WP2.1

This Comparative Study provides an overview of ceramic artwork making methodologies at the European Union (EU) level. The report, within the frame of the Erasmus+ project “C.A.R.E. Ceramic Artworks to Raise Esteem and Employability,” aims to analyse the strengths and weaknesses of the ceramic arts sector, education and training providers (ETP), and the capacity to absorb and integrate the learners’ community in Italy, Greece, Poland, Cyprus and Ireland. The purpose of this report is to gather information through desk research on the extent of people’s participation in the ceramic discipline at the regional and/or national levels. By considering various parameters such as age groups, gender, educational institutions, and organizations working with people with special needs, we aim to understand the demographics and level of involvement in the ceramic discipline. The methodology section describes the research objectives, participant profiles, and research methodologies used in the study, including desk research and field research. The study then delves into the culture and tradition surrounding ceramics in each country; it explores provides valuable insights into the current landscape of ceramics in each country and emphasizes the importance of tailored programmes and initiatives to foster engagement, skill development, and employment opportunities within the ceramics field. In terms of professionalisation of the ceramic artwork sector, it investigates the educational paths available for mastering ceramic techniques and becoming fully- fledged ceramists. The adequacy of workshop durations, efficiency of communication channels, incorporation of national/regional traditions and sub- cultures in workshops, and the potential for finding valuable job occupations within ceramic training programmes are assessed. The existence of recognised qualifications for future job endeavours is also considered. The report also discusses strategic EU policies that promote ceramic artwork training in Europe, such as the Creative Europe Programme, Erasmus+, European Qualifications Framework (EQF), and European Social Fund (ESF). These initiatives support the training and development of ceramic artists, foster cross-cultural exchange, and enhance the professionalization of the field. The conclusions provide insights into the current landscape of ceramics in each country and emphasizes the importance of tailored programmes and initiatives to foster engagement, skill development, and employment opportunities within the ceramics field in the European Union.

C.A.R.E. Field research Dear ceramist, Welcome to this Erasmus+ project named C.A.R.E. and thank you for the time you are dedicating to this research. C.A.R.E. (Ceramic Artworks to Raise Esteem and Employability) arises as a key opportunity for young people with visual impairment unlock their potential as individuals, as artists, and as employees, through tailormade ceramic workshops and the enhancement of their psychomotor skills, as one of the foundations for development. The analysis of feedback received from you will lead to the drawing of national reports, which will serve as a basis for the creation of an EU common report. https://forms.gle/segg6Ve9daoRwvqs5   PRIVACY & GDPR I am aware that my personal data will be used within the frame of C.A.R.E. project, № 2022-1-IT03-KA220-YOU- 000086755. By filling out this form, I agree that the personal data provided within (e-mail address) may be used for reporting purposes in accordance with the General Data Protection Regulation (EU) 2016/679 by the administrator of PRISM Impresa Sociale Srl., Italy, C.F.: 92057680859. I give my agreement voluntarily and for the period essential for the purpose of the processing of my personal data (at least 5 years after the project end date). I am aware of the fact that, I have the right to revoke this agreement at no cost at any time, the right to access to my personal details, the right to their correction or deletion, and the right to block any incorrect personal data.

Italy, Greece, Ireland, Cyprus, and Poland each have unique characteristics and contexts in their ceramic participation and culture. Italy stands out with its strong interest and diverse participation in ceramics, deep appreciation for cultural traditions, and a well-developed ceramic system. Sardinia and Sicily showcase recognized ceramic traditions. Greece has seen an increase in ceramics participation, particularly in Athens, but faces challenges in terms of professional recognition and education. Ireland offers various educational pathways for ceramists and has a rich ceramic culture and tradition. Cyprus shows a mix of professional and amateur participation, limited formal education paths, and a focus on preserving traditional crafts. Poland lacks a vocational training system but demonstrates a strong interest in ceramics, especially among women, and a rich tradition of ceramic factories. In terms of the ceramic making system, Italy provides numerous trainings paths and emphasizes technical- practical teaching. Greece lacks established professional rights and formal qualifications for ceramists. Ireland offers diverse educational options, emphasizing continuous learning. Cyprus lacks formal educational paths, while Poland relies on informal experience and private courses. Professional development opportunities vary across these countries. Italy offers good opportunities for ceramists, including entrepreneurship, teaching, and occupations in museums. Greece faces difficulties in following international changes and needs further education and access to modern technology. Ireland provides opportunities for ceramists to become teachers/educators and collaborate with various organizations. Cyprus has limited professional development opportunities in the VET sphere, while Poland relies on informal workshops and lacks formal qualifications. The employment rates for ceramists completing full training programs are not consistently provided, except for Italy where it is relatively low. However, establishing one’s own business increases employment prospects in Italy. The specific employment rates for Greece, Ireland, Cyprus, and Poland are not mentioned, but opportunities exist in various sectors. In conclusion, these countries demonstrate varying levels of ceramic participation and cultural significance. Italy stands out with its vibrant ceramic discipline, deep appreciation for traditions, and well-developed system. Greece, Ireland, Cyprus, and Poland have their unique strengths and challenges in terms of professional recognition, education, and employment opportunities.

