From handmade to hard-to-find: Who took local crafts off the shelf?

 A concerning trend is emerging: Ugandan-made crafts are gradually and noticeably disappearing, while imported products increasingly overshadow the few that remain.
With POATE - an annual tourism and travel trade meeting - approaching this week, many are wondering if Ugandan-made crafts can regain their prominence.

 Local artisans and business owners are calling for support and promotion of their products. They argue that with the right training, marketing, and incentives, Ugandan-made crafts can compete with imports and showcase the country's unique culture to the world.

 This raises questions about the effectiveness of initiatives like ‘Buy Uganda Build Uganda,’ and highlights the challenges faced by local artisans.
 As Uganda gears up to host POATE, one question stands out: Can local craftsmen step up and restore Ugandan-made products to the spotlight?
 But what can be done to support local artisans and promote Ugandan-made crafts?

Industry player
 According to Nuwa Wamala Nnyanzi, a visual arts practitioner and consultant, the influx of foreign products is due to their good quality, standard, uniformity, wide range of variety, and affordability.
 “Uganda's craft shops mostly sell imported products because they are considered high quality, standardised, and consistent. They offer a wide variety, and their prices are often more affordable since they are mass-produced on assembly lines,” Nnyanzi explains.

As a result, these imported crafts have a ready market and are more profitable. Craft village artisans explain that, unlike the mass-produced and uniform crafts from Kenya, Tanzania, and Rwanda, Ugandan handicrafts are individually handmade in homes, each piece unique.

Nnyanzi shares that before 1978, Kenya, like Uganda, faced similar challenges of the influx of imported handicrafts, especially from Tanzania, Uganda, Central and West Africa.

“The Kenyan government, then in a bid to protect the indigenous art and crafts practitioners, banned the importation of handicrafts. This resulted in Kenyan artisans embarking on aggressive production through Cooperatives, assisted by the government's Jua Kali policy of empowering the informal artisans,” he recalls.
Notable locations where these cooperative societies flourished include Tabaka in Kisii, Wamunyu in Machakos, Mombasa and Kaloleni in Nairobi.

Before Kenya became a player, Tanzania had dominated the regional market with their famous Makonde carvings and Tinga Tinga art.
 In fact, Kamba carvers trace their origin in Tanzania where their pioneer, Mutisya Muge learnt the craft and later on introduced it to Ukambani in 1918.

In Rwanda, the government after realising their limited design range of baskets, hired 20 master crafts women from Uganda in the mid-1990s to go to Rwanda and train their skilled artisans in their patterns.
“The result from that venture is manifested in Ugandan patterns that are now commonplace among the well-finished (bugoogwa) sisal-made baskets from Rwanda. Uganda uses buso (raffia), njulu (Yoruba reed), and Byaayi (banana fibre),” Nnyanzi shares.

Against that background, Nnyanzi says Uganda's art and crafts industry, despite its growth, has not received any significant intervention from government, like Kenya, Tanzania and Rwanda.

“Without significant investment in skilling, reskilling, tooling and retooling, Ugandan visual arts and crafts practitioners will not adequately compete with their counterparts in the Great Lakes region,” he painfully sighs.
Nnyanzi argues that Uganda's art and craft industry needs significant intervention from the government to compete with its regional counterparts.

 “We need investment in skilling, reskilling, tooling, and retooling for local artisans,” she says, adding: “The government should also fund seasoned practitioners to attend international expos and fairs to promote Ugandan art and crafts.” 

 With the annual POATE conference approaching, the question remains: Will the government take steps to support local artisans and promote Ugandan-made crafts, or will imports continue dominating the market? The fate of Uganda's craft industry hangs in the balance.

Brand identity
 Beatrice Serona, a Ugandan expert with extensive knowledge in crafts exports, has emphasized the need for Uganda to create a compelling brand identity, particularly in the tourism sector. 
Speaking in an interview, Serona highlights the country's unique attractions, such as gorilla tracking and birdwatching, as key opportunities for growth.

 “Uganda has a rich natural heritage, with over 1,000 bird species and the iconic mountain gorillas,” Serona says. “To leverage these attractions, we need to develop products that showcase our natural beauty, such as wooden or ceramic gorilla figurines.” 
 Serona suggests promoting these products in prominent places, like embassies, exhibitions, and tourism events, to create a strong brand identity. “A well-promoted brand can attract more visitors, foster cross-cultural understanding, and contribute to economic development through increased sales and tourism revenue,” she says.

 To achieve this, Serona recommends identifying a clear brand message, developing a cohesive marketing strategy, and collaborating with local artisans. “We need to determine what makes Uganda's tourism unique and how to convey that message effectively,” she says.

 Serona also emphasizes the importance of government support in promoting Ugandan products and attractions. 
“The government should invest in digital media, storytelling, and tourism to promote our products and attractions,” she says.
 “With a strong brand identity, Uganda can develop a thriving tourism industry and promote its unique attractions and products to both local and international audiences, ” Serona concludes.

Funding
 Geoffrey Baluku, a tourism consultant sharing his views with dm Money, Baluku suggests increasing funding and resources for artisans, providing training and mentorship programmes, and implementing policies to support local artisans.
 “Providing accessible funding and resources can help artisans improve their craft,”  he says. “Offering training and mentorship programmes can enhance artisans' skills.” 

 He also emphasizes the importance of government support in promoting the tourism sector. 
“Implementing policies to support local artisans, like subsidies or tax breaks, can help them compete with international products,” he says.

 Baluku's comments come as the tourism sector still plays an important role in Uganda's economy, with efforts being made to promote domestic tourism and attract foreign visitors.
 The dominance of foreign products in Uganda's craft shops is a wake-up call for the government to support local artisans. By implementing policies and investing in the art and craft industry, Uganda can promote its cultural heritage and create employment opportunities.

Government efforts
 In 2019, the government launched a $1.5 million (Shs5.5 billion) Handicraft and Souvenir Development Project (HSDP). 
The goal was to boost craftsmanship and skills; production; export and tourism revenues as well as employment, especially among the women and youth involved in the trade.

The first phase was three years running from 2019 to 2022, and the Tourism Ministry was the implementing agency in partnership with the International Trade Centre (ITC).

 According to Ms Grace Mbabazi Aulo, the coordinator of HSDP,  five handicraft exporting companies were offered support in fair trade certification. 
They were also training 150 craft producers and association representatives in quality management systems and market development.