Two weeks ago, Felicity Irons and her team of skilled craftspeople embarked on a challenging task in the River Great Ouse, despite the inclement weather, to harvest the remaining reeds. As the founder of Rush Matters, a homewares company established in 1992, Irons and her team meticulously hand-cut two tonnes of rush each day. This sandy-toned grass is then transformed into an array of beautiful products including placemats, seat cushions, baskets, carpets, and rugs.
Rush weaving, an ancient craft that dates back to the Anglo-Saxon era, is believed to be the oldest industry in East Anglia. Traditionally carried out by women at home, it experienced a resurgence during medieval times when it was used to create sleeping mats. Today, this craft is highly sought after due to the current trend for natural materials and tactile designs in modern homes.
Despite the challenges of running a craft business, Irons has found success, partly due to social media. With almost 15,000 followers on Instagram, Rush Matters has been able to reach new customers. However, Irons acknowledges the demand for immediacy in today’s fast-paced world. Handmade tableware takes up to 10 weeks to be completed, while carpets can take up to 26 weeks. Some customers are not willing to wait or pay the higher prices due to the labor-intensive nature of the craft.
Rush matting, along with other traditional British crafts such as clock making, paper marbling, and Scottish carpentry, is listed as “endangered” on the Heritage Craft Association’s red list. Approximately 150 crafts are at risk of dying out completely, a fate already suffered by cricket ball making in the UK.
The Heritage Crafts Association (HCA) compiled the red list in 2015, recognizing the vulnerability of these crafts. They observed that the majority of skilled practitioners are sole traders or small businesses who have not made provisions to pass on their skills. To raise awareness and address the decline of heritage crafts, the HCA developed this list.
Recently, philanthropist Hamish Ogston’s foundation pledged a £29 million donation to heritage skills training, the largest private commitment to date. This funding will be used to support training programs in carpentry, plastering, stonemasonry, and other traditional craftsmanship in the UK and Commonwealth. Ogston hopes this investment will revive dying crafts and create new career paths for individuals who may not have considered working in this area.
Preservation is of utmost importance. 181 countries have signed on to the 2003 Unesco convention for safeguarding intangible cultural heritage, which includes traditional crafts. However, the UK, US, and Australia are among the countries not currently part of this convention. Craft makers such as Eve Eunson, the last remaining maker of Fair Isle chairs, based in Shetland, question why traditions are not being protected, especially in a nation that takes pride in its heritage.
The Crafts Council in the UK primarily focuses on contemporary crafts that are exhibited in art galleries, whereas traditional crafts are often overlooked. Historically, the decline of craft industries occurred during the 1980s when mass production and offshoring became dominant. This not only affected the revenues of UK makers but also transferred knowledge, such as design skills, to competing countries.
While it is recognized that not every craft needs to be saved, it is vital not to underestimate the value of craftsmanship and rely solely on imports and technology. Craft holds valuable knowledge that will be essential in tackling environmental challenges in the future.
Attracting new talent to the craft industry remains an ongoing problem, with very few craft apprenticeships funded by the government. Private initiatives, like the one financed by the Hamish Ogston Foundation, encourage training providers to offer heritage courses. However, schools often cannot afford to run courses for a small number of students.
Overall, craft makers face numerous challenges, from a lack of government support to rising costs and the difficulty of finding affordable studio space. These factors hinder the preservation and growth of traditional crafts. However, with efforts being made to raise awareness and funding being provided, there is hope for the survival of these crafts and the continuation of invaluable craftsmanship.
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