Engo

Methodological Guide to the Collection of Data on Crafts
TEN-YEAR PLAN OF ACTION

FOR THE DEVELOPMENT OF CRAFTS
IN THE WORLD 1990-1999
CRAFTS
Methodological guide to the collection of data
UNESCO
---. I___-..- - -----.

PUBLISHED BY THE UNITED NATIONS EDUCATIONAL,

SUENTIFIC AND CULTURAL ORGANIZATION WITH THE
SUPPORT OF THE At=mcA~ CULTURAL INSTITUTE
Pdnted by Hexagone . Ah-en-Provence

METHODOLOGICAL GUIDE
TO THE COLLECTI’ON OF DATA ON CRAFTS
by Jocelyne Etienne-Nugue
@UNESCO1990
PREFACE
At a time when the value and place of crafts worldwide are clearly
recognized. but when factors causing them to be forgotten and
therefore endangering their very existence are making themselves
increasingly felt, here is a handbook for all countries, institutions and
individuals who sincerely want to help protect and revive crafts.
By publishing this Methodological Guide to the Collection of Data
on Crafts, UNESCO aims to provide a useful tool for all those
who wish to take an active part alongside the Organization
in preserving and encouraging crafts. It has become clear to us
that any action should start with collecting the most complete
data possible concerning not only the object itself, but also where
it is made, the method used and the status of the worker who
makes it.
This guide is the result of Jocelyne Etienne-Nugue’s many years
of experience in the field. during which she has constantly given
thought to the most effective ways of organizing useful action
to promote crafts. Adopting a practical and flexible method which
can be adapted to suit a wide variety of contexts, resources
and requirements, the author has produced this manual full of
valuable practical advice about organizing data-gathering teams
and carrying out surveys in the field. She suggests work schedules,
highlights the various stages necessary to the scientific running
of projects, encourages precision and puts forward rules for
achieving it.
Methodological Guide to the Collectlon of Data on Crafts
The author attaches the utmost importance to the systematic

gathering and processing of data, without which the main objectives
of making a survey of crafts throughout the world could not be
achieved. Reasserting the value of crafts throughout the world could
not be achieved. Reasserting the value of crafts will bring to the fore
age-old traditions, practical knowledge and life-styles that will help
to enrich our knowledge of world cultures. The data-collection
programmes recommended in this manual will help to raise the
status of the craft worker, encourage employment and attract
technical and financial support from both national and international
sources and will also make it possible to integrate crafts into national
development strategies.
In the context of World Decade for Cultural Development, UNESCO
has launched a Ten-Year Plan of Action forthe development of crafts
in the world. The publication of this Methodological Guide, which
forms part of this vast project, has been carried out with the support
of the United C(ations Development Programme (UNDP) and the
African Cultural Institute (ACI). The manual is a tool for Member
States to help them document a burgeoning but threatened heritage;
to take stock of the dangers and set up systems to encourage and
commercialize it.
Let us hope that this guide will prove to be a useful instrument for
researchers and decision-makers and that it will encourage the pre-
servation, the revival and the integration into modem economic life
of crafts, without which our cultures would forever be the poorer.
SUMMARY
THE COLLECTION OF DATA :

SUGGESTED METHOD
. Preliminary remarks
. Craft categories and data

- categories
- qualitative data
- quantitative data
. Methods of collecting data
- human resources
- material resources
- formalities
- working budget
. How to tackle the collection of data
- finding and collating existing data
- preparing and planning the field survey
. Survey and data recording methods
- observation
- written material
- photographs
QUESTIONNAIRES AND FORMS

SUGGESTED MODELS
- the object
- the craft worker
- production / commercialization
COLLATING THE DATA
- materials collected
- sorting and presentation
- utilization
ANNEXES
THE COLLECTION OF DATA

SUGGESTED METHOD
1
Preliminary remarks
This guide does not lay down a rigid and infallible working
method in the field in question, but ratherprovides a choice of
practical guidelines aimed at making the researcher’s task
easier.
Readers should therefore use and adapt it to suit their purpo-

ses and with a particular context or result in mind.
As thisconcems “collection”, the idea is introduced of making

an inventory, which requires thesystematic recordingofall in-
formation related to the subject. It is obvious that we cannot
possibly collect everything, so it is vital to choose the essential
data to record right at the beginning, then to remove all
superflouous elements during the final processing, keeping
only those that fit the chosen categories. “Collection” also
supposes a definition of the technical resources (human,
financial and logistic) to be organized and employed.
Finally, as faras the “data”areconcerned, theseare, ifwe keep

to the traditional definitions, the fundamental elements for-
ming the basis of research, the point of departure of a line of
argument and the result ofobservation or experiments. Nowa-
days, the term has entered computer language as a “data
base” that can be processed and analysed by computers.
Where crafts are concerned, they will vary according to the

area of study:
era ft workers;
the objects they make;
their techniques;
production or promotion;
but, if the need arises, they may all be interwoven, superimpo-
sed and used to complement each other.
2
The term “methodology” involves an attempt at organiza tion

which will allow an objective to be reached - in this case the
collection and processing of data about crafts. It is an overall
process whose practical end result is the grouping of a certain
amount of information (data) aboub
. the craft object (characteristics and economic
possibilities);
. the craft worker who makes it and his or her
surroundings;
which is recorded and preserved in the chosen form - written

document, photograph, audio-visual record, collection of
samples - in order to make these data available and usable for
various purposes (artistic, cultural, political or economic).
Any method requires a plan to enable useful progress to be

made.
For maximum clarity, each phase of work is organized into

short, separate chapters, themselves subdivided into sections
aimed at defining an orderly and logical step to be followed.
Not all the elements suggested will necessarily be included in
each piece of research, It is up to researchers or investigators
to select only those which seem suited to their particular
study. Very broadly speaking, three major stages of an inves-
tigation of this kind in a given field can be laid down:
. before: preliminary research and documentation;

. during: everyday work in the field;
. after: sorting and classifying the data.
According to the scope of the research (amount of data and

spread of terrain), the time the team will need to complete
these three phases may vary between three weeks and
several months.
3
CRAFT CATEGORIES AND DATA
CATEGORIES
To achieve standardization in the collection and classification of
data in countries interested in making these inventories, it is vital that
prior agreement should be reached about the kinds of article to be
included.
This problem was discussed at various meetings of experts - espe-

cially the Niamey Conference on quantitative and qualitative data
concerning crafts (UNESCO, June 1986), and the Hammamet Con-
ference on a ten-year plan of action for the development of crafts
worldwide (UNESCO, May 1989) - and it was then proposed to base
the classification process primarily on the materials used.
The choice of categories used here corresponds in general to this

proposal, while bringing together the material and the technique in
certain cases (for instance “weaving” or “basket@, where the ma-
terials used may be either vegetable or animal fibres).
THE mm CATEGORIES
These will determine the broad divisions of the classification, within
which secondary categories may be added, linked to the main
category either by the material or by the technique.
. Basketry (vegetable fibres)

Possible secondary categories: constructions of
straw or other vegetable materials, toys, costu-
mes, decorations, musical instruments.
4
. Textiles (vegetable or animal fibres)

raw materials: bark, raffia, skins
: fashioned or woven materials: cotton, linen, silk,
WOO1
. decorated materials: dyeing, embroidery,
applique work.
. Pottery (eafi)
. dried earth
. natural baked earth
. glazed, enamelled, varnished baked earth
Possible secondary categories: constructions
made of earth, toys, musical instruments, deco-
rations.
. Wood (various vegetable materials)

Possible secondary categories: gourds, nuts and
various shells.
. Metal (iron, copper, alloys, precious metals).
. Leather (various skins from animals - cattle, sheep, rep-

tiles, fish, crocodiles).
COMPLEMENTARY CATEGORIES
Some countries or regions also use much more unusual materials in
their craft production, materials that are either very specific to the
area, rare or difficult to work.
These materials could form extra categories in the countries where
they are used.
For the record:

Stone (rocks and precious stones), glass, ivory, bone, horn, shell,
sea shells, mother-of-pearl, etc.
EXTRA CATEGORIES
Where the research is centred on a more specific theme, the classi-
fication may have to use “extra categories” embracing several
different materials and techniques at the same time. The compo-
5
_--- ----- .._

nents of these categories can already be found in the main catego-

ries, so all that has to be done is to regroup them in order to highlight
the most important aspect.
For example, the following could be included in extra categories:
. The home, traditional architecture:

techniques using straw, earth, wood.
. Wall decoration, signs:

various supports and decorative techniques using traditional or
modem colouring matter.
. Toys, games:
techniques using straw, earth, wood, iron, textiles.
, Musical instruments, dance accessories:

articles made of wood, metal, straw, leather.
. Costumes, accessories, hair ornaments:

techniques using skins, textiles, straw, metal.
. Recycling crafts:
articles made from a wide variety of materials worked according to
traditional techniques.
DATA *
This comprises all the factors and characteristics which define the
craftwork article and give it an identity.
It must also be concerned with the worker who creates it and the
context of its production, distribution and commercialization.
It also deals with the craft workers’s social, economic and political
environment.
For each investigation, the main thing is to know which of these facts
it has been agreed to record.
1. See the table of categories and data in Annex 1.
6
As the term suggests, these data define the “quality” of the article (in
the sense of its kind, shape and appearance, as well as its individual
qualities), or that of the craft worker.
Besides the usual descriptive elements making up the main part of
the record sheets and study tables:
. shape;
. technique;
. use, etc. (cf. record sheets and tables Nos. 1 and 2)
importance should also be attached to highlighting the merits which

justify choosing a product for preservation, exhibition or commer-
cialization:
. cultural, social, historical or religious significance:

aesthetic qualities (is it attractive?);
: originality (is it different?);
. quality of the finish;
. solidity, etc.
In addition to the usual study of the draft worker’s situation (cf. craft
worker record sheet, table No. 2), the criteria recorded could
concern:
. organization and rate of production;

