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The article focuses on the strategies utilized by businesswomen Aleen Jackson Eckstein and Hazel Pearson Williams to promote the commercialization of handicrafts. Topics include their 1968 Craftmaker's Caravan tour, the instructional literature they produced, and the popularization of hobby crafting for women and children.

For centuries, caiçara culture has been transmitted through orality from generations to generations on the coast of Paraná, being expressed in many ways, but especially in handicrafts, and this segment represents an alternative income for dozens of families in all municipalities of the region. However, despite the relevance of the activity, there is a lack of information regarding the production and trade of regional handicrafts. Thus, this study aimed to elaborate a panorama about the activity, evidencing its implications and potentialities. Exploratory descriptive research was carried out between March and September 2018. The total for accessibility was interviewed 24 artisans who practiced handicrafts based on the caiçara culture. The study revealed that the artisans were more in the male gender (n = 54%). The majority were older than 50 years (n = 54%), and most had only elementary education (n = 58.34%). The main raw materials used in the manufacture of caiçara handicrafts were leather of tanned fish, woods, seeds of native vegetables, vines removed from forests, coconut shells, palm leaves, feathers, shells, oyster shells, shells, which were often collected in nature. The main implications in the development of the activity were the low price of the handmade pieces; the use of pieces based on the extraction of raw material from nature and the bureaucratic difficulty to extract it; and the industrialized pieces that competed with the caiçara handicrafts. It was concluded that the organization of artisans in class would increase bargaining power with partner institutions and could solve problems such as the need for training to improve production, the insertion of new forms of commercialization and consequently the increase of income of families involved in manufacture and trade of caiçara handicrafts. [ABSTRACT FROM AUTHOR]

The objective of this paper is to explore the dimensions of consumer imagination and archetypal representation, their inter-relationship and application of the dimensions with the case of well-known Indian retailer Fabindia. The paper attempts to address the dimensions of cultural archetypal brand paradigm that can sustain customer loyalty in the scenario of globalization by uniquely positioning itself as a socially responsible brand, thereby gaining competitive advantage. It focuses in the area of social marketing and firm's stakeholder based community model of inclusive capitalism keeping in view preservation of traditional heritage of handicrafts blended with creating sustainable employment opportunities to Indian rural artisans, weavers, local communities. [ABSTRACT FROM AUTHOR]

India has a rich handicrafts culture where each state is known for its variety of craft traditions. Irrespective of its folkloric uniqueness, different languages, various cultures, and natural resources, India has a diverse tradition of handicrafts and art works. There is a diversity of ethnic handicrafts ranging from north to south and east to west. There are varieties of handicrafts made of wood, marble, textile, and other things representing relevance to each state. Some of the artistries were born out of necessity, while others happened solely out of man's innate fascination towards crafts. Indian handicraft industry has a huge untapped potential for marketing in both domestic & international market. There is a need to increase the popularity of handicrafts both in domestic & international markets. Artisans do not get enough opportunities to access the domestic/international high-end markets, as they are generally poor, illiterate and mainly come from remote or rural areas. It is necessary to facilitate their access to various markets and marketing channels, through marketing support and services schemes. This research paper attempts to highlight marketing support and services schemes for Indian handicrafts and the challenges towards the implementation of these schemes. This paper would be of great importance to the marketers of Indian handicrafts and also to the artisans who would be benefited through it. The data are collected from the secondary sources. Before concluding the paper, the role of the government will also be discussed in the promotion of handicraft and protection of interest of artisans. [ABSTRACT FROM AUTHOR]

The goal of the article was to use learning theories to highlight strategies likely to have a significant positive impact on small independent traders' long-term acquisition of nonaggressive selling behaviors. The work of approximately 300 learning scholars was reviewed. The results of an observational study on Jamaican craft markets were also reported. It was hypothesized that for small traders to acquire nonaggressive selling behaviors, over the long term, they must have significant intelligence in both effective microtrade and self-management and such intelligence can be effectively built through the use of special instructional methodologies like cooperative learning, dialoging, and critiquing. Also, their acquisition of critical knowledge on microtrade would likely improve if they are provided with trading spaces that are open, comfortable, safe, and busy, as well as with a knowledge repository that collects and disseminates the latest information on microtrade from and to their communities, respectively. The article has implications for both how governments and their affiliates manage small traders' learning at tourist destinations and the direction of future visitor harassment research. [ABSTRACT FROM AUTHOR]

