Handicraft Industry

PRESBYTERIAN UNIVERSITY COLLEGE, GHANA AKUAPEM CAMPUS

DEPARTMENT OF RURAL AND COMMUNITY DEVELOPMENT

THE IMPORTANCE OF THE HANDICRAFT SECTOR IN RURAL EMPLOYMENT AND POVERTY REDUCTION: CASE STUDY; ABURI CRAFT VILLAGE, IN THE AKUAPEM SOUTH MUNICIPAL ASSEMBLY, EASTERN REGION

BY

AKUFFO BEKOE EUGENE

JUNE, 2011

PRESBYTERIAN UNIVERSITY COLLEGE, GHANA

AKUAPEM CAMPUS

DEPARTMENT OF RURAL AND COMMUNITY DEVELOPMENT

THE IMPORTANCE OF THE HANDICRAFT SECTOR IN RURAL EMPLOYMENT AND POVERTY REDUCTION: CASE STUDY; ABURI CRAFT VILLAGE, IN THE AKUAPEM SOUTH MUNICIPAL ASSEMBLY, EASTERN REGION.

A DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE AWARD OF BACHELOR OF ARTS (HONS) DEGREE IN RURAL AND COMMUNITY DEVELOPMENT.

BY

AKUFFO BEKOE EUGENE

JUNE, 2011.

DECLARATION

I do declare that, except for the references to other people’s work which have been cited, this work submitted as a project to the Department of Rural and Community Development, Akuapem Campus of the Presbyterian University College, Ghana, for the degree of Bachelor of Arts in Rural and Community Development is the result of my own investigation and has not been presented for any degree.

………………………………… ...…….………………………….…

AKUFFO BEKOE EUGENE DORIS FIASORGBOR (MISS)

(PROJECT SUPERVISOR)

DEDICATION

I dedicate this handwork to my brother (The late Bright Nana Badie Akuffo) for the support he gave me during his lifetime. Also, to my mother Esther Asare, for her encouragement that led to my enrolment in this institution, and all those who supported me spiritually and financially not forgetting my father Mr. Akuffo Bekoe

ACKNOWLEDGEMENT

I wish to express my sincere gratitude and thanks to the Almighty God for his blessing throughout my education. I also express my sincere thanks to my supervisor Miss. Doris Fiasorgbor, a lecturer at the Presbyterian University College, for her suggestions and also her precious time to scrutinize and streamline this script.
I also do appreciate the contributions of all the lecturers of the Rural and Community Department for promoting me on the path of academic excellence.
I am also indebted to the following personalities, for their consistency and solidity; Rev. Ben Asare, Mr. Ebenezer Asare, Mrs. Grace Asare and anyone who helped me in my education; I appreciate your supports, thank you.

ABSTRACT

The current state and the rate at which handicraft is growing in many areas around the country have a considerable impact on the way artisans in such areas progress in life. This study tries to identify the importance of the handicraft sector in reducing poverty and to examine the constraints in the operations of the sector in Aburi. Also, to find out how the government through the Ministry of Trade and Industry help in addressing problems in this sector.

Also, this study tries to make out and broaden the horizon about how people who have their livelihoods in handicraft cope with the rate of its growth and to know how the sector could be made lucrative enough to be sustainable for the rural artisans.

The study was conducted at the Aburi Craft Village in the Akuapem South Municipality.

After the data were collected, it was then analyzed using the Statistical Package for the Social Sciences (SPSS Version 16) where tables, graphs and charts have been employed.

Taking the current situation of the handicraft sector in the area, considerable recommendations were made, to help curb the problem facing the sector and guarantee a sustainable livelihood to the average rural artisan.

