IJMSAC - Volume 2 - Issue 2 - Pages 60-92

INTERNATIONAL JOURNAL OF
MULTIDISCIPLINARY STUDIES IN ARCHITECTURE

AND CULTURAL HERITAGE
ISSN: 2735-4415 VOLUME 2, ISSUE 2, 2019, 60 – 92. www.egyptfuture.org/ojs/
The Role of Traditional Crafts Centers in Maintaining Heritage and its Impact
on Promoting Tourism
(Case Study: Foustat Traditional Crafts Center – Cairo, Egypt)
Amira Hassan Abdou a, *

a Lecturer at Tourism Studies Dep., Faculty of Tourism and Hotels, October 6 University, Egypt
Abstract
Traditional crafts are one of the most creative tools for tourism promotion and enhancement of the tourist flow to Egypt; also, it
could be an important means for poverty reduction in some communities, through raising the economic level of these communities
by selling these unique handicrafts. These crafts, might be made and sold by the individuals at some ethnic regions (Nubia, North
& South Sinai...etc.), or through crafts center, such as "Foustat Traditional Crafts’ Center".
Crafts are the testimonials of the creativity of Muslim artisans and their interaction with pre-Islam civilization. Eventually,
Muslims came up with crafts, which highlight the essence and values of Islam. Craft workshops were limited to the area in Khan
al-Khalili. The prosperity of crafts in the area was closely associated with social and economic changes in society. For instance,
mass production would reduce the price and badly affect the prospects of veteran craftspeople. A craft man and five apprentices
were employed. The centre’s population increased after a large number of veteran crafts people were encouraged to collaborate
and a big number of apprentices was persuaded to come forward and train themselves. The well-equipped centre is planned to
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revive woodwork, brass inlay, traditional dresses, tent-making, ivory inlay, stucco glass, etc. The Centre also initiated an ambitious
plan to market its products by taking part in many international exhibitions and fairs in different countries. It is also known that
Egypt played host to the International Conference of Crafts in 1995.
Keywords
- Traditional Crafts.
- Cultural Heritage.
- Foustat Traditional Crafts.
- Center.
- Cultural Tourism.
- Community Based Tourism.
Introduction
Traditional crafts are labeled as: “folk art”, “indigenous art”, “and naïve art”. These
labels often answer traveler’s question for“the other” and has sizeable impact on those
who produce object of cultural value. The term handicraft is ambiguous. We do not
really understand if we’re talking about an authentic work of art or a suggestive work
in a preindustrial society context. Art perception is changing very rapidly. Craft is
still art when it no longer represents the philosophy of a group but rather that of an
individual. During the process of creation authenticity, originality and know-how are
key factors. Some art demonstrates no or little skills at using materials, but expresses
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something really profound. Equally, some that we define as craft expresses nothing in
particular, but demonstrates great skill. However, some great art demonstrates both;
great skills at using the materials chosen, and expressing something profound. An
attempt to define something or someone as art(ist) or craft(maker) is thus
meaningless.[Alexandra & Rusu A., 2011] Besides the commercial value these
products have also a symbolic meaning, often more important than the utility or
educational purpose. Handicrafts are the mark of a community, individual works of
art reflecting a group. Cultural products are derived from distinctive characteristics of
social groups: material, intellectual, spiritual and emotional characteristics. These
elements of artistic heritage developed by individuals reflect the cultural artistic
expression of the community,either in a verbal or a material form. Often traditional
arts or handicrafts do not get the rightful attention. In a world of real timeinformation
the media does not cover subjects that escape time. Crafts become the mission of
“slow media”, of programs that address a small group of people.
The paper focuses on the important roleof the crafts centers, as a main source of
attraction for the cultural tourists, in additionto preserving the traditional crafts and to
achieve the sustainability approach through helping new generations to revive and
hone their skills in this field.
Methodology:
In carrying out this research, the researcher used both of primary andsecondary
sources of data collection. For the primary sources of data collection, participant
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observation and structuredinterview methods were used in conducting this research.

