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This paper aims to provide a comprehensive academic literature review on the relationship between knowledge management, knowledge transfer and organizational performance in a specific subset of the creative industry, i.e. arts and crafts organizations. Furthermore, this paper analyzes how knowledge management and transfer within arts and crafts organizations help increase performance and enhance the value of the activity of the so-called “knowledge workers” (i.e. craftsmen), who are the real knowledge owners in the process of value creation.

The literature review follows the model suggested by Vom Brocke et al. (2009). The review follows a five-phase approach so as to be systematic, transparent and replicable. Academic contributions published over two periods are taken into consideration. The first period covers the years 1990-2000, when the concepts of creative industry and knowledge-based economy were developed. The second period covers the years 2000-2016, when scholars started to investigate how to effectively transfer knowledge (very often in the form of “tacit knowledge”) retained by master craftsmen in arts and crafts organizations and the critical role played by craftsmen in the performance of such organizations.

Three main issues have emerged: how arts and crafts organizations manage and transfer knowledge internally; the effects of these activities on organizational performance; and the prominent role of craftsmen. The literature review shows how in arts and crafts organizations there is a considerable link between the concepts of “performance" and "tacit knowledge", even though addressing such link is somehow hard to realize, for several reasons discussed in the paper. The measurement of performance in arts and crafts organizations has become an area of academic investigation only when both the role of knowledge management and transfer and the role of knowledge workers (i.e., craftsmen) have become evident for obtaining a competitive advantage.

This paper has been an attempt to organize existing studies on knowledge management and transfer and to investigate the relationship existing between knowledge and performance in arts and crafts organizations. Nevertheless, the relationship between knowledge and performance is yet to be explored, as well as the development of techniques for measuring arts and crafts organizations’ performance effectively. The present contribution calls for a systematic reflection on how the transfer of traditional craftsmen’s skills impacts organizational performances in the long run. The definition and implementation of new performance evaluations criteria tailored to enhance the tacit knowledge of craftsmen as a real source of differentiation and competitive advantage for the arts and crafts organizations is somehow still missing.

By pursuing its objectives, the present contribution aims to represent a step toward enabling arts and crafts organizations to play a vital role in the modern society in a more structured way. This would help to build awareness of the potential of arts and crafts organizations for promoting economic growth, proposing a value proposition different from the one dictated by the globalization and by the triumph of product standardization and mass production.

Analyzing the knowledge management and transfer within arts and crafts organizations with a historical perspective, it appears that the recognition in academic literature of the centrality of knowledge management and transfer within arts and crafts organizations is only recent (i.e. from 2011 onward). Indeed, for approximately 20 years (i.e. 1990-2010), knowledge has been constantly related to technological paradigms and standardized results, with very little research and debate on craftsmanship and the role of craftsmen. Nevertheless, the research shows that over the years, the focus on knowledge in arts and crafts organizations and knowledge transfer has become progressively more detailed and precise: some authors have studied the role of craftsmen in the knowledge economy according to a historical perspective, while some others have analyzed different types of knowledge more thoroughly. For example, Sveiby (1997, 1996), analyzing the concept of "knowing talent" and "tradition", outlines a more prominent role of craftsmen in the knowledge economy and explain how, in sectors with a strong traditional background, the transfer of tacit knowledge is a meaningful challenge for many organizations.

This paper aims to analyse and discuss five longitudinal case studies in which the authors have investigated how, in a specific subset of the creative industry, i.e. the arts and crafts organizations, knowledge can be systematized and transferred, becoming a real source of competitive advantage.

As no prior empirical research on the relationship among knowledge, knowledge transfer the role of craftsmen is available, an exploratory, qualitative research design seems advisable to study the phenomenon in detail. In setting up a multiple case study, the authors established a sampling frame of criteria associated with the theoretical background and research interest of this study: the case firms had to be arts and crafts organizations well-known for the high quality and value of their artifacts and have a solid reputation for preserving the tradition and the uniqueness of their manufacturing processes.

It has emerged the importance of craftsmen within arts and crafts organizations, whose know-how and technical skills are high valued by colleagues, by the market (customers), within the society and the territory where they operate. The knowledge acquired and retained by the craftsmen becomes therefore crucial for the survival of the arts and crafts organizations and for their profitability in the long term.

