Executive summary

The importance of traditional crafts among young people has decreased in the globalized
world today. Many people have lost connection with their culture from earlier as a result of the
fast expansion of technology and mass manufacturing, and are instead drawn to contemporary
and trendy commodities. The appeal of traditional crafts has diminished at the same time because
they are frequently seen as being antiquated and less economical. This paper will examine the
causes and provide some potential solutions for this problem.

This report points out three main reasons why young people are not into traditional crafts:
1. Industrialization and Mass Production Challenge
2. The unwillingness of the Young Generation to continue in this profession

This report also recommends some solutions:

1. Design thinking methods
2. Education and awareness programs

The study relies on secondary research to achieve these objectives by integrating quantitative
data from national and international databases with qualitative insights from interviews with
experts in the area and case studies of successful projects. This extensive research enables the
identification of reasons and potential solutions to the problem of young people's absence of
interest in traditional crafts.
TABLE OF CONTENTS
 INTRODUCTION

As the pace of contemporary industrialization accelerates, traditional handicrafts are being

substituted by machines, and the shift to a modern way of life, manufacturing variety,
distribution diversity, sales diversity, and consumption form, among other things, results in a
decrease in the desire for the traditional handicraft industry. Traditional crafts have been
declining in popularity among young people in recent years. Many young people appear to be
disinterested in these skills, and the number of artists who continue to perform them has
drastically decreased.

This shift in interest, or insufficient interest, in traditional crafts, presents cause for concern,
since it may eventually lead to the decline and extinction of traditional crafts. This tendency is
not exclusive to a single area or country. In fact, it looks to be a worldwide phenomenon
spanning numerous generations.

Traditional crafts must be conserved as an important element of our cultural legacy for future
generations to enjoy and gain knowledge from. The purpose of this paper is to investigate why
young people are indifferent to traditional crafts. It will also look at some of the ways in which
as a society might encourage young people to take up these trades, conserving them for future
generations.

The major goal of this paper is to give insights into the causes behind the decrease in interest in
traditional crafts among young people, as well as potential solutions to this problem. The
findings are expected to enlighten and encourage efforts to preserve traditional crafts for future
generations.
Problem statement

Traditional arts and crafts can be witnessed as a link between both material and non-
material historical cultures. Unfortunately, the rapid decline of handcrafted products in
the modern era of mass manufacture is inevitable. Russian Palekh lacquer miniatures, for
example, are regarded as high-end items from a bygone age that do not appear to be of
much use in daily life (Khaire, 2019). Furthermore, historians, jurists, and heritage
experts in Gjakova claimed: “Since its establishment, numerous crafts have been
employed in the Grand Bazaar (Qarshia e Madhe) of Gjakova, which include gunsmiths,
goldsmiths, kettle crafts, leather workers, tailors, embroiderers, carpenters, fez makers,
saddlery, Albanian traditional shoes (opening makers), etc. The majority of them have
already terminated operations." ( Hanxhiu, 2016)

The purpose of this report is to:

1. Discuss the reason why young people are not interested in traditional crafts

2. Provide possible solutions and tips to address this problem.

Context of the Problem

Traditional crafts, also known as heritage crafts (HCs), are a significant component of the
history and economy of the communities and locations where they are cultivated (Zabulis
et al., 2020). Traditional crafts are those that have been handed down from generation to
generation. These crafts have been a part of many societies and civilizations throughout
history. Unfortunately, traditional crafts are in danger of extinction owing to a lack of
passion among young people. To address their needs for daily utensils, rural dwellers
have long participated in artistic endeavors. Crafts, on the other hand, rapidly diminished
their popularity in the era of industrialization because the demand for everyday
requirements is now satisfied by industrial mass production (Meirina, 2018).

The decrease in young people's interest in traditional crafts has become an issue of
concern. Modern teenagers are increasingly disconnected from ancient crafts that have
been respected for ages. Unlike previous generations who grew up with traditional crafts
and have always valued their importance, many young people in modern countries are
uninterested in studying or doing them. Traditional crafts have gotten less attention and
are on the verge of extinction due to a decline in the number of practitioners and trainees
(Zabulis et al., 2020).

