Despite continued reductions in arts funding as states struggle to balance their budgets, economic development and cultural tourism initiatives are succeeding around the country. Some of theseprojects are funded by states that count on the economic input of craft sales. Others are the result of efforts and dollars from local arts and crafts

organizations as well as individuals.

Craft impacts tourism in Alaska

"There’s a long list of things that are happening in Alaska and all impact cultural tourism,” says L. Saunders McNeill, native and community arts program director for the Alaska State Council on the Arts. “We’re expanding our Artisans School Program onto the Alaska Marine Highway System. In Alaska, many people travel by ferry,” explains McNeill. “We want to get demonstrating artists on board the ferries.”

To ensure the authenticity of Alaskan-made crafts, the council has collaborated with the Federal Trade Commission to produce brochures and postcards available free of charge to shop owners in every point-of-entry town to educate the public about traditional Native artwork and how to differentiate between authentic and copied work. Tens of thousands of brochures and postcards have been printed. “The FTC has been an amazing resource for us,” says O’Neill. The Silverhand Program, which authenticates Native arts and helps traditional Native artists promote their work, now includes 1,100 artists.

The Mountainview Arts and Culture District, a large melting pot neighborhood of at least 11 different cultures adjacent to downtown Anchorage, is being developed as a designated arts community.

Another Anchorage neighborhood being developed is Ship Creek, an industrial area with a railroad depot. Discussions are underway about expanding the railroad depot and connecting it with a cultural and arts designated street. From Ship Creek, the railroad would bring visitors to other galleries and shops in the heart of downtown Anchorage.

In addition, traditional Native art and craft is displayed in a permanent exhibit at the Anchorage airport. Each piece is marked clearly and interested buyers can call the arts council for information about contacting the artists.

Cultural tourism profits in Florida

“Culturally Florida,” in which a $2 million investment returned $46 million to the state’s economy, has prompted the Florida Cultural Tourism Marketing Coalition to plan a similar promotion focusing on the cultural aspects, including crafts, of the state’s unique downtowns and small towns. The three-year campaign will begin in July, according to Kerri Post, vice president of new product development for Visit Florida. The new program will be promoted to Florida residents as well as out-of-state visitors and will offer a publication similar to “Culturally Florida’s” 117-page guidebook, which lists cultural sites, museums and art and craft galleries throughout the state.

Both private and public cultural and tourism entities formed the Coalition. “Culturally Florida” was created with major support from Visit Florida, American Express and the Florida Department of State. American Express promoted the program to their cardholders, and tracked their spending in Florida. “The $46 million represents only the charges on the Amex card,” says Post. “The actual economic impact to the state is much higher.”

A recent study by the Florida Cultural Alliance reports that the annual statewide economic impact of all arts and culture is over $2.9 billion.

Kentucky means business for crafts

Kentucky’s Craft Marketing Program (KCMP) stepped up its Product Development Initiative this year by focusing on additional business training involving interaction between producers and retailers. Working with 10 professional craft artists at a time (called the Platinum 10) that want to expand their wholesale business, KCMP helps them develop market-driven products specific to retailers in Kentucky.

KCMP also brought in outside consultants to talk about trends affecting buying habits, to visit studio sites and evaluate production, layout and efficient use of inventory. A producer and a retailer work one-on-one to develop new products. “This approach has given people the courage and incentive to think differently about the markets. It’s been extremely effective,” says Fran Redmon, program director.

Louisiana investing in crafts

In New Orleans‚ Louisiana ArtWorks opens this year with estimates of generating $71.8 million from visitors’ spending. A project of the Arts Council of New Orleans with state funding of $16 million, the center expects to bring urban revitalization, education, economic development and tourism to the Big Easy. “We knew we had to have state and city partners who understood this was about economic development,” says Scott Hutchinson, the Council’s executive director. “When artists are employed, the community grows.”

Within the 90,000-square-foot facility are four shared studio spaces fully equipped for glass, metal, ceramics and printmaking. Also included are studios for individual artists, an art yard for outdoor workspace, a retail store of Louisiana art and crafts, and educational areas.