From the empirical investigation, it has emerged a certain unawareness at managerial level of the strategic relevance of the craftsmen knowhow and skills and of how to practically and effectively transfer their knowledge to a future generation of young craftsmen to continue to satisfy a unique and exclusive market demand. Furthermore, it has emerged the lack of a common knowledge transfer policy to different organizations. Therefore, it has not been possible to define a standard framework for the knowledge transfer process because it is influenced by the organizational structure, the management style of the organization owner (very often a family that retains the totality of the organization shares/quota), the social context and the territory where the organization is located, as well as the target market and the specific niche of customers who buy the organization’s products. This result represents a potential threat for the survival of arts and crafts organizations in the long run.

A common result that has emerged is that craftsmen play a crucial role for the success of arts and crafts organizations, through the creation and production of exclusive, high value products; hence, it is crucial to preserve and transfer properly their knowhow and skills. This result is particularly relevant for the world of practice: in a time where globalization demands for the relocation of production processes and technology automates several job tasks, the variegated world of arts and crafts, where the handmade abilities and skills of craftsmen cannot be replicate, imitate or standardize, becomes extremely important for the economy of several countries, among which Italy.

At social level, the activity of arts and crafts organizations help preserve the uniqueness and exclusivity of the heritage and culture of the territory where they are located, and reflect the tradition of such territory, the knowhow and ability of its inhabitants and help preserve this unique reservoir of competences and knowhow.

The contribution builds on the lack of practical understanding of the relationship between knowledge and the role played by craftsmen in the knowledge transfer process within arts and crafts organizations, and how effective such process is realized. This because despite the interest of many authors toward both knowledge management and transfer within the creative industry, there is a lack of studies aimed at linking systematically these two research areas. This is a relevant issue since knowledge in creative industries mainly refers to the traditions and values at the basis of an organization’s culture, tends to manifest itself in a tacit way and is difficult to analyze because it mainly exists in the mind of individuals as the result of their working experience not expressed in an explicit form.

This paper aims to provide a classification for the process by which crafters find appropriate consumers in the post‐modern market structure that exists between black or gray markets where illegal or illegally obtained goods are sold, and the markets that serve the Fordist, mass‐production, mass‐distribution portion of an economy.

Principally the research was done via personal interviews and visits to craft show sites and comparing the findings to the existing street‐market structures of Europe.

The institutions that have evolved to support market segregation/segmentation in crafts markets are interesting and are better understood within a classification system like the one developed here. How these institutions differ from the street‐market culture of Europe lends an insight into this uniquely American post‐modern market system.

This study is the beginning of a larger body of work that should be undertaken to better comprehend how the increasing post‐modern market structure is interacting with and occasionally replacing, the traditional market structures in the USA.

As the post‐modern market structure becomes more prevalent in the USA understanding how it is similar to and differs from, the comparable market structures in Europe is important to policy decisions on the local level, particularly with respect to local support of this type of market.

This work extends earlier work looking at farmers’ markets into the crafts market environment. As such it brings the overall understanding of the post‐modern market structure in to more clear focus.

The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development.

A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period.

This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987).

The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.

In 1939, an English artist, designer and teacher named Ann Gillmore Rees arrived in New South Wales. Over the next nine years Rees taught design and craft to adults in Sydney, working for the Children’s Library and Craft Movement (later to become the Creative Leisure Movement), the Australian Red Cross, and the Society of Arts and Crafts of New South Wales. Although the period from 1939 until 1948 represents only a short period in what was a long and diverse career, Rees’ students included some notable figures, among them Margaret Oppen who went on to establish the Embroiderers Guild of NSW, Ysobel Irvine, later a popular teacher at the Workshop Art Centre in Willoughby, and the noted interior designer Marion Hall Best. Despite her active participation in the cultural life of Sydney, Rees is curiously absent from most of the histories of craft and design in Australia and very little has been written about her work as a teacher. This article outlines Ann Gillmore Rees’ teaching activities in Sydney, with particular focus on the Craft Training School and Correspondence Courses in Colour and Design and Fabric Printing that she developed for the Society of Arts and Crafts of New South Wales. It also analyses the role these classes played at a time of limited access to formal educational programmes in craft and design and consider how, in these classes, Rees combined elements of vocational, recreational and informational adult education so as to appeal to a wide audience.

The purpose of this paper is to unveil the intricacies of bakat art of weaving; its origin; processes; uses; primary materials and principles used; the profile of the weavers; and its economic significations in the system of production and trade.

The study used a descriptive–qualitative design with 35 key informants using narrative analysis. The unstructured questions listed in the interview guide were used during the interview. Responses were recorded using an audio–video recorder. Coding sheets were used in the actual transcription of data.