. level of concern with creativity and inventiveness;
. quality control of presentation, finish, decorations;
. talent generally (subjective evaluation or professional
reputation) .
7
QUANTITATIVE DATA
These are concerned more specifically with “quantities”, that is with

figures relating to the craft worker’s situation in its various forms and
contexts and as an economic sector creating wealth:
. counting the workers;

. production-related aspects (type, quantity, raw
materials used);
. technical aspects, tools and training;
overview of the economic impact of the sector
(employment, creation of added value);
. type of organization (financial, economic, professio-
nal, administrative and commercial) of the worker.
However, it should be borne in mind that the field of crafts remains

difficult to quantity in so far as it is unsettled, especially in develo-
ping and predominantly rural countries where a large and fluctuating
number of people make their living from crafts.
Very selective criteria must therefore be established in order to

gather reliable data.
METHODS OF COLLECTING DATA

Launching a data-collection project naturally presupposes that
a decision has been taken at national level, at the very least by
the government departments or the agencies in charge of this
sector - according to the country, this might be the Ministry of
Culture, Tourism, Crafts, Trade, Planning, etc. - or by a
university or museum, archives, research centre or other relevant
body.
The origin of this decision will most frequently determine where the
resources needed to effectively carry out the project are to be sought
and supplied from:
. human resources (supervisors and people in charge of

the operation, team of field workers, trainers,
experts)
. material, financial and logistic resources (funds,
travel, equipment, machines and accessories).
A political choice in favour of crafts and support for them and their
development are desirable at the highest level, but in most cases
they are not forthcoming (making people more aware of this
problem is one of the main aims of collecting data - a vicious circle,
indeed, which must be broken out of!). The ideal would be to include
the various projects, dealing with crafts in a country’s development
plans, in agreement with all the different bodies in charge of them,
those bodies then deciding jointly on the adoption of an adequate
budget. Meanwhile, however, the ministerial departments concer-
ned are usually forced to siphon off the funds needed for minimum
action from other parts of the budget, which explains why the
resources allocated to this type of project are always too meagre and
difficult to distribute.
10
One common solution is collaboration between several ministries

or agencies, each one taking charge of one aspect of the project:
making staff available, defraying expenses, providing services,
vehicles and equipment. This implies the careful choice of supervi-
sory bodies from the outset because it is always awkward for
project leaders to have to deal with several different people all trying
to off-load their responsibilities on to someone else. In this case, the
funds offered by each body should be pooled to cover needs as they
arise.
But it is preferable to entrust projects to a single body (offering a
human, geographical and financial unity).
The advantage of a carefully set-up budget, whose distribution has

been decided in advance, is that it ensures that the project and the
people in charge of it will have the independence and flexibility
needed to go ahead.
HUMAN RESOURCES
These are the people who . supervise the project;

. carry out investigations in the field;
. sort and process the data.
Supervision
To ensure correct collation at a later stage of the material gathered
in several countries, a national authority (inter-ministerial office)
should be appointed in each country to manage the people and pro-
cedures, in order to:
maintain contact with the various financing bodies
(staff, equipment, structures);
. maintain contact with other regional officials (as well
as putting them in touch with one another);
. keep in touch with all craft sectors at local, regional and
possibly international level.
11
Direct local contacts should be chosen for the data-collection

project.
Field workers
Any data collection, in whatever field, requires investigators, whe-
ther or not they are experts in the subject.
Who are they?
The local lack of human resources has been pointed out frequently
by countries which have requested this type of project.
“Missions” are usually entrusted to consultants with varied back-

grounds (ethnologists, researchers, archivists, craft workers, statis-
ticians) employed by international or inter-regional bodies. It is a slow
and costly process given the lack of availability of experts in this field
as a result of increasing demand, and one which, on the other hand,
does not involve local candidates sufficiently to make them want to
undertake projects.
It has been found that, where projects have been thoroughly prepa-
red by experts in the beginning, some stages of the work --organi-
zation and a large part of the investigations - could be entrusted to
non-expert national workers who could be given quick training either
at brief workshops or by going on missions with professional
investigators.
These workers should be chosen in the country concerned, giving

more weight to criteria such a suitable skills, abilities or experience
than to qualifications or administrative level. Technical experts and
people used to working in the field are preferable to bureaucrafts,
and any motivated and enthusiastic amateur can make a good
investigator in a subject he or she enjoys.
These investigators might include, for instance, museum workers,

supervisors and workers at rural centres, students working for
12
qualifications in ethnography or museology, certain experienced

craft workers, artists, photographers and collectors.
It should also be borne in mind that any investigation undertaken in

the country concerned may produce interesting sets of data if
suitable questionnaires are used, even if the subject does not at first
glance seem linked to crafts (statistics, census). These opportuni-
ties should be used but obviously they cannot replace the work of a
specialized team.
Depending on the funds allocated, this team may comprise from two
to six people, smaller groups often being more efficient.
a) small team:
2 people= 1 investigator/photographer
1 driver/interpreter
b) average team:
3-4 people=
1 photographer
1 investigator
1 assistant
1 could be the same person
1 driver
c) full team:
4-6 people= 1 investigator
1 assistant
1 photographer
1 video technician
1-2 drivers accordir
In all cases, informants, guides and interprc

on the spot at village or regional level, or
regional authorities. Teachers, pupils and
kers can often provide efficient help, as can i
centres where these exist.
. The chief investigator is in fact the “team leader”, in charge of the

timetable and any changes to it, and of making decisions in general.
It is not advisable for investigators to drive vehicles except over very
short distances.
13
. The assistant may be a representative of the craft sector or the

project’s supervising body, acting as a link between the investigator
and regional networks, or someone being trained to do similar
research (if the investigator is a professional).
. Preferably, the investigator will take the photographs provided he

or she has some photographic training, being in a better position to
realize what it is important to “show” in the work.
On the other hand, if it is planned to publish the material collected
(books, magazines, postcards) or put it on show (audiovisual
displays for museums, exhibitions or schools), it would be better to
add a professional photographer to the team to ensure the quality of
the finished product.
. A video technician is recommended, if funds allow, to augment the

collection with material filmed live. This is particularly useful if
television broadcasts are a possibility and to alert public opinion at
all leveld.
. The driver (if possible a mechanic) can almost always act as guide
and interpreter, at least in his region of origin.
The use of two cars and therefore two drivers is only necessary if the
team is made up of more than three people, if a lot of equipment has
to be transported or if the terrain is especially difficult.
14
Experts to sort and process the data
This final phase is only partly related to collection but it must follow
on immediately. The collation and analysis of the material gathered
can be entrusted to local, regional or interregional experts (co-
ordinators, archivists, statisticians) before being put into the “data
bank”. At local level, this job can be done by those in charge of crafts,
foreign trade and statistics with a view to encouraging a policy of
developing crafts and in co-operation with equivalent regional and
international committees.
MATERIAL RESOURCES
The research teams must be given the material resources needed to

carry out their mission successfully. This means they must be
able to:
. travel, find food and lodging;

. photograph, film, record;
. reward craft workers, guides and interpreters for
their assistance;
. bring back samples of craft work.
The smooth running of a data-collecting trip will therefore depend

on:
. the mission’s funds;

. the quality of the equipment
16
Basic equipment
a) Travel
1 four-wheel-drive vehicle, fully equipped with spare

tyres and other parts, and tools;
+ fuel (money or fuel coupons + fuel in jerry cans);
+ road maps.
The vehicle must be in good condition (serviced before the trip) and
insured. In countries where the terrain is rough (sand, tracks, mud,
corrugated iron) four-wheel-drive vehicles are normally used, but a
sturdy and sufficiently large vehicle such as an estate car may be
adequate.
The fuel budget should be calculated according to how far it is

planned to travel, but it should allow for unforeseen circumstances
(detours, breakdowns). Remember at each stage to ask where filling
stations are located further along the route.
It is always better to use a driver-mechanic who knows how to deal

with minor problems and can ensure good day-to-day maintenance.
In some countries it may occasionally be necerssary to consider
travelling by plane, train or even boat or pirogue, because of the
distance or bad roads, to save time, to get across rivers or watercour-
ses or to reach villages built over lakes or lagoons. Such journeys
should therefore be planned when organizing the itinerary (buying
tickets, making reservations, possible hiring) so as not to face last-
minute problems which might put the mission in jeopardy.
The cost of these trips may, under certain conditions, be defrayed by

taking advantage of services provided by the tourist authority,
national travel agency, etc.
In such cases, a car is still needed at the destination for the team to
be able to get around the region.
17
b) Equipment
. note-taking, lists: notebooks, record sheets and copies

of questionnaires, pencils;
. 1 small tape recorder + tapes or cassettes + batteries;
. 2 cameras (one of them manual) + lenses + batteries
+ flash + films (black-and-white, colour, slides);
. 1 compact video camera (optional) + cassettes;
. suitable, sturdy packaging and carrying equipment.
The equipment - preferably makes known to be robust and easy to