The secondary sources used in this research work came from both published and
unpublished works, books and articles. The data was collected through two different
interviews, which had been analyzed in the form of (SWOT analysis) with the
Chairman of ‘Foustat’ Traditional Crafts’ center, in addition to the craftsmen at the
center.
1- Sustainability in Maintaining Cultural Heritage:
The most important quality of traditional products is sustainability. The products of
“total beauty” are the source of many environmental issues. Pollution,
deforestation, extinction of species and global warming are side effects of mass
goods production. Many of the beautiful products we see today have a darker
side,less pleasant. Sustainable products, amongst which we find traditional textiles,
for example, made using traditional technologies and dyed with plant dyes do not
have a major impact on environment, are consistent with the environment throughout
their lifespan. Sustainable products are made fromorganic, recyclable or compostable
materials, they are safe and non-toxic. The production processes needed use
renewable energy and the final product fulfils its function efficiently and has a fair
social impact. Regardless of the importance of eco-friendly and sustainable products
we have to focus also on the economic impact for ruralcommunities.
Income building for small communitiessustains and develops economy at a higher
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level. If it does not affect the quality of the products, cultural goods commerce
contributes to the overall standard of life for certain areas. Benefits like food
providingand health care are extremely important for families and underprivileged
groups. Studies concerning traditional crafts follow two tendencies:
1- Denounce the oversimplified decorative elements, the loss of symbolic value or
even functional value turning the artifact into tourist goods;
2- See in the process of commercializing craft goods only the economic aspects, the
response of a group to a necessity inducedfrom outside. [Alexandra & Rusu A.,
2011]
From these two points of view tourism is perceived as a degenerative agent of
craftsmanship and, by extension, of the cultural area and group that created it.
Authorities’ interest gravitates around the contribution that handicrafts might bring
to the national economy. Craft practicing limits migration from rural areas to
peripheral urban areas. Authorities in South-American countries have embraced a
new solution:
involving NGOs. Traditional products commerce is not lacking difficulties.
1-1 Local Level in Preserving Traditional Crafts:
The following local/capacity-building level interventions are proposed in the form
of project recommendations aiming to increase employment among women and youth
particularly in rural areas and to help them generate sustainable livelihoods.
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• Training Creating centers for crafts and trades: Highlight the importance of the
creation and promotion of training centresfor crafts and trades, paying particular
attention to the protection and reproduction of indigenous and/or traditional
production techniques that are in danger of disappearing.
• Educational programs: Encourage the implementation of crafts education
programs for children under 14 years old and who are at risk for dropping out of
school. This artistic education helps to develop self-expression, observation,
appreciation and creativity. Self-expression is the activity that satisfies the need
to transmit ideas, emotions and feelings. Observation serves as a means for a
person to knowingly face something new, and to consciously relate what they see
with what they have stored in their memory. Appreciation develops respect and
places value on the expressions ofothers.
• Design training workshops: Conduct design training workshops similar to those
organized as part of this project. Workshops should be conducted to train
craftspeople in designing products and also to introduce them to existing designs
so that they may use these designs in theirhandicrafts. Recent trends should be
introduced to the artisans in order for them to align their product designs and
styles accordingly. Local and foreignexperts should also be included to share their
experiences and offer their insightsin monitoring the prevailing trends. Design
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consultants or designers should behired to collect the designs and patterns

• from around the country or region thatdepict the art, culture and styles of the
location. A national bibliography recording the arts and crafts of the country
should be formed to preserve the designs, which are part of the cultural heritage
of the nation. This would serve as a development tool for the handicrafts sector
and protect the cultural heritage for future generations.
• • Development of craft products: Develop training centers where master
trainers can train poor people and facilitate the craft development process, as
was done in Cambodia with the Community Learning Centers. If centers are not
available, master trainers can train youth and women at home. Given that
handicrafts are produced on a small scale and require simple tools, craftwork
can be easily carried out by women at theirconvenience within their homes. [N.
Richard,2007]
• Equipment and other facilities need to be provided by development agencies or
by the state and/or province. After the training is conducted on how to produce
the specificcraft, product designing and colouring methods should also be taught
to ensure that the products respond to a real demand on the domestic as well as
international or regional markets. Training materials should also be made
available to different organizations.
• Skills improvement for artisans calls for a systematic approach and a longterm
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vision. Poor women and youth should be given the support and training they
need to help them move beyond a subsistence level of production and increase
their competitiveness. For example they could be taught to develop new
entrepreneurial skills. This is something that should be addressedby ministries
focusing on education, vocational training and SMEs; universities; local support
institutions; women’s organizations; NGOs and technical assistance projects.
The main problems inthis area are the lack of funds, the need for experts in
design and the lack of facilitators/peer educators to sustain the trainings.
• Given the migration of men to urban areas and the trend for them to shift their
attention to more profitable pursuits, attention should also be given to training
women in craftsnormally practiced by men.
• • Marketing Proper training: needs to be given on marketing techniques.
Packaging, labeling, sizing, presentationand colour schemes are just some of the
topics that need to be discussed with the craftspeople. Through these discussions,
youth and women will be encouraged to produce more and they will be trained to
become more outgoing and to interact more freely with their environment.
• During the trainings, the artisans shouldbe encouraged to develop links among
one another and to sell their products themselves, either individually or in groups,
thus bypassing middlemen. Emphasis should also be placed on creating a
trustworthy network with markets/bazaars/souks. Hotels, motelsand guest houses
could be used to displayand sell the handicrafts produced in their areas. Regular
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exhibitions could beorganized where craftspeople from all over the country could
participate. Handicrafts should also be promoted on international markets and
market surveys should be conducted to find out the potential forexporting.
• • Promotion of craft villages: Craft villages will increase productivity while
also providing sustainable market access. They will act as a one-stop shop where
artisans from around the country couldboth manufacture and market theirproducts.
They would have the option of renting shop space on a weekly, for nightly or even
monthly basis. Masterstrainers should take part in training workshops. In this way
they are not only passing on their skills, but they are also earning additional
income.
All facilities should be provided by the local/national government; and private and
international donors should also contribute to covering the costs of establishing the
centers.
Setting up such centers in large cities will on the one hand help in propagating the
value of crafts to larger audiences; and on the other it will allow craftspeople to
increase their income through bypassing middlemen.
The centre could also provide access to microcredit. Existing production
techniques could be recorded, which would help in identifying areas of improvement
as well as topics for future trainings. The centre would be a source of expertise on
designing and packing the products, as well as on marketing and export potential.
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Furthermore, certain of the crafts could be displayed in local, regional, national

