1 Introduction and background
This draft report captures the findings of an investigation into availability and accessibility of raw
materials for crafters in the Western Cape, and recommendations to improve access to raw
materials.
Through this investigation the CCDI seeks to better understand the issues surrounding access to
raw materials for crafters, and implement appropriate responses to improving access to raw
materials for crafters. Access to raw materials has an impact on the wider capabilities of
organisations in the crafts sector. Strengths and weaknesses identified by the Western Cape
Provincial Manufacturing Technology Strategy are shown below, with the most relevant issues in
bold:
Table 1.1: Strengths and weaknesses of the Western Cape crafts industry

The investigation into raw material availability was done by:
Consolidating existing research and planning for the crafts industry
Interviewing various role players, including crafters, suppliers and support institutions
Research into existing initiatives that seek to improve availability of raw materials

A contact database of craft material suppliers and potential suppliers was also developed, to
facilitate communication with suppliers and supplement information available to crafters on
sources of raw materials.

2 Current use and supply of raw materials in the Western Cape
2.1 Major types of raw materials
This project focuses on the major types of raw materials used by crafters in the Western Cape –
textiles, beads, ceramics and leather , as shown in the graph below, and additionally on
recycled materials.

Figure 2.1: Major raw materials used by crafters in the Western Cape 2
Some additional detail on the 3 most used raw materials - textiles, beads and ceramics – is
provided below.
Textiles
The types of textiles used vary significantly across applications, from handpainted linen to soft
furnishings, clothing and accessories, and therefore includes both natural and synthetic fabrics,
undyed, coloured and patterned fabrics. Because of their bulk, textiles pose particular challenges
in terms of transport and storage. Larger and more organised craft producers are sometimes able
to take advantage of the local textile and clothing production capacity in the Western Cape by
negotiating access to overruns, waste and offcuts, while smaller craft producers tend to rely on
retailers. However, it is generally harder for crafters to establish relationships with both retailers
and manufacturers of textiles, as crafters are not their primary market.

Beads
There is a very wide variety of beads available across a range of materials, sizes and shapes. The
most popular type of beads used are 8.0s, in basic colours (such as white, black and red). These
are used together with fine beading wire for jewellery, and with thicker wire for items such as
bowls and ornaments. The wholesale price for beads at The Bead Merchants at time of writing
was R10 for 250g. Further discounted prices are available if larger quantities are purchased.

There is a perception that the supply of beads is highly concentrated in comparison to other
materials; this is true to a certain extent, as certain beads are sold through sole agents, the
majority of glass beads are imported, and smaller retailers may source merchandise from larger
retailers.

Ceramics
Supply of ceramics is considered to be fairly concentrated, with two suppliers dominating supply to
the Western Cape. In outlying areas in the Western Cape, distribution is through smaller shops, by
mail order and by delivery (especially when equipment is delivered as well). Ceramicists do source
certain materials from Johannesburg when these are not available in the Western Cape. Large
discounts are also available when purchasing clay in bulk – for example 25% discounts for a ton of
clay. Other materials, such as pigments, tend to be used in smaller quantities.

2.2 Geographical distribution of raw material supply and use
Patterns of materials usage
The table below provides an indication of geographical patterns of raw materials usage within the
province. Figures in bold indicate a percentage use of a material in that district that is higher than
the provincial average. Note that in some cases the small number of crafters on the CCDI
database in a district (e.g. Central Karoo, West Coast) limits the reliability of this analysis.

Table 2.1.1: Primary materials use by provincial district

Factors shaping this geographical distribution may be varied. It could range from historical
clustering of skills, perceived local demand trends through to local materials supply.

Within the City of Cape, crafters using the major raw materials identified above are dispersed
across the city. However, for beads, ceramics and textiles, a large proportion of craft enterprises
are located in Khayelitsha, Gugulethu, and Mitchell’s Plain.

Varied supply mechanisms by geographical area

Suppliers of materials tends to be concentrated in the Cape Town Metropole, with the exception of
materials such as ostrich feathers, leather and egg shells, for which supply is concentrated in
Oudtshoorn.

Larger suppliers tend to offer mail order services, for example both Cape Pottery Supplies and
The Bead Merchants deliver orders (The Bead Merchants have an online catalogue), or even offer
free delivery for larger orders, e.g. Cape Pottery Supplies. However, delivery of smaller items may
be discouraged through delivery charges.