Table of Contents
DECLARATION ii

DEDICATION iii

ACKNOWLEDGEMENT iv

ABSTRACT v

LIST OF TABLES AND FIGURES ix

LIST OF ACRONYMS x

CHAPTER ONE 1

INTRODUCTION 1

1.0 Background 1

1.1 Problem Statement 5

1.2 Main Objective 6

1.3 Specific Objectives 6

1.4 Research Questions 7

1.5 Scope of the study 7

1.6 Relevance of the Study 8

1.7 Organization of the Dissertation 8

1.8 Operational Definitions 9

1.8.1 Definition and Role of Handicrafts 9

1.8.2 Commonly Accepted Definitions 10

1.8.3 Poverty Defined 11

1.9 Background of Aburi 13

1.9.1 Topology and Drainage 13

1.10 Methodology 13

1.11 Data Collection Techniques 13

1.11.1 Focus Group Discussion 14

1.11.2 Key Informants 14

1.11.3 Data Analysis Techniques 14

1.12 Sampling Technique 14

1.12.1 Purposive Sampling 14

1.13 Secondary Source 15

1.14 Limitation of the study 15

CHAPTER TWO 16

LITERATURE REVIEW 16

2.0 Introduction 16

2.1 Operational Definitions 17

2.1.1 Definition and Role of Handicrafts 18

2.1.2 Commonly Accepted Definitions 19

2.1.3 Approaching the Complex Phenomenon of Poverty 20

2.2 Cultural Policies and the Struggle against Poverty 23

2.3 Strengthening the Livelihoods of the Poor 24

2.4 New Trends in the Craft Sector in the World 25

2.5 New Trends in the Craft Sector: African Competitors 27

2.6 Trends in the Ghanaian Craft Sector 28

2.7 The Importance of the Handicraft Sector 32

CHAPTER THREE 35

METHODOLOGY 35

3.0 Introduction 35

3.1 Data Collection Techniques 35

3.2 Focus Group Discussion 36

3.3 Key Informants 36

3.4 Data Analysis Techniques 37

3.5 Sampling Technique 37

3.5.1 Purposive Sampling 37

3.6 Secondary Source 37

3.7 Study Community 37

3.7.1 Background of Aburi 38

3.8 Outline of Activities 38

3.9 Rationality and Reliability of Data 38

CHAPTER FOUR 39

DATA PRESENTATION AND ANALYSIS 39

4.0. Introduction 39

4.1. Demographic Characteristics of Respondents 40

4.1.1. Gender Distribution of Respondents: 40

4.1.2 Age Distribution of Respondents: 41

4.1.3. Marital Status 42

4.2 The Handicraft Sector and its Importance 43

4.2.1: Why an Artisan? 43

4.2.3 Sources of raw materials 45

4.2.4 Why do you sell at Aburi? 46

4.2.5 Employees engaged in the craft village 47

4.2.6 Patronage of the craft village 48

4.2.7 Training of Artisans 48

4.2.8 Weekly and Monthly Income 49

4.2.9 Benefits in this Business 50

4.2.10 Challenges in this Business 52

CHAPTER FIVE 55

SUMMARY, CONCLUSION AND RECOMMENDATIONS 55

5.0 Introduction 55

5.1 Findings 55

5.2 Summary 56

5.3 Conclusion 57

5.4 Recommendations 58

REFERENCES: 60

APPENDICES 62

LIST OF TABLES AND FIGURES

Table 1: Gender of Respondents 40

Table 2: Marital Status of Respondents 42

Table 3: Why an artisan? 43

Table 4: Sources of raw materials 46

Table 5: why do you sell at Aburi 46

Table 6: how do you consider the patronage of your goods? 48

Table 7: do you receive any kind of training? 48

Table 8: how much do you earn from your work weekly? 49

Table 9: how much do you earn from your work monthly? 49

Table 10: challenges in your operations? 52

Table 11: Assistance from Government and NGO 53

Figure 1: Age of Respondents 41

Figure 2: Types of Crafts 44

Figure 3: Types of raw materials used 44

Figure 4: Employees engaged in the craft village 47

Figure 5: Benefits of operating in this sector 51

LIST OF ACRONYMS

ACTAG Arts and Culture Task Group

ASMA Akuapem South Municipal Assembly

ATAG Aid To Artisans Ghana

CSO Civil Society Organisation

CSS Central Statistical Services

DA District Assembly

DBSA Development Bank of South Africa

EPCH Export Promotion Council for Handicrafts

EPV Export Production Village

EU European Union

GDP Gross Domestic Product

GEPC Ghana Export Promotion Council

GLSS Ghana Living Standard Survey

GTB Ghana Tourist Board

MTCS Medium Term Competitiveness Strategy

NAHE National Association of Handicraft Exporters

NGO Non-Governmental Organization

OECD Organization for Economic Cooperation and Development

PEAP Poverty Eradication Action Plan

SME Small and Medium Enterprises

SPSS Statistical Package for Social Sciences

UK United Kingdom

UNDP United Nations Development Programme

UNESCO United Nations Educational Scientific and Cultural Organization

UNWTO United Nations World Trade Organization

USA United States of America

USAID United States Agency International for Development

USP Unique Selling Point

CHAPTER ONE

INTRODUCTION

1.0 Background

Poverty is recognized as a multi-dimensional term and has many definitions. As a relative concept, the perception of poverty differs from person to person and from one place to the other. It should be noted that the extent and magnitude of poverty in every country depends on the average level of income and the degree of inequality associated with its distribution (Ghana Living Standard Survey, 2000).
Poverty alleviation has become a necessary condition for peace, environmental conservation and sustainable development, besides being an ethical obligation in developed countries, where the divide between poor and rich nations seems to have increased in recent years. According to the United Nations Development Programme (UNDP) 2008 Annual Report, 1.2 billion people live on less than a dollar a day.
The potential for handicraft industry to play an important role in the alleviation of poverty is increasingly recognized by international bodies and national governments. Its geographical expansion and labour intensive nature support a spread of employment and can be particularly relevant in remote and rural areas where many of the poor live. United Nations World Trade Organizations (UNWTO) statistics show the growing strength of the handicraft sector which is part of the tourism industry for developing countries. In 2007, international tourism receipts for developing countries (low income, lower and upper middle income countries) amounted to US$ 319 billion. Tourism is one of the major export sectors of developing countries, and is the primary source of foreign exchange earnings in a vast majority of Least Developed Countries.
Ghana is a country with different cultural heritages. This is due to the fact that, cultural basis influenced by ancient civilizations and a mix of cultures from neighboring countries, has afforded Ghana to have a unique blend of traditions and customs.
The handicraft industry has now become one of the most dynamic cultural and socio-economic development tools which enjoy high export demands. The handicraft industry has changed over the years, moving from the traditional cottage industry structure of artisans producing practical products for individual domestic use and later souvenirs items for the tourist market; to factory based operations producing goods for both export and local markets. (Barbados Investment and Development Corporation, Profile Of The Craft Sector, December 2008).
The handicraft industry undoubtedly is becoming one of the largest industries in the world. In Africa, the industry plays significant roles in many economies.
Tunisia is an example of a middle-sized country in terms of craft production. It counts 300,000 craftspeople (11 percent of an active population) of which 2/3 work on a part-time basis. Their production accounts for an average of 3.8 percent of the Gross Domestic Income and ensures an annual income of US $2,400 per household (an average of 5 members). (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)
Also, the Moroccan Ministry in charge of handicrafts evaluates the number of persons considered as craftspeople in the country to be 20 percent of the active population. There are two million full-time craftspeople, approximately 1 million families living at least partially from handicrafts, and 4,390 exporters. Additionally, at an International Workshop organized by UNESCO concerning the collection of data on “Crafts and Tourism”, Morocco crafts generated $6.2 billion. (Dominique, B., 2004, UNESCO Crafts/Tourism Index)
In Ghana, the handicraft industry is one of the country’s expanding service activities. The most important craft destinations can be seen in communities such as Aburi, Ahwiaa, Tanoso, Kopeyia, Bonwire, Ntonso, Bolgatanga, among others. Ghana’s handicraft includes baskets, ceramics, beads, woodcarvings and Kente cloth textiles among others. Ghana’s handicraft exports, which started from the US $1,000 dollars levels in early 1990’s registered impressive performances from US $2m export earnings in 1995 to US $15million in 2001 and US$11million in 2002. This performance trend was the result of targeted sector interventions that successfully addressed: - • Sector policy and organizational frameworks and mechanisms • Supply side constraints • Production and marketing infrastructure • Capacity building and skills training and value addition • Effective trade promotion and market development
(Uganda Handicrafts Export Strategy, International Trade Centre. 2005)
The issue of handicraft, rural employment and poverty reduction has received a lot of discussion, it is a well-known fact that the industry has and continually contributes its quota to national development. For that matter, many developed countries like United States, Germany, France, the United Kingdom, Spain, the Netherlands, Japan, and Hong Kong are involved in this lucrative industry. Handicraft exports to the United States amounted to $1.9 billion in 2003, having shown a consistent 15 percent annual growth rate over the previous decade. In 2002, India held a 10 percent share of global handicraft exports, and in the past three years this sector has grown 4.7 percent annually. (Indian Brand Equity Foundation, 2004)
Despite the efforts being made by the government and other civil society organizations to reduce unemployment and poverty with regards to the handicraft sector, it still remains a development problem in Ghana. This is due to the fact that, Ghanaian artisans lack innovation, adaptability and understanding of global supply chain. Ghanaians and for that matter African artisans and manufacturers are not innovative as their Asian competitors in the industry. The only reason why the Asians seem to be overtaking the Africans in product innovation is that Africans are slow to adapt to the changing trends in the industry. Preliminary studies carried throughout this research work shows that artisans in Aburi and other craft areas need openness to trade and value addition to their products which will create employment opportunities for the unemployed and eventually reduce poverty in these areas.
The purpose of this study is therefore to illustrate the relevance of reinforcing handicraft production as a way to promote rural employment and help in poverty reduction, and make possible suggestions and recommendations, which will serve as a basis for policy formulation in poverty reduction through the handicraft sector. It will also strengthen the National Association of Handicraft Exporters (NAHE) in the fight against the poverty menace in Aburi.
The contribution of the handicraft industry to the development process of this country cannot be underestimated. Thousands of people have benefited from this industry.
Despite their contributions being made, they are beset with a number of challenges such as lack of adequate marketing of products, lack of data and literature on the craft sector often result in an underestimation of the importance of the crafts sector in reducing poverty, insufficiency of certain raw materials and a decline of some local sources, and not enough recognition for the sector as an important area of economic activity. These situations have resulted in the youth not involving themselves in this sector, which keep them in their unemployed and underemployed state. Therefore, the quest to reduce poverty in the rural areas cannot be achieved.

1.1 Problem Statement

Handicraft sector has contributed greatly to the development of many developed countries such as Germany, United States and the United Kingdom as most literature would have it.
Unfortunately enough, to a very large extent the same cannot be said of developing countries like South Africa, Kenya, Uganda, Ghana, etc.
The industry though it contributes to nation building in developing countries it has a lot of problems which hinder its growth and development especially in the rural communities where craft attractions are usually located.
Sadly enough, rural tourism which is defined by (Lane 1994a) as “tourism which takes place in the countryside” in this part of the world is poorly marketed and invested in. In contrast, in the United States, for example, it is estimated that over 70% of the population enjoy some form of rural recreation (OECD 1993), a figure largely mirrored throughout the industrialized world, whilst a recent survey in the United Kingdom revealed that over 900 million day visits alone were made to the countryside or rural areas in 1993 (CRN 1994). (Sharpley, R. J (1997) “Rural Tourism An Introduction, Pg 1)
As impressive as the statistics may seem, the real significance of the handicraft sector only becomes obvious when it is studied in the context of all tourism and from a broader social and economic perspective. There is little to be gained from examining the handicraft sector in isolation without considering the wider, external factors which, on the other hand, have influenced the growth in the level and scope of participation in this sector and, on the other hand, strengthened the role of the handicraft sector in rural employment and poverty reduction.
It has long been recognized that a positive relationship exists between the growth of handicraft sector or tourism as a whole and broader developments and changes in society as a whole.

1.2 Main Objective

The main objective of the study is to know the importance of handicraft industry in rural employment and poverty reduction in Aburi.

1.3 Specific Objectives

• To know the importance of handicraft sector in reducing poverty. • To examine the constraints in the operations of the sector in Aburi. • To find out how the government through the Ministry of Trade and Industry helps in addressing problems in this sector. • To make suggestions and recommendations based on the outcome of the study.

1.4 Research Questions

From the fore, the following questions arise from the objectives of the study; • What are the contributions of the handicraft sector towards poverty reduction? • What are the constraints in the operations of the sector in Aburi? • How does the government through the Ministry of Trade and Industry help in addressing problems in this sector? • What are some of the possible suggestions and recommendations to handicraft sector for reducing poverty?

1.5 Scope of the study

Ghana is known throughout Africa, United States of America (USA) and Europe for the quality and creativity of its handicrafts, especially wood carving and Kente weaving. The research will be centered on the following thematic areas: contributions of the handicraft sector towards poverty reduction, constraints in the operations of the sector in Aburi, government interventions in this sector and finally make possible suggestions and recommendations to handicraft sector for reducing poverty.

1.6 Relevance of the Study

The study is justifiable because it will be of great importance not only to the indigenes of study area, but to other stakeholders as the Ghana Tourist Board (GTB), the District Assembly, and Non-Governmental Organizations (NGOs) in the tourism field.
The study will aid all Stakeholders structure their outfit in a way and manner that would enable them benefit fully from the industry, and help create employment opportunities for the people and reduce poverty. The research will enable Government to recognize the role of the handicraft sector in rural employment and poverty reduction, and provide the necessary financial budgetary allocation and legal support to the operations of the craft sector in the country.
The study will also unearth to the sector the problems militating against their operations and the need to address them.

1.7 Organization of the Dissertation

The research comprises of five main chapters of which chapter one is the introduction, which entails the background of the study, problem statement, objectives of the study, research questions, scope, relevance of the study, limitations of the study, operational definitions, background of the study area, that is, Aburi, organization of the dissertation and methodology.
Chapter two focuses on literature review whilst chapter three is centered on the research design, the study area, sampling procedures, sources of data, data collection instruments, the field work and data presentation and analysis.
Chapter four entails discussion of results, presented according to sections. Chapter five summaries the main findings of the research, conclusion and recommendations

1.8 Operational Definitions

Handicraft production is a major form of employment in many developing countries and often a significant part of the export economy. With increased globalization, however, products are becoming more and more commoditized, with artisan producers facing increased competition from producers all over the world, particularly in China and other Asian countries. (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)
“Craft refers to the creation and production of a broad range of utilitarian and decorative items produced on a small scale with hand processes being a significant part of the value-added content. The production of goods uses a range of natural and synthetic materials.” (Arts & Culture Task Group (ACTAG) Report, 1994)

1.8.1 Definition and Role of Handicrafts

Handicrafts are unique expressions of a particular culture or community through local craftsmanship and materials. With increased globalization, however, products are becoming more and more commoditized and artisans find their products competing with goods from all over the world. It is no longer possible to look at traditional artisan communities and their products in isolation from global market trends and competition. Handicrafts are part of a much larger home accessory market, which includes handcrafted, semi handcrafted, and machine-made goods. The home accessory market is strongly influenced by fashion trends, consumer purchasing patterns, and economic conditions in end markets. In many cases, artisans are out of touch with those end markets, which presents a challenge to those seeking to export their products.

1.8.2 Commonly Accepted Definitions

Handicrafts are an important productive sector and export commodity for many developing countries. The growth of international markets for home accessory products and an increased interest in global goods have opened up new market opportunities for artisans. Despite widespread production, however, there is a lack of common definition of handicrafts, although various attempts have been made to characterize this broad and rather unstructured sector. The most common themes in the definitional debate center on how the product is made, especially the importance of handmade versus machine-made production; the significance of artistic qualities of the product versus simple crafts; and the motivation for production, which may be rooted in culture and tradition or due to economic reasons. Agreeing on a proper definition for handicrafts becomes especially important in view of the growing mechanization and commoditization of handicraft production, notably in China.
According to buyers, handicrafts are “products significant to the country where they are made, due to skill, tradition, culture, and local materials used.” Therefore, buyers argue that most of the products made in China (and in countries seeking to emulate China’s production capabilities) are not handicrafts, even though many are partially or fully handmade. “China will produce anything that you will ask, better than anyone else, and at a better price, but these are not unique handicrafts like those being produced in other countries.” The following definition, adopted in 1997 by the United Nations Educational, Scientific and Cultural Organization/Information Technology Community (UNESCO/ITC) Symposium on Crafts and the International Market, is also helpful because of its breadth and depth in capturing the diversity and complexity of the handicraft sector:
“Artisanal products or handicrafts are those produced by artisans, completely by hand or with the help of hand-tools and even mechanical means, as long as the direct manual contribution of the artisan remains the most substantial component of the finished product. Their special nature derives from their distinctive features, which can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional, and religiously and socially symbolic and significant. They are made of sustainably produced raw materials and there is no particular restriction in terms of production quantity. Even when artisans make quantities of the same design, no two pieces are ever exactly alike.” (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)

1.8.3 Poverty Defined

Poverty is recognized as a multi-dimensional term and has many definitions. As a relative concept, the perception of poverty differs from person to person and from one place to the other. It should be noted that the extent and magnitude of poverty in every country depends on the average level of income and the degree of inequality associated with its distribution (Ghana Living Standard Survey, 2000).
There is broad agreement that economic growth is a powerful tool for combating poverty. No country or region in the world has successfully reduced poverty in an environment where there is no growth. Nevertheless, poverty is no longer thought of as having an exclusively material component expressed in monetary value. Poverty is now recognized as being a multidimensional phenomenon consisting of interrelated, non-material social, environmental and gender components. Indicators measuring levels of accountability and vulnerability can also reveal important information on poverty in a given society. An attempt to define poverty was made in the final Copenhagen Declaration of the World Summit for Social Development, which was signed by the governments of 117 countries. In the Declaration, poverty is recognized as having "various manifestations, including lack of income and productive resources sufficient to ensure sustainable livelihoods; hunger and malnutrition; ill health; limited or lack of access to education and other basic services; increased morbidity from illness; homelessness and inadequate housing; unsafe environments; and social discrimination and exclusion. It is also characterized by a lack of participation in decision-making and in civil, social and cultural life". (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)

1.9 Background of Aburi

The Akuapem South Municipal is one of the twenty-two (22) districts within the Eastern Region of Ghana. Nsawam, the district capital, is located within a gap along the main highway between Accra and Kumasi and is just 23km from the national capital.
Aburi is host to one of the finest wood markets not only in Ghana but in Africa. It has been rumored that goods manufactured at the Aburi markets have found their way to South Africa to be sold on to tourists.
Aburi on the other hand falls under the Akuapem South Municipal and is home to many tourists attractions both natural and manmade. Aburi has a relatively small population and is headed by the Aburihene (chief of Aburi). The journey from Accra to Aburi is less than forty five (45) minutes. Due to the altitude of Aburi, the climate is a lot cooler than neighboring Accra. The population of Aburi is about ten thousand and seventy-one.

1.9.1 Topology and Drainage

The district comprises the Densu Plains, the Pompan narrow land and the Akuapem Togo mountain range, which rises over 1000 feet above sea-level at Aburi. The municipal is drained by the Densu River and its tributary rivers and streams.

1.10 Methodology

Specific methodologies were employed to enable me achieve the objectives of the study.

1.11 Data Collection Techniques The following data collection techniques were used.

1.11.1 Focus Group Discussion

This technique deals with meeting specific group of people for discussion in prearranged topics. To achieve the preferred objectives of this technique, a minimum of ten (10) and a maximum of fifteen (15) people were involved in the discussion. This included the youth, men and women in the study area. This was done to update the relevant information.

1.11.2 Key Informants

Data were collected from key informants with the administration of interview guide on the Management of the Handicraft, District Assembly officials, customers as well as artisans or the carvers. The total number of people interviewed was thirty (30).
1.11.3 Data Analysis Techniques Qualitative and quantitative techniques were used in analyzing and presenting the data using Statistical Package for Social Sciences, where tables and charts were used for clarity.

1.12 Sampling Technique

The sampling technique used was purposive sampling.

1.12.1 Purposive Sampling

This is a sampling technique whereby the sample units are not selected by random procedure but intentional because of their characteristics (Kumar 1999, Newman 2003). They satisfy the study because the knowledge is not evenly or randomly distributed. The technique was used because sample units have in-depth knowledge of the problem under study thereby applying it is necessary. The technique focused on management, staff and the customers.

1.13 Secondary Source

Relevant information was gathered from the Akuapem South Municipal Assembly and other relevant literature. This method was used because not all the information could be obtained from the study area.

1.14 Limitation of the study

The following are some of the limiting factors of the study: • Inadequate attentions by artisans and customers towards the investigator that limited the needed information in relation to the subject matter • Financial and time limitations limited the study to cover the whole Community, and a considerable number of artisans.

CHAPTER TWO

LITERATURE REVIEW

2.0 Introduction

This segment will critically appraise and assess available data on the subject matter of this study. Many studies have been conducted on handicraft and poverty reduction and its importance in employment generation and other relevant topics concerning the topic in question.
To begin with, the craft industry has evolved over the years, shifting from the traditional cottage industry structure of artisans producing practical products for individual domestic use and later souvenir items for the tourist market; to factory based operations producing goods for both the export and local markets. Today, tourists still remain the principal target market but the emphasis and focus of craft operators has extended beyond that traditional segment to include prospective clients in the domestic market and farther abroad. Local craft operators have however failed to achieve the level of success in the export arena as they have enjoyed at home. (Barbados Investment and Development Corporation: Profile of the Craft Sector, December 2008)
Tourism has since the mid-1980’s emerged as a significant sector in the Ghanaian economy and society; this is manifested in several ways. In the newspapers and on the airwaves, public officials proclaim the role of tourism as a major foreign exchange earner and generator of jobs. The growing investment in hotels, restaurants, fast food joints, car rentals, travel agencies is another evidence of the growing importance of the sector in the country.
It must also be noted that the domestic component of the tourist traffic exceeds the international component despite the fact that that of the former is not as conspicuous as the latter. A growing number of the Ghanaian populace is gradually but steadily embracing the culture of leisure travel; church and school groups are among the leading patrons of organized travel in the country whereas retreats and incentive travel are becoming common among the countries corporate bodies. Since the flow of international tourism has the tendency to be seasonal, it is the domestic traffic in Ghana that makes for an all year-round visitation to the major tourist sites. (Tourism in Ghana, A Modern Synthesis, Preface ііі)

2.1 Operational Definitions

Handicraft production is a major form of employment in many developing countries and often a significant part of the export economy. With increased globalization, however, products are becoming more and more commoditized, with artisan producers facing increased competition from producers all over the world, particularly in China and other Asian countries. (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)
The Craft industry internationally, is variously referred to as handicraft, handcraft and handmade. For this purpose, the craft industry is defined as follows:
“Craft refers to the creation and production of a broad range of utilitarian and decorative items produced on a small scale with hand processes being a significant part of the value-added content. The production of goods uses a range of natural and synthetic materials.” (Arts & Culture Task Group (ACTAG) Report, 1994)
As this definition is all encompassing and the sector is so diverse, it is necessary to define sub-categories to better understand the production and market issues. There are many ways to do this. For example according to material (textile, clay, glass etc.), product type (home ware, giftware etc.), technique (beading, weaving), design style (traditional, contemporary etc.) or production type (sole-trader, designer-maker, project, co-operative). (Source: Arts & Culture Task Group (ACTAG) Report, 1994)
As this report is industry and commercialization focused the market-led product type definition is used. For the purposes of consistency these have been defined as follows: • Home furnishing • Jewelry, fashion and fashion accessories • Indigenous artifacts: culturally derived objects
(National Workshop report, October 2004)

2.1.1 Definition and Role of Handicrafts

Handicrafts are unique expressions of a particular culture or community through local craftsmanship and materials. With increased globalization, however, products are becoming more and more commoditized and artisans find their products competing with goods from all over the world. It is no longer possible to look at traditional artisan communities and their products in isolation from global market trends and competition. Handicrafts are part of a much larger home accessory market, which includes handcrafted, semi handcrafted, and machine-made goods. The home accessory market is strongly influenced by fashion trends, consumer purchasing patterns, and economic conditions in end markets. In many cases, artisans are out of touch with those end markets, which presents a challenge to those seeking to export their products. (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)

2.1.2 Commonly Accepted Definitions

Handicrafts are an important productive sector and export commodity for many developing countries. The growth of international markets for home accessory products and an increased interest in global goods have opened up new market opportunities for artisans. Despite widespread production, however, there is a lack of common definition of handicrafts, although various attempts have been made to characterize this broad and rather unstructured sector. The most common themes in the definitional debate center on how the product is made, especially the importance of handmade versus machine-made production; the significance of artistic qualities of the product versus simple crafts; and the motivation for production, which may be rooted in culture and tradition or due to economic reasons. Agreeing on a proper definition for handicrafts becomes especially important in view of the growing mechanization and commoditization of handicraft production, notably in China. (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)
The following definition, adopted in 1997 by the United Nations Educational, Scientific and Cultural Organization/Information Technology Community (UNESCO/ITC) Symposium on Crafts and the International Market, is also helpful because of its breadth and depth in capturing the diversity and complexity of the handicraft sector:
“Artisanal products or handicrafts are those produced by artisans, completely by hand or with the help of hand-tools and even mechanical means, as long as the direct manual contribution of the artisan remains the most substantial component of the finished product. Their special nature derives from their distinctive features, which can be utilitarian, aesthetic, artistic, creative, culturally attached, decorative, functional, traditional, and religiously and socially symbolic and significant. They are made of sustainably produced raw materials and there is no particular restriction in terms of production quantity. Even when artisans make quantities of the same design, no two pieces are ever exactly alike.” (Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.)

2.1.3 Approaching the Complex Phenomenon of Poverty

Poverty is recognized as a multi-dimensional term and has many definitions. As a relative concept, the perception of poverty differs from person to person and from one place to the other. It should be noted that the extent and magnitude of poverty in every country depends on the average level of income and the degree of inequality associated with its distribution (Ghana Living Standard Survey, 2000).
There is broad agreement that economic growth is a powerful tool for combating poverty. No country or region in the world has successfully reduced poverty in an environment where there is no growth. Nevertheless, poverty is no longer thought of as having an exclusively material component expressed in monetary value. Poverty is now recognized as being a multidimensional phenomenon consisting of interrelated, non-material social, environmental and gender components. Indicators measuring levels of accountability and vulnerability can also reveal important information on poverty in a given society. An attempt to define poverty was made in the final Copenhagen Declaration of the World Summit for Social Development, which was signed by the governments of 117 countries. In the Declaration, poverty is recognized as having "various manifestations, including lack of income and productive resources sufficient to ensure sustainable livelihoods; hunger and malnutrition; ill health; limited or lack of access to education and other basic services; increased morbidity from illness; homelessness and inadequate housing; unsafe environments; and social discrimination and exclusion. It is also characterized by a lack of participation in decision-making and in civil, social and cultural life". (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)
Moreover, poverty is defined as a condition of severe deprivation, not only of one’s basic human needs (food, water, shelter) but also of limited or non-existent access to education, information and other basic services. (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)
Poverty may be defined as a human condition characterized by sustained or chronic deprivation of the resources, capabilities, choices, security and power necessary for the enjoyment of an adequate standard of living and other civil, cultural, economic, political and social rights" (United Nations Committee on Social, Economic and Cultural Rights, 2001)
The World Bank Organization describes Poverty as; “Poverty is hunger. Poverty is lack of shelter. Poverty is being sick and not being able to see a doctor. Poverty is not having access to school and not knowing how to read. Poverty is not having a job, is fear for the future, living one day at a time. Poverty has many faces, changing from place to place and across time, and has been described in many ways. Most often, poverty is a situation people want to escape. So poverty is a call to action- for the poor and the wealthy alike- a call to change the world so that many more may have enough to eat, adequate shelter, access to education and health, protection from violence, and a voice in what happens in their communities.”
In addition of lack of money, poverty is about not being able to participate in recreational activities; not being able to send children on a day trip with their schoolmates or to a birthday party, not being able to pay for medications for an illness. These are all costs of being poor. Those people who are barely able to pay for food and shelter simply cannot consider these other expenses. When people are excluded within a society, when they are not well educated and when they have higher incidence of illness, there are negative consequences for society. We all pay the price for poverty. The increased cost on the health system, the justice system and other systems that provide supports to those living in poverty has an impact on the economy.
There is no one cause of poverty, and the results of it are different in every case. Poverty varies considerably depending on the situation. Feeling poor in the USA is different from living in poverty in Ghana or Uganda. The differences between rich and poor within the borders of a country can also be great.
Despite the many definitions, one thing is certain; poverty is a complex societal issue. No matter how poverty is defined, it can be agreed that it is an issue that requires everyone’s attention. It is important that all members of our society work together to provide the opportunities for all our members to reach their full potential. (Amedzekor, D. 2010. Urbanization, Rural Poverty and Development)

2.2 Cultural Policies and the Struggle against Poverty

Traditional knowledge (vernacular languages, oral history, scientific knowledge), skills and expressions such as arts and crafts and creative communication, are expressions of who we are, how we learn, and how we relate to others. It is essential, therefore, that leaders implement cultural policies that strengthen cultural identities and respect traditional skills. Cultural policies can yield tools that generate social cohesion and promote cultural identity; and should be encouraged through interventions combining poverty reduction with the internal development of each community. (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)
The project entitled "Handicrafts as a socio-economic and cultural development factor” was part of the Cross-cutting Programme on Poverty Eradication during the last two biennia (2002-2005). It was designed and implemented in order to provide decision-makers with strategic recommendations for the eradication of poverty through employment generation, especially for poor and marginalized youth and women. The objective of this paper is to draw upon the lessons learned from the handicraft pilot project and to highlight how to fight poverty by boosting the craft sector.
If handicrafts are to play a key role in promoting human development, it is essential that people 's cultural well-being be considered as an integral part of their social and economic well-being. Recognizing the link between culture and development will be pivotal to the success of future policies and the capacity of policy makers to accomplish results through multisectoral intervention. (Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)

2.3 Strengthening the Livelihoods of the Poor

What interventions can strengthen the livelihoods of the poor? • Microfinance: “Whether they save or borrow, evidence around the world shows that when poor people have access to financial services, they choose to invest these savings or loans into building a range of assets that will make them less vulnerable". (From CGAP Website) • Investments in public infrastructure, including roads, communications and education, provide a foundation for self-employment activities. • Community-level investments in commercial or productive infrastructure (such as market centers or small-scale irrigation infrastructure) facilitate business activity • Employment programs designed for "non-entrepreneurs" can make the poor more employable • Non-financial services (from literacy and business training to business development services such as consulting) build social capital and basic skills within the community. • Legal and regulatory reforms create incentives for microfinance by streamlining microenterprise registration, abolishing artificial caps on interest rates, loosening regulations governing non-mortgage collateral, and reducing the cost of property registration.(Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women)

2.4 New Trends in the Craft Sector in the World

The global market for crafts items is quite expensive since handicraft captures a wide range of products including the broad categories of ‘gifts and accessories’, and home ‘accessories’. Global statistics for handicraft trade is difficult to estimate, however, the huge economic and social importance of the sector is evident from the number of countries that have sought to harness the potential that exists in the sector.
The American crafts market is one of the largest and most important markets for craft in the world. The Art & Crafts industry in United States is reported to be valued at US$13.8 billion. This market has a strong desire for the unique, the interesting, and products with a history. The US market is however quite price-sensitive, and price per unit realized in this market tends to be lower than in other countries. German consumers tend to be quality conscious, with emphasis on natural, authentic and high value handicrafts. (Barbados Investment and Development Corporation, Profile Of The Craft Sector, December 2008).
India is another highly significant global competitor in the craft sector. The handicraft sector is the largest decentralized sector of the Indian economy, forming the second largest employment sector in India, and amongst India’s largest foreign exchange earners. There are twenty-three million craftspeople in India today. The home-based handicrafts industry requires minimum expenditure, infrastructure or training and uses existing skills and locally available materials. Inputs required can easily be provided and product adaptation requires little in the way of expensive investment in energy, machinery or technology. Although an informal decentralized cottage industry, this is a well-organized, competitive industry and Indian Handicrafts exports between the years 1992-93 to 2000-01 quadrupled from Rs. 2543.18 billion to Rs. 9270.50 billion. The average net foreign-exchange earnings for all handicrafts is over 90% of the value of output, which is well above the level recorded by exports from more organized sectors – both small and large – making this an extremely competitive industry. (Department of Trade and Industry (DTI), South Africa: Sector Development Strategy, Pretoria, May 2005)
India’s handicraft export performance is attributed but not limited to: - • The existence of a full Ministry dedicated to textiles and handicrafts and fully-fledged Export Promotion Council for Handicrafts (EPCH). The Council is fully funded under the Export Development Funds of the Ministry of Commerce • Aggressive, comprehensive and effective marketing projects and programmes • A wide range of capacity building programmes • Production and marketing infrastructure • Marketing of a national brand or image • Clusters innovations for handicrafts are key in technology transfer, value addition, support for micro credit and skills development.
These initiatives have made an impact on the India handicraft sector in improving the quality of exports. The role of the State-owned Export-Import Bank of India in the provision of Export Finance has been very essential. The handicrafts sector has benefited much from this bank. The Government of India puts a lot of emphasis on its handicraft sector for its proven capacity for enhancing entrepreneurship among the rural poor, empowering rural women, generating income and reducing poverty. It is one of the largest employment sectors in rural and semi-urban areas in the country, according to the Ministry of Textile and Handicrafts in India. (Uganda Handicrafts Export Strategy, International Trade Centre. 2005)

