Käsitöö ja pärandtehnoloogia vilistlaste erialase tööhõive uuring: laiem kontekst ja tulevikuvaated

Abstract

This article presents the results of a graduate employment study commissioned by the University of Tartu Viljandi Culture Academy, focusing on alumni of craft programmes. The findings are contextualized within broader educational, cultural, and economic frameworks. The article aims to analyse the modes of professional application of craft education, evaluate the adequacy of existing metrics, and outline future directions for the development of craft education and entrepreneurship.

The article begins with an overview of the forms and historical background of craft education, highlighting the roles of formal, non-formal, and informal learning in the development of craft skills. Particular attention is given to the evolution of vocational and higher education since 1988, when the first traditional craft programmes were established. The development of various schools and curricula is described, with emphasis on the connection between tradition-based craft education, national identity, and cultural heritage.

The analysis of previous studies reveals statistical and methodological limitations that hinder accurate assessment of the sector’s impact. Key issues include the ambiguity of EMTAK (Estonian Classification of Economic Activities) codes, the fragmentation of craft entrepreneurship across multiple sectors, and the exclusion of seasonal and part-time work from official statistics. Although earlier studies by OSKA have addressed the relationship between craft education and the labour market, their methodologies fail to account for the specific characteristics of the field.
The methodology of the current study differs from previous approaches by focusing on alumni’s self-assessment of the relevance of their work to their field of study. The sample included graduates from vocational, applied higher education, and master’s programmes, with a total of 349 respondents. The survey was followed by in-depth interviews that explored alumni motivations, learning experiences, and career choices.

A central finding of the study is the diverse ways in which craft education graduates engage with the labour market. Those fully employed in their field work primarily as teachers or trainers, with fewer operating as entrepre neurs and even fewer as salaried employees. The analysis of EMTAK codes revealed that alumni businesses span a wide range of activity sectors, under scoring the need for more appropriate metrics.

The study found that 18% of vocational graduates, 33% of applied higher education graduates, and 56% of master’s graduates are fully employed in their field. When including partial employment, seasonal work, and activities partially related to their field of study, the figures rise to 55% for vocational education, 77% for applied higher education, and 82% for master’s level. These results demonstrate that the impact of craft education on the labour market is significantly greater than current statistical indicators suggest. Moreover, the data show a clear correlation between higher levels of education and increased professional engagement.

The article highlights the need to consider the specific characteristics of the craft sector when evaluating educational outcomes. These include parttime and seasonal work, volunteer activities, and the application of craft skills in other professions. For example, craft skills are used in teaching, museum work, and community activities – contexts that are not reflected in official labour statistics but hold cultural and social value.

Looking ahead, the article emphasizes the importance of craft skills in the context of sustainability. The growing relevance of circular economy practices, repair culture, and material reuse creates new opportunities for the application of craft expertise. Craft also plays a vital role in supporting mental health and fostering community cohesion. In regional employment, craft offers viable livelihood options in peripheral areas and for individuals with special needs, contributing to social inclusion.

The article outlines three conceptual directions for craft entrepreneur ship: creative craft, skilled craft, and traditional craft. Creative craft links craft with design and innovation; skilled craft encompasses various service-oriented artisans and other service provider; and traditional craft focuses on the preservation of cultural heritage. Clarifying and integrating these directions into official business statistics is essential for the strategic development and support of the sector.

In conclusion, the article argues that new, sector-specific metrics are needed to evaluate craft education and entrepreneurship, taking into account the unique features of creative industries. A political consensus on the definition of craft entrepreneurship is also necessary to ensure the sector’s sustainability and attractiveness. Craft education should not be dismissed as mere hobbyism – it is a vital cultural, economic, and social resource that requires systematic and informed development.

Keywords: professional craft education, craft entrepreneurship, craft education application, craft education effectiveness research, alumni survey