Garden Route crafters are serviced through mail order, smaller local outlets, and by larger outlets
based in Mossel Bay, George, and Port Elizabeth. Crafters in other outlying areas tend to travel to
Cape Town to purchase supplies or purchase basic materials through local retailers (for which
they are likely to pay a premium relative to larger city retailers and wholesalers). Crafters may use
taxis to travel to Cape Town, which represents a significant cost. For example, crafters may travel
to Cape Town once or twice a month, at the cost of over R100 for a return trip. Also, crafters need
to hire vehicles where large amounts of bulky raw materials must be transported, at significant
expense.

Furthermore, responses from crafters surveyed indicate that crafters tend not to transport craft
production into Cape Town when they travel to purchase raw materials, but rather rely on local
markets.

Supply from outside of the Western Cape

Most materials can be sourced by suppliers from the Western Cape. However, inputs such as
glass beads, certain pigments and bentonite clay are imported. Sourcing materials from outside
South Africa tends to result in:
More concentrated supply, particularly for materials that are supplied through a sole agent
(e.g. certain beads)
Longer lead times on supplies – e.g. glass beads that are shipped from China would take
around 3 months by sea, and their volume-value ratio does not warrant transport by air
Higher costs to suppliers where products are subject to import tariffs

Direct importing by crafters does sometimes occur, for example potters may import materials as a
group, and bulk users of beads may import on their own account.

The following table provides an indication of imports directly into the Western Cape in some key
input categories. Note that not all these imports are necessarily destined for the crafts sector as
products within these tariff categories might also be used in large-scale manufacturing, and will
not capture imports via retailers or wholesalers outside of the province.

Table 2.2: Western Cape imports of key crafts inputs: imports from world and top source countries

The table below sets out tariff measures for the major imported materials.
Table 2.3: Tariff measures for imported materials

Note : Many other South African industries have secured full tariff rebates on some of their inputs
through the International Trade Administration Commission – these include glass microbeads for
the plastics industry, various textiles, fasteners, threads and imitation jewellery for the clothing and
footwear industries. A list of these rebates is available in Schedule 3 of the SARS tariff book. It
may be worthwhile to discuss with the dti whether there are possibilities of using available
mechanisms to extend similar rebates to craft producers in any critical areas.

2.3 Significance of raw materials to craft production
There are three major ways that inputs can be significant to a craft producer:
As a major cost element
As a source of differentiation
As a way to promote market access and development
Cost structure

Assessing the proportion of costs which is made up by raw materials tends to be problematic, as
crafters either do not cost their time, or are unwilling to share their cost structures. Furthermore,
the wide range of craftwork and differences between individual products in terms of amount of raw
materials used, time, level of detail and design further complicate costing raw materials.
However, the following is an example of costing by a Cape Town based crafter for a typical bead
and wire bowl, where materials make up a third of costs:
Table 2.4: Typical bead and wire bowl production cost structure

The price for this bowl was R120, so the crafter is making 0% profit. Other crafters however have
noted that they would mark up their costs by 100%.
Cost structures, and methods of buying and financing differ substantially across small to medium
crafts businesses, community projects, and sole traders.

Sole traders tend to have low overheads (and the overheads that they do have are often not
formally calculated) – therefore raw material costs make up a much bigger portion of sole traders’
cost structures. Furthermore, sole traders buy raw materials in smaller quantities and therefore
mainly purchase from retail outlets, limiting access to bulk prices. This is also related to cash flow
issues – purchases are often financed from the previous sale. Limited available storage space
also further constrains buying large quantities. Irregular buying patterns also mean sole traders
have greater difficulty developing relationships with suppliers.

Small businesses and community projects tend to have larger overheads; however they can
access raw materials at lower prices through buying in bulk amounts and directly from wholesalers
or manufacturers. For example, a crafts project such as Monkeybiz that supplies hundreds of
women with beads may buy a few tons of beads, while a sole trader would buy a 250g packet of
beads. Community projects tend to only buy the most significant materials needed for production,
such as beads, printed material, etc., while members would source more basic inputs such as
paper and wire. This indicates that sourcing these types of products is not a constraint for crafters.
Also, these organisations may have staff members dedicated to sourcing raw materials, which
results in more planned and efficient purchasing. These organisations can therefore develop
relationships with suppliers over time, and invest time in looking for suppliers that may supply
products at a discounted price, as well as sourcing materials that provide unique features; and
therefore develop an advantage over competitors.

Less well resourced community projects may however encounter significant problems when
sourcing raw materials. In certain cases where lump sum funding has been granted, this is used to
buy raw materials in bulk, which may last over a long period – even up to a year. This constrains
innovation in design, and discourages correct costing of products.