2.5 New Trends in the Craft Sector: African Competitors

In much of the global market ‘Africa’ is viewed as a single source and national/cultural differences are less important than actual product. Well organized producers and distinctive, well-priced African products do reasonably well in the global market, and Kente cloth, fertility dolls and West African Batique clothing is well recognized throughout the European Union (EU) and United States of America (USA). (Department of Trade and Industry (DTI), South Africa: Sector Development Strategy, Pretoria, May 2005)
In Central Africa, Congo and Zaire have a strong woodcarving and art industry, much of which finds its way to the tourist markets of South Africa. Zambia is acknowledged as a source of excellent basket ware and neighboring Malawi for its quality wicker ware and wooden carving. East Africa – Kenya, Tanzania and Uganda have a thriving local craft sector, and good exports of handcraft.
African products are generally well-priced, and culturally distinctive. Producers make good use of local raw materials, and favorable exchange rates and low labour costs make prices generally competitive. Challenges are poor communication, high freight costs – especially for inland producers, and inefficient business practices. (Department of Trade and Industry (DTI), South Africa: Sector Development Strategy, Pretoria, May 2005)

2.6 Trends in the Ghanaian Craft Sector

Ghana is one of Africa’s most sophisticated craft producing countries. Ghana’s craft exports have risen from $ 2.6 million in 1993 to $ 11.3 million in 2002. The main product lines are baskets, ceramics, wooden articles and musical instruments. The crafts export sub sector is a major source of rural income and employment in Ghana. (Department of Trade and Industry, South Africa: Sector Development Strategy, Pretoria May 2005)
Market actors in the Ghanaian craft sector: 1. International Importers/ Wholesale Distributors:
These buyers are primarily based in Europe, the United States of America (USA) and Japan and include wholesale distributors (many of whom participate in major wholesaler trade shows), representatives of large retail chains that import directly, buyer intermediaries, and other more informal traders (some of whom are from Ghana or other West African countries). These buyers have standing relations with export agents in Ghana. (Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.) 2. Export Production Companies:
These companies carry out part or all of the production process internally. Some have relatively large-scale internal production capacity while others limit their role to product finishing. Almost all of these companies also source products from subcontractors. They sell to international buyers and also to export brokers/agents. (Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.) 3. Broker/Subcontractors:
These are individuals who serve as an intermediary between export production companies and production subcontractors. (Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.) 4. Production Subcontractors:
These are privately owned enterprises and producer groups that produce for the export market bu t do not sell their production directly to international clients. Their produce is usually sold either to a broker or to an export production company. They frequently subcontract with individual artisan producers to fulfill orders. (Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.) 5. Individual Producers:
Ghanaian export production companies are the principal buyers of craft products from Medium Scale Enterprise producers – providing a market for thousands of producers around the country. Subcontracting is the predominant production system in the Ghanaian craft export sector. Exporters subcontract a large percentage of their orders to broker and production subcontractors, who in turn purchase from individual producers. (Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.)
This performance trend of Ghana’s Handicraft Development Program was the result of targeted sector interventions that successfully addressed: - • Sector policy and organizational frameworks and mechanisms • Supply side constraints • Production and marketing infrastructure • Capacity building and skills training and value addition • Financial resource mobilization for the sector • Effective trade promotion and market development
Lessons learnt from Ghana include: - • Ghana Export Promotion Council (GEPC), working in sync with Sector Associations, Non-Governmental Organizations (NGO’s) and development partners. • The crucial role played by the National Association of Handicraft Exporters (NAHE) -the National Sector Umbrella Association- as a strong and single voice for sector, advocacy to Government and Development Partners. • Export Production Village (EPV) Schemes: These are strong vehicles for addressing supply side constraints. The growth of product specialization, quality consciousness, critical export quantities and timely deliveries rely entirely on these schemes in Ghana. • A dedicated Export Development and Investment Fund fed by access on imports to finance export development in Ghana, is accessed by participating banks and channeled to qualified applicants including Handicraft sector operatives. • The Role of Non-Governmental Organizations (NGOs) and Civil Society Organizations (CSOs): NGOs and CSOs in Ghana aggressively support the sector development Initiatives. AID-To Artisan Ghana (ATAG), an American NGO for example has constructed workstations with warehousing and show room facilities for Artisan Groups, mostly women in the basketry industry in Northern Ghana. ATAG also provides a warehouse and showroom for product display in its headquarters building at the Accra International Trade Fair Centre. • The impact of Crafts in Rural employment and poverty reduction was manifestly observed by the delegation who learnt that the rural women in Northern Ghana could earn over US$3 per person, per day from weaving baskets. • Market infrastructure and networks are very crucial in enhancing business development among producers and the export community. Ghana has District market yards for baskets, ceramics, beads, woodcarvings and Kent cloth textiles among others. Exporters have constructed warehouses for storage and packaging export consignments. These markets have enhanced contact between export agents, exporters, importers and the producers. All stakeholders benefit from this arrangement, which has succeeded in minimizing if not removing the role of exploitative middlemen and enhancing profitability right from producer to exporters. Export Agents facilitate contacts between importers and producers for business negotiations and shipments. They are paid commissions for their roles by both parties.
(Uganda Handicrafts Export Strategy, International Trade Centre. 2005)

2.7 The Importance of the Handicraft Sector

• Craft provides employment for vulnerable segments of society:
While official unemployment figures differ, it is accepted that approximately 30 percent of the economically active population is currently unemployed in South Africa. This varies widely between population groups and provinces, and between men and women. The 1995 October Household Survey established that “there were 14.4 million economically active people in the country in 1995. Of these people, 10.2 million were employed or self-employed, and 4.2 million were unemployed.” The highest rate of unemployment is amongst African women, at 47 percent, followed by African men at 29 percent and colored women at 28 percent. These high rates of unemployment are debilitating for the country 's social fabric and for the economy.
Research has established that women dominate the craft industry. Historically, better opportunities were available to white men, and it was only in the age of affirmative action and retrenchment that white males began to enter this sector in increased numbers. (Wood 1996, CSS 1990, Openshaw 1996, ECRI 1996 and present research)
The second reason for women 's domination of this sector relates to the low barriers of entry. Women entrepreneurs, especially Black women have limited access to capital, technology and resources and therefore craft activity often seems their only real opportunity for income generation. Furthermore, craft businesses are often built around traditional women 's skills, for example sewing, braiding and beading. This means that women often had the baseline skills for production and that they could adapt these skills to generate income, instead of having to learn totally new skills. The flexible and often home-based nature of craft production means that women can integrate their economic activities with household duties. Formal sector jobs cannot provide the same flexibility cannot easily facilitate for poorly skilled workers. This is important in rural areas where women are responsible for agricultural activities as well. (Cultural Industries Growth Strategy (CIGS): The South African Craft Industry Final Report, November,1998) • Craft is an entry point into the economy:
The Development Bank of South Africa (DBSA) (1994) asserts that “the informal economy currently absorbs between four and five million workers (roughly 28 percent of the national labour force) and contributes roughly nine percent to Gross Domestic Product.” The most predominant reason for the growth of the informal sector is the increasing inability of the formal economy to provide employment for South Africans.
The craft industry is one of the few entry points available to people presently excluded from the formal economy. Such opportunities are both essential and limited for rural communities. (Cultural Industries Growth Strategy (CIGS): The South African Craft Industry Final Report, November,1998) Although modern society demands that people read and write, African culture continues to teach through the creative mediums of Art and Song. This education must be looked at in depth to establish how useful they can be in future.
|Craft - a source of innovation for the entire economy: |
|Many interviewees felt that the craft industry is a highly innovative industry, and as such acts as an incubator and test marketer of |
|manufacturing ideas, which could later be produced on a larger scale. This innovation is a result of the nature of craft production, that |
|is; low volumes, low gearing, an adaptive approach attitude towards materials, a close relationship between designer and production and a |
|close relationship between customer and manufacturer. |
|Design and innovation in the manufacturing industries is vital for long term economic growth and for overcoming barriers to international |
|trade. This was recognized by Sweden and Japan who both structured their manufacturing output around design and adding value, and were thus|
|able to compete successfully, and overcome barriers such as high labour costs and minimal natural resources. South Africa struggles to |
|compete on price and quality hence the importance of this Unique Selling Point (USP) to economic growth and global competitiveness. |

CHAPTER THREE

METHODOLOGY

3.0 Introduction

This section of the dissertation will discuss how the objectives of the project were realized. It deals with the methods used in gathering the information for the project. Also, the following sub-topics made up the chapter; • Data Collection Techniques • Focus Group Discussion • Key Informants • Data Analysis Technique • Sampling Techniques • Secondary Sources • The Study community, • Outline of activities • Rationality and Reliability of Data

3.1 Data Collection Techniques

A blend of research tools were used to collect data for this project. These included; • Observation • Interview Guides • Questionnaires In order to gather good qualitative and quantitative data, questionnaires were used to collect the data. Information captured by the use of the questionnaires included the following; • Production methods, which included tools, • Source of raw materials and labour supply, • Measures taken to boost the sector.

3.2 Focus Group Discussion

This technique dealt with meeting specific group of people for discussion in prearranged topics. To achieve the preferred objectives of this technique, a minimum of ten (10) and a maximum of fifteen (15) people were involved in the discussion. This included the youth, men and women in the study area. Focus group discussions were used for the purpose of getting diverse and in depth views of the people, which brought about general consensus. This was done to update the relevant information.

3.3 Key Informants

Data were collected from key informants with the administration of interview guide on the Management of the Handicraft sector in the study area, District Assembly official, customers as well as artisans or the carvers. The total number of people interviewed was thirty (30).

3.4 Data Analysis Techniques Qualitative and quantitative techniques were used in analyzing and presenting the data using Statistical Package for Social Sciences (SPSS), where tables and charts were used for clarity.
3.5 Sampling Technique To ensure reliability, validity and a true representation, appropriate sampling method has been employed. The sampling technique used was purposive sampling.
3.5.1 Purposive Sampling This is a sampling technique whereby the sample units are not selected by random procedure but intentional because of their characteristics (Kumar 1999, Newman 2003). They satisfy the study because the knowledge is not evenly or randomly distributed. The technique was used because sample units have in-depth knowledge of the problem under study thereby applying it is necessary. The technique focused on management, staff and the customers.

3.6 Secondary Source

Relevant information was gathered from the Akuapem South Municipal Assembly (ASMA) and other relevant literature. This method was used because not all the information could be obtained from the study area.

3.7 Study Community

The study area for the research is a Community in the Akuapem South Municipal, called Aburi, in the Eastern Region of Ghana.

3.7.1 Background of Aburi

The Akuapem South Municipal is one of the twenty-two (22) districts within the Eastern Region of Ghana. Nsawam, the district capital, is located within a gap along the main highway between Accra and Kumasi and is just 23km from the national capital.
Aburi falls is home to many tourists attractions both natural and manmade. Aburi has a relatively small population and is headed by the Aburihene (chief of Aburi). The journey from Accra to Aburi is less than forty five (45) minutes. Due to the altitude of Aburi, the climate is a lot cooler than neighboring Accra.

3.8 Outline of Activities

Essential information was acquired through interviews with the management of the handicraft sector in the community and the Assembly Representative of the Community. These professional and scientific information contributed to the practical ones derived on the field.

3.9 Rationality and Reliability of Data

To guarantee the validity of the results of the project, the following steps were taken. More than one methods of data collection were employed. During the dispensing of the questionnaire, the researcher helped participants to answer the questions prepared for them since it was a one-on-one discussion; they were probed and not prompted.

CHAPTER FOUR

DATA PRESENTATION AND ANALYSIS

4.0. Introduction

This chapter has been designed to go through every data collected from the field on the importance of the handicraft industry in the light of its fundamental role in rural employment and poverty reduction in Aburi, in the form of presentation, to critically analyze them in an objective manner. It analyzed the responses from 30 respondents interviewed through qualitative and quantitative data analysis.
The chapter starts with the demographic data of respondents, and then goes further to assess the views of respondents in achieving the objectives of the study which involves; the importance of handicraft sector in reducing poverty, the constraints in the operations of the sector in Aburi and how the government through the Ministry of Tourism helps in addressing problems in this sector. Also included in the analysis are some recommendations that would be useful in formulating better policies to increase rural employment and reduce poverty.
It is important to state that the responses emanated from different category of people such as artisans, customers, management of craft village, and opinion leaders.

4.1. Demographic Characteristics of Respondents

4.1.1. Gender Distribution of Respondents:

Table 1: Gender of Respondents

| | |Frequency |Percent |Valid Percent |
|Valid |Married |22 |73.3 |73.3 |
| |Single |8 |26.7 |26.7 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
From Table 2, married people recorded the highest figure of seventy three point three percent (73.3%) with twenty two (22) members, whilst the unmarried recorded twenty six point seven percent (26.7%) with eight (8) members. It is not an exaggeration to say that most artisans were able to sustain their marriages as a result of financial security and wise use of monthly income. This has helped most artisans to support their family to meet basic needs such as food, clothing, shelter and protection, hence reducing poverty. Non-married members interviewed expressed that they were not ready to marry now because they want to acquire more properties before they tie the knot.

4.2 The Handicraft Sector and its Importance

4.2.1: Why an Artisan?

Table 3: Why an artisan?

| | |Frequency |Percent |Valid Percent |
|Valid |main occupation in the town |13 |43.3 |43.3 |
| |because of money |3 |10.0 |10.0 |
| |family business |7 |23.3 |23.3 |
| |Passion |7 |23.3 |23.3 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
The table above showed that, the handicraft sector was the main occupation in the town. This was due to the fact that thirteen (13) artisans, out of the thirty (30) artisans interviewed, representing 43.3%, attested to the fact that handicraft was the main occupation in Aburi. Seven (7) respondents were artisans because of the love (passion), and also as a family business representing 23.3% respectively. Most artisans were continuing the family heritage and would be transferred to the future generations in the family. Also, three (3) respondents representing 10% were into this business because of the money to meet family needs.
The execution of the questionnaire painted a clear picture that handicraft was the main occupation of the people of Aburi.

4.2.2: Types of craft and the raw materials used:
Figure 2: Types of Crafts

[pic]
Field Survey: May, 2011
Figure 3: Types of raw materials used

[pic] Field Survey: May, 2011
In Figure 2, twelve (12) artisans were engaged only in wood carving, and they used thick wood, cedar, carpentry tools, sandpaper, mixter box, vanishes, etc, as shown in Figure 4.3, representing 40% respectively. Also, five (5) artisans were involved in basketry, and used reed, cane, rush, ash wood, etc, as shown in Figure 3, representing 16.7% respectively. Three (3) artisans were engaged in batik manufacturing and pottery; they used sponges, trimming tools, potassium, salt, banding wheel, etc, representing 10% respectively. In addition, the above chart indicates that ten (10) artisans were engaged in all kinds of craft and used all kind of raw materials as shown in figure above, representing 33.3%.
From the above interpretation, majority of the artisans were into wood carving. This means that most of them were able to show their individual skills with the different artifacts they produced.

4.2.3 Sources of raw materials

The table below depicts the sources of raw materials used by artisans. Twelve (12) artisans obtained their raw materials which were primarily wood from the wood levy, representing 40%. They bought wood from this wood levy at cheap prices. Nine (9) artisans representing 30% travelled to Bolgatanga to buy their raw materials for their production. Four (4) artisans with a percentage of 13.3 acquired their raw materials from the bush, Tafo and Kumasi, and also from Nkawkaw respectively. Only a respondent bought raw materials from a village near Okurase representing 3.3%.
This means that majority of the artisans bought wood from the wood levy which is less expensive for their work. Wood such as white wood and cedar were bought from the wood levy who cut wood with the permission of the Forest Department and sold at low prices.

Table 4: Sources of raw materials

| | |Frequency |Percent |Valid Percent |
|Valid |Bush, Tafo and Kumasi: |4 |13.3 |13.3 |
| |Bolgatanga: |9 |30.0 |30.0 |
| |Buy from wood levy: |12 |40.0 |40.0 |
| |Nkawkaw: |4 |13.3 |13.3 |
| |Buy from a village near Okurase: |1 |3.3 |3.3 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011

|4.2.4 Why do you sell at Aburi? |
|Table 5: why do you sell at Aburi |
| | |Frequency |Percent |Valid Percent |
|Valid |Origin of business |16 |53.3 |53.3 |
| |Housing problem in Accra |1 |3.3 |3.3 |
| |Ready market |13 |43.3 |43.3 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
The table above explained the reason why artisans sold their products at Aburi. Sixteen (16) artisans representing 53.3% explained that the handicraft business originated from Aburi and it had been the main occupation of the indigenous people. Thirteen (13) respondents representing 43.3% said there was ready market. Due to the tourist attraction, that is, Aburi Botanical Gardens, more people come to Aburi to buy artifacts. Only an artisan explained that he sold at Aburi because of the accommodation problem in Accra.
This explained to the fact that the handicraft business originated from Aburi and due to the Aburi Botanical Gardens, it had attracted a lot of tourist to Aburi.

4.2.5 Employees engaged in the craft village

Figure 4: Employees engaged in the craft village

[pic]
Field Survey: May, 2011
From the figure above, eighteen (18) artisans had employees less than five (5) representing 60%. Also nine (9) artisans did not have any employees, thus artisans worked alone which represented 30%. Furthermore, three (3) artisans have employees between 5 to 10 representing 10%.
Moreover, most of these employees were apprentices. They go through various forms of training which has helped them to acquire skills. Also, it generated income for them which enabled them to meet basic needs and supported their families.

4.2.6 Patronage of the craft village

Out of the thirty artisans interviewed, twenty-nine (29) respondents representing 96.7% said that patronage had been regular. Only a respondent representing 3.3% said patronage had not been regular, as shown in the table below. This meant that patronage at the craft village had been good due to the presence of the Botanical Gardens and during festivals. In addition, customers identified that artisans were friendly; the weather in Aburi was conducive and artifacts were less expensive. All these increase patronage of the artifacts.
|Table 6: how do you consider the patronage of your goods? |
| | |Frequency |Percent |Valid Percent |
|Valid |Regular |29 |96.7 |96.7 |
| |not regular |1 |3.3 |3.3 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011

4.2.7 Training of Artisans

Table 7: do you receive any kind of training?

| |
| | |Frequency |Percent |Valid Percent |
|Valid |Yes |27 |90.0 |90.0 |
| |No |3 |10.0 |10.0 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
Twenty seven (27) artisans interviewed received various forms of training representing 90%, whilst three (3) artisans said they did not received any kind of training from the management or any organization, representing 10%. However, the management of the craft village helped artisans to adopt good communication skills to attract customers. Also, they were trained to be good finishers of products. Recently, some artisans were taken to Kumasi for training.

4.2.8 Weekly and Monthly Income

Table 8: how much do you earn from your work weekly?

| |
| | |Frequency |Percent |Valid Percent |
|Valid |GH¢ |1 |3.3 |3.3 |
| |5-20 | | | |
| |55-100 |15 |50.0 |50.0 |
| |above 100 |2 |6.7 |6.7 |
| |None |12 |40.0 |40.0 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
Table 9: how much do you earn from your work monthly?

| |
| | |Frequency |Percent |Valid Percent |
|Valid |GH¢ |17 |56.7 |56.7 |
| |300-500 | | | |
| |600-800 |1 |3.3 |3.3 |
| |None |12 |40.0 |40.0 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
The figures in Table 8 and 9 above clearly indicated that artisans earned enough money to meet their basic needs such as food, clothing, shelter and protection, and supported the family. Moreover, fifteen (15) artisans in Table8 earned between GH¢55 and GH¢100 weekly representing 50%. Also, seventeen (17) artisans in Table 9 earned between GH¢300 and GH¢500 monthly representing 56.7%. In addition, twelve (12) artisans representing 40% in both tables were unable to tell how much they earned weekly and monthly. This meant that most artisans did not keep financial records. However, figures given by some artisans were guessed, which did not give the true picture of what they earned weekly and monthly.

4.2.9 Benefits in this Business

Eleven (11) artisans representing 36.7% identified that operating in this business have helped them to meet their basic needs and supported the family. Also, two (2) artisans clearly stated money was not their motive in this business but rather being exposed to foreign tourists who would help them travel abroad. Furthermore, seventeen (17) artisans interviewed said that operating in this business has helped them to be able to meet their basic needs and being exposed to the outside community. Also, they have been able to make contributions in their various groups and had access to first order services such as hospitals, educating their children to the university, etc. This has helped reduce poverty in Aburi and its surroundings.

Figure 5: Benefits of operating in this sector

[pic]
Field Survey: May, 2011

|4.2.10 Challenges in this Business |
|Table 10: challenges in your operations? |
| |
| | |Frequency |Percent |Valid Percent |
|Valid |Yes |27 |90.0 |90.0 |
| |No |3 |10.0 |10.0 |
| |Total |30 |100.0 |100.0 |

Field Survey: May, 2011
The table above describes whether the respondents received any support from Government of Ghana and any Non-governmental organization (NGO). Twenty seven respondents said they received assistance from government and Cost Plus Incorporated, an American handicraft importer. Just three persons among the respondents said they did not really feel the magnitude of the said supports the government had given them.
This gives a clear picture that the respondents received help from government and non-governmental association (NGO).
To begin with, the government is constructing a GH¢ 400,000 Arts Village at Aburi in an effort to bring all artists in the vicinity under one roof for effective marketing of their produce.
The village being sponsored by Export Development and Investment Fund (EDIF) of the Ministry of Trade and Industry would consist of 120 shops, three workshops, five offices, canteen, showroom and a meeting centre. This facility would not only make the marketing of arts products effective, but also enable the Ministry to easily identify them and organize programmes for them. The project which is about 70 per cent complete is left with some finishing and installation of equipment.
Also, an American handicraft importer, Cost Plus Incorporated, offered training to Ghanaian artisans to understand and adapt to the ever changing issues with the global supply chain of the industry, of which Aburi Craft Village has benefited from the training. (Justice Lee Adoboe, 6th May 2010, Financial Intelligence)

CHAPTER FIVE

SUMMARY, CONCLUSION AND RECOMMENDATIONS

5.0 Introduction

This chapter puts together all the various ideas and findings that have been raised in relation to the research problem. A summary of the key findings, a concrete conclusion on the entire study and recommendations have been made based on the findings.

5.1 Findings

• More men were artisans than women. • The number of young adults was more than the older adults in the sector. • The artisans interviewed were all Ghanaians. • The artisans were engaged in different kinds of handicraft ranging from wood carving, basketry, batik manufacturing, beads making and pottery. • Artisans worked for longer hours if they were to meet a demand. • Artisans especially did not keep financial records of their products. • The wards of artisans did not drop out from school; this was because the returns the artisans get were enough to send their wards to school. • The presence of the Aburi Botanical Gardens has attracted more tourists to the craft village. • The Government of Ghana through the Ministry of Trade and Industry provided support to the craft village such as the construction of Art Village in an effort to bring all artists in the vicinity under one roof for effective marketing of their products. It consisted of one hundred and twenty shops. • Due to the altitude of Aburi, the climate is a lot cooler coupled with artisans friendliness attract customers. • The craft village has been registered. • Raw materials and tools used in the production were quite expensive. • There were no fixed prices of artifacts. However, customers bought at any price. • The craft village had about four hundred (400) artists and apprentices. • Patronage at the village had been regular. • It had promoted rural employment and reduced poverty in the sense that artists earned enough income which enabled them to meet their basic needs such as food, clothing, shelter and protection. • Most artisans employed less than five (5) employees. • There was no need for standardization because it was based on individual skills which made them special. • The handicraft business had no negative effect on the community.

5.2 Summary

The main objective of the study was to know the importance of handicraft industry in rural employment and poverty reduction in Aburi. The methodologies employed were focus group discussion, purposive sampling, and key informants.
The total number interviewed was thirty (30). The gender of respondents showed that out of the thirty (30) artisans interviewed twenty (20) were males representing 66.7% whiles ten (10) were females also representing 33.3%. The male respondents were more than the female respondents
Also, the execution of the questionnaire painted a clear picture that the handicraft was the main occupation of the people of Aburi. This had employed more people especially, the youth in the Aburi Township. This had also helped reduce unemployment in the area and increased their standard of living.
Nonetheless, the Management of the Aburi Craft Village found it very difficult to mobilizing the artisans to form groups, meaning that many artisans think their way of producing was the best and not willing to adapt to changes of promoting handicraft. Even though the artisans and management saw handicraft to becoming better off than it was, they were requiring having the full support and cooperation of artisans to making that dream a reality.

5.3 Conclusion

In concluding this report on the importance of the handicraft industry in rural employment and poverty reduction, I will end by saying that the key to understanding the potential for the handicraft sector to contribute to economic growth is for there to be recognition on the part of government and industry stakeholders that craft can provide a large number of people with modest prosperity and work. However, this can only happen if the sector is developed in a strategic way.
The discussion contained in the introduction of this report, regarding the importance of the craft sector, was indicative of the sector’s potential. The main points raised in that section of the introduction were as follows: • Craft provides employment for many segments of society. • Craft is an entry point into the economy. • Craft is a source of innovation for the entire economy.
The Aburi Craft Village provided significant opportunities for job creation for women in particular because of the low barriers to entry and the flexibility of production. Although some craft forms require highly specialised materials, it did not mean that job opportunities were limited to traditional handicrafts as the capital set-up costs of a craft business were relatively low when compared to other industries.
It was clear that any development of the craft sector should not depend upon the generation of new bodies or structures, but rather, the support from the Ministries of Trade and Industry, and Tourism, the Akuapem South District Assembly and the management of the craft village should be co-ordinated to ensure effectiveness in the operations of artisans. The development of the craft sector would significantly contribute to the overall prosperity of Ghana by providing more citizens with a legitimate means of earning an income which in turn would enable them to participate more fully in the affairs of their communities.

5.4 Recommendations

• The artisans should form groups. This would help them in securing sufficient loans and other assistance from the Centre for arts and Culture, Koforidua, and the District Assembly. • Government should subsidise the inputs of artisans in the community. • The artisans should also make it a point to pay back their loans promptly in other to enable the banks and the government to find interest in giving out money or investing more into the sector. • Management of the Village should develop good communication strategy with especially tourists and work hard to justify more government investment in their activities. • Artisans should be encouraged to keep financial records of their production. • The management of the Village should supervise the activities of artisans in order to ensure the use of appropriate tools for their production. • The Aburi Craft Village should collaborate with the Forestry Department with respect to wood cutting. • Finally, artisans should cultivate the habit of replanting the trees cut.