Louisiana ArtWorks will be a highly marketable destination, according to Hutchinson, because it’s the gateway to the Warehouse Arts District, a stop on a streetcar line and within a few blocks of two museums. “Of the 11,000,000 visitors who come to New Orleans, 73 percent are cultural visitors,” Hutchinson says. “Cultural tourism has been designated as a niche market by the New Orleans Marketing Corp., which promotes the city outside the area. That’s a huge step forward. Five years ago, only music and food were promoted.”

Montana learns from Kentucky Craft

A budget of $100,000 has been allocated by Montana to establish a Montana Crafts Market based on Kentucky’s Craft Marketing Program. “Creative enterprise economic development is Montana’s number one priority for future growth,” says Arlynn Fishbaugh, executive director of the Montana Arts Council, “and the craft market is part of that initiative.”

Montana legislators from both state houses and political parties, members of the state departments of tourism, commerce, and economic development, and representatives from the governor’s office and state arts council were to meet KCMP administrators in February. “We’re looking at this effort, not only as a benefit for artists, but for the state’s economy as a whole,” notes Fishbaugh. “Many work on farms and ranches, and their crafts generate additional income enabling their families to stay on their farms and ranches.” Fishbaugh expects the program will be up and running within the next two to four years.

Another first for Montana is an economic impact study that will include the arts. “We’re working with the tourism department to ask more questions about arts and crafts of tourists,” says Fishbaugh. This spring, the Arts Council will publish the 76-page “Hands of Harvest,” the first craft guide in the state.

Year for craft in North Carolina

North Carolina Governor Mike Easley has proclaimed 2004-2005 as a “Celebration of North Carolina Craft.” Long a leader in recognizing the economic importance of crafts, the state is touting its handmade treasures on the state transportation map. The celebrations include the 75th anniversaries of Penland School of Crafts and the Southern Highland Craft Guild, the 10th anniversaries of Pocosin Arts and HandMade in America, the re-opening of Piedmont Craftsmen in Winston-Salem and special exhibits at the Mint Museum of Craft + Design in Charlotte. About three million maps have been printed.

Craft brings $538 million into North Carolina annually. “The whole thrust of what we’re trying to do is to have our cultural travelers discover more about crafts,” explains Maryanne Friend, marketing and cultural tourism director of North Carolina Arts Council. “Many of the coalition organizers are based in rural counties that don’t see much of the tourism traffic that North Carolina attracts.”

North Carolina was recently listed among the “Top 10” states for cultural and heritage travel by the Travel Industry Association of America and Smithsonian magazine. Building on that designation, the Arts Council, HandMade in America and the North Carolina Cooperative Extension Service are developing a statewide sustainable tourism project with a $325,000 grant from the Golden Leaf Foundation.

“The grant will help us seek solutions to diversifying rural economies by utilizing the arts to spark ‘agri-cultural’ tourism,” says Mary B. Regan, the Arts Council’s executive director. “We see the Agri-Cultural Tourism project blending two categories — handgrown and handmade products.” The project will produce Agri-Cultural Trails and Itineraries, which will follow the style of and complement two books from HandMade in America, “Farm, Gardens, and Countryside Trails of Western North Carolina,” and “Craft Heritage Trails.”

In Siler City, N.C., about 30 miles west of Chapel Hill, three individuals have purchased a dozen downtown buildings with approximately 250,000 square feet to create an artists’ colony with the idea of revitalizing the dying community. In the past two years, 20 artists have relocated their studios to Siler City and more from around the country are inquiring daily.

“The buildings will be able to house 200 studios, including glassblowing, blacksmithing, basketweaving, fiber weaving, and woodworking,” says co-founder Leon Tongret, executive director of North Carolina Arts Incubator. “We’re also looking at vertical and horizontal integration. For example, a weaver wants to teach classes and needs looms. The wood shop could build the looms for sale to the class participants. We also have basket weavers who need forms. The wood shop could make the forms for the classes and possibly sell them to other organizations.”

In addition, the buildings will have two restaurants and a retail space in which the artists can sell their art at a “low commission” rate.