The ability to negotiate on prices varies not only by the size and nature of the crafter, but also by
the supplier type. Retailers and wholesalers tend to have more standardised prices based on the
size or regularity of purchases; however, in some cases they are willing to source specific
products for crafters or make concessions where relationships have been built over time.
Manufacturers may be more open to specially negotiated arrangements with individual crafters, in
particular where over-runs, off-cuts and waste are concerned; however, they are also likely to
require minimum volumes and have limited readiness to deal with numerous crafters.

Product differentiation
Profitability can differ substantially between crafters that produce differentiated products and those
that produce products which are common to many crafters. In some cases this differentiation can
be derived from materials usage.

For example, while in most cases the differentiation in beaded items will not come from the beads
themselves but rather from the product design, differentiation could be obtained through utilising
unusual colour or shape glass beads, or utilising beads made from alternative materials such as
resin, metal, recycled materials, plastics, stone, plant matter, shells and bone. In the case of
ceramics, differentiation may come through unusual pigments, whether natural or synthetic, while
many possibilities for differentiation exist in terms of fabric in terms of the type of fibre, weave and
thread count (or non-woven techniques as in the case of felts), colour or pattern.

“Master craftsmen”, particularly those that are well known, can pass on the costs of more
expensive inputs by increasing their prices. However, crafters producing undifferentiated products
must compete with other crafters that may be able to source raw materials more cheaply.
Differentiation is less likely to be derived from the materials in the case of use of wire, glass, metal
and un-pigmented clay.

Raw materials factors affecting market access

In some cases the selection of raw materials may have an impact on access to domestic and
international markets. Some examples are set out below.

In the domestic market , sourcing of materials could affect the following:
Ability to become a “Proudly South African” registered product:
– Materials can contribute to the minimum 50% local value-add, which also includes
other costs such as labour and marketing
– For example, users of imported textiles and beads may struggle to meet the
requirement if they do not have a very labour intensive price that is clearly included in
their cost structure
Ability to secure broad-based BEE scorecard balanced scorecard points 4 :
– While micro-enterprises (less than R300,000 annual turnover in the current regulation)
are exempt, other craft producers may be interested in securing BEE scorecards
– Sourcing could affect points for the procurement contribution and wider enterprise
support categories – together these could account for up to 30% of points
– However, securing procurement points requires that the provider of raw materials has
their BEE scorecard score
– Similarly, SMEs with strong BEE scores may be able to tap into the need for other
companies to secure BEE points; in the case of raw materials suppliers, companies
can generate enterprise development points through the donation or discounting of raw
materials; in certain sectors companies may also be able to secure points for their
Corporate Social Investment into craft-related BEE projects

Safety and standard compliance (avoiding the use of restricted materials, such as flammable
materials in children’s clothing)
Fair or ethical trade certification (relating amongst others to whether purchasing has promoted
opportunities for economically disadvantaged producers, whether those producers have been
paid a fair price and the environmental soundness of materials used 5 )
Compliance with restrictions on the use of animal or plant materials under the local and
international protection of endangered species 6 .
In export markets, sourcing of materials affects:
Compliance with market-specific standards and requirements for both the product and its
packaging, in terms of use of materials that 7 :
– Are hazardous (e.g. certain chemicals and toxins e.g. those found to have carcinogenic
properties, paints containing lead or cadmium, use of metal alloys in jewellery that may
result in allergic reactions with the wearer’s skin),
– Are restricted for sanitary or phytosanitary control reasons (e.g. items derived from
animal or plant material that may carry infestations or diseases, such as animal hides
and untreated wood)
– Have environmental or conservation-related consequences (e.g. non-recyclable
plastics)
Requirements for percentages of local content in terms of preferential market access
agreements e.g. for eligible products under the African Growth and Opportunity Act 8 (AGOA)
not less than 35% of the value (including materials and processing costs) of a product upon
entry into the US should be related to processing in one or more of the beneficiary countries
(although 15% of this can alternatively be US originating materials).
Fair or ethical trade certification (see above)
Compliance with restrictions on the use of animal or plant materials under international
protection of endangered species.