museums, as well as in tourism offices, in order to increase the crafts’ visibility and
to promote awarenesson local crafts.
• Networking, confidence building andhuman dignity: Marginalized
entrepreneurs could network among themselves and open small outlets with a
brand name and set quality standards for their products. They could also request
assistance in making a website and a CD catalogue in order to promote their
products. Governments and international organizations could assist with setting
up the outlets. The outlets would need to be set up in main cities near the artisans’
villages so that they would be able to travel to and from the outlets regularly. [N.
Richard,2007]
1.2. Global level in Preserving Traditional Crafts:
One of the UNESCO projects in this field entitled "Handicrafts as a
socioeconomic and cultural development factor", was part of the Cross-cutting
Program on Poverty Eradication during the last two biennia (2002-2005). It was
designed and implemented in order to provide decision- makers with strategic
recommendations for the eradication of poverty through employment generation,
especially for poor and marginalized youth and women.
The project’s first objectives were to help create small craft enterprises and to
mobilize social capital for comprehensive crafts training and non-formal education in
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literacy and numeracy. Targeting marginalized youth, these trainings also addressed
production and marketing. The project also provided education departments with a
craft methodology and employment-oriented training that could be integrated into the
school curriculum. Through this revised curriculum, poor students who could not
pursue a formal education nevertheless had access to a viable alternative for future
employment. [N. Richard, 2007]
If handicrafts are to play a key role inpromoting human development, it is essential
that people’s cultural well-being be considered as an integral part of their social and
economic well-being. Recognizing thelink between culture and development will be
pivotal to the success of future policies and the capacity of policy makers to
accomplish results through multi-sectoralintervention.
Designed and implemented one decade after the UNESCO’s Associated Schools
Project and Arts and Crafts AwarenessWorkshop-classes, this pilot project targeted
the most marginalized groups including youth no longer attending school, and
addressed issues such as the cultural dimension of development, the importanceof
cultural identities, broadening participation in cultural life and promoting
international cultural cooperation. [N.Richard, 2007]
Through the training activities, it was UNESCO’s hope that the beneficiaries of
this project would be able to produce and market handmade products which could
compete successfully on the global market. The goal was to help them emerge from
situations of poverty or extreme poverty by giving them access to materials and
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networks, thus helping them increase theirlevels of income. The training activities of
this project enabled marginalized groups to learn a creative skill and in this way,
contributed to their sense of personal dignity.
2- Linking the Traditional Handicrafts Sector to Tourism Markets:
The International Trade Centre (ITC) is the joint agency of the World Trade
Organization and the United Nations. ITC's mission is to enable small business
export success in developing and transition- economy countries, by providing, with
partners, sustainable and inclusive development solutions to the private sector, trade
support institutions and policymakers.
The ‘Inclusive Tourism Program’ – one ofthe ITC’s projects- was established to
foster the tourism industry’s potential to contribute to development and poverty
reduction. It aims to reduce the negative impact oftourism and instead enhance
linkages between local vulnerable men and womenliving in and adjacent to tourism
destinationsand the tourism sector. The program promotes interventions that create
inclusive tourism business models, promoting stakeholder partnerships and the
inclusion of local producers and service providers into tourism supply chains. It
enables local producers and service providers to supply the required goods and
services and provides buyers with the skills to develop sustainable partnerships with
local producers. The program assesses potential local supply capacity and facilitates
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access to markets, thus reducing the amount of products andservices imported from
external suppliers.
In countries attracting a large number of international visitors, the tourism sector
offers many opportunities for poor people to sell handicrafts, as tourists spend
significant amounts of money on souvenirs and other craft products. Tourism is
growing, increasing from a mere 25 million international tourists in 1950 to 925
million in 2008. Forecasts predict that this figure will reach 1.4 billion tourists by
2020. Worldwide, travel and tourism is expected togrow at a level of 4.0% per
year over thenext ten years, creating an opportunity for every country in the world
to be part of this process and to share the benefits [WTTC,2009].
Handicraft production is an important area of job creation in the informal sector.
Subsistence farmers gain additional income from household-related handicraft
production and for the urban poor, the production of handicrafts is an alternative
in an environment where employment opportunities are few. In Viet Nam,craftsmen
are reported to generate an incomewhich is on average 60% higher than theaverage
income of the rural population [Ngo Duc Anh, 2005.
Key stakeholders involved in tourism and handicrafts can benefit from this
training urban and the rural poor, thus encouraging the final goals of job
creation and poverty reduction.
➢ Government representatives in developing countries should be interested because:
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• Tourism is a large and growing service sector, which generates foreign