The analysis of the country reports highlights both Strengths and Weaknesses among Italy, Greece, Ireland, Cyprus, and Poland in terms of their ceramic participation and culture. In brief, each country has its strengths and weaknesses in the field of ceramics. Italy stands out with its diverse participation and strong cultural preservation, while Greece faces challenges in professional recognition. Ireland offers various educational pathways, and Cyprus has a rich historical tradition but limited formal education. Poland shows popularity among specific demographic groups but lacks formal qualifications and vocational training. Further research and data collection would be valuable to gain a more comprehensive understanding of the ceramic discipline in each country.   Table 1. Strengths and Weaknesses by countries STRENGTHS: WEAKNESSES ITALY Strong interest and diverse participation in the ceramic discipline, particularly among the age group of 26-45. Deep appreciation for cultural traditions and preservation of traditional ceramic products. A well-developed ceramic system with numerous training paths and technical practical teaching. Opportunities for professional development and occupations in teaching, collaboration with NGOs, and cultural diversity promotion Challenges for young ceramists entering the labor market, including high costs and the need for familial connections. Relatively low employment rate for ceramists who complete a full training program. Industry challenges such as high equipment costs and inflation affecting profitability and employment opportunities. GREECE Increasing interest in ceramics, particularly among adults. Active ceramics activity in the metropolitan area of Athens and the province, with organized workshops, courses, and festivals. Rich tradition and cultural significance of ceramics in Greece. Various professional bodies and associations support ceramists and potters. Limited professional rights and legislative coverage for potter ceramists in Greece. Lack of formal qualifications and limited access to modern technology and know how practices.  Competition from mass produced, imported items in the tourist art market. IRELAND Various educational options for individuals interested in ceramics, including art schools, universities, community colleges, and apprenticeships. Rich ceramic culture and heritage in Ireland, with traditions passed on to future generations. Opportunities for professional development in the vocational education and training (VET) sphere. Availability of formal qualifications, such as recognition from national fairs and VET and higher education qualifications. Lack of specific information on the extent of ceramic participation in Ireland. Need for more accurate employment rate data for ceramists who complete a full training program. CYPRUS Some level of engagement in ceramic activities, both professionally and among amateurs. Rich historical tradition and cultural significance of ceramics in Cyprus. Various initiatives, workshops, and associations supporting and promoting ceramics Limited formal educational paths and VET programs for ceramics. Lack of formal qualifications specific to ceramics. Limited professional development opportunities in the VET sphere. No measurable employment rate for ceramists who complete a full training program. POLAND Popular ceramics classes among women aged 35-50 and schoolchildren. Rich tradition of ceramic factories and growing interest in ceramic products. Supportive associations promoting and developing ceramics. Lack of vocational training system for ceramic craftsmen. Lack of formal qualifications and criteria for evaluating professional skills. Challenges for professional development and assessment of employment rates in the ceramic industry.   EU Policies promoting Ceramic Artwork Training in Europe Ceramic artwork has a rich history in Europe and continues to be a vibrant and diverse artistic discipline. Recognizing the cultural and economic value of ceramics, the European Union (EU) has implemented strategic policies to promote and support the training and development of ceramic artists across the continent. This article explores the key EU policies that aim to enhance ceramic artwork training in Europe, fostering creativity, innovation, and professional growth. The EU has recognized the importance of promoting and supporting ceramic artwork training in Europe through strategic policies and funding programs. The Creative Europe Program, Erasmus+, European Qualifications Framework, and European Social Fund are key initiatives that facilitate the training and development of ceramic artists, foster cross cultural exchange, and enhance the professionalization of the field. By investing in ceramic artwork training, the EU aims to preserve cultural heritage, stimulate creativity and innovation, and contribute to the growth of the cultural and creative sectors in Europe. Erasmus+ Programme: The Erasmus+ Program is a flagship EU initiative in the field of education, training, youth, and It promotes international cooperation and mobility, facilitating the exchange of students, teachers, and professionals across Europe. Through Erasmus+, ceramic art students and professionals can benefit from study abroad opportunities, internships, and training programs in partner institutions or organizations. These exchanges provide exposure to different artistic traditions, techniques, and perspectives, enriching the training experience of ceramic artists. Creative Europe Programme: The Creative Europe Program is an EU initiative that aims to support the cultural and creative sectors. Within this program, the Culture subprogram provides funding opportunities for projects that foster artistic excellence, innovation, and cross border collaboration in various artistic fields, including Ceramic artists and organizations can apply for funding to support training programs, exhibitions, artist residencies, and cultural exchange projects, thereby promoting the training and development of ceramic artwork in Europe. European Qualