The greatest resource possessed by a nation is the imagination of its people

It is no secret that South Africa has high levels of unemployment, severe poverty and lack of adequate education. These shortcomings are even more evident in our rural areas. And yet, and maybe because of the extra burden of hardships that those who live outside our main hubs have to bear, they have proven themselves to be incredibly creative, passionate and dedicated to their self-honed craft.

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But that, unfortunately, is where their skills end. To be able to market themselves as a destination, or to sell their goods through retailers on the domestic or international market would take resources to which most rural crafters just do not have access. Their unfamiliarity with the business environment, and limited ability to communicate professionally with distant target markets hampers their chance of maintaining a decent living from the proceeds of their work.

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That is unfortunate. Craft has low entry requirements in terms of capital and skill, since it draws on the cultural heritage of the people. Most crafters are women. Craft is the only feasible option to introduce themselves to the economy. They support large families, both immediate and distant. They are good, sometimes even brilliant, at what they create with their hands and the raw materials at their disposals. Their goods would have place of pride in the homes of the relatively wealthy foreigners who are so into the “green sustainability” trend that has taken the world by storm. The crafters, with their skill, are fully equipped to provide the first part of the “produce - sell - sustain” equation.

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Now we have to figure out how to do the rest.

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Luckily, we do not have to start from scratch. There are strong initiatives that aim to bridge the gap. There are government sponsored programs that introduce business training, and help market the crafters to tourists. There are organizations set up by individuals who run non profit projects to uplift the disadvantaged. And markets are springing up in urban hubs that sell the wares to both South Africans and the tourists who visit our country.

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Monkeybiz Bead Project is a case in point. It sells R5 million worth of beaded crafts to the international market each year. Founded as a non-profit in 2000, the initiative now allows 450 crafters to sustain themselves and their family, doing what they do best. The reason it works is because it had a great start from the three founders who identified a collective talent in a community, and matched it to a demand in the overseas market. Now, each crafter is essentially self employed: she makes beaded crafts that are unique, and sells them to the non-profit. The goods are then distributed internationally through a well honed network, and the profits are driven back to the community, which is affected by HIV.

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On my bookshelf I have a gem of a book, Due-South which is an Eskom sponsored “Travel Guide to South African Craft Sites”. Throughout its 400-odd beautifully laid out pages, it introduces the reader to the direct sources of the most creative, original and simply beautiful craft work the country has to offer. Designed as a travel guide, the book encourages both tourists and locals to get into their car and explore the country, and support the talent.

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Here are some typical quotes from the book:

• Hlamarisa Bvuma Beads: Hlamarisa is a renowed Tsonga beader and together with her four grandchildren she works to revive the style and technique used by traditional Tsonga beaders.
• Emma Gule at Rheola’s Country Collection: Emma is a multi-talented, self-taught beader who produces beautiful items from beads and copper wire. She uses her skills in design and colour to create attractive crocheted jewellery, accessories, Christmas decorations and bags.

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So we are not ignorant to the need of helping our local crafters. But, of course, we can do more. For starters, we can work on the perception of what “African Craft” really is. It is not limited, as some might think, the displays of wooden masks and beaded doilies as exhibited in front of the Zoo. To draw attention to the fact that the products produced in South Africa are far more diverse than that, it has been suggested that they be sorted into five categories: home ware and décor; garden and outdoor; jewellery and fashion accessories; craft and folk art (usually culturally specific) and souvenirs. Suddenly, the marketing scope seems filled with many more possibilities.

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In 2001, government introduced the idea of setting up a “Craft Trading House” that would provide a one stop opportunity for buyers to view the South African craft products, and to manage the ordering and finance aspects of the trade. Although this has not yet been established, in principle it sounds like an ideal opportunity to bridge the gap between the products and the markets.

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My money, however, is on the entrepreneurial spirit of those who can act as middle men between the crafters and the markets. Nothing, it seems, is a bigger motivator than money, and I am hoping that individuals who have the right connections, good business ethics and business acumen, will be able to utilize them for the benefit of all. The biggest obstacle, after all, is that most goods that are produced in rural areas will never receive the worthy audience that they deserve. Anyone who can bridge that gap manually can be forgiven for taking a profit out of the process. Altruism is great, but we need to pump exposure, even if for a price.

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And the potential is great. Africa, as a continent, exports only 0.4% of the world’s $424.4 billion creative products! (According to the United Nations Conference on Trade and Development (Unctad), 2005). And we probably have the richest collective skill level and cultural heritage to drive the exports. As the director of Inter-region Economic Network, James Shikwati said: “The creative economy can serve as the most strategic launching pad of competitiveness because culture is unique with a given people”.

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I have, I must admit, a somewhat biased opinion on the matter. Although my day is spent bridging the gap between the offline and online world for corporates and start ups, my family, starting with my father as a founder, has owned an art focused business for over 25 years. It is therefore a natural progression for me to try and bridge the offline and online world in the craft / art market too. After all, there are plenty of potential customers who might never visit our country, but who would love to own a bit of African culture and heritage. And wouldn’t it be wonderful if there could be an e-commerce enabled website that offered the small crafter, living in the middle of a remote farm, the opportunity to sell her goods to people with whom she could never otherwise interact? There isn’t one yet, but I’m working on it ;-)

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We might not have the solutions to all the challenges faced by the craft industry in South Africa, but we should know this: It is worth our while to give it our full support, not only because it adds economic growth, creates an uplifted and cohesive community and is a natural stepping stone to further skill acquisition, but because it represents and preserves our country’s rich cultural heritage.

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This post is a chapter of the SA Blook: A Piece of Significance, an online book
written by a diverse group of writers with strong views of our country and the reality we find ourselves living in. The other chapters in the Blook are here:

Introduction
1 . The new South Africa - is it real?
2 . Is SA rich or poor?
3 . What the world thinks of South Africa and what our global opportunities are
4 . The importance of each individual’s contribution collectively
5 . SA Inc and the business of doing business in SA
6 . The beauty and grandeur that surrounds us
7 . The importance of technology in SA’s global emergence
8 . Building brand South Africa
9 . Making the most of SA’s creative talents and abilities
10 . Innovate for a better South Africa
11 . The role of the younger generation in SA, and what we need to do to support them
12 . Connecting South Africa - Communities that transcend technology
13 . We are African - the role of collaboration in South Africa’s growth