REFERENCES:
Adoboe J.L, 6th May 2010, Financial Intelligence.
Arts & Culture Task Group (ACTAG) Report, 1994
Barbados Investment and Development Corporation, Profile Of The Craft Sector, December 2008
Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc.
Cultural Industries Growth Strategy (CIGS): The South African Craft Industry Final Report, November, 1998.
Department of Trade and Industry (DTI), South Africa: Sector Development Strategy, Pretoria, May 2005
Dominique, B., 2004, UNESCO Crafts/Tourism Index
Final Report: Promotion of Embedded Business Services for Small Enterprises in the Ghanaian Craft Export Sector, Action for Enterprise, January 2004.
Ghana News Agency(GNA), 27th May, 2011
Ghana Statistical Service (2000), “Ghana Living Standards Survey, 2000”, Ghana Statistical Service, Accra
Indian Brand Equity Foundation, 2004. Indian Handicrafts: No Longer a Cottage Industry. May
Kumar, R., 1999, Research Methodology: A Step by Step Guide for Beginners
National Workshop report, October 2004
Newman, W. L., 2003,: Social Research Methods. Qualitative and Quantitative Approaches (fifth edition)
Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women
Uganda Handicrafts Export Strategy, International Trade Centre. 2005
United Nations Committee on Social, Economic and Cultural Rights, 2001
Wikipedia, the free encyclopedia
Wood 1996, CSS 1990, Openshaw 1996, ECRI 1996 and present research.

APPENDICES

APPENDIX I
QUESTIONNAIRE FOR ARTISANS
The purpose of this questionnaire is to help carry out a study on assessing the importance of the handicraft industry in rural employment and poverty reduction, Case study: Aburi, Eastern Region. However, this study is purely an academic exercise towards the award of B.A in Rural and Community Development. I therefore pledge to keep all information provided strictly confidential. Please answer the questions by ticking (√) in the boxes provided and comment in the space where appropriate.
1. PERSONAL DETAILS
1.1 Gender: a. Male ( ) b. Female ( )
1.2 Age: a.13-19 ( ) b. 20-45 ( ) c. 46 above ( )
1.3 Religion: a. Christianity ( ) b. Islamic ( ) c. African Traditional ( ) d. Others ( )
1.4 Educational Level a. Primary/ J.S.S Education ( ) b. Second Cycle Education ( ) c. Tertiary Education ( ) d. Others ( )
Marital Status: a. Married ( ) b. Single ( ) c. Widow ( ) d. Widower ( )
2. THE HANDICRAFT SECTOR AND ITS IMPORTANCE
2.1 Why are you an artisan?
2.2 What type of craft do you do?
2.3 Where do you get your raw materials from?
2.4 What type of materials do you use in your work?
2.5 Why do you sell your products at Aburi?
2.6 How many employees do you have?
a. None ( ) b. less than 5 ( ) c. 5 – 10 ( ) d. 11 – 15 ( )
e. Other comments ………………………………
2.7 How would you consider your patronage?
Regular ( )
Very regular ( )
Not regular ( )
2.8 Do you think the handicraft sector has promoted rural employment and reduced poverty?
Yes ( ) b. No ( )
If Yes, how? …………………………………………………………………………..
2.9 Do you receive any kind of training?
Yes ( ) b. No ( )
If yes, what kind of training do you receive?
3.0 How much do you earn from your work;
Daily …………… Weekly …………… Monthly ……………..
3.1 What are some of the benefits of operating in the sector?
3.2 What are some of the challenges you face in your operations?
3.3 How are these challenges addressed?
3.4 Any recommendations to the sector at Aburi?

APPENDIX II
QUESTIONNAIRE FOR MANAGEMENT
1. PERSONAL DETAILS
1.1 Gender: a. Male ( ) b. Female ( )
1.2 Age: a.13-19 ( ) b. 20-45 ( ) c. 46 above ( )
1.3 Educational Level: a. Primary/ J.S.S Education ( ) b. Second Cycle Education ( ) c. Tertiary Education ( ) d. Others ( )
1.4 Marital Status: a. Married ( ) b. Single ( ) c. Widow ( ) d. Widower ( )
1.5 Position: …………………………………………….
2. THE HANDICRAFT SECTOR AND ITS IMPORTANCE
2.1 How long have you been working with the Aburi Craft Centre?
2.2 How do you monitor the activities of the artisans?
2.3 Do you have standards for the quality of handicraft produced at Aburi?
Yes ( ) b. No ( )
If yes, what are some of these standards?
2.4 How many people are employed in this sector?
A. 10-15 ( ) B. 16-20 ( ) C. 21-25( ) D. 26-30 ( ) E. more than 30 ( )
2.5 Have you ever been approached by a customer to make complains?
Yes ( ) b. No ( )
If yes, what type of complains do you receive …………………………………………
2.6 Are there laid down measures in addressing customers complaints?
2.7 What are some of the contributions of the sector towards poverty reduction?
2.8 What are some challenges facing the sector?
2.9 How does the government through the Ministry of Trade and Industry help in addressing problems in this sector?
3.0 What are some of the possible suggestions and recommendations to handicraft sector for reducing poverty?

APPENDIX III
QUESTIONNAIRE FOR CUSTOMERS
1. PERSONAL DETAILS
1.1 Gender: a. male ( ) b. Female ( )
1.2 Age: a.13-19 ( ) b. 20-45 ( ) c. 46 above ( )
1.3 Educational Level: a. Primary/ J.S.S Education ( ) b. Second Cycle Education ( ) c. Tertiary Education ( ) d. Others ( )
Marital Status: a. Married ( ) b. Single ( ) c. Widow ( ) d. Widower ( )
2. THE HANDICRAFT SECTOR AND ITS IMPORTANCE
2.1 Why do you purchase handicraft?
2.2 What do you use the handicraft for?
2.3 Why do you come to Aburi to buy handicrafts?
2.4 Any recommendations to the sector at Aburi?

APPENDIX IV
QUESTIONNAIRE FOR CENTRE FOR ARTS AND CULTURE, KOFORIDUA
1. PERSONAL DETAILS
1.1 Gender: a. Male ( ) b. Female ( )
1.2 Age: a.13-19 ( ) b. 20-45 ( ) c. 46 above ( )
1.3 Educational Level: a. Primary/ J.S.S Education ( ) b. Second Cycle Education ( ) c. Tertiary Education ( ) d. Others ( )
1.4 Marital Status: a. Married ( ) b. Single ( ) c. Widow ( ) d. Widower ( )
1.5 Position …………………………………..
2. THE HANDICRAFT SECTOR AND ITS IMPORTANCE
Do you think the handicraft sector has promoted rural employment and reduced poverty?
Yes ( ) b. No ( ), If Yes, how?
2.2 What are some of the contributions of the sector in the development of the area?
2.3 Are there any negative effects of handicraft in the community?
2.4 In your own view, how is the sector doing?
2.5 Is there any intervention at the sector (examples are NGO’s, governments, churches, etc)?
2.6 Any recommendations?

APPENDIX V
QUESTIONNAIRE FOR ASSEMBLY MAN
1. PERSONAL DETAILS
1.1 Gender: a. Male ( ) b. Female ( )
1.2 Age: a.13-19 ( ) b. 20-45 ( ) c. 46 above ( )
1.3 Educational Level: a. Primary/ J.S.S Education ( ) b. Second Cycle Education ( ) c. Tertiary Education ( ) d. Others ( )
1.4 Marital Status: a. Married ( ) b. Single ( ) c. Widow ( ) d. Widower ( )
2. THE HANDICRAFT SECTOR AND ITS IMPORTANCE
2.1 Do you (the locals) patronize the tourist attraction?
Yes ( ) b. No ( )
Do you think the handicraft sector has promoted rural employment and reduced poverty?
Yes ( ) b. No ( ), If Yes, how?
2.3 What are some of the contributions of the sector in the development of the area?
2.4 Are there any negative effects of handicraft in the community?
2.5 In your own view, how is the sector doing?
2.6 Is there any intervention at the sector (examples are NGO’s, governments, churches, etc)?

References: Arts & Culture Task Group (ACTAG) Report, 1994 Barbados Investment and Development Corporation, Profile Of The Craft Sector, December 2008 Barber, Ted and Marina Krivoshlykova, 2006. USAID Report: Global Market Assessment for Handicrafts. Development Alternatives, Inc. Cultural Industries Growth Strategy (CIGS): The South African Craft Industry Final Report, November, 1998. Department of Trade and Industry (DTI), South Africa: Sector Development Strategy, Pretoria, May 2005 Dominique, B., 2004, UNESCO Crafts/Tourism Index Ghana News Agency(GNA), 27th May, 2011 Ghana Statistical Service (2000), “Ghana Living Standards Survey, 2000”, Ghana Statistical Service, Accra Indian Brand Equity Foundation, 2004. Indian Handicrafts: No Longer a Cottage Industry. May Kumar, R., 1999, Research Methodology: A Step by Step Guide for Beginners Noella, R., 2007, UNESCO, Handicrafts and Employment Generation for the Poorest Youth and Women Uganda Handicrafts Export Strategy, International Trade Centre United Nations Committee on Social, Economic and Cultural Rights, 2001 Wikipedia, the free encyclopedia