Tongret, along with partners Dennis de St. Aubin, an entrepreneur who owns several businesses, and Joel Hunnicutt, a businessperson and woodturner, say the funding for their project came from the city, county, state, and private sources. “When my partners and I did a feasibility study, crafts was the most successful venue in revitalizing downtown areas,” says Tongret, who’s also the director of Central Carolina Community College’s Small Business Center.

‘GROW Nebraska’ guides craft businesses

In Nebraska, the state wants it known that their “creative entrepreneurs” are valuable, says Janell Anderson, of GROW Nebraska, a private organization that works with home-based businesses and receives state grants and support through the state’s economic development department. Like many other entities, Nebraska is adapting aspects of HandMade in America — the successful non-profit organization in North Carolina that has spearheaded numerous revitalization and education efforts using crafts as its core.

“The ‘Treasures of Nebraska’ map, listing more than 175 businesses including artists, galleries, and shops, was the first real cultural tourism tool produced in the state,” says Anderson. Building on the success of the map, GROW Nebraska is planning to publish a guidebook in 2005.

Across the state, says Dan Curran, director of Nebraska Cultural Tourism Department, it’s the creativity of people in the industries and the events they produce that help bring tourists and economic development to communities. “As store fronts become empty, arts and crafts are moving into the buildings,” Curran says. “The town of Brownville (pop. 142) along the Missouri River is turning into an artist enclave through the efforts of local citizens. Fairwell and Valentine are two more towns that are enjoying an economic uplift because of individuals. It’s going on across the state.”

Crafts Support flows in Missouri

The economic revitalization of the towns of Hannibal, Louisiana and Clarksville, Mo., was begun by the Great River Road Guild of Professional Artisans five years ago and continues to grow. “The communities have a rich history and are located along scenic Route 79, but the downtowns were depressed and stores vacant,” explains ceramic artist Steve Ayers.

Ayers idea, The Provenance Project, started with a grant from Northeast Missouri Development and Pike County Development. Its goals have been to attract new artists to relocate to the area and to attract tourists, specifically art buyers. Ten area banks have committed over $5 million in low-interest loans for art-related businesses that rehabilitate the towns’ buildings. More than 50 craft artists have opened studios/stores in the three towns and inquiries continue. “What we have,” says Ayers, “is, by far, not a finished product.”

As a result of the influx of artists, the Guild developed a studio tour map, “50 Miles of Art” (see TCR, April 2004). The efforts of art councils, chambers of commerce, the three cities and the tourism bureau have made those communities tourist destinations. “What excites us the most, and what brought us here, is the concept that a region will support art and artisans as a means toward economic development,” say pewter smiths Tom and Pat Hopper.

Crafts help revitalize New York

In New York City, a consortium of arts organizations spearheaded by the New York Foundation for the Arts (NYFA) is developing New York Creates, a community revitalization project focused on building a citywide network, on- and off-line, with and for New York City craft artists and artisans. “Modeled after HandMade in America, New York Creates seeks to adapt its major potential to an urban setting,” explains Ted Berger, executive director of NYFA.

Currently in its first stage, New York Creates is working to identify craft artists. “We have a very broad advisory committee made up of people who are extremely knowledgeable about crafts, community development programs and ethnic communities,” says Berger. “We want to bring the hidden assets of our communities to the surface. We’re also considering the needs that could emerge from our survey. It might be physical space production and
equipment facilities or training facilities. We’re also looking to create a store, probably based in Manhattan, and to branding and street festivals.”

Berger believes it will take three to five years for New York Creates to be up and running. Start-up funds were provided by Deutsche Bank America Foundation and the Kaplan Foundation. “There’s no public funding yet because we haven’t identified a specific community,” he says, “but we are briefing city officials.”

Local tourism efforts in Vermont

Since last year, when Vermont eliminated its Cultural Heritage Tourism office, other state departments including tourism, marketing, commerce and economic development and chambers of commerce have been discussing initiatives. “Diversity is a good thing,” says Martha Fitch, executive director of the Vermont Crafts Council, citing the growing success of Vermont’s Open Studio weekend and the support of local and state tourism groups. It’s vital, she says, that craft communities keep abreast of initiatives being considered by others so the artist’s point of view can be represented in cultural programming. TCR

Loretta Radeschi is a Pennsylvania-based free-lance writer.