exchange;
• Tourism can be used to benefit poor handicraft producers as the number of
international tourists increase;
• Strengthening the handicraft sector ensures that tourists choose to buy more
locally produced handicraft itemsrather than imported products;
• Handicraft production can help diversify the tourism product to
➢ It enables tourism enterprises to source more higher quality products locally,
which can in turn increase theattractiveness of their product range;
➢ Working with local craftsmen is a marketable asset to a souvenir shop that can
improve their image. Indeed, many shops increase sales based on social
responsibility as a sales argument;
➢ There will be less criminality as tourists are seen as a source of income for the
poor.
• Experience gained from pilot projects can be replicated by government
organizations for large scale impact.
➢ Development agencies and donors should be interested because:
• Handicraft production is a laborintensive industry that can support anumber
of part-time and fulltime employees, both skilled and unskilled;
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➢ Existing handicraft producers may not have considered the tourism industryas a
potential customer and concentrateon lower value products for the local market
only;
➢ Craftsmen can learn how to diversify their product base and add value to their
business;
➢ Craftsmen can learn new skills to enhance the sustainability of their business.
➢ Non-governmental organizations are often interested because:
• NGOs can assist handicraft producers negotiate supply conditions with local
shops;
➢ The handicraft sector is a major contributor to employment in their areas and the
development of thetourist market has the potential to increase the communities’
revenues;
➢ Handicraft production provides an opportunity for communities to preserve their
natural and cultural heritage and exposes it to international visitors. [ITC,2012]
3- Challenges facing Handicraft Linkages with Tourism:
Handicraft producers are often faced with many challenges that prevent them from
making full use of the opportunities providedby the tourism sector, such as:
➢ Supply-related challenges:
• Limited and/or only traditional productrange due to lack of innovation and
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new designs;
• Poor product quality due to low skills or missing knowledge about tourist
expectations;
• Local producers find it difficult to compete with imported products in terms of
price;
• Raw material and other inputs are not available or only available at certain
times;
• Producers are not able to invest in machinery/equipment to raise thequality
of their products;
• Producers are dispersed and not well- organized leading to less continuous,
slow and unsure supply.
➢ Market-related challenges:
• Lack of suitable market outlets which are attractive for tourists;
• Handicraft traders at tourist destinations are not aware of the supply
potential in other parts of the country;
• Different levels of middlemen andintermediary traders increase prices;
• Mistrust between traders and craft producers prevents from better
cooperation;
• Poorly developed market linkages with retail shops in the main tourist
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locations;
• Low integration in holiday packages oftour operators and hotel resorts;
• Customers often look for useful giftitems, rather than traditional souvenirs.
. [ITC,2012]
4- Egyptian Traditional Handicrafts:
Egyptian art was –and still is- one of the most revelations of this deep routed
civilization which emerged from the Nile valley. Traditional crafts boast currently a
great attention, for it reflects the authenticity of ancient Egyptian civilization, being an
original germ of the Egyptian land, and an area in which Egypt revealed itself
remarkably. Egypt is very rich of its inherited cultural heritage, Pharoanic and Islamic
heritage, with is represented through the various handmade industries, such as the
following handmade crafts:
4.1. Handmade Carpets Industry:
Handmade carpets industry had flourishedsince the Ayyubid and Mamluk eras in
the Levant region, and reached Egypt with the rise of Ottoman Empire. Through the
cultural communication, different models and diversified designs for handmade
carpetshad emerged as the Mamluk, Turkish andPersian ones. Since then, this industry
spreads all over Egypt especially in Monoufia, Qalubia, Gharbia as well as other
governorates. [www.imc-egypt.org]
4.2. Killim Industry:
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The multi shapes and colors of killim distinguish this traditional industry in Egypt,
through reflecting the nature and simplicityof Egyptian life style. “Fowah” city in
Kafr El Sheikh is famous by killim for a long timeago, as being used in mosques since
Mohamed Ali Pasha’s era. This craft alsospreads in many other cities as Siwa, where
killim is made for tents and homes. There aredifferent uses of killim as floor carpets;
furniture covers; or for wall decoration by hanging it as a beautiful piece of art. Carpets
are produced using wooden or iron looms, through handy inherited techniques. The
width and length of Looms differ according to the size of the carpet to be produced.
[www.imc-egypt.org]
4.3. Khayamia (Patchwork Industry):
Khayamia is an ethnic Egyptian art for using multi colored fabrics in making
traditional pavilions. Historically, this art was linked to the fabrication of the Holy
Kaaba’s cover decorated with gold and silverthreads. The cover used to be produced
in Egypt and then transferred to Saudi Arabiain a majestic procession “Mahmal”,
until the sixties of the last century. Originally, there was a special ceremony for the
endorsement of new Khayamia craftsman, by examining his work through
experienced and older craftsmen. In case of success, the new artisan used to host a
banquet as a celebration party. Nowadays, entering this craft is automatically done
after acquiring therequired techniques. [www.imc-egypt.org]
4.4. Trimming:
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Trimming craft is based upon shaping colored yarns through nodes, twisting,
rewinding, curling, mixing and networkingto produce decorative craft items as
trinkets for clothing, furniture and curtains using cotton and silk yarns. Artisans in
this craft have excelled in diversifying their production of decorative and striped
shape trimmings. This craft originate since the Egyptian ancient ages, where
trimmings had been utilized for the production of decorativetools for royal vehicles,
military cloths, church wears as well as for the decoration of Holy “Kaaba” covers.
This craft was affectedby the western art, with the spread of European home textiles
and furniture in Egypt during the monarchy times. Trimming craft is divided into two
branches traditional trimmings for strips and buttons used in clothing, and foreign
trimmings for upholstery, pillows, curtains and all the decorations. [www.imc-
egypt.org]
4.5. Pottery and Porcelain Industry:
Pottery industry is considered to be one of the special industries reflecting the
civilization and development of nations. Despite the easiness of making pottery
products, yet it needs a highly skillful labor. Pottery industry in Egypt begun since
prehistoric ages in Delta and Nile valley. Thechronology of history and civilization
of Egypt can be measured by the evolution of pottery and its decoration techniques.
Potteryindustry flourished in “Fatimid” era distinguishing it by the beautiful colors,
magnificent printings and decorations. Pottery and porcelain industry evolved more
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in “Ayyubid” era and the birth of Ayyubid faience “Porcelain,” which is best known
with its famously fine clay and decoratedglass, in addition to the brilliant drawings
for plants, birds and animals. Pottery industrynow is concentrated in the areas of
“Fustat” in Old Cairo, Fayoum, New Valley and Qena. [www.imc-egypt.org]
4.6. Marble Industry:
“Shaq El-Teban” nearby “Maadi” area in Cairo is recognized to be the largest
industrial cluster for marble & granite products in Egypt, its location is overthousand
acres, and considered the 4th largest marble and granite exporting clusterin the
world. Next to the quarries, the cluster includes several workshops and factories
specialized in marble sculpture and carving with a wide set of products including
basins, fountains as well as flooring tiles. Dressah also in Alexandria is known by
producing handmade mosaic, frescos and basins made from residues and waste of
marble. Dressah has about 200 workshops specialized in trading and manufacturing
the best kinds of handmade mosaics. [www.imc-egypt.org]
4.7. Alabaster Industry:
Alabaster industry is one of the unique Egyptian crafts that developed and
sustained through the sequential generations sinceancient Egyptians. It represents the
major source of income for many artisans working mainly in the west of Luxor.
Yellow limestone, black granite, basalt, marble and the national marmar are the most
prominent materials used in this craft, brought from the mountainous region in
“Qurna village” located at the west bank of Luxor, where the artisans live besides
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the temples and ancient civilization symbols to produce Pharaonic antiques