Due to challenging circumstances, traditional crafting methods and abilities have dropped
swiftly all across the world in recent years. Kanazawa is well-known in Japan for its
traditional craft industry. According to Kakiuchi and Greffe's assessment, despite
national and local actions, the traditional craft industry has been continuously decreasing
over the last 20 years. This sector employed less than 100,000 people in 2010, compared
to 200,000 in 1990. Traditional artisan exports have declined by roughly 50% since 1990,
following a similar pattern. The Heritage Crafts Association in the United Kingdom
produces a Red List every two years to track rapidly disappearing crafts, the numbers of
which have more than tripled since 2007 (Ruohan, 2020).
Figure 1: The scope of the traditional craft industry
Source: World Crafts Council
 CAUSES

1. Industrialization and mass production challenge:

The demand for the traditional handcraft industry is declining as a result of the
change to a contemporary way of life, production diversity, distribution diversity, and
sales variety (Kolay, 2016). Whether it takes place in massive multinational
companies or small local businesses, mass production may frequently provide regular
needs at a cheaper cost than manual manufacturing in terms of both time and financial
investment (Kolay, 2016). Due to increasing global competition, identical alternative
items from nations like China and India are competing with handicrafts (Yang et al.,
2018). Regarding the manufacture and export of handicrafts and related alternative
goods across the world, China is one of the main competitors. According to USAID's
Global Market Assessment Report, China has the capacity to produce anything more
effectively and affordably than anyone else. In terms of cost, quality, and production
capacity, the Chinese handicraft industry has reached a high level of competitiveness.
In addition, buyers who purchase items directly from China into their own markets
can also make a substantial profit, against which only a very small number of
importers from other countries can compete (Barber, 2006).

According to the research of Ruohan (2020), mass-produced goods are less expensive
and have larger production capacities than traditional handicrafts. In addition, since
mechanized manufacturing is more effective, the production cycle is drastically
shortened. As a result, customers are more inclined to select a mass-produced item.
Furthermore, the way people live has changed due to changes in consumption
patterns; as a result, there is less demand for traditional handicrafts. For instance,
leather shoemakers are being replaced by producers of plastic sandals.

In addition, industrialization and mass production have caused many traditional craft
villages of countries around the world, specifically Vietnam, to face numerous
difficulties such as bankruptcy, job loss, and difficulty in the capital ( Table 1, Table
2, and Table 3 respectively)

Number of Number of Number of Number of

Bankrupt Craft Struggling Craft Declared Enterprises
Villages Villages Bankruptcy Operating in
Households Moderation
Provinces and 9 124 2,166 468
Cities in Vietnam
Table 1: The number of villages and enterprises are struggling with problems in Vietnam
Source: Researchgate.com

According to statistics from 38 provinces and cities in Vietnam, there have been 9
bankrupt craft villages, 124 craft villages are struggling to produce. There have been
 2,166 households producing craft villages declared bankruptcy, and 468 enterprises
operating in moderation ( Thanh Bui, 2014).

Type of Worker Percentage of Job Loss

Estimated Number of Workers
Affected
Craft Village Workers >50% >5 million
Seasonal Workers <30% Unknown
Skilled and Specialized Workers >50% Unknown
Table 2: Job Losses Among Craft Village Workers
Source: Researchgate.com

According to the table, over 50 percent of craft village workers (less than 30 percent
of seasonal workers and over percent of skilled and specialized workers), equivalent
to more than five million workers, lost their jobs.

Type of Business Total Outstanding Debt (in Overdue Debt (in billions of
billions of VND) VND)
Craft Villages 2,169,064 12,324
Table 3: Outstanding Debt in Craft Villages
Source: Researchgate.com

Many businesses have difficulty in the capital. The total outstanding debt of craft
villages in 38/63 provinces is 2,169,064 billion VND, of which overdue debt is
12,324 billion VND. Many businesses are past due to pay their debts but are unable to
pay them.