3 Identified constraints around accessing raw materials
Based on the research conducted, in particular the interviews with craft producers and suppliers, a
range of constraints have been identified. Themes that have emerged include the following:
Material cost and financing vs. sales price:
– Lack of product differentiation, therefore crafters are forced to compete on cost
– “Survivalist” approach to financing constrains bulk buying and planning in advance
– “Survivalist” approach to pricing and costing of some craft products leading to crafters
not costing their time, and accepting low prices for products
– Lack of skills/knowledge in costing inputs correctly, in particular time inputs
– Cash flow constraints where products are sold on consignment (whereas purchases of
raw materials must be paid for upfront)
– Seasonal fluctuations in sales
Transport and storage:
– Lack of storage space (especially for materials that are bulky and that have a limited
shelf life such as clay) constrains bulk buying
– Transport costs for crafters in rural areas and in township areas that purchase
materials in central Cape Town or Northern suburbs
Lack of equipment (price and suitability):
– Smaller producers (in particular home-based sole traders) struggle to afford equipment
for their sole use, and may need to borrow equipment or use second-hand or
unsuitable equipment; in some cases maintenance and repair periods can hamper
production
Quality and variety:
– Shortages of certain raw materials, especially over peak tourist season, and especially
where these need to be imported (e.g. beads in certain basic colours)
Information and training on purchasing and usage:
– Selection of source of materials is not necessary carefully thought out – it may be
related to limited knowledge of options, use of existing networks and relying on the
established reputation of certain suppliers
– Limited knowledge on methods and techniques of preparing and using raw materials
for various applications e.g. suitability of various textiles for paint treatments
– Lack of awareness of the range of materials in existence, resulting in limited product
innovation (where crafters have been trained in a particular method)
– Training is often limited to certain techniques and materials, therefore product
innovation through utilising different materials and techniques is difficult
The constraints experienced by crafters vary depending on the following:

1. Materials used : This is a highly complex relationship, given the differences within materials
used in terms of the proportions of materials in the final product, the level of skill and quality
and the ability to secure certain prices)

2. Location: In general, crafters located within the Metro have less of a constraint in terms of
access to suppliers than rural producers; however, crafters located in Khayelitsha, Gugulethu,
and Mitchell’s Plain also experience access issues as the majority of suppliers (retailers tend
to be located in the City Bowl, Southern and Northern Suburbs, while manufacturers tend to be
located in industrial areas such as Epping and Parow)


3. Type of crafter : Generally smaller producers face more constraints with respect to raw
materials than larger producers, both in terms of their purchasing power and their capacity to
manage materials purchasing and solve problems where they arise.