fascinating tourists from differentworldwide nations. [www.imc-egypt.org]
4.8. Glass Industry:
The antiques found in Delta and Nile Valley refers to the existence of the glassindustry
in Egypt since thousands of years ago. This industry has sustained and grow due to
the strong interest of the Muslims in the middle ages to develop this craft after learning
its techniques from different countries including Levant, Iraq and Iran to satisfy their
needs of glassware for perfumes, medicines, lighting, and drinking, … etc. Blown
glass is one of the famous kinds of glass that developed in Roman era, where
integration of dyes in the glass took place to produce dark and faint colored products.
Then in the Byzantine era, glass vessels made from molds began to emerge. After
that, the Arab have developed many tools to be used in this craft such as the holding
rodof the vessel’s bottom during glassblowing process, and using wood blocks to
made the glass in ball shapes before the blowing process. After this period, the Blown
glass has witnessed important changes including new Geometric and plant shapes.
Stained and Mosaic glass is another fantastic art; mosaic is a foreign word means
“Fosefisa”in Arabic language, it refers to a kind of art depend on the collection of
stones, ceramics or small glass pieces to produce a unique wonderful products.
[www.imc-egypt.org]
4.9. Furniture Industry:
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Egypt is well-known with its history inthe furniture industry started hundreds
of years ago, since the Mamluk era. Thefurniture industry especially the French styles
was supported and developed in Egyptas a sort of national rebellion against British
occupation. The Egyptians admire to the French classical arts contributed to boosting
this industry. Additionally the flow of French and Italian minorities to Egypt played
an important role in developing the furniture industry. Egypt is characterized by its
skillful artisans and their capabilities in “Quema” art, this kind of art does no longer
exist except in Damietta, where young craftsmen are educated through their fathers
and grandfathers. Damietta is considered to be one of the oldest regions specialized
in furniture industry in Egypt. [www.imc- egypt.org]
4.10. Sarsou Wooden Products:
In Upper Egypt and specifically the village of “Hijazh” there is one of the largest
and recognized centers for woodenhandicrafts and furniture products in Egypt. The
products designed in “Hijazh” are characterized by being a mixture from the
Egyptian Coptic, Arabic and Islamic traditions formulated in a unique wonderful
design. This art spreads with the successive generations of “Hijazh” artisans, due
to the availability of the finest type of wood, such as Asersus, Nabq, Acacia, Tamarix
and Orange wood, thus most of “Hijazh” citizens work in this craft producing
traditional looms, seats, pallets, doors, and windows. They excel in carving the
wooden Sarsou and producing various forms for both local and international
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customers. The artisans have surpassed also in the sculpture, etching and wood
forming, affected by the Pharaonic, Coptic and Islamic art. Moreover, they are
talented in designing perfect andfantastic models, including paintings, forms of birds
and animals, chairs, small tables and candlesticks, in addition to kitchen tools,
saucers, and spoons that are made of wood without adding any artificial colors or
paints,to be healthy and safety for food catering. [www.imc-egypt.org]
4.11. Tally Industry:
Tally is a special form of embroidery made of silver or gold threads. This industry
was flourished in the rural areas of Egypt, especially Sohag in Upper Egypt since
two centuries ago. The artisan makes one stitch ata time, then cuts the thread off and
moves to the next stitch, which gives the design exactly the same pattern and shape
when seen either from the back or the front. This technique in embroidery was dated
back to pre-Coptic and Islamic era. Women in UpperEgypt especially in Shandawil
village are still working collectively in this craft to resurrect the ancestors’ heritage.
[www.imc- egypt.org]
4.12. Handmade Textile Industry:
Akhmim city is recognized to be the land of civilizations, where the buildings indicate
its originality and confirms the view of historians that this city was built seven times
along the Pharaonic, Greek, Roman, Coptic and Islamic history. Akhmim is famous
forits amazing handmade textile products since the ancient era as it was named and
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described as the “Prehistoric Manchester” relative to the British city of Manchester