In conclusion, the fast industrialization and urbanization process, which has a significant
influence on craft villages throughout the nation, is the primary reason for the decline and
extinction of trades and craft villages, as well as the fact that there is a limited market for
traditional goods. Traditional goods lack a consumer market, thus households that produce
them must find alternative sources of income. However, despite the fact that many
individuals have a profound connection to their ancestors' heritage of employment, they are
forced to give up and witness their rich culture gradually disappear ( Thanh Bui, 2014).

2. The unwillingness of the Young Generation to continue in this profession

The younger generation is less likely to pursue this vocation because they find the
challenging and time-consuming process of handmade manufacture difficult. Instead,
they prefer to work in factories with less difficult tasks for a higher income (Yang et
al., 2018). The transmission of traditional knowledge, methods, and talents for
producing lacquer baskets is an important issue. The majority of young people are
afraid to inherit traditional lacquer basket arts because of the sophisticated and time-
consuming production process (Yan Wu et al., 2017). While traditional craft-making
workshops are typically found in rural regions, urbanization promotes mass
immigration to cities. The city is a more desirable place for teenagers to settle down
in than the countryside since it has more services and resources. Young people are
less likely to make the choice to remain in their community and pursue a traditional
skill as a result (Ruohan, 2020).

Figure 2: Young people's career choice trend

Souce: Office for National Statistics

The graph displays the proportion of young individuals who choose various
professional pathways. Five various employment options are included in the table,
including those in technology, healthcare, education, business, and traditional crafts.
The table additionally contains the proportion of young individuals who have chosen
various careers. The most common profession option among young people, according
to the data, is technology, which represents 38% of their total career choices. The
second most popular profession, chosen by 23% of young people, is an occupation in
healthcare. Education is the third most popular option, being chosen by 19% of young
people. With 15% of young people choosing it as their professional path, business is
the fourth most popular choice. Last but not least, traditional crafts are the least
popular professional option, with only 5% of young people choosing them.
 Figure 3: Choice of Teenagers between Staying in the Countryside or Moving to
the City

Souce: Office for National Statistics

The graph illustrates young people's decision to move to the city in search of
employment or remain in the country to continue working as generals. As shown in
the graph, an excessive number of teenagers (86%) choose to relocate to a city. Only
14% of young people decide to continue working as generals by moving back to their
home country. This shows that, in comparison to urban areas, the countryside may not
be as desirable a place for young people to live and work.

Furthermore, many craft traditions have perished and many individuals are attempting to
continue existence since the younger generation is hesitant to undertake this vocation (Yang et
al., 2018). According to the data that is currently available, employment in this industry is
decreasing. Handicrafts and related businesses employed 16.20% of the nation's workforce in
2001-2002, but as time passes, young people's interest in these industries declines, and they
currently account for just 13.54% of employment (See Figure 4 for more specifics).

Figure 4: Percentage of Craft and related trade workers (2001–2015)

Source: Pakistan Statistical Year Books 2014 and 2015

In conclusion, the younger generation's unwillingness to continue in the traditional craft-making

profession is a major problem, resulting in a drop in the transfer of traditional knowledge and a
decrease in job prospects in these sectors. The difficult and time-consuming process of
handcrafted production urbanization and the availability of more profitable vocations are all
significant factors.
POSSIBLE SOLUTIONS