use - must be in good working order and have supplies of tape and
film.
Two cameras should be taken if possible in case one breaks down,
and in any case to alternate black-and-white and colour, and inside
and outside shots.
A special notebook should be kept for details of each shot (film

number, date, place, subject). This makes it easier to sort and
classify the photographs afterwards in relation to the record sheets.
It is important to number the films clearly (with the number on the
box being the same as the number in the notebook) and the order in
which the photographs were taken (numbers listed in the notebook
under the film number - see model table in the annex). In this way,
it will be easy to say when and where the photograph was taken when
the material is finally sorted.
The most suitable lenses are:

for everyday use: normal focal length 50/55 mm
(aperture 1: 1.8/2);
. for general shots (landscape, market, village, interior):
wide-angle 35 mm;
. for close-up shots or details: a “macro” lens of average
focal length. This is only vital if the photography has to
be very detailed. The 50 mm lens is usually adequate;
. for distance shots or inaccessible subjects, a small
zoom lens of 135 or 200 mm is sufficient. This also
allows some close-ups to be taken from further away.
18
If the investigator or photographer cannot afford all this equipment,

a camera with a 50/55 mm lens will allow adequate photographs to
be taken.
On the other hand, it is best to have one or two zoom lenses available
where possible (35-70 mm and 80-200 mm for instance) in orderto
allow all permutations.
A Polaroid camera and films, while expensive, can often provide a

good introduction to village leaders and craft workers, who are
delighted to be given a photo.
The films (black-and-white or colour prints, slides) should be chosen

according to the country (seasons, light intensity, reflections).
For countries where the light is very intense, it is best to choose
films of low or average speed (50 to 100 ASA); for cloudy
skies, interiors, dusk, somewhat faster films are needed (200 to 400
ASA).
A flash is not used a great deal, but it can be useful for architecture,
interior furniture or articles which cannot be moved outside. It should
also be remembered that some workshops are quite dark, someti-
mes even half underground.
The number of films to be taken varies according to the number

and variety of crafts and the funds available. Since the average sys-
tematic inventory contains between 1,000 to 3,000 photographs,
the number of shots for one collection can be kept to between
500 and 1,000, striking a balance between black-and-white and
colour.
. for 500 photos: 300 black-and-white + 200 colour i.e.

about 9 36-frame black-and-white films
and 6 36-frame coulour films
. for 1,000 photos: 600 black-and-white + 400 colour i.e.

about 17 36-frame black-and-white films
and 12 36-frame coulour films
19
However, it can be useful to have some 24 or even 12-frame films

available (especially with only one camera) to make it easier to
alternate black-and-white and colour film, low and high-speed film,
and prints and slides.
Black-and-white film alone may be used as an economy measure if
material is simply being collected for documentary purposes, but it
means the photos cannot usefully be published.
Complementary equipment -
(a brief mention)
The following small items should not be forgotten:
. torches and batteries:
. plastic bags of various sizes to protect

equipment and accessories from heat and rain;
. waterproof boxes and bags to store films, tapes

and batteries:
. small items such as knives, penknives, a tape

measure, cigarette lighters, scissors;
. possibly lightweight camping equipment,

primus stove, saucepan, cultery, plastic cups,
matches:
. small presents to distribute in villages to thank

them for their help: sweets, pencils, pictures,
cigarettes, cheap jewellery, perfume samples;
. petty cash must be available fortips, beverages,

purchasing samples and other minor expenses.
20
--“_. _. . .. - - .-.-_--__ ,--_-- I .

Methodological Guide to the Collection of Data on CraFts
FORMALITIES
A team of investigators, whatever country it is in, has to comply with

a certain number of formalities and national regulations.
Consideration should be given to this during preparations for the trip

so as to allow for the time needed to obtain the various visas and
signatures.
. travel orders or warrants: needed for each team

member, government official or not, and also for the vehicle (espe-
cially if it belongs to the government);
. authorizations: for travelling throughout the

country, for visiting sites, monuments and museums for taking
photographs (plus special permission for photography in mu-
suems);
. letters of introduction and recommendation to

local officials (or copies of circular letters which have already been
sent to them (to ensure a good reception and lodgings, contacts and
working facilities).
***
21
WORKING BUDGET
1 /personnel
1.1 - Salaries
1.2 - Fees and emoluments
1.3 - Possible expenses and taxes (or insurance)
2/Travel
2.1 - Vehicles: availability (per month)

hire costs
mileage allowance
fuel
2.2 - Planes, trains, boats, buses
2.3 - Lodgings, meals (meeting of costs)
3/Equipment
3.1 Various equipment (photo, video, recording)

availability (per month)
hire costs (working budget)
purchase (capital expenditure
budget)
3.2 Consumable items (paper, film, cassettes)
purchase and processing
4/Administrative expenses
4.1 - Postage and phone calls

4.2 - Documentation
4.3 - Office expenses, secretarial and typing costs
4.4 - Copying, printing
4.5 - Insurance
S/Petty cash
(tips, gifts, minor expenses)
22
-___.. .l--l_.-_--.--.. “._l.-_.

HOW TO SET ABOUT COLLECTING
The need to collect data about crafts emerged with great force
at recent international meetings on craft development in response to
the almost total lack of accurate and suitable information to meet
the aims of a great many countries (particularly in the Third
World) which realize the important contribution made by crafts to
the economic development they are seeking.
But if we look closely at the question, it becomes clear that it is not

so much a problem of lack of information as of collating and
communicating it. All countries can probably not be put on the same
level concerning the information they offer, as countries with a
written tradition have for a long time recorded and stored the refe-
rences they want ot consult later, while countries which are still
linked to oral traditions are in a great variety of situations. Kno-
wledge of techniques has been kept up and passed on in some cases
while in others it has completely disappeared, progress has been
visible in some places, less so in others, and so on.
Before starting to actively collect data, it must be borne in mind

that:
a) a certain quantity of data already exists, although
it is often scattered, badly organized, incomplete or
out of date. This should be gathered together, examined
and sorted.
b) several countries, faced with the erosion of the more

fragile elements of their heritage, have already set up
collection processes.
These collections should be followed up, encouraged,
and taken over for one’s own purposes.
_--- ...-- .--- ~.~-- ~--

c) museums and their reserve collections are

reliable data banks in all countries - especially
ethnographic museums and those dealing with folk
traditions.
bClSTlNCi DATA
Written documents, photographs and films
Interest in the forms, conservation and development of crafts is not

a recent phenomenon. Several projects have been registered and
carried out, and records are still available for the studies and
missions that have been completed. In Asia, both China and India
have extensive documentation and statistics on all aspects of the
subject and Thailand and South-East Asia (Malaysia, Indonesia, the
Philippines) have started to gather materials and studies at local and
regional level (cf. bibliographic notes).
However, while the cultural and ethnographic aspects of crafts have

already been the subject of many studies, investigations and publi-
cations, their economic and social role in developing countries has
only very recently been acknowledged.
It will be useful to consult the books, catalogues, magazines,.essays,

theses and studies to be found in libraries, universities, cultural
centres, national and international research centres, and also the
reports, inquiries, projects and inventories produced to order and
kept in the archives of ministries (culture, planning, tourism, rural
development) or international organizations.*
* International Labour OfFIce (ILO)

European Development Fund (EDF)
United Nations Educational, Scientific and Cultural Organization (UNESCO)
African Cultural Institute (ACI)
Agency ForCultural and Technical Co-operation (ACTC)
25
In general, one of the main difficulties is obtaining access to this

information, for which various authorities are responsible. Lack of
co-ordination between agencies and government departments does
nothing to help the search for and gathering of data which resear-
chers are interested in.
For information, the documents which interest us most deal

with:
. Research (qualitative, ethno-cultural and socio-

cultural inquiries, localization of techniques);
. Tourism (craft centres and villages, itineraries, sites);
. Education and Culture (art schools, training,
museums);
. Economy and Planning (statistics, budgets, major
projects);
Trade and Industry (crafts often come under this
heading, statistics, foreign trade).
Failure to take crafts properly into account in national development

plans, fragmented responsibility, lack of definition as well as the
sector’s low social profile have led to an almost complete lack of
information, and what there is usually has little credibility.
While the documents consulted in this way can supply details or

clarification about the localization and development of some articles
or techniques or about how they are linked, it should be remembered
that they are not always absolutely reliable and it is advisable to
check them out in the field wherever possible.
The photos found as illustrations in books and magazines or in

photograph collections (museums, newspapers, information servi-
ces), as well as films (documentaries and ethnographic films), are
useful for visualizing articles and movements. This is helpful either
for giving an idea of what investigators can expect to find in the field
or for assessing the continuation or development of skills.
26
In all cases, the information judged useful can be noted and used to
provide points of reference for research in the field.
Collections and inventories already carried out

on a national scale
In their impatience to get new projects under way, people too often
forget to take into consideration what has already been done and the
operations that have been started.
Over the past few years, most of the countries concerned in