which is well-known for its modern textile industry. The outstanding beautiful
products of Akhmim spread worldwide in different museums. These products are
mixture of hand weaving and embroidery, Akhmim is also famed for its natural silk
fabrics and distinctive designed cotton bedspreads and bed linens. [www.imc-
egypt.org]
4.13. Copper and Metal Crafts:
Copper and metal crafts are one of theoldest crafts known since the ancient
Egyptians and evolved till reaching its peak in the Islamic and Mamluk era, in which
the copper teapots and drinking utensils had flourished. This craft is not limited to
household wares, but included also wall plaques decorated with verses from Qura¢n,
or historical landmarks. Copper profession is a cultural and artistic one rather than a
traditional career, as it represents the Islamic history inherited through some Cairo
families and used in manufacturing long swords in addition to engraved and decorated
trays. [www.imc-egypt.org]
4.14. Jewelry Industry:
Jewelry industry exists in both the Egyptian ancient and modern civilizations,
where men and women wear them as adornment to show their richness and beauty.
Jewelry designs and shapes were derived from the Egyptian ancient history. The
industry had flourished dramatically in the Pharaonic era. Egyptian Jewelry is
currently characterized by its Pharaonic, Coptic andIslamic designs fabricated from
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silver, copper and gold pieces. This industry is mostly located in Khan El Khalili and
ElHussein areas. [www.imc-egypt.org]
4.15. Leather Industry:
Leather industry and tanning are one ofthe oldest industries known by ancient
Egyptians, especially in Pharaonic era. This industry is currently developing by using
sculpture and painting through qualified and skillful Egyptian craftsmen. Leather
tanning industry is now localized in Magra El Oyoun area, Cairo. [www.imc-
egypt.org]
4.16. Candles Industry:
Nowadays, candles are not just a tool to illuminate homes, but turned to be a
masterpiece in perfection and precision.Candle industry has entered the impressive
sculpture world and become an important element for the decorative arts. Candles
are currently mixed with copper pieces and arabesque to reflect many traditional
handicrafts beautifying homes, gardens and hotels. [www.imc-egypt.org]
4.17. Natural Cosmetic Products:
Natural cosmetic products had been widely used in Egypt since the Pharaonicera.
These products were associated with the idea of immortality and caring for dead
bodies. The Pharaonic woman was demonstrating a special interest to show her
beauty using many cosmetic tools i.e. kohl sticks as appeared in many temple walls.
[www.imc-egypt.org]
84
5- Egyptian Case Study “Al- FoustatTraditional Crafts’ Center”:

Foustat crafts’ center is affiliated to the Cultural Development Fund, it is
considered among the most prominent projects of theministry of Culture, aiming
to revive the glories of a great history, and assert a radiant present. The center
provides the artists and craftsmen (approx. 60 craftsmen) with a complete
opportunity to practice theircreations and assure the artistic value of their products,
whether in ceramics, copper, jewelry, carpentry, tents making or glass and plaster.
All the products of the center arehandmade with designs inspired by ancient Islamic
arts.
Cooperation between Foustat traditional crafts center and the ‘Prince Charles’
school for traditional crafts, took place through workshops and courses. The center
is also, keen to help new generations of apprentices to hone their skills in this field.
Field Study Results:
The data was collected through (2)different interviews, the first was with Prof.
Dr. Fathy abd El Wahab (Chairman of ‘Foustat’ Traditional Crafts’ center), and the
second was with the craftsmen at the center. After analyzing the interviews results,
theresearcher was able to create a SWOT analysis for the center, to highlight the
main strength and weak sides at the center, and therefore, they can present solutions
in order to achieve the main role of the centre, which is reviving and preserving the
Egyptian traditional handicrafts.
85
SWOT ANALYSIS:
(SWOT analysis of “Al-Foustat Traditional Crafts Center”, Cairo, Egypt)
Strengths Weaknesses
86
• Strong organization for working on the • No active export marketing of final products
ground • There is no exportation for the products
• Staff – good technical team with many years • Poor promotion of the center activities, local
of experience authorities do not know much about it.
• Staff is very committed • No suitable information available for the
• Good brand name center
• Management team has good links with • Lack of cooperation with travel agencies
different projects (specialized in eco-tourism)
• Number of well-designed collections • It’s not one of the top tourist destination in
available Cairo
• Cooperation with “Prince Charles” school • Absence of cooperation between the center
for traditional crafts. and the ministry of Tourism
• Training courses and educational workshops • Shortage of tourist services
for the interested individuals • There is no variety of foreign visitors , most
• The location of the center is in the heart of of the visitors are Egyptians.
old Cairo, where the cultural tourists focus • Lack of equipments’ maintenance
• Variety of traditional products (ceramics, • Shortage of some raw materials
copper, jewelry, carpentry, tents making , • There is no accommodation places for the
glass and plaster) craftsmen
• Large number of craftsmen • There is no training courses for children
• Fixed and scheduled working hours • Small amount of financial incentives (for the
• Organizing international exhibitions craftsmen)
• Academic Participation in the training
process( for the theoretical sessions )
87
Opportunities Threats
• High political interest in promoting the • Migration of the craftsmen
national traditional crafts sector • The global economic crisis reduces
• Good relationships with different donors and international demand
stakeholders • The existence of another crafts center in
• There is a special niche market for fine Cairo, ‘Wekalet el Ghoury’.
traditional crafts, with the center as the main • There are some traditional crafts which likely
provider to become extinct
• Growing number of tourists provide market • Inconvenient infrastructure at the surrounded
opportunities for traditional products and area of the center
potential for eco-tourism
• The great interest from the UNESCO
concerning the conservation of the traditional
handicrafts globally
Conclusions:
1- The international support of the traditional crafts is essential to its survival, and
also in maintaining and preserving the Egyptian craft and visual culture.
2- The lack of data illustrating the impacts of crafts production on income and
employment generation often result inan underestimation of the importance
of the crafts sector in reducing poverty.
The lack of quantitative data demonstrating the feasibility of crafts- related
projects further hampers the financing of such projects. As such, funding
88
remains a significant problemfaced by most national craft associations.

