.nmfi berarts. White Brothers Music (Michigan). http://www. org/ whitebrosmusic.com/ Pennsylvania-Made Crafts Centers. www.paturn- World Crafts Council International. www.wccwis. pike.com/newsletters/summero7/page11.htm cl/bienvenido.php The Peoples Atlas. www.platial.com World Crafts Council International, Asian Pacifi c Pew Charitable Trust. www.pewtrusts.com Region. www.wccapr.org/about/about.html PlaceMatters. www.placematters.net The Ziibiwing Center for Anishnabek Culture and Pointe Mouillee Waterfowl Festival and Duck Lifeways. www.sagchip.org/ziibiwing Hunters Tournament. www.miwaterfowlfest. org Registry of Very Special Places (R.S.V.P.). www. Craft Guidebooks and Cultural Heritage northcountryfolklore.org/rvsp/index.html Trail References Quilt Barns: A Patchwork Path Through Athens County. http://www.athensohio.com/barnview Michigan NAJ6H8XM.html Historic Tours—Circle Western Upper Michigan The Quilt Index . www.quiltindex.org & Northern Wisconsin. Brochure. Northland Quilts at the Crossroads . www.gfn.org/gfac/gquilt. Historical Consortium. htm Historical Museums of Northwest Michigan Your “State and Regional Folk Arts Programs and Link.” Guide to Local History—30 sites from Arcadia Traditional Arts Programs Network (TAPNET). to Harbor Springs. Brochure. Northwest Lower www.afsnet.org/tapnet. Michigan Historical Network. Smithsonian Folklife Festival. www.folklife.si.edu/ Make it Michigan—Festivals, Fairs, Cultural center/festival.html. Events, Destinations & Lodgings Directory. Smithsonian Institution Center for Folklife and Michigan Festivals & Events Association. www. Cultural Heritage. www.folklife.si.edu/center/ michiganfun.us about_us.html Michigan Farm Market, U-Pick & AG Tourism Di- Southwest Association of Indian Artists. www. rectory. Michigan Department of Agriculture. swaia.org/about.php www.michigan.gov/mda TAPNET (Traditional Arts Programs Net). www. Hunt, Mary Hoffman and Don Hunt. Hunts’ Guide

71 to Michigan’s Upper Peninsula. 2nd edition. Al- Park. www.co.midland.mi.us/department/extra. bion, Michigan: Midwestern Guides, 2001. php?id=21&pid+293 River Country Heritage Water Trail. www.michi- Allegan County Heritage Trail. www.allegancoun- gan.org/travel/drivingtours/?m-9;2 ty.org/heritagetrail/ Sculptour: A self directed tour of outdoor sculp- Books, Art and Wine: A driving tour of the Tra- ture in Berrien County. Krasl Art Center. www. verse City/Grand Traverse area. http://www. krasal.org michigan.org/travel/drivingtours/?m=9;2 Sparks of Creativity: Following the Trail of Auto- Detroit River Hub District MotorCities Tour. motive Innovators and Entrepreneurs. An auto- http://www.michigan.org/travel/drivingtours/ motive heritage tour of southeastern Michigan. ?m=9;2 www.michigan.org/travel/drivingtours/?m=9;2 Echoes of the Edmund Fitzgerald. http://www. Southwest Michigan Wine Trail . www.mmiwine- michigan.org/travel/drivingtours/?m=9;2 trail.com Flint Hub District of MotorCities. http://www. Upper Woodward Hub District MotorCities Tour. michigan.org/travel/drivingtours/?m=9;2 http://www.michigan.org/travel/drivingtours/ Headwater Trails (Oakland County) . http://www. ?m=9;2 headwaterstrailsinc.org/index.htm Ypsilanti Hub District of MotorCities Tour. http:// Historic Harbortowns: Exploring Michigan’s www.michigan.org/travel/drivingtours/?m=9;2 Beachtowns. http://www.michigan.org/travel/ Western Upper Peninsula of Michigan Heri- drivingtours/?m=9;2 tage Trail Network Through Baraga, Gogebic, Irish Hills Hub District of MotorCities Tour. http:// Houghton, Iron, Keweenaw and Ontonagon. www.michigan.org/travel/drivingtours/?m=9;2 www.upheritage.org/ Iron County Heritage Route: Explore the History Behind the Beauty. www.ironheritage.org/ United States: General Keweenaw Heritage Sites. http://www.nps.gov/ar- American Discovery Trail: The nation’s ﬁ rst coast- chive/kewe/CooperatingSites.htm to-coast, non-motorized recreation trail. www. Lansing Hub District of MotorCities Tour. http:// discoverytrail.org/states/index.html www.michigan.org/travel/drivingtours/?m=9;2 Heritage Trails. http://www.cr.nps.gov/heritagear- Lower Rouge Hub District of MotorCities Tour. eas/FAQ/INDEX.HTM. http://www.michigan.org/travel/drivingtours/ National Heritage Areas, National Park Service, ?m=9;2 U.S. Department of Interior. http://www.cr.nps. Lower Woodward Hub District MotorCities Tour. gov/heritageareas/VST/INDEX.HTM http://www.michigan.org/travel/drivingtours/ On the American Trail. www.altrec.com/features/ ?m=9;2 ontheamericantrail Mackinac State Historic Parks’ tour—Mackinaw City and Mackinac Island area. http://www. United States: Speciﬁ c States or Regions michigan.org/travel/drivingtours /?m=9;2 Craft Heritage Trails of Western North Carolina, Michigan Heritage Water Trails. www.wmichigan. 3rd edition. Asheville, North Carolina: Hand- edu/glcms/watertrails Made in America, 2003. Michigan Highways Heritage Routes. www.michi- Farms, Gardens, and Countryside Trails of West- ganhighways.org/other/heritage.html ern North Carolina. Asheville, North Carolina: Michigan’s US-12 Heritage Trail. www.swmi- HandMade in America, 2002. comm.org/SWMC/US12.htm From Bridge to Boardwalk: An Audio Journey Middle Rouge Hub District of MotorCities Tour. Across Maryland’s Eastern Shore. Baltimore, http://www.michigan.org/travel/drivingtours/ Maryland: The Mid-Atlantic Arts Foundation, ?m=9;2 2004. Midland County [Michigan] River Trails Heritage GROW Nebraska: Gift Guide 2005–2006. Hol-

72 brook, Nebraska: GROW Nebraska, 2005. Illinois Artisans Program. www.museum.state. www.grownebraska.com. il.us/programs/illinois-artisans/ Kentucky: A Sampler of Kentucky Art & Craft. Kentucky Cultural Heritage Corridor. http://www. Frankfort: Kentucky Department of Travel, nasaa-arts.org/spotlight/stspot_july99.shtml 2002. www.kentuckytourism.com Kentucky Artisan Heritage Trails. www.kaht.com Travel Guide to Indian Country. Portland, Oregon: Maine Fiberarts Tour Map: Studios & Farms. www. Affi liated Tribes of Northwest Indians, 2005. mainfi berarts.org/TourMap/index.html Wabanaki Guide to Maine. Old Town, Maine: Maine Made. www.mainemade.com/about_maine_ Maine Indian Basketmakers Alliance, 2000. made/default.asp Simon, Kenneth A. The New England Handcraft New Mexico Fiber Arts Trails Guide and Maps. Catalog: A guide to recommended shops, galler- www.nmfi berarts.org ies, fairs, and instruction, and a mail-order cata- Northwest Heritage Tours. www.arts.wa.gov/ log of more than 200 leading artisans. Chester, Routes to Roots/Rivers of Steel. www.riversof- Connecticut: Globe Pequot Press, 1983. steel.com/routestoroots/index.html Talking Across the Lines. www.folktalk.org Alaska Native Arts Foundation. http://alaskana- Tamarack. www.tamarackwv.com/ tivearts.org Utah Heritage Highway 89. www.utahheritage. Artisans Center of Virginia.www.artisanscenterof- com/ virginia.org/ Washington State’s Heritage Tours. www.cultur- Automobile National Heritage Areas. www.cr.nps. alheritagetourism.org/successStories/washing- gov/heritageareas ton.htm Brookfi eld Craft Center. www.brookfi eldcraftcen- ter.org Other Countries The Crooked Road: Virginia’s Heritage Music Think Local: Huntingdonshire’s Local Foods and Trail. www.thecrookedroad.org/ Crafts Directory. http://applications.huntsdc.gov. HomegrownHandmade: Art Roads & Farm Trails uk/thinklocal/default.asp of North Carolina. www.homegrownhandmade. Zulu Cultural and Heritage Trail. http://zululand. com/Default.htm kzn.org.za/zululand/48.xml