Asia, Latin America and Africa have undertaken work to conserve
and make inventories of crafts, either on their own initiative (like
the work done on the “inventory of material cultures” by the Ministry
of Culture in Mali, the Cultural Archives in Senegal, the Burkinabe
Research Centre in Burkina Faso, for example), or with the support
of foreign aid and international organizations (World Crafts Council,
EDF, UNESCO, ACI, ACTC), work which has in some cases led to
publications (FDUH, ACTC, ACI, CEC)*.
Before starting another collection of data, it seems important to

take note of this material and meet the teams who carried out
the operations. As well as saving time, this will also permit an
effective comparative analysis of the items recorded instead of
parallel and pointlessly overlapping research being carried
out.
* Federation For the Development of Utilitarian Handicrafts (FDUH)

Agency ForCultural and Technical Co-operation (ACTC)
African Cultural Institute (ACI)
Commission of the European Communities
27
Museums, collections, exhibitions
Even before undertaking investigations in the field, it would be

possible - at least as far as the objects are concerned - to gather
data simply by studying specimens in the various national
and international museums, private collections or even travel
souvenirs, or the exhibitions organized regularly at galleries, shops
and fairs.
Herbert GANSLMAYR, director of the Ubersee Museum in Bremen,

Germany, stresses that museums are veritable data banks, especial-
ly for developing countries. Their reserve collections are brimming
over with “physical evidence of methods and techniques which have
often been forgotten and about which there is no written documen-
tation”. he said.
In the case of countries which, as in Africa, have few national

museums, reference can be made to major international museums
which often have substantial ethnological departments (France,
Switzerland, Belgium, Germany, England, the United States,
for instance - cf. note to Annex 4). On this basis, reference cards
can be made for articles and techniques which one would like to
see reproduced and which may also lead to the creation of new
products.
The same goes for articles brought back and collected by travellers
at different times in the past (basketwork, pottery, fabrics, jewelle-
ry) which, in addition, are already the result of a choice or preference
that may help their promotion.
Obviously data collected in this way should be placed back into the
context of the basic investigation (by country or category) and sup-
plemented and corrected if necessary in the field.‘They will be par-
ticularly useful in helping to orient and establish training policies for
craft workers and in boosting creativity.
28
PREPARING AND PWPINING THE FWLD SURVEY
No book, no out-of-context observation of subject-matter - however

original and authentic - can provide a complete substitute for work
in the field.
It is important to seek out articles in their context, being used, and to

find craft workers working in their usual geographical, social
and family setting. It should be pointed out that although this
means using a set method and as strict a work plan as possible,
it does not free investigators from the obligation to adapt to circums-
tances as they find them and provide their own solutions.
Very careful attention to the preparation and planning stages may

alleviate many of the problems of work in the field! but cannot elimi-
nate them altogether.
Preliminary information
.
Pnowlnathe subiea
Investigators (and the whole team if possible) should have a clear
idea before setting out of what they are looking for and why, just as
it is desirable to have some idea of the techniques that will be en-
countered and recorded. It is particularly worth recalling that the
main objectives of collection are:
. to attract and justify backing from national and inter
national technical and fmancial support programmes;
. to allow crafts to be integrated into national
development strategies;
. to raise the status and role of craft workers and to
increase their productivity (in both qualitative and
quantitative terms).
Rapid training on this subject can be given to non-specialists and
part-time investigators, as indicated above (cf. human resources).
A sound grasp of the themes and objectives of the project avoids
wasting time and effort on objects of little interest.
29
Knowina the terrain

It is vital to start out whith as much information as possible about the
geographical and ethnic environment to be dealt with. Knowing
about the vegetation, soil, climate, relief and watercourses provides
in advance a wealth of information about the vegetable, animal and
mineral raw materials found there which may be used by craft wor-
kers, and about life-styles and habits explaining the use of certain
utensils. Ethnic groupings often determine aptitudes for certain
tasks, technical affinities inclinations and taboos which it is advisa-
ble to know in order to observe the proper forms of behaviour and so
facilitate a good reception and dialogue.
This kind of information can be found in ordinary tourist brochures
available from embassies, tourist offices and local information bu-
reaux, travel agents, specialized guide books, through meetings and
conversations at home or abroad with natives of the region or peo-
ple already familiar with it and, when possible, through a preliminary
“scouting” trip.
In the country itself it is always advisable, in the interests of efficien-

cy, to make prior contact with representatives of the groups to be
met during a field trip, or at the very least to make sure that these
people are told that the investigators will be passing through their
areas.
Informina local officials and the local oublic;

This forms part of the thorough preparation of field work by those in
charge of gathering the data, but it depends to a great extent on the
national authorities and government departments responsible (mi-
nistries, regional administrators, the bodies concerned). In this con-
nection it is important to deal with people who are interested and who
have the power to take decisions, thus ensuring greater efficiency.
A number of preparatory meetings with official contacts (“intermi-

nisterial committees” are usually a good idea) will make it possible
to arrange:
. an information campaign through press and radio (statements,

short radio and television spots, interviews) or by word of mouth as
political or cultural figures travel around the country;
30
. circulars to regional authorities (regional administrators’ ofhces,

decentralized government departments, regional craft centres, rural
development centres, etc., asking them to help with reception, infor-
mation and contacts for the visiting team;
. the regional distribution of questionnaires which should be collec-
ted and given to the project leader to help with the survey.
Knowina the difficulties

Occasional investigators and those who do not yet have much field
experience should know that all surveys of this type are to some
extent an adventure calling for a number of qualities and, preferably,
good health and sound common sense.
Among the qualities needed are curiosity, endurance, patience

and a sense of personal contacts, along with good humour, which
all simplify a sometimes thankless task and difficult
relationships.
When working as a team, it is important to have some idea of what

it is like to live in a group. In most of the countries which want such
surveys done there is nowhere to stay, so investigators will usually
camp out or live with villagers who are welcoming but whose have
no modem conveniences. The roads are rough and ready or in a bad
state of repair, which means that long distances often have to be
covered on foot to reach a destination. Making contact with the
inhabitants - and the craft workers - is a slow business, generally
involving long preliminaries and introduction ceremonies which
cannot be avoided. Patience and good humour are the best method
of opening the way to a subsequent visit in more relaxed circums-
tances.
As we have already said, a thorough knowledge of the physical

and human environment is a good preparation for difficulties
of this sort and enables the investigator to face up to them
better.
Mechanical breakdowns, missed appointments, frustrations and

various mishaps which upset timetables and itineraries must also be
handled within an inflexible time-limit.
31
Studying itineraries
A painstaking examination of the itineraries which the survey team

will have to cover in the countryside is made during the preparatory
meetings. It is important because it affects the estimates, even if they
are only approximate, of the mileages involved, and therefore the
transport budget and the probable time-scale of the venture and
whether it should be organized in one or more trips. This is also the
time to consider the options for the most reasonable and perhaps
least tiring ways of travelling around in the field.
First of all it is necessary to get hold of recent and accurate geogra-

phical and road maps. Most countries have a cartographical service
which is more or less up to date. For certain countries in Africa, Asia
and Latin America, the French National Geographic Institute has a
considerable collection of maps which could serve as a basis for a
preliminary approach.
On arrival in the country, it is a good idea to check whether the roads

shown on the maps actually exist and especially whether they will be
passable when the trip is scheduled to take place (road-works, the
rainy season, etc.).
As journeys usually start from the capital, routes should be worked

out region by region with that in view and bearing in mind certain
requirements:
. it is often a shrewd idea to start with the most difficult

trips - either the longest or those with the hardest going or those on
which the most data will be gathered - and leave the easiest or most
accessible destinations until the end, when the team’s stamina will
be at a lower ebb:
. in each region or sector, a base town should be chosen

for its lodgings. the presence of informants or large craft centres and
the possibility of fanning out from it into an interesting area;
32
MethodologicalGuideto the Collectlonof Dataon Crafts
. regional routes must almost always pass through the

administrative centres to which the researchers will have to report
and which often provide guides whose knowledge of the tracks will
make the going easier;
. investigators will already have an idea of which craft-

producing villages to visit during each trip, but in deciding a
timetable the following points must be taken into account;
. the dates of the main markets in the region, because

all the objects to be studied are assembled there in one spot. The
markets are therefore one of the principal sources of information
about the area, because their stalls provide a rich harvest for the
photographer and because they attract the population of the imme-
diate area including craft workers - both men and women - with
whom more thorough working meetings can be arranged in their
villages or workshops;
. festivals or traditional or national meetings during

which are displayed such treasures as costumes, ornaments, musi-
cal instruments and ceremonial objects, and which also provde an
opportunity to meet a large number of interesting people;
. days of rest (or forbidden days for some activities and

some groups) when the team would not be able to work with the craft
workers concerned.
Finally, it is possible to avoid visiting villages which are too close

together and offer basically the same sorts of work by taking care to
use local informants to choose the most interesting apsects.
33
MethodologicalGuideto the Collectionof Dataon Crafts
SURVEY PROCEDURES
Once the team has been trained, organized and provided with the
necessary documents and equipment, it is time to head out into the
field, which is where the real investigation takes place.
When sketching out the initial stages, the opening and closing
hours of government offrices should be noted if the team has to meet
the authorities to settle such matters as length of stay, lodgings,
meeting and provision of a guide/interpreter. Local formalities
always take some time and it is better to get them out of the way as
soon as possible before scouting out the area and drawing up a work
schedule.
The local authorities and the various agencies involved will help the
research tema:
. choose a guide;
. contact the best informants;
. let the local craft workers (and their chief or headman) know the
team is coming;
. confirm market days and the dates of any meetings or festivals;
. work out the best possible programme for the team’s stay in the
area (taking into account the distances to be covered and the time
taken to return to lodgings).
PROGRAMME
According to whether the team is staying one, two, three days or