4 Initiatives to improve access to raw materials
4.1 Existing and planned South African initiatives
Any additional initiatives to address the constraints set out in the previous section will need to take
into account those that are already in existence to leverage off existing capacities, as well as
taking into account previous initiatives to learn from successes and failures. Some examples of
these are set out below.
4.1.1 Improvement of access in rural areas
Ethaleni was proposed by the Mineworkers Development Agency, and aimed to provide raw
materials at affordable prices for crafters, and workers in the construction industry and agriculture,
particularly in rural areas. This was to be achieved by “central buying and localised distribution”,
and intended to be self sustaining within three years of startup.
The project however has since been abandoned, due to the following:
Inappropriateness of a financially-driven programme within a not-for-profit organisation
Inability to buy in sufficient quantities
Lack of knowledge of local needs
Local needs better served through local general dealers
Provenance Art is a private initiative run from the CSIR premises in Pretoria. The project aims to
identify crafters throughout the country, and showcase and market sample products. Assistance in
fulfilling orders will then be provided by supplying raw materials to these crafters.
4.1.2 Support for recycling activities
The Waste Exchange , run by the City of Cape Town, aims to match creators of waste with users
of waste through an online portal accessible at: http://www.capetown.gov.za/iwe/ . Available and
wanted materials are advertised on the website. Contact details are posted on the website, and all
logistics are arranged by the two interested parties.
Footprints is primarily a waste sorting centre, that sorts waste items to be recycled. The centre is
based in Wynberg, and waste is dropped off by members of the surrounding community. In
addition to sorting waste for recycling, the centre has started setting aside items for sale to
crafters. These are sold on at a slightly higher cost, as an incentive for the sorters to put in
additional effort to set aside the appropriate items, for example, cans may be sold to a recycler at
22c/kg, but they may be sold to crafters at 40c/kg.
Items that are sorted include conventional items such as plastic, paper, glass and cans, however if
crafters require specific items, the centre will send out flyers to the community requesting these
items.
The centre has obtained funding from the City of Cape Town, that was used as start-up funding.
Recently completed facilities include a crafts workshop, a shop, and storage space for materials.
Through these facilities the centre aims to provide and store materials, provide a space for crafters
to work, and a place where their work can be displayed and sold.
Other initiatives that should be taken into account are the City Improvement Districts that have
been established in the City Of Cape Town – these may include initiatives to match waste creators
with waste users, particularly in manufacturing areas (such as Parow). The Central City
Improvement District may be accessed at
http://www.capetownpartnership.co.za/default.aspx?pageid=7b75b15d-195c-45a1-ac98-
adb905ed5832
A Raw Materials Bank was proposed to provide physical space, coordination, and distribution for
recycling and reuse of materials, by the Western Cape Manufacturing Technology Strategy for the
crafts sector.
4.1.3 Utilisation of natural raw materials
Examples of projects that aim to support sustainable utilisation of natural materials for craft include
Working for Water and the crafts programme in St Lucia.
Working for Water 9 aims to remove invasive alien plant species. The programme includes a
“Value Added Industries” programme, which aims to maximise the value of biomass gained
through clearing. Products that have been produced by utilising these raw materials include:
Screens and blinds
Décor items
Bathroom accessories
Lights and lamps
Indoor and outdoor furniture
Fencing, arches and other garden furnishings
Wooden educational toys
Overall, it is unclear how successful this initiative has been, as implementation was on a local
basis. However, there are indications that enterprises in the Genadendal, Riviersonderend and
George areas have been producing craft items using materials from the Working for Water
programme.
The craft programme in St Lucia was designed to build capacity of crafters to enable access to
a higher value segment of the market, by providing support through:
Product development – bringing in design expertise and links into South African and
international markets to enhance existing skills and materials used:
– Indigenous palm fronds, harvested sustainably used as the main material
– Traditional weaving and sewing skills
Training – particularly focusing on costing, pricing, economies of scale, negotiating with
buyers, and delivering on orders. The programme includes 400 crafters organised into 24
groups, thereby enabling economies of scale in buying materials, transport, and
production volumes .
These interventions were successful in creating sustainability, evidenced by a partnership that has
been developed to supply large orders to Mr Price. This allows crafters to earn a larger, more
consistent income.
4.1.4 Bead production in South Africa
A DACTS study on the feasibility of manufacturing glass beads within South Africa concluded that
production through the sintering process could be feasible, although further studies would be
necessary to confirm this. Since 2000 however when the study was conducted, the price of beads
has dropped substantially, due to increased supply from lower cost suppliers such as China. (The
study assumes as selling price of R60/kg, however current prices are around R40/kg.)
Subsequently, production of beads has been investigated by the CSIR, and there is some
production of basic colours. This is however still in a pilot phase, and on a small scale.

Further initiatives that may result in increased glass bead production involve attracting investment
by Japanese glass bead manufacturers (currently there is some interest in investment in Limpopo
and the Eastern Cape).
4.2 International benchmarks
International initiatives were chosen to benchmark where these aim to address similar problems to
those faced by crafters in the Western Cape.
4.2.1 Recycle North – Waste Not Products
Recycle North is a not for profit organisation which operates in Vermont, US, and aims to reduce
solid waste where this is reusable/repairable, provide skills training, and alleviate poverty by
making household goods and building material available at lower costs. Major programmes are
the Essential Goods Programme which includes repairing household goods, and the Building
Materials Reuse programme, which aims to recover building materials for reuse.
The organisation is 75% self financing, through deconstruction services and sales of goods.
Waste Not Products is a new initiative of the organisation, which aims to recycle products
salvaged through deconstruction. The initiative was initially run as a pilot project, and preparation
to launch the programme involved the following functions:
Industry and market analysis
Through industry and market analysis, Recycle North identified household furnishings as an
attractive market, based on the following:
Niche hand-crafted household furnishings compete on the basis of product differentiation and
quality, in addition to price
Purchasing Vermont-made goods is a high priority for tourists to Vermont
Recycle North therefore developed a marketing strategy leveraging off product differentiation and
raw material cost advantage as key factors in product positioning. The marketing strategy involved
first selling through existing retail outlets for other programmes, and then scaling up to larger local
retailers and online sales on a national level.
Product development
14 different products were developed that could be constructed from typical recovered building
material:
Birdhouses
Framed mirrors
Picture frames
Garden sheds
“Orphan drawer” shelf – a shelf made from “orphan drawers”
Coffee table
Opportunistic products that take advantage of unique materials
Challenges to product development include:
Uncertain supply of similar material, therefore difficulty in mass marketing where products vary
in quality and appearance
New materials need to be purchased to supplement recovered materials where recovered
materials are of inadequate quality