The Tamilnadu Handicrafts Development Corporation Limited, popularly known as POOMPUHAR, a Government of Tamilnadu undertaking is incharge of the handicrafts sector in the state of Tamilnadu. This Corporation was established during 1973. The main objective of the Corporation is to preserve the ancient crafts of Tamilnadu and uplifting the standard of living of the craftsmen by providing marketing assistance to the craftsmen of the state. The Corporation achieves this objective by marketing the products of the craftsmen through its large network of 14 showrooms situated all over Tamilnadu and also at New Delhi, Kolkata, and Bangalore. [ABSTRACT FROM AUTHOR]

Purpose – The purpose of this paper is to focus on the transactional relationship between retailers and handicrafts suppliers using case study research. Design/methodology/approach – Various reports on the handicraft sector were studied. Interactions with industry experts also helped clarify various issues confronting the industry. Preliminary visits to organizations working in this area were undertaken to know the ground realities of the handicraft sector. Findings – To prove the reliability of the case study process and enable others to replicate it, the steps and procedures must be clearly explicit and well documented in the final report. In this research, the steps that are followed to collect the data have been described in detail so that other researchers can apply the case study process and achieve similar results. Originality/value – Scholarship focussing on organised retail as well as handicrafts production and marketing is well developed. There is vast literature on the former from the developed economies though the Indian context is only beginning to be researched. Similarly, there are a large number of scholarly and popular writings on the latter. Yet, there is a paucity of scholarship on the buyer-supplier transactions. [ABSTRACT FROM AUTHOR]

In 1939, Aileen Osborn (Mrs Vanderbllt) Webb was looking for a way to sell country crafts In New York City. Webb had already for some years been marketing country craft to tourists through her upstate New York tearoom to help alleviate local poverty. The struggle between the goals of the American Handicraft Council and Webb's consortium of rural craft organizations would result in today's American Craft Council. This article examines the development of these goals as a function of the forces that shaped Webb's work, plus the nature of organizations that influenced her ideas. Crafts marketing was paramount in Webb's plans. Other elements of craft's infrastructure that also claim her as their creator-American Craft magazine, the Museum of Arts and Design, the School for American Crafts, the World Crafts Council-were handmaidens to her overarching goal of creating a viable market for craft artists. Today, craft is a major international industry, the early success of which originated in many individuals' desire to help craft workers find better markets and improve their designs. Others before Webb had set the story in motion, but she was the one who saw the opportunity to promote craft on a national stage and had the money to do so. [ABSTRACT FROM AUTHOR]

The aim of this essay is to examine the relationship between design and handcraft, and examine the artisan as a witness of cultural and social traditions. In the fashion and textile sector, craft production represents a very high manufacturing cost, particularly when production is not delocalized. However, it might not be easy to position craft production in the market, because its value is not immediately perceived. In this case, a design-oriented approach is essential. Design is important for the specificity of local productive knowledge and identity, not only to develop products with a high narrative content, but also as a stimulus for innovation. In combination with a local orientation, design can build value on implicit knowledge, the search for new languages, increase in the emotional dimension of the offered work, and innovate processes and the conception of the finished products. At the same time, design can help consumers to understand and recognize the qualities and unique characteristics of handmade products, thus creating the feeling of a unique purchasing experience with high added value. [ABSTRACT FROM AUTHOR]

