The Changing Role of Caribbean Craft Design Education in an Aesthetic

Economy – A Discussion Paper

Introduction

Craft is about expressing cultural meaning through the language of material and
technique. As with most languages, it takes many years of experience to become
fluent in a craft medium. One of my main interests is trying to define what makes our
craft object culture ‘Caribbean’ in a globalised world with all of its accelerated
transnational cultural transfers. I also wish to examine how our own new craft objects
are contributing to reshaping the world of Caribbean things; how our new
designers/crafters are making inroads in using sustainable raw materials; and how
craft design is redefining itself, especially with on-line marketing.

At the time of this writing, no recent significant investment has been injected into the
craft sector in the region, although it is recognized that the road to sustainable
economic development goes through localised micro- and small-sized firms and
individuals producing goods based on material culture (Satagata, 2000). Although
there are many technical studies on the industry in the region, many of them have
incomplete statistics, and the information is subsumed elsewhere in country statistics,
e.g. in textiles and agricultural production. This shortage of history and statistics is one
of the great gaps in understanding the importance and extent of the craft sector. Some
more accurate - limited but still impressive – statistics come from sources such as
tourism and development agencies within local governments.

Since 1990, the Caribbean region has been undergoing a transition from an economy
based on natural resources, agriculture and manufacturing, to a knowledge based or a
new economy. While the contribution of knowledge intensive economic development
and innovation has been widely recognised for some time, (mostly within the realms of
science and information technology and communications); the wider significance of
reative capital and the creative industries has received less academic attention.

The crafts industry seems to have received the least amount of this attention. New
strategic responses in academia, trade and technology are required to assist emerging
and professional Caribbean craftmakers to access niche markets, through which they
can translate their creativity and ideas into commercial reality. This shift in the
perception, preparation and production of the handmade product for particular niche
markets, is happening worldwide. For example, in Australia:
 Increasingly, contemporary craftspeople are now referring to themselves as
designer/makers, indicating the development of materials based practices that do not
necessarily refer to the traditional image of craftspeople producing their designs in
limited edition by hand. Given the decline in commercial gallery spaces, along with the
internationalisation of the contemporary craft/design industry, the new breed of
designer/makers are developing practices that encompass a variety of markets, from
producing works for exhibition and limited run production, designing and producing
pieces for private and public commissions in the built environment, to designing objects
for sale through the high end homewares market. (Andrew, 2004)

Canada, Europe, India, Mexico and the USA have all taken official stock of their cultural
craft capital, so it seems imperative that we in the Caribbean seek to improve the
sector by fostering the ability to draw upon relevant scholarship and research to make
grounded policies. It is clear that the Caribbean needs a comprehensive regional policy
or roadmap for the future of its crafts industry as a critical part of preserving and
evolving its cultural heritage.

Caribbean Craft, Design & Academia

Among the many questions about Caribbean craft that I have been asking for many
years since I worked in this field, one keeps recurring: Why are we not harnessing our
limited resources and building our capacity to provide an interdisciplinary and regional
forum for the rigorous analysis of Caribbean craft? We need such a space in order to
examine new evolutions in Caribbean designs, as well as to and develop our critical
analytic skills to advance the expertise , training and education of our craft producers.

It is way past time that we in the Caribbean rethink how to adapt and embody that
which David Pye (1978) termed the essential principle of arrangement - design - so as
to achieve a particular result. There is almost a schizophrenic approach to craft design
in the region today. Everyone is paranoid about what the other craft producer/artisan
group/marketer/designer/country, etc., is doing or not doing. It is almost primordial,
like eating with one hand while covering the food with the other to protect it from real
or imagined scavengers. We seem to be working in isolation of each other and this has
always been to our detriment.

In many countries, the fields of art, craft and design are becoming more fluid and
blended in their approach to production. Individuals, companies, regions and galleries
are forging new alliances. Many universities around the world are more receptive to
supporting the craft/design interface in academia and many of them have discovered
new energies and initiatives from taking chances in this non-traditional area. The
resulting research and scholarship has redounded to the great benefit of the
contemporary craft industries in these countries (e.g. Canada, Mexico, Scotland,
Australia).
Our craft producers in the region have not been immune to global economic changes
and effects in craft design theory and practice. So there is a real need to review the
ways we provide art, craft, design and sustainability education and influence across the
region. The level of design development in the craft industry in the Caribbean region
varies widely in the region. Craft production is important to the tourism and visual arts
sectors in the region as a source of cultural representation and diversity. The gift and
craft sector globally is a significant economic sector, estimated to be well over US$3
billion (http://www.worldcraftscouncil.org/archives.html) and contributes significantly
to the GDP of various countries. For instance, in the Dominican Republic, sales of craft
exceed US $1.5 million annually for products from ceramics to wood (Caribbean Export
Development Agency, 1998), while in Jamaica, the total sales in 1998 were estimated
at J$1.20 million [US$328,767] (JAMPRO, 2000).