longer in one place, a balance should be struck between:
. visits to different neighbourhoods of the main centre (city, town
or large village): the museum, craft centres, wokshops, if possible
at times which do not interfere with trips to be made during the
day;
. visits to isolated or scattered craft workers further awya, in villages
chosen strictly on the basis of how interesting their products or
workers are so as not to waste time on pointless journeys.
35
These visits should be announced so as to have some of finding

the people at work or products available, since many of these
rural craftsmen work irregularly and outside the normal hours
devoted to their fanning or other activities. On the other hand,
investigators should do their best to avoid being limited to displays
of all sorts of articles set out on the village square by the inhabitants
themselves.
When visiting and photographing markets, it is best to wait until they

are in full swing in the middle of the day, which is when most goods
are displayed and there is a throng of craft workers, traders and
informants.
Finally, whatever the time or place, it is important not to show

impatience, enven if time is short. It is sometimes more rewarding
to linger over the detail of something (item or working method)
which seems worth while, even at the cost of skipping one leg of the
trip, rather than glancing rapidly and superficially over a plethora of
objects and activities of no great interest.
OBSERVATION
Before photographing anything - a general view of a village, market,

workshop, or craft centre, the movements of a craft worker or the
objects themselves - or asking any questions, it is recommended
that time should be taken for observation.
This “looking” will allow an overall picture to be memorized which

will be useful later when it comes to producing precise descriptions,
survey reports and record sheets.
Observation also makes it easier to decide what to record on the

sheets or film, giving time to pick out surroundings, details to be
emphasized or significant movements. It allows time for getting to
know craft workers, villagers and traders, and gives them time to
overcome their reluctance and get used to being approached,
watched and questioned.
36
.. _ .___.
-.--~----.. .^ -..i- .I^
WRITTEN RECORDS
It has been found that one of the main obstacles to taking an accurate
census of craft workers and their trades - and to recording data in
general - is, apart from the usual distrust, a clear lack of interest in
the whole undertaking.
The problem of influencing people in the sectors concerned remains

a major one. It should be tackled at the start of the collecting
project with a view to making it clear what aid has been promised
and particularly by offering a number of immediate incentives,
which might be the only thing that will encourage active participa-
tion.
Various solutions may be considered:

. paying a small sum of money for every questionnaire filled in and
checked, either to the craft worker or to the community;
. providing some raw materials;
. providing small tools;
. offering a course of basic or advanced training;
. offering a stand at a trade fair or a show and sale;
. buying a few products, etc.
The investigator should in this case be authorized to guarantee and
follow through with the chosen inducement.
Interviews on the spot should preferably be held with the most able
craft worker (or with a group using the same technique) but also, if
the need arises, with villagers and informants (elders, chiefs, former
craft workers) who can give details about objects, techniques, deve-
lopments or changes.
Methods of interviewing and note-taking vary little. The main thing

to remember is to adhere strictly to the questionnaire or record sheet
to be filled in, avoiding digressions.
It is also important to limit the length of interviews with each person,

to keep to the same subject and to avoid interminable accounts or
personal reminiscences. This length of time may reasonably vary
between 10 and 30 minutes.
37
With experience, the investigator should get used to taking rapid

notes (for instance, by deciding on a system of abbreviations that
can be written in full when a fair copy of the report is made). This
means that most of the questionnaires completed in the field will be
rough drafts which should be put into clearer form as soon as pos-
sible. It is recommended that investigators should reread and rewrite
the day’s notes every evening, while they are still fresh in their minds.
If it has been possible to take along enough copies of questionnai-

res or record sheets, it is easy to fill them in directly according to each
craft worker or type of object, taking care to date and number them
so as to be able to attach the corresponding photographs (which
should also be dated and numbered).
There is no point in using a tape recorder for this type of work, since
recording and transcribing only slows matters down and complica-
tes them, to say nothing of the risk of tapes being accidentally erased
or broken.
However, if the team is big enough, an assistant might record

background noises (workshop, village festival, special songs or ac-
companying rhythms) or record names in local languages for
subsequent linguistic transcription.
When the investigator is also the team’s photographer, he will have

to proceed in stages - questionnaire and then photos (or the other
way round) - because it is difficult and muddling to do both at the
same time.
It is important to remember that not all the questions in a question-

naire have to be completed. If there are gaps or blanks they can
always be filled in later with information that has been checked - a
gap is better than a false piece of information.
If no-one is able to write down words used locally (names of places,

people and objects), the investigator should attempt to record them
as precisely as possible, even phonetically, so that they can be
checked later by someone who knows about the subject.
38
PHOTOGRAPHS
The photographs accompanying and supplementing the written

material must obviously have the same objectives and should
aim at:
. providing a meaningful illustration of the objects, showing their

shape, materials, aesthetic qualities, usefulness, decorative or
commercial possibilities;
. providing a graphic illustration of craft workers in their everyday

surroundings, the tools, techniques and movements used, showing
the peculiarities or difficulties of the work.
The number of shots will depend on whether they are intended for
reference files, publication, different kinds of illustration (brochures,
catalogues, postcards). These factors will also determine the pre-
sentation, which may vary from the general to the particular, from
overall views to details (broad general view, whole subject, detail,
close-up).
The number of shots should nevertheless always be checked against

the number of films available (one or two per subject - except for rare
or particularly interesting exceptions - and four to six for the succes-
sive stages of a process being recorded).
What to photograph, how to photograph it

. The object: this is what will appear on the inventory cards and in
the exhibition and sale catalogues, and will show the skill of the craft
worker.
In each category (basketry , pottery, woodwork, weaving), select the

most noteworthy examples, or a set of similar objects such as pots
made of the same material but in different sizes or decorated
---.__-_
differently, baskets of identical weave or statuettes carved by the

same craFtsman.
The examples to which it is wished to draw attention should be

kept separate so that the way they are made can be appreciated
better.
Objects spotted indoors should preferably be taken outside to be

photographed in daylight (museum pieces which cannot be moved
will require more elaborate lighting).
When the photographs are to be used for cultural and ethnological

purposes, it is always better to show the objects in their usual setting
(courtyard, fields, house), in use (utensil or tool being handled,
garment being worn) or in the workshop where they were made (fr-
nished articles).
When the photographs are to be used to show a selection of products

or in an exhibition or sales promotion, the presentation may differ,
the aim in this case being to show off the object to best advantage.
It may be divorced from its original function to highlight its aesthe-
tic or decorative value, or how it could be used differently: woven
material used as decoration, baskets For storage or lighting, copper-
work or wood sculptures mixed with artistic articles of different
origin.
In all cases take:
. a photo of the whole object (as Far as possible with a point OF

comparison to indicate its size);
. a detailed (close-up) photo showing the material and technique

used, as well is any decoration, motifs, colours or textures.
. How the object is made: although data about techniques are

collected chiefly with a view to preserving the cultural heritage or
making a technological assessment, they also provide information
about the craft workers, their needs and potential.
41
A photographic or filmed record of the techniques used can also help

with the training of new craft workers.
A single photograph is not enough to give an exact idea of how the

object is made. If time and film are available, the photographer
should start with the raw material and show all the stages that turn
it into the finished article.
If only a Few shots can be devoted to this aspect, choose two or three
important moments or movements in the process which can be
linked and filled out by a written commentary. The photos should be
taken close up in order to show clearly the movements and tools
used. Obviously, this type of sequence is easier to carry out and
interpret on film.
An overall view of the workshop (forge, weaving shop or tinsmith’s)

is desirable to show the atmosphere, layout of the tools and materials
and the relationship between the craft workers. There is no point in
photographing each of the tools, however, except if they present
special craft and aesthetic characteristics, such as the pulley of a
loom or a shoemaker’s engraved punch.
Similarly, photographs of crafts workers are only interesting if they

are practising their craft.
As we pointed out earlier, the investigator-photographer should

alternate interviews with sessions of taking photos and making notes
aboutthem, without exceeding the time-limit Fixed Forone place. Try
to develop quick reflexes For photographing real-life sequences
rather than wasting time setting up superfiuous and oFten inappro-
priate poses.
- Don’t Forget to use a “photo notebook”
. Dates, places, the number of each film and each shot and details
of the object or scene (with a brief commentary if necessary) should
all be carefully recorded. - See Annex 4 -.
42
Recording information on film, although desirable and worthwhile, is

difficult to carry out at the same time as making an ordinary,
traditional collection of photos and written notes. It requires a bigger
team, including a Film-maker or video specialist, and appreciably
greater resources (films, video cassettes, technical editing). Howe-
ver, it may be considered in countries where television programmes
have been set up to provide information and make people aware of
these problems (preserving the cultural heritage, reviving crafts,
training young people, encouraging production).
In this case, series of short closely-targeted documentary films

supporting the country’s aims could be put on cassette. For ins-
tance, they could show a selection of attractive objects in each craft
category, how they are made, their original uses and how their use
could be adapted to modem situations.
These films, 10 to 15 minutes long, should be made available to

various groups (prestige organizations, tourism, trade, education
and research bodies, craft centres and craft workers themselves).
This would probably be a great help in reinforcing the original aim
of the project.
43
Methodoloakal Guide to the Collectlon of Data on Crafts
For reasons of clarity, we are only suggesting here the bare bones of
the simplest type of record sheet but they will be quite adequate for
the First stage of collecting data.
There are Fuller questionnaires in Annex 111,covering more precisely

the aspects it is wished to bring out:
. object/product;
. craft worker;
. production/management/distribution.
These can be used for more targeted inquiries into clearly defined
needs and objectives (statistics, choosing products and manufactu-
rers, market research, training) and should in all cases be followed
up and checked by specialists - especially in the case of rural craft
workers who are Frequently not covered by the headings provided.
44
.^--1.“~---_~_I _..
QUESTIONNAIRESANDRECORDSHEETS
SUGGESTED MODELS
45
MODEL RECORD SHEET - No. 1