1. Design thinking methods

Because of its remarkable capacity to communicate on a massive level, the design could take on
an integral part in connecting traditional arts and crafts with economic growth. Solutions to this
complicated issue, which may entail service development, brand creation, business and tourist
planning, and much more, may be done through design thinking approaches. The obligations of
designers currently extend beyond just producing attractive and valuable objects. The design has
grown into a key component of commercial and societal strategies that aim to create significant
improvements in society and the economy (Huang et al., 2019). According to Ezio Manzini &
Coad (2015), "Cultural activists, grassroots groups, and design activists are collaborating
towards a variety of initiatives whose aim is not to provide instant approaches to issues, yet to
generate fascination with these fields and show, often inversely or in provocative ways, that there
may be numerous methods of observing and resolving them. (p. 46)". One of the primary
initiatives for this revitalization was recognized as the revival of traditional arts and crafts
(Huang et al., 2019). Additionally, the approach involves the development of designs that are
informed by anthropology. The following chart illustrates the strategy:
The work product designers conduct to create items made by traditional craftsmen represents a
component of design thinking. Craftsmen and designers cooperating to explore new concepts or
methods frequently determine how this notion is implemented practically. These methods
produce either brand-new designs made with cutting-edge methods or traditional designs that are
employed for innovative or unconventional purposes. The success of this strategy in bringing
traditional Indonesian crafts into modern life cannot be doubted. ( Yamanaka, 2018). In
conclusion, the design thinking method is one of the useful solutions to enhance youth interest in
traditional crafts and also a way to boost the economy. Designers can play an essential part in
this process by building cultural connections between local artisans and the general public,
assisting these small businesses in staying relevant to culture, and developing original
educational and engaging experiences (Huang et al., 2019).

● Evaluation Design Thinking method:

This evaluation assesses the potential impact of the design thinking method in creating interest
among youth in traditional crafts.

- The Design Thinking method offers a unique approach to problem-solving that

centers on people’s needs. In the context of the challenge of youth disinterest in
traditional crafts, design thinking methods could be a significant solution. By
incorporating the local youth’s perspectives, the design thinking process could come
up with innovative product designs, marketing strategies, and educational programs
that address their specific needs and preferences.
- The design thinking process could offer valuable insights into developing innovative
solutions to this complex issue, which may include service development, brand
creation, business, and tourist planning.

- The design thinking process could help revive traditional crafts by generating interest
among youth, promoting cultural heritage, and preserving traditional crafts. The
initiative could also promote grassroots activism, cultivate community engagement,
and provide employment opportunities. By empowering local craftsmen, traditional
crafts could become a source of community pride, creating important value within
communities.

- The design thinking process heavily relies on creative thinking and problem-solving,
making it highly subjective. This subjectivity could lead to challenges in integrating
traditional crafts with modern tastes and preferences, resulting in a disconnect
between traditional crafts and their intended audience.

- Furthermore, the design thinking process requires significant investment in research,

analysis, and prototyping, making it highly resource-intensive. Without sufficient
financial and technical resources, designers may be unable to design and develop
innovative solutions to traditional crafts' challenges, hampering the initiative's impact.

- Additionally, cultural beliefs, gender roles, and socioeconomic factors influence a

youth's interest in traditional crafts. Consequently, the design thinking process must
incorporate a range of perspectives and interests to create solutions that address the
most crucial challenges of preserving and promoting traditional crafts.

- Moreover, designers must consider the challenges posed by globalization, mass

production, and fast fashion’s rise, making some cultural and traditional crafts
obsolete. In this regard, the design thinking process must consider how to keep
traditional crafts relevant and appealing to contemporary audiences.

2. Education and awareness programs

Education and training are methods for improving capacity, maintaining, promoting,
and handing down traditional craft manufacturing skills and processes from
generation to generation. Therefore, one of the primary policy challenges for the
expansion of crafts is the provision of education and training that improves their
capacity to "learn and compete" (Rogerson, 2010). As a result, it is critical to instill
the importance of handicrafts in the next generation.

Many European countries have traditionally taught crafts. For instance, it was initially
included in the national curriculum of Finland in 1866 (Metsärinne et al., 2014). The
integration of handicraft courses into the official educational system was suggested
by Abisuga and Fillis (2016) as a way to address the issues of cultural heritage
sustainability and preservation. Additionally, young school dropouts could be
 welcomed into craft education programs that help to promote innovation, self-
fulfillment, and a sense of connection.