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The purpose of this study was to explore marketing strategies for arts and crafts sales and, in particular, retail operations versus e-commence. The Craft Organization Development Association craft group cases examined suggest that although e-commerce as an emerging sales channel has been considered by most craft groups, only limited sales are occurring through it. This may be attributed to the hedonic nature of arts and crafts consumption. The results also indicate there is a strong connection between retail craft galleries and shops in tourism destinations, which suggests that an effective marketing strategy for craft sales should be locating retail shops in tourist areas and using marketing tactics linked to tourists. [ABSTRACT FROM PUBLISHER]

Iran's Nomadic tribes represent part of its rich cultural heritage, and retain traditional knowledge in the sustainable management of the arid nation's rangelands. Mobile pastoralists constitute 2.1% of the national population and own one-third of the total livestock, using the country's otherwise unused rangelands, which cover about 963,000 km2 (59%) of Iran's land area. Iran's pastoral stockbreeders produce more than 200,000 tonnes of red meat, 470,000 tonnes of milk and other dairy products and 21,000 tonnes of wool annually. They also cultivate about 450,000 ha of land and produce a significant volume of handicrafts, such as carpets, ghelims and ghabbehs. Although the geo-climate characteristics of Iran are more suitable for pastoralism, rather than crop cultivation, particularly in the central plateau, successive governments since 1906 have tried to reduce nomadism and promote agriculture. [ABSTRACT FROM AUTHOR]

This chapter examines the commercial handicrafts market from Bali, Indonesia to the United States. Using ethnographic examples gathered from research among handicrafts producers, fair trade activists and handicrafts distributors I explore the influence of intermediaries (buyers, distributors, designers) in determining the cultural and economic value of ethnic handicrafts sold in the international marketplace. Over the past two decades, the village of Tegallalang has diversified its crafts industry to specialize in the mass-production of non-Balinese "ethnic art" (e.g., Native American dreamcatchers, Moroccan furniture, and African masks). While Balinese view the global handicrafts market as an opportunity to pursue cosmopolitan, modern, and middle-class identities, this chapter discusses how non-Balinese intermediaries regularly engage in forms of cultural capital that assert their dominance over handicrafts producers in the global South. The work of a Balinese fair trade organization is also examined in this chapter, and their efforts to redirect Since the earliest times, voyagers have returned from distant lands inspired by all they have seen and experienced on their travels, bringing with them the exotic and unusual to display in their homes. Colours, textures, surfaces and textiles have always proved a particularly rich source of inspiration, for they are at the very heart of a country's character, inextricably linked to its customs and history... Techniques and designs are still handed down from parent to child, often in the face of great hardship or the increasingly pervasive lure of MTV culture. (Dilcock, 2000, p. 8) [ABSTRACT FROM AUTHOR]

Indigenous cultures have become increasingly important tourism attractions and the production and sale of handicrafts have become one way in which indigenous peoples and tourists of different types interact. This is the situation in Wulai Township in Taipei County, Taiwan, where indigenous culture has become one among a variety of tourism attractions. The main objectives of this study are three-fold: (1) to explore the perceived authenticity of Atayal woven handicrafts among tourists who visit Wulai; (2) to examine whether or not significant differences exist among tourists to Wulai in their perceptions of the authenticity of Atayal woven handicrafts; and (3) to compare the differences in such perceptions between those on package tours and self-arranged visitors. Analyses of a survey of domestic tourists revealed that significant differences in perceptions exist in association with age, education, and place of residence. Package tour visitors responded more positively than self-arranged tourists concerning the authenticity of Atayal woven handicrafts. Means of enhancing the balance between commodification and authenticity of ethnic culture are suggested. [ABSTRACT FROM AUTHOR]

The article explores the value addition and production technology of bamboo handicraft industry of the non-traditional sector in Kerala, India. It says that the non-traditional sector derives into prominence, considering the practice of traditional hereditary occupation of bamboo handicraft by such sector. It reveals that the non-traditional sector acquires a very low surplus generation and technological development in the manufacture of bamboo handicrafts, the fact that they are brought about by the socially and economically weaker sections in the society. An overview of the problems and views associated with value addition and technological development of bamboo handicraft industry in non-traditional sector is presented.