OBJECT
Category Country
Reference Region
Ethnic group
PHOTO OR SKETCH
Object: Local name:

Material:
Measurements:
Use:
Where collected:
Where made:
Where distributed:
Date collected:
cost:
Observations:
46
Model form No. 1
Category: Basketry Country: Ivory Coast

Ref.:71/27.02.301 Region: East Central
Ethnic group: Mangoro
Q&&Large, round jars

Local name: “Sin” jogo’
Material: Fired red clay
DirnensiQtlSLHeight 60 to 70 cm - diameter 50 to 60 cm
h Brewing millet beer (“sim(?“)
collected: The village of Kawolo
where &Kawolo, Mangorosso
colle@&February 1971
where dlstri&&&Sold in the village and at nearby markets
w 400 to 600 CFA francs
47
Guidelines for recording data

No. 1: RECORD SHEET FOR OBJECTS:
Category: This refers to the category of crafts or technique to which

the object belongs: basketry, pottery, fabrics, wood, metal, leather,
stone, ivory.
Reference: Year the inquiry was made plus photo number.
Country, region, ethnic group: Geographic location of the object al-

lowing it possibly to be compared and contrasted with neighbouring
regions and countries.
Object: What the object is usually called and general description.
Local name: What the object is called in the local dialect (or the most
widely-used local language).
Material: Main raw material from which the object is made: fibres,
earth, wood.
Mention other materials used to make or decorate the object (for
instance, leather and wood, ivory and gold, weaving decorated with
pearls, clay encrusted with shells, embroidered leather).
Measurements: Length, width, height, thickness or diameter (a

photograph can be deceptive).
For instance, for a basket: height 40 cm, diameter at base 18 cm,
diameter of opening 32 cm.
For a piece of fabric: width 80 cm, length 2.20 m.
For a piece of jewellery: about 3.5 x 6 cm, or diameter 5 cm,
thickness 2 mm.
Use: The use For which the object has been made.
Where collected: Name of the place where the object was seen,
photographed or bought (village, market, house, museum collec-
tion) .
48
Where made: Place or area where the object is usually made (village,
workshop, co-operative).
Specify if this is different from where it was collected.
Where distributed: The place where the object is usually sold

(market, shops, hawking).
Date collected: Date the object was spotted and photographed (also
necessary for the identification and numbering of the record sheets
+ date made if necessary (for instance in the case of an old object
or one that is no longer made).
Cost: Price of object on the spot (or price elsewhere if different).

Specific where bought.
Observations: Other information about the object can be noted here:

if it is the only one of its kind, if it is becoming scarce or disappearing,
undergoing changes or a change in its use, links or resemblance with
other objects with different origins.
49
-_I--
MODEL RECORD SHEET No. 2
The base Is modelled on an old pot, then the sides are

shaped by hand. Pattern of lines encrusted with a bunch
of grass, the upper part and neck smoothed to a shine
with a strip of wood and a damp cloth. Coated with shiny
red ochre. Dried in the open air and then under cover
(twodays),firedoveranopenflreofdrywood(sixto12
hours).
Pottery courtyard, plus part of the hut.
No potter’s wheel. The clay is turned by hand.

Basic accessories: wooden spatulas and iron hoops for
scratchingandsmoothing;strlngsofseeds, pebbles and
cloths for shining and polishing: shells, pointed sticks,
bunches of grass, maize and knives for cutting and
decorating.
Four to six-day cycle until firktg.Two or three jars

prepared per day.
See sheets on pottery techniques.
Craft work Mangoro woman aged about 40.

Professional potter.
Kawolo village (Dabakala region).
Family skills.
MostoftheMangorowomenfromthisregionarepotters
(professionalcaste).
50
MODEL RECORD SHEET - No. 2

TECHNIQUE/CRAFT WORKER
Technique used:
Workshop:
Tools:
Time taken:
Craft worker:
Observations:
51

No. 2: TECHNICAL RECORD SHEET/CRAFT
WORKERS
Technique used: Describe the procedures used to make the object.
This description should be short and precise (cross-references can
be made to the technical record sheets for the details)*.
For example, when dealing with pottery: moulding, modelling or
coilwork, drying time, method and time of firing.
For a piece of fabric: strips of plainly woven cloth, vertical stripes,
two or three alternating colours, computer-assisted design.
Mention any decorative techniques.
For example, for pottery: geometric design made in kaolin after
firing, motifs engraved with a knife before drying.
For a piece of fabric: motifs woven in brocade, embroidered or
painted motifs.
In each category (basketry, pottery, weaving) one or more technical
record sheets may be accurately made out, including photographs
of the different stages of work, to which each record sheet for objects
may make reference (see model No. 2).
Workshop: The craft worker’s usual place of work (individual or

common courtyard, private building, common building or work-
shop, mobile stall).
Specify if the worker practises his or her craft alone, with other family.
members, with apprentices or with other craft workers.
Tools: List and describe briefly the tools used:

- If possible, mention their name in local dialect.
- Specify if they are made by the craft workers themselves or
purchased.
Time taken: Average time required to make one object (or a series
if several are started together, pots for instance).
- Specify if the work goes on continuously or intermittently (as in the
case of craft workers who are also farmers).
l N.B. See the adjoining classification tables.
52
Methodologkal Guide to the Collection of Data on Crafts
Craft worker: Name, sex, age.

Social category, ethnic group, village.
Position of the group of workers (caste, endogamous group).
Place occupied by craft work in everyday life (professional or
occasional craft workers).
How knowledge is acquired (handed down in the family, training
course).
Observations: Other information about the craft worker (different

origin from area of work, influences, special talent, experience).
53
MODEL RECORD SHEET - NO. 3

PRODUCTION / COMMERCIALIZATION
(ADDITIONAL wiFoRMmort)
Article : Originality
(mark from 1 to 10)
Average rate of production :
per day : per week : per month :
Number of people employed in the workshop:
Estimated worker/months of work :

per month : per 6 months : per year :
Cost price : Sale price :
Turnover :
per week : per month : per year :
Distribution : Direct 0 By intermediary 0 Local 0

Regional 0 National 0 Foreign 0
Stocks :
Raw materials 0 Estimated value 0
Finished products 0 Estimated value 0
Use of equipment other than purely manual tools
YES 0 NO 0
If Yes, power source used : Human 0 Animal 0

Electric 0 Hydraulic 0 Fuel 0
Observations :
56

No. 3: ADDITIONAL INFORMATION ON PRODUC-
TION/COMMERCIALIZATION
Originality: A subjective viewpoint. The object should also be

compared to similar products, where these are known to exist.
Number of workers: This means people permanently employed in

production or sales.
Worker/month: The amount of work done by one person in one

month.
For example: a part-time worker = l/2 worker/month.
Observations: Various information gathered from watching the

workshop (conditions of work for instance), information about
trands (increased sales, strength of competition).
57
COLLATING THE DATA
59
COLLATING THE DATA

THE MATERIAL COLLECTED
After the survey, the information gathered usually falls into three
separate and complementary categories:
. written material: taken from the documents consulted

and from questionnaires and also from personal observations about
places, objects and craft workers. This information should be sorted
and organized in order to establish systematic card index concerning
the products, techniques and workers, before being used for broader
purposes and adapted to individual needs.
. photographs and film: taken during the mission or

from existing collections; these determine the subjects to be studied
and are reliable points of reference for the work and research to be
done (writing-up and illustration of card-indexes, first of all).
. product samples: or exceptional pieces that have been

acquired. These can be referred to in studying techniques, uses and
possible improvements, and will also provide material for museums,
exhibitions, teacher training, etc.
The study and classification of these three sorts of material will make
it possible to establish a set of data that can be used in various fields,
especially those concerning the aims of the collection.
CLASSIFICATION AND PRESENTATION *
The long-term aim of collecting data is to set up “data banks”. You

should never lose sight of the reasons for this. We wil! recall them
here:
. preserving the cultural heritage;
l See proposals in Annex 1.
60
. choosing objects and the people who make them, with a view to
developing and commercializing these objects:
. encouraging greater awareness of crafts and their importance,

including among craft workers themselves;
. exchanging and distributing information at national, regional and

international level;
. training new craft workers, building workshops for research and

design;
. drawing up statistics that will help with cultural and economic de-
velopment.
The data collected can first undergo basic, general classification by

the investigators themselves before being passed on to teams of
experts, archivists and statisticians who will sort and process them
in order to establish a “data bank” that can be used in all the ways
mentioned.
This initial classification can be on broad but logical lines such as:
. chronological order of collection;
. according to category of product/raw material;
. according to category of worker/technique;
. according to region.
For example, all the articles produced using straw (basketry) or

earth (pottery) can be sorted:
a) in the order they were encountered (date);

b) according to the regions (province or department) visited.
Stricter and more specific classifications, such as aesthetic or

commercial value, come later, at the specialized processing stage.
61
A parallel classification can be made of the three types of data