The results showed dependency on the bakat art of weaving with the available resources found in the environment. Its economic significations showed a sustainable impact on the weavers’ life. The bakat art of weaving represented the values of resiliency to hardships, adaptability to changes, passion to craftsmanship, sense of community and family centeredness. Aspiring craftsmen and artists may enhance continuously their craftsmanship for sustainable development with government support through the creation of the School of Living Traditions.

The study was limited to bakat art of weaving based on the responses of the key informants that were subjected to a point of saturation without sacrificing robustness, brevity, credibility and dependability.

Though the economic side of bakat art of weaving is sustainable within the village, it can create a powerful branding for cultural recognition that would transform the town of Barili into a creative weaving hub in Cebu. This creates the balance of the historical significance of bakat art of weaving and the tourism sector in promoting sustainable development.

Bakat art rekindled the spirit of consciousness among the majority of the Cebuano public for preservation and promotion.

The study is original because this has not been published.

The purpose of this study is to use a spreadable form of creative expression, bookwork, to illustrate the encroachment upon the indigenous craft process of Namibian master crafters. In addition, the authors hope to inspire a dialogue regarding the value of interdisciplinary research between the arts and business and promote creative expression as scholarly output that can provide additional depth to research topics in business.

This study introduces bookwork as a research technique used to convey insights regarding the consequences to master crafters and indigenous craft practices arising from the economic activities of informal sector tourists as “outsiders” – those external to the indigenous Namibian Craft community.

In this paper, the authors convey the manner in which outsiders (such as tourists) permanently influence the traditional craft culture of indigenous communities in a largely unexplored cultural ecological niche in Namibia by purchasing low cost, easily mass produced, yet inauthentic brightly colored objects. It is likely that craft processes designed for revenue generation will encroach on the role of the master crafters in Namibian society and permanently redirect creative activities away from the indigenous practices.

The researchers acknowledge the biases they have, as outsiders, in their perception of Namibian master crafters and craft practices.

The human capital of the master crafters of Namibia is being eroded and traditional craft practices are being distorted due to incentives created by tourist preferences for cheap, inauthentic replicas of the master crafters’ work.

While some business disciplines, such as marketing, have incorporated the arts into their research, the use of creative expression in many business disciplines has been limited. The authors are the first to use bookwork to explore academic business research questions as per their knowledge. In addition, this study provides a new perspective, that of the outsider, in assessing how tourism impacts traditional Namibian Craft processes.

The purpose of this paper is to offer an appraisal of the craft metaphor in management with particular reference to authority, resistance, care and the interior landscape of the manager/crafter.

This is a conceptual essay that draws on an autoethnography.

Respect for the limits of managerial and bureaucratic authority and an appreciation of the manager/crafter's interior landscape are crucial aspects of effective craft and management practice. Insights into the practice of craft may enhance understanding of how both craft and management are a potent brew of politics, power, people, history, reason, faith and authority and just how crucial the interior landscape of the manager/crafter is.

This article offers a focus on an inadequately examined aspect of management/craft – the interior landscape of the manager – that is informed by an auto-ethnography and suggests a case for conceptualizing management as craft, with implications for management development.

The purpose of this paper is to assess the effectiveness of a research and development programme on improving craft practice through the provision of mentoring by academic practitioners, studio space and advice on marketing techniques.

Following an initial focus group investigation of issues which impinge on contemporary craft practice, recipients of a bursary associated with the research and development programme were assessed with respect to how their craft and marketing competencies have developed.

Practitioners can now reflect on their skills, experiment with techniques and consider the effectiveness of their approach and attitude towards marketing.

The programme only extends to practitioners working with one art and design institution but has implications for those concerned with creative practice elsewhere.

There is wider potential to reinvigorate artistic and marketing practice across the creative and cultural industries, and the small and medium enterprise community in general.

This is a novel programme which challenges experienced practitioners to extend their creative abilities in craft and approaches to marketing.

Craft has been described as a personally meaningful orientation toward an activity – this orientation is what distinguishes craft from mere labor. This conception of craft can be traced back to the Greek poiesis, or revealing. Poiesis entails both passive and active components: passively, poiesis denotes being receptive to what is given in the world; actively, it involves the trained judgment of decision-making. Information activities can become more meaningful, then, if they are infused with this craft ethic. Fundamentally, this is a particular orientation of a person toward their world, one of the finding distinctions that matter to a person.