The development of a center of craftspeople is the sole means for traditional crafts,
which are on the brink of collapse due to their inability to compete with technological
innovation, to maintain their existence. Furthermore, as young people's interest in
professions that are related to the labor market rises, the establishment of a craft-
specific curriculum suited to the demands of different communities would contribute
to the preservation of these traditional crafts (Haxhiu, 2016).

Many people realize the value of traditional crafts, which has sparked a discussion
concerning the establishment of traditional craft schools to encourage and conserve
these techniques. In this context, two tables (Table 1 and Table 2) have been given to
examining people's support for the establishment of traditional craft schools, as well
as their interest in traditional crafts before and after attending such workshops (based
on the American Craft Council data).

Category Percentage in Support Percentage Not in Support

Attendees of Traditional 86% 14%
Craft Classes
Non-attendees of 63% 37%
Traditional Craft Classes
Table 1: People's Support for Opening Traditional Craft Schools
Source: American Craft Council

Table 1 displays the findings of a survey conducted to evaluate public support for the
founding of traditional craft schools. It is divided into two categories: traditional craft
class participants and non-attendees. The table shows the percentage of people who
favor and oppose the establishment of traditional artisan schools. 86% of traditional
craft class participants support the establishment of traditional craft schools, while
14% are opposed. Non-attendees of traditional craft classes are 63% in favor of
developing traditional craft schools, while 37% are opposed.

Category Interested in Traditional Interested in Traditional

Crafts Before Class Crafts After Class
Attendees of Traditional 42% 85%
Craft Classes
Non-attendees of 23% 30%
Traditional Craft Classes
Table 2: Interest in Traditional Crafts Before & After Attending Traditional
Craft Classes
Source: American Craft Council
 Table 2 illustrates the results of a survey that asked respondents about their interest in
traditional crafts before and after they took traditional craft lessons. The table is
divided into two categories: traditional craft class participants and non-attendees. The
table shows the percentage of people who were interested in traditional crafts before
taking traditional craft lessons and the percentage who became interested in
traditional crafts after taking traditional craft workshops. 42% of traditional craft class
participants were interested in traditional crafts before going, and 85% were
interested after attending. 23% of non-attendees had an enthusiasm for traditional
crafts before going, and 30% were engaged after attending.

Furthermore, it is crucial to building vocational training facilities to instruct the next

generation, especially those that provide moderate to high-level skill training, as
Norasingh and Southammavong (2017) propose. Additionally, the training will help
artisans develop their skills and produce high-quality items(Grobar, 2017). By
learning the necessary skills to produce handicrafts, students will be able to
experiment with innovative concepts for product design and development (Yang et
al., 2018). The construction of vocational training facilities will aid in protecting craft
tradition from extinction and is essential for the transfer of craft legacy (Olanipekun
et al., 2015).

● Evaluation Education and Awareness programs:

- In general, the method of education and awareness campaigns for the problem of
"young people are not interested in traditional crafts" is an effective one. For
traditional craft production techniques to be preserved, promoted, and transferred
from one generation to the next, education and training must be provided available.

- The sustainability and maintenance of cultural heritage may be addressed by the

inclusion of traditional crafts in the national curriculum. The results from the
American Craft Council data show how individuals strongly support the
establishment of traditional craft schools and how taking such lessons increases
interest in traditional crafts.

- The development of vocational training institutions is crucial for the transfer of craft
legacy and may help prevent the loss of craft traditions. Therefore, to ensure the
preservation and development of this priceless cultural legacy, education and
awareness initiatives for traditional crafts should be given priority.
RECOMMENDATIONS

Based on the investigations carried out on the subject of youth and conventional craftsmanship, it
becomes evident that there exists a significant dearth of enthusiasm among younger individuals
concerning such activities. Nevertheless, it is essential for communities to comprehend the worth
traditional crafts contribute to our society and to undertake measures to ensure that this
understanding and regard do not vanish.