Difficulty in differentiating products from mass produced manufactured products (e.g. mass
produced picture frames)

Poor quality of recovered materials
Management and staffing
Waste Not Products is intended to become an independent unit, with the following management
and staffing:
Production manager
Marketing coordinator (working on both Waste Not Products and other programmes)
Support from ReCycle North’s overall Business Manager and Training Director
f Deconstruction crews and trainees
Materials, equipment and production space
Materials from deconstruction are prepared based on particular specifications for the final
products. Most necessary equipment was already owned, and additional equipment is to be
purchased as needed to meet demand.
Existing production space is to be used, but a new facility to house all production activities is
planned – this is expected to result in cost savings for the organisation. This planned space will be
available to the public over weekends at a cost, to contribute to covering expenses.
4.2.2 Material Connexion
Material connexion is a private initiative that aims to provides a library of materials and processes
to subscribers, to stimulate new product and process design. Currently libraries have been set up
in New York, Cologne, Milan and Bangkok.
Although information was not forthcoming regarding the business and operational model of
Material Connexion, it is expected that revenues flow from subscriptions to the library, and
possibly from manufacturers of materials included in the library. Both online and onsite
subscriptions are available.

5 Recommendations on initiatives
Drawing from the above section benchmarking other initiatives, and from interviews with
roleplayers, Kaiser recommends that the CCDI should take into account the following in
supporting access to raw materials:
Table 5.1: Key learnings from interviews and benchmarking

Based on the above, Kaiser recommends the following programmes of intervention :
Table 5.2: Recommended programmes of intervention

6 Recommendations for the supplier database
The primary purposes of the database would be to provide information to crafters , and to use
as a tool to communicate with raw material suppliers . In particular, the database could be
used to gauge suppliers’ levels of willingness to engage in supplier relationships with crafters.
The CCDI could assess current support provided to crafters/small businesses, and interest
levels for assisting crafters in the following ways:
Provision of overruns and waste materials
f Discounts for crafters as part of their BEE/ CSI programmes, or as part of a loyalty card
scheme
Additional services such as transportation and storage of materials
Facilitating group buying with a number of customers
Information and training programmes on use of materials
Furthermore, the database should be updated and maintained , and could also be expanded.
Additions to the database could be further information regarding suppliers, including:
BEE information on suppliers, for crafters that calculate a BEE score
Information regarding % of product imported, and % of inputs imported by manufacturers, to
provide information to crafters regarding local content
Communication with suppliers, and maintenance of the database could be done through an email
survey and follow up calls where necessary.

APPENDIX A: List of stakeholders consulted
The following crafters, suppliers, and other roleplayers were consulted during the project:
1. Barbara Jackson and Joan Krupp, Monkeybiz
2. Grace Dyantjies, Imizamo Yethu Art & Craft
3. Thobeka Vivashe, Sibanye Crafters
4. Ryan Rode, Wolanani
5. Daniel Kurgan, Kurgan Kanani Leather
6. Ralph Johnson, Ceramics SA
7. Betsy Nield, Ceramics Western Cape
8. Bishop Tarambawamve, Master Wires
9. Rosemary Girardi, African Experience
10. Nosipho Kuse, Ipho Traditional Wear
11. Bongiwe Sithonga, Nande Women’s Project
12. Charmaine Cornille, Provenance Art
13. Michelle Sholto-Douglas, Footprints
14. Craig Leslie, Cape Pottery Suppliers
15. Ian Dunbar, The Art Shop
16. Catherine Le Seuer, The Bead Merchants
17. Susanne Dittke, EnviroSense
18. Reuben Kadalie, CSIR
19. Joseph Mathe, Department of Arts and Culture
20. Younis Mothetho and Suzanna Allers, Crafts Council SA
21. Takalani Rathiyaya, the dti
22. Philip van Rooyen, Mineworkers Development Agency
23. Adriana Scholtz, SEDA Western Cape

APPENDIX B: List of reports consulted
The following reports were used as inputs to this study:
1. Barton, Susan, Mineworkers Development Agency Case Study
2. DACTS, Glass Beads Feasibility Study, May 2000
3. ECI Subsector Studies
4. Elk, Erica, The South African Craft Sector
5. Recycle North, Waste Not Products Business Plan, 2005
6. the dti, Draft Customised Sector Programme: Crafts, Second Draft, December 2004
7. Western Cape Provincial Manufacturing Technology Strategy Craft Sector Report