For member states of CARIFORUM, the loss of preferential status for agricultural
products has meant a refocusing on other sectors of the economy to minimise the
consequences of such a loss and provide self-sustaining sources of income and
employment. For these countries, tourism is already a large export earner and, in
many cases, is assuming an even greater role with its linkages to many other sectors
and industries. This region attracts over 18 million visitors each year and is endowed
with an abundance of creative artisans with access to indigenous raw material.
However, there is much to do in terms of maintaining the integrity and the
sustainability of the craft industry in Jamaica and the rest of the region.

Rapidly changing markets for craft products at home in Jamaica and overseas call for a
major catalyst to boost local product design and development. New market realities
call for new ways of thinking how local and regional educational institutions - who keep
replicating efforts over the years – can interact with craft makers at all levels to
remain relevant in a global economy. More self-reliant directions in craft need to be
formulated and new partnerships built through a nexus of local, regional and
international interests in education, tourism and the environment.

Quality craft production and good design can be a vital social and economic force. The
potential for the future of the craft industry in Jamaica, rides on the expansion of
educational and cultural values associated with craft through the biggest sector of
Jamaica’s economy – tourism. Developing a sensitive understanding of aesthetics
through increased craft education should be an essential part of nation-building.
Initiative collaboration in craft, art, industry, education, funding, and sustainability can
have positive effects on the professional development and confidence of craft makers.
It is working in Australia and New Zealand, and, if seriously approached, it can work in
Jamaica and the Caribbean region.
The University of the West Indies (UWI) Open Campus could be a place where the
renaissance – or revolution – could begin by forging deeper linkages with other
national, regional and international higher educational institutions, The UWI already
has strong ties with the Edna Manley College for the Creative & Visual Arts (EMC) and
is currently building its online offers in undergraduate and postgraduate degrees and
courses. The UWI could redefine its traditional space to advance scholarship in the
field of craft by supporting peer-reviewed research undertaken by faculty, graduate
students and independent

In order for new Caribbean design to evolve in a serious way, there has to be an
increase in critical writing in the field and an expansion in the scholarship to bring
together craft, design, academia and the marketplace. Major opportunities exist where
the teaching of curatorial studies, craft theory, sustainable design, and new
technologies, can move forward as an active interdisciplinary area of research.

We must encourage continuous dialogue among local and regional craftmakers,

historians, art critics, curators and academics from a range of disciplines, including
craft and art history, cultural studies, design, fashion, economics, sociology,
anthropology, geography, sustainable development, gender studies, social & economic
history, history and literary studies. Of course, fellowships, research funds and travel
grants have to be provided to encourage more creative scholars and practitioners to
pursue craft studies and research.

Caribbean Craft and Eco-Design

One important area of scholarship that has to further evolve In the craft/design
continuum in the region is the EcoDesign or Life Cycle Analysis (LCA). According to
McDonough and Braungart (2002), design is more than pretty things. The functional and
aesthetic design of all products (including craft) has immense impact on the
environment. Research in this area should focus on design inputs that do not have far-
reaching and visible environmental consequences as well as craft objects that contain
self-sustaining eco-systems. Research projects in craft design could create new alliances
between different actors in government, craft production, academia, the marketplace and
environmentalists. Data could be collected on the most interesting case studies of
Caribbean craft sustainability and design from many perspectives.

The complex interaction between a product and the environment is dealt with in the
Life Cycle Assessment (LCA) method. It is also known as Life Cycle Analysis or
Ecobalance. LCA systematically describes and assesses all flows to and from nature,
from a cradle to grave perspective.
The environmental impact of all products is not as embedded in the Caribbean culture
and laws as in other Western countries. But it is just a matter of time. Most of us are
island economies and the current culture of waste is going to fade rapidly as we see
the visible impact. It will not be long before Caribbean Governments and customers
will expect that most Caribbean companies – including those in craft and design -
ensure that rapid attention is given to the environmental properties of all products.
Environmental standards such as EMAS, BS and ISO 14000 series will call for
continuous improvement in environmental management systems.

For Caribbean craft designers and producers to be involved in product design, they are
going to have to understand how a product impacts on the environment. To develop
truly sustainable products, it is important for Caribbean craft entrepreneurs to assess
which design solution is environmentally preferable. It will not just be about designing
"green" products, but that the design should have an environmentally sound product
throughout its entire life cycle - from cradle to cradle. It will be a powerful marketing
tool in the marketing and export of our craft products.