Primarily, it is necessary to enlighten the youth about conventional crafts and their importance.
Many young people might lack awareness of the significance of these crafts, or even their
existence. By offering education in these domains, researchers can imbue a feeling of
appreciation and respect for the longstanding practices that have contributed to shaping our
society.

One approach to achieve this is by including traditional crafts in school programs. By

introducing these activities and abilities to young people at an early age, researchers can
establish a base of knowledge and curiosity, that lasts throughout their lives. Furthermore, after-
school initiatives and summer camps emphasizing traditional craftsmanship and other practical
activities could be offered.

An additional method to generate enthusiasm for traditional crafts among the youth is by making
these pursuits more accessible and financially feasible. Often, conventional crafts can be viewed
as elite or expensive, which may significantly deter younger generations. By identifying ways to
make these endeavors more affordable and within reach, interest can be encouraged from a
broader audience. For instance, community centers could offer complementary or low-cost
courses and workshops focusing on traditional crafts. Researchers can also introduce initiatives
that provide subsidized materials and tools to those keen on further exploration of such crafts at
home.

Lastly, acknowledging and commending the work of conventional artisans and craftspeople is
essential. By focusing attention on their creations, researchers can foster increased interest and
appreciation for their work. This can be realized through art exhibitions, fairs, and other public
events that display traditional artistry and the individuals involved in creating them.

In summary, while a considerable lack of interest among young people in traditional crafts is
evident, numerous measures can be implemented to counter this tendency. By spreading
awareness, making such crafts more accessible and economical, and supporting the work of
artisans, researchers can nurture a revived admiration for these significant cultural practices. This
not only aids in preserving our heritage but also presents newfound possibilities for creative
expression and personal development.

APPENDIX

● Appendix 1: World Crafts Council (WCC)

WCC is a non-profit international organization that encourages the growth of crafts and artisans
worldwide. It was created in 1964 and is comprised of national craft organizations as well as people
engaged in various parts of the crafts business.

Through exhibitions, publications, and other activities, the WCC hopes to promote traditional and
contemporary crafts. It also promotes the sharing of ideas and practices among artisans from various
countries and cultures. Various international craft festivals and conferences have been conducted by
organizations all around the world.

The World Conference on Climate (WCC) is organized into five regions: Africa, Asia Pacific, Europe, Latin
America, and North America. Each area has unique initiatives and approaches to promote craftspeople
development. The World Council of Churches is headquartered in New Delhi, India, and maintains an
administrative office in Paris, France.

● Appendix 2: ResearchGate.com

Researchers and scientists may use ResearchGate to interact, cooperate, and share their research
discoveries. Users may make a profile, share articles, post job positions, attend events, and participate in
specialized research initiatives. Citation metrics are also available on the site, allowing researchers to
measure the influence of their work. ResearchGate is an entirely free online community with a global
user base.
● Appendix 3: American Craft Council

The American Craft Council is a non-profit organization committed to promoting and advancing
contemporary American craft. Exhibitions, craft displays, educational opportunities, and publications are
among the services and programs provided by the organization. Its purpose is to showcase handmade
object creators, materials, and traditions, as well as to stimulate creativity and innovation in the field of
handicraft.

● Appendix 4: Pakistan Statistical Year Book

The Pakistan Statistical Year Book is a thorough reference book that contains statistical data on
Pakistan's economy, society, and demographic situations. It is released yearly by Pakistan's Federal
Bureau of Statistics. The yearbook includes information on a wide range of themes, including population
and housing, agriculture, manufacturing, commerce, transportation, medical care, schooling, and
finance.

● Appendix 5: Office for National Statistics

The Office for National Statistics (ONS) is the United Kingdom's national statistical agency. It is in charge
of gathering, interpreting, and disseminating official statistics regarding the UK's population, economy,
and society. The ONS generates a wide range of statistics, including demographic and social data,
economic data, environmental data, and crime statistics. These statistics are utilized to make educated
choices regarding legislation by the government, corporations, researchers, and the general public.