3- Strengthening handicraft- tourism linkages is important
4- The Egyptian craftsmen have shown how the usage, composition and
production of traditional goods have changed to address international market
demand for their craft.
The emergence of the existence of both academic and popular interest role in the
Egyptian traditional handicrafts production.
5- There is a shortage related to the role of the Egyptian official authorities,
concerning the marketing of the traditional handicrafts.
6- There are many obstacles, concerning the exportation regulations of the
traditional crafts.
7- Al-foustat center has brand namethrough organizing international exhibitions.
8- There are large numbers of academic professionals who participate in thecenter
training courses.
Recommendations:
1. The target populations must have access to training. There must also be a
demandfor the skills as well as a supply of people who can be trained.
2. Semi- and low- skilled workers must have access to markets where they can sell
their goods. Moreover, market access is linked with access to information,
89
transportation facilities and telecommunications.

3. Microfinance facilities must be expanded and existing intermediary national
financial institutions must be equipped with adequate refinancing and
appropriate risk-sharing programs. The support of central banks and regional
and international financing institutions isalso extremely important.
4. The Ministry of Culture should create an environment conducive to craft
appreciation. It should take the lead in the creation of a national art network
and should advocate both inside and outside of the country on behalf of
artisans.
5. heard and that collective discussions on culture do not discriminate, exclude,
divide, or deny the participation of any citizen.
6. The ministry of Tourism could also facilitate marketing and venue selection
for crafts events. Not only will this help promote crafts, but it will also give
the women and youth added confidence to produce and sell their products at
these events.
7. Organizations such as export promotion bureaus, small industries,
microfinance institutions, also need to be established
8. Increasing the maintenance proceduresof the center equipments.
9. There must be training courses for the children (from age 7 years), to help in
90
transferring the skills of the handicrafts through different generations.

10. Increasing the financial incentives for the craftsmen in the center
11. The Egyptian official authorities mustfacilitate all the exportation regulations
concerning the traditional crafts.
12. Official promotional plan must be designed and implemented for the
international marketing of the Egyptian traditional handicrafts.
References:
[1] Alexandra & Rusu A., (2011), Traditional Textile Art between Sustainability
and Economic Growth , Review of Applied Socio- Economic Research, (Issue 2/
2011).
[2] http://www.imc-egypt.org (last accessed 30/12/2016)
[3] N. Richard (2007), Handicrafts and Employment Generation for the poorest
Youth and Women, policy paper no.17, UNESCO Inter-sectoral Program on the
Cross-Cutting Theme "Poverty Eradication, Especially Extreme Poverty".
[4] International Trade Centre (2012), INCLUSIVE TOURISM (LINKING THE
HANDICRAFT SECTOR TO TOURISM MARKETS.
[5] Ngo, Duc Anh, (2005), Blending handicrafts and tourism development the
good way of preservation of tradition and poverty reduction in rural areas,
workshop presentation for Vietnam National Administration for Tourism; ASIA Seed
Institute and JODC.
91
______________________
Received: February 15, 2018
Accepted: April 20, 2018
92

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INTERNATIONAL JOURNAL OF

MULTIDISCIPLINARY STUDIES IN ARCHITECTURE

Amira Hassan Abdou a, *

observation and structuredinterview methods were used in conducting this research.

consultants or designers should behired to collect the designs and patterns

Furthermore, certain of the crafts could be displayed in local, regional, national

• Tourism is a large and growing service sector, which generates foreign

the temples and ancient civilization symbols to produce Pharaonic antiques

described as the “Prehistoric Manchester” relative to the British city of Manchester

5- Egyptian Case Study “Al- FoustatTraditional Crafts’ Center”:

remains a significant problemfaced by most national craft associations.

transportation facilities and telecommunications.

transferring the skills of the handicrafts through different generations.

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