(written material, photos, samples) with cross-references to the
other categories to show they are complementary.
At this initial stage, a simple form of presentation should be used,

such as a file of record cards for each country, grouping the
information sorted.
. cards for each object and/or craft worker + correspon-

ding cards on production and commercialization (see models in the
relevant chapter). A photograph should be attached to each card
where possible.
. a numbered and captioned photo file, with contact

prints for the black-and-white pictures and filing envelopes for
slides. Video cassettes should also be numbered and filed according
to craft category, and accompanied by a commentary or explana-
tory note linking them to the rest of the material.
. samples and objects should be labelled, whatevertheir

ultimate destination, indicating usual name, origin, when and where
collected, name and address of the maker if necessary, use. They
should be handed over with the card files to the authorities in charge
of the project, or to a specialized organization such as a museum,
national crafts centre, promotion service, or shop selling craft
“models”.
In any case, the presentation, should take account of the possibility

of keeping the files up to date or adding new material during subse-
quent collections and survey work. The card-index should therefore
remain open and its classification should remain sufficiently flexible
to enable new information to be included.
62
USE
Most of the uses foreseen for the information thus collected are
included in the list of objectives of the collection.
Some will be immediate whilst others will be for the medium and long
term, and they can be given an order of priority according to the
country and individual cases.
It is obvious in any case that these uses will be multidisciplinary and

that the most appropriate presentation will be chosen each time:
a) Traditional card-indexes or computer files provide a

reserve of materials for use by experts in all categories, e.g. resear-
chers, artists, teachers, traders. They can form part of the stocks of
libraries, documentation centres and art schools so that they can be
easily available to a wide audience.
b) Slide displays, video cassettes, video discs and

documentary films can be used for teaching and general informa-
tion. In the political and economic field, they can accompany files
focusing on some convincing examples, backed up by figures, to
justify to governments a continuing policy of supporting and promo-
ting the crafts sector, and also to help find foreign financing for
training or commercialization projects.
This visual information can also be used by television, for instance

to help craft workers and the general public know each other
better.
c) various publications. The black-and-white and co-

lour photographs can be used in the publication of catalogues, part-
work magazines, prestige books, posters and postcards in order to
show national craft work in the best possible light through diploma-
tic, tourist, commercial, artistic and other organizations.
63
d) Exhibitions, show cases, stands at fairs, competi-

tions, display boards. These are more practical and can combine
objects, photographs and written materials. They are excellent
methods of communication and publicity. They can be selected and
designed as desired to suit a specific audience or clientele.
On this basis, and keeping the material up to date to highlight the

stages of any development of shapes, techniques, uses or fashions,
the collected data can be adapted for use in a broad range of political
and economic fields, in technical or artistic teaching (television and
out-of-school educational broadcasts) and in helping to preserve the
cultural heritage (setting up regional and craft museums, work-
shops, etc.).
***
64
___- ~,_^I. __..__^ -I... -. - -_.. -.I --111 ___^ . . . .._-_ .” ___.--
Methodological Guide to the CollectIon of Data on Crafts
ANNEXES
65
ANNEX I
TABLES OF CATEGORIES AND DATA
67
-
Methodological Guide to the Collectiin of Data on Crafts
l-
Local
Raw h;;i;anned VaErio ;sies 2
hnpolted
Recycled s
VkNiOUS
6
(crocodile, etc.) iii
Casting Tr~ditinal blast

Axes. adzes s
knives s
Chisels E
Forge Gou es
a
Grin i stones ‘FI
Traditional & g
modern tools c
Lost-waxcasting Casting Carving

p&
Moulding
Forging
Saddlery
Harness making
Decoration
Basic Table of Main Technical Data
MATERIAL TECHNIQUE OBJECT
- Glasses, straw, Bask&y, espartoware. Mats, articles for

leaves. fibres, bark, weaving, plaiting household use.
roots agriculture. hunting
&lFi$ and fishing
Furnishin s, decoration
Cldhing & ats)
Costumes (For dancing)
Instruments. toys
-Wood Jo1net-y Csrpentry utensils
- Fruits Carving Art Objects

(“la coconuts, + paperwork Furniture, housing
c&bashes)
Openwork, Engmvlng. Various utensils
C;m~o~i”ting. Decorated objects
b&g, plaiting Various textiles

Clothing
sewing Decor&Ion. furnishings
- Animal tlbm Various textiles

(silk c-ns, wool, Clothing
hair) Furnishings
DecoratIon. housing
- Skins. leather Tanning, dyeing various ute”slls

shoernoking. leatherwork Harness
saddlay Housing, decoration
Clothing
- Bone, teeth, horn cutting. engmving Weapons. instmments

Csrving Decorated and
Jewellay-making decorative objects
Costumes
- sea CMtupes Cutting. engraving Jewellery, costumes

(shells, coral. Jewellery-making Decorative objects
mother-of-pearl)
- Earth. clay, ochre Pc4tery. ceramics various utensils

Minsrdl Buildlng fuuct~t~~or
2$tL Furniture. housing

costumes
Instruments. toys
clitt1ng weapons, utensils

Bulldlng Housing, decoration
SCUlpUZ costumes
Cssting. forging Weapons. tools

Jewellery-making Various utensils
(pouring. hammering. Accessories,
lost-wax. engraving. mechanical parts
chasing) Statuary ritual objects
Costumes. jewellery
Instruments, toys
~Tlle followl”g categories cold be classified separately as part of o specific survey:

Rltwl, religious and magic objects
Musical Instruments
- Games and t s
- Gmphlc and %ecorative creatlcns: signs
murals
- Recycling crafts
70
Methodologfcal Guide to the Collection of Data on Crafts
ANNEX II
PHOTOGRAPHIC INFORMATION
(GUIDELINES)
71
PHOTOGRAPH’S NOTE-BOOK
. The notes here are made camera by camera, one with black-and-
white film, the other with colour.
Changes of order and changes of camera are also noted (this makes
it possible to spot, during processing, the origin of any mistakes or
hitches.
. Noting down dates, photo numbers, places and subjects simplifies

the sorting and labelling of the photographs after development,
taking into account the notes made at the same time.
With experience, the photographer adopts the form of note-taking
that suits him or her best, to be adapted and interpreted according
to the circumstances.
72
- -- --.._.
ANNEX III
QUESTIONNAIRES
75
COLLECTION OF QUALITATIVE AND

QUANTITATIVE DATA ON CRAFTS
QUESTIONNAIRE No 1
FORM No Date :
Region or province) : Place :
CRAFTS CATEGORY :
1. OBJECT / PROJECT
1.1 Description
1.1.1 Usual name: Local name :
1.1.2 Shape:
1.1.3 Measurements :
1.1.4 RawmaterIal :
1.1.5 Decoration, colours :
1.1.6 Use :
1.2 Production
1.2.1 Where made Where seen or
where sold :
1.2.2 Name of craft worker :
1.2.3 Address of craft worker :
1.2.4 Local Price :
1.3 Observations
76
COLLECTION OF QUALITATIVE AND

QUANTITATIVE DATA ON CRAFTS
QUESTIONNAIRE N” 2
FORM No Date :
Region or province : Ptace :
CRAFTS CATEGORY :
2. CRAFT WORKER
2.1 GENERAL ASPECTS
2.1.1 Identification
2.1.1.1 Surname: Age :

First name : sex:
Ethnic group : Nationality :
2.1.1.2 Address of workshop :
Estimated number of people living on earnings from the workshop : -
2.1 .1.3 Adress of craft worker (if different from above) :
2.1.1.4 Official registration Yes 0 No 0

If yes, where registered
No :
77
----__--..-- ~_-- .-__ -.

2.1.2 Definition
2.1.2.1 Years of experience :

2.1.2.2 Initial training Date : Person responsible :
(family or other) Place : Length of training :
2.1.2.3 Later training Date : Person responsible :
Place : Length of training :
2.1.2.4 Objects made :
2.1.2.5 Raw materials used :
2.1.2.6 Type of product : Traditional 0 or modern 0

Functional 0 or artistic 0
2.1.2.7 Activity : Seasonal 0 Time of year
Part time 0 Duration
Full time 0
2.1.2.8 Professional help : Family members 0 Number:
Apprentices 0 Number:
Employees 0 Number:
2.1.2.9 Griefdescription of the workshop (situation, type of building, surface area,
tools, electricity, water)
78
Methodological Ciulde to the Collection of Data on Crafts
2.1.3 social position

2.1.3.1 Aspects of life-style (vehicle. housing. telephone) :
2.1.3.2 Local status (e.g. village chief. farmer)
2.1.3.3 Membership of organlzations (professional group, co-operative)
2.1.3.4 Relationship with the State

Direct contact ? :
Name and function of contact person :
Has the craft worker received State ald (finance, training, equipment)
79
2.2 ECONOMIC ASPECTS

2.2.1 Supplies
2.2.1.1 Origin of raw materials :
local (under 5 km away) 0 5-10 km away 0
lo-50 away 0 over 50 km away 0
If obtalned from abroad origin : amount paid :
2.2.1.2 Distance from lines of communications: (several replies possible)

DISTANCE Uptol km l-10 km
TYPE
Track
Road (tarmac)
Train
Navigable river
firpofl
Port
2.2.1.3 Amount of raw materials used:

NPE QCIANTlTY
per day :
per week :
per month :
2.2.1.4 Amount of raw materials bought:

TYPE QUANTI-IY HOW OFTEN
2.2.1.5 Power used in production :

Oil 0 Water 0
Electric 0 None 0
2.2.1.6 If no power used, why not ?
Not available Too costly No point
Oil
Water
Electric
60
2.2.2 Rate of production

2.2.2.1 Number of objects made : Per day :
Per week :
Per month :
2.2.2.2 Estimated time taken : Object 1 :
Object 2 :
Object 3 :
Object 4 :
2.2.2.3 Stocks (estimated value if possible) :
Raw materials :
Finished products :
2.2.2.4 Extra production capacity : Yes 0 No 0
If yes, estimated quantity : Per day :
Per week :
Per month :
81
2.2.3Management
2.2.3.1 Average cost of raw materials for a given number of articles
(e.g. 10.50. 100). according to category :
2.2.3.2 Other expenditure for the same number of articles

(e.g. hours of work, miscellaneous expenses) :
2.2.3.3 Craft worker’s estimate of cost price of each article :
2.2.3.4 Average on-the-spot selling price (per article) :
2.2.3.5 DO prices vary according to quantity ? Yes 0 No 0

2.2.3.6 DO prices vary for different customers ? Yes 0 No 0
2.2.3.7 Average turnover : Per week :
Per month :
2.2.3.8 Is credit given ? Yes 0 No 0
2.2.3.9 Is supplier credit used: Yes 0 No 0
2.2.3.10 Usual way of financing purchase : Own rewurces 0
Loans from family/friends 0
Banking system 0
2.2.3.11 Can outside financing be
easily obtained ? Yes 0 No 0
- Rate of interest :
- Source (family, friends, bank) :
82
2.2.3.12 Does the worker have debts : Yes 0 No 0

Estimated percentage of turnover :
2.2.3.13 Are written accounts kept : Yes 0 No 0
Of what kind 3 :
2.2.3.14 Does the worker use a bank account : Yes 0 No 0
2.2.3.15 Does the worker use a cheque book : Yes 0 No 0
2.2.4 Commerciallzatlon /Distribution

2.2.4.1 Selling methods (advertising, special offers, shop windows) :
2.2.4.2 Type of customers (intermediaries, direct sale, local, regional, national,

foreign):
2.2.4.3. Importance of the various types of customer (in decreasing order and giving
percentages if possible) :
2.2.4.4 Experience at trade fairs and exhibitions :

National :
International :
2.2.4.5 Experience in sending goods abroad : Yes 0 No 0

2.2.4.6 If the customers are mostly intermediaries :
Quantity bought : How often :
Bying to order : Yes 0 No 0
Possible advances : Yes 0 No 0
Final point of sale : Known :
Presumed :
83
2.2.4.7 Does the craft worker have a place to display goods : Yes 0 No 0
In the workplace :
Elsewhere (shop, window display, airport) :
If so. surface area :
2.2.4.8 Is packaging used for transport 3 Yes 0 No 0
If yes. is it : made locally by the craft worker 0
made locally by another worker 0
purchased in the country 0
purchasedabroad 0
2.2.4.9 Means of transport used (retail or wholesale) :
Road 0 Train 0 Plane 0 Boat 0 Animal 0
2.2.5 Competition
2.2.5.1 Competitors : Local/village, how many :
Regional :
National :
2.2.5.2 Are there competing imported products (give examples) :
2.2.6 Taxes
2.2.6.1 Name / Designation :
2.2.6.2 Method of taxation :
2.2.6.3 Method of payment :
2.2.6.4 How often :
2.2.6.5 Amount paid each time :
84
-_-. . . _ -,-l--.-
ANNEX IV
BIBLIOGRAPHIC NOTES
85
BIBLIOGRAPHIC GUIDELINES
General topics:
. G. FOUCART :
Questionnaire preliminaire d’ethnologie africaine (Societe de Geogra-
phie - Le Caire 1919).
. M. GRIAULE :
instructions sommaires pour les collecteurs d’objets ethnographiques
(Mu&e d’EthnoFphie Paris 1931&
- Methode de I thnographie (P.U. . Paris 1957).
L’enquete orale en Ethnographie (Revue Philosophique Paris, Oct. 1952).
; A. LEROI-GOURHAN :
- Evolution et Techniques
- L’homme et la matiere
- Milieu et technique (Albin Michel, Paris 1943).
l R. H. LOWIE :
- Manuel d’anthropologie culturelle (Paris 1936).
. A. G. HAUDRICOURT :
- Technologie culturelle, methodologie
(in Ethnologie G&r&ale, Encyclopedie de la Pleiade, N.R.F. Paris 1968).
l J. MICHEA :
- Technologie culturelle - Systematique
(in Ethnologie G&n&ale, Encyclopedie de la Pleiade, N.R.F. Paris 1968).
l “Notes and queries” (Royal Anthropological Institute, Londres 1929).
Reference works:
l UNESCO :
- Ten-year Plan of Action for the Development of Crafts Worldwide 1990-
1999 (Hammamet, May 1989).
Conference on qualitative and quantitative data concerning crafts (Nia-
mey. June 1986).
l UNESCO/ICA :
Regional workshop on the collection of qualitative and quantitative data
concerning crafts (Bangui, March 1989).
l Hispano-American Crafts Community :
- Tenerife seminar, October 1988.
87
l S.I.A.O. (Ouagadougou International Crafts Fair) :

- Conference on African crafts - The Current Situation and Future prospects
(Ouagadougou, February 1988).
l W.C.C. (World Crafts Council) :
- International Conference on the Role of Crafts in the Development process
(Djakarta, August 1985).
l J. ANQUETIL :
- The Potential of the Craft Industry (in Sources - UNESCO, September
1989).
l P. H. El-A :
- For the development of crafts worldwide (in Museum - UNESCO, No. 157,
1988).
ASIA
l Artisans in Economic Development - (Inde, Nepal, Indonesia, Malaysia,
the Philippines, Sri Lanka, Thailand) - Elwood A. Pye, Editor, I.D.R.C. -
Ottawa, 1988.
l Manual for Collecting Oral Traditions by MO. TAIB OSMAN, Ministry of
Education (Kuala Lumpur 1982/UNESCO 198 1).
l Artisan Industries for Asia : four Case Studies (I.D.R.C., Ottawa 1988).
Economic studies and statistics can also be found in publications by

-the I.D.R.C. (International Development Research Centre, P.O. Box8500,
Ottawa)
- the I.L.O. (International Labour Organization, Geneva)
- the A.R.T.E.P. (Asian Regional Team for Employment promotion, New
Delhi).

Engo

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Engo

Uploaded by

Copyright:

Available Formats

Methodological Guide to the Collection of Data on Crafts

TEN-YEAR PLAN OF ACTION

Methodological guide to the collection of data

---. I___-..- - -----.

PUBLISHED BY THE UNITED NATIONS EDUCATIONAL,

Pdnted by Hexagone . Ah-en-Provence

The author attaches the utmost importance to the systematic

THE COLLECTION OF DATA :

. Craft categories and data

QUESTIONNAIRES AND FORMS

COLLATING THE DATA

THE COLLECTION OF DATA

Readers should therefore use and adapt it to suit their purpo-

As thisconcems “collection”, the idea is introduced of making

Finally, as faras the “data”areconcerned, theseare, ifwe keep

Where crafts are concerned, they will vary according to the

The term “methodology” involves an attempt at organiza tion

which is recorded and preserved in the chosen form - written

Any method requires a plan to enable useful progress to be

For maximum clarity, each phase of work is organized into

. before: preliminary research and documentation;

According to the scope of the research (amount of data and

CRAFT CATEGORIES AND DATA

This problem was discussed at various meetings of experts - espe-

The choice of categories used here corresponds in general to this

. Basketry (vegetable fibres)

. Textiles (vegetable or animal fibres)

. Wood (various vegetable materials)

. Leather (various skins from animals - cattle, sheep, rep-

For the record:

_--- ----- .._

nents of these categories can already be found in the main catego-

. The home, traditional architecture:

. Wall decoration, signs:

, Musical instruments, dance accessories:

. Costumes, accessories, hair ornaments:

1. See the table of categories and data in Annex 1.

importance should also be attached to highlighting the merits which

. cultural, social, historical or religious significance:

. organization and rate of production;

These are concerned more specifically with “quantities”, that is with

. counting the workers;

However, it should be borne in mind that the field of crafts remains

Very selective criteria must therefore be established in order to

METHODS OF COLLECTING DATA

. human resources (supervisors and people in charge of

One common solution is collaboration between several ministries

The advantage of a carefully set-up budget, whose distribution has

These are the people who . supervise the project;

Direct local contacts should be chosen for the data-collection

Who are they?

“Missions” are usually entrusted to consultants with varied back-

These workers should be chosen in the country concerned, giving

These investigators might include, for instance, museum workers,

qualifications in ethnography or museology, certain experienced

It should also be borne in mind that any investigation undertaken in

In all cases, informants, guides and interprc

. The chief investigator is in fact the “team leader”, in charge of the

. The assistant may be a representative of the craft sector or the

. Preferably, the investigator will take the photographs provided he

. A video technician is recommended, if funds allow, to augment the

Experts to sort and process the data