Learning from Australian Design Centres

We in the Caribbean region do not have to reinvent the wheel with regard to craft
development. Australia has done it as a continent of different regions. They brought
together their regional higher educational institutions in art and design and formulated
a national strategy for the Australian arts and crafts. A far-reaching national survey of
Australian craft makers, artists and designers was done and the results analysed and
fed to the Australian government in 2003. In addition, the development of central
design centres across Australia, for example, The Jam Factory and Object, gave new
options to established and emerging Australian craft producers to explore hybrid
designs in their practices. These design centres provide membership and mentorship
programmes that develop relationships between emerging practitioners and potential
commissioners or buyers.

According to it online mission, Object takes a novel, innovative approach to creative

craft development (www.object.com.au). We in the Caribbean region, as a region,
could learn a great deal from Australia’s example and experience with the creation of
this type of agile and innovative design centre. One of the main mandates of the
organisation is to nurture design by constantly seeking ways to reinterpret design for
their audiences and the community.

This not-for-profit organisation that markets its appeal to celebrating and supporting
the power of excellent design, creativity and innovation to Australian citizens , who are
asked to support the organisation through an annual AU$50.oo contribution. A Board
oversees the organisation, which also has a Director, an Associate Director, a General
manager, an Exhibitions Coordinator, and Assistant Curator, a Touring Exhibitions
Coordinator and a Digital and Publications Producer.

Through visionary exhibitions, education programs, publications and retail activities,

Object plays a central role in making connections between creative minds right across
the country to the best of Australian craft and design. The centre’s design influence
inside and outside of Australia is carefully planned through innovative programmes,
including nationally distributed publications, links to higher education institutions and
touring exhibitions every year.

Other programmes offered through Object are:

1. A communications internship for craft design students, and which operates on three
to six month placements around the regions.
2. A Friends of Object Network with government agencies, private organisations , etc.
3. Touring exhibitions of new craft designs, including for new graduates.
4. Training and retraining services in craft design for emerging and established craft
producers/designers.
5. Publications, including Object magazine (indigenous design) Object Magazine
presents the best of craft, design and art from across Australia and overseas, and
has been published since 1993 by Object: Australian Centre for Craft and Design. ;
Freestyle magazine (lifestyle design); an e-flyer on craft design elements; and
catalogues.
6. Surveys of the best designs from the different regions.
7. Design awards & symposia
8. Online education kits, e.g. in traditional textiles.
9. Training of curators
10. Public education - lectures by participating practitioners, designers & curators; and
local primary schools (Cultivate8);
11. Assistance in curriculum planning in art/craft/design education in community
colleges and higher education institutions.
12. Online updates, blogs, social media networking, etc.

These approaches are all about reaching new and younger audiences as well as finding
exciting new approaches to redefine, reposition and grow the indigenous craft industry
in the region. For Caribbean craft and design to evolve and appeal to and connect with
the young, new paradigms will have to be created with trendy radical craft fairs, web
blogs, podcasting and social networks.
Rethinking the Way Forward

Policymakers in the Caribbean need to be more open and much more holistic about
how they intend to work together. New ways of thinking are essential to further define
innovative craft and design education and ways of productions for the future for our
craftmakers. The landscape of educational and design institutions that could serve this
purpose will therefore have to evolve and/or change.

An integrated outlook could ignite a regional renaissance to renew craft production

processes in many Caribbean countries. This approach could be especially important in
forging, promoting and producing sustainable and well-developed products based on
international standards for the cultural tourist market, which has the additional gain of
empowering local communities.

An Integrated Caribbean Regional Craft Development Framework

In the emerging post-modern economy, traditional economic weaknesses of the arts

and crafts are becoming strengths. This could hold some promise of a prosperous and
productive twenty-first century for Caribbean craftspersons and artists. Despite
increasing unemployment rates, other demographics are indicating that our population
is becoming more sophisticated in technological skills, media awareness, travel and
trade. The new economy in which Caribbean craftmakers have to operate in will be one
in which quality and designare critical factors in international economic
competitiveness.

Increased University research may be able to generate the organisation and foundation
needed to motivate both workers and management in order to attain excellence and
sustainability in the Caribbean craft industry.

The ultimate objective of my research in this field is to examine the growing

relationships across the region in craft development and design as they work together
to forge, inform and sustain a stronger network among contemporary craftmakers,
regional export, trade and higher educational institutions and private and public
galleries across the region.

This first effort by the Caribbean Development Export Development Agency on defining
the future of Caribbean craft design is a giant leap forward in the formulation of this
absolutely essential regional network. This regional ‘think-tank’ will garner actionable
ideas to define how our entry-level and traditional craft producers in the region can
better utilise new opportunities to improve on their traditional and innovative
Caribbean designs in this new era of our evolution as a region.

Let the new Caribbean craft design dialogue begin.

Suzette Wolfe Wilson

January 2009
The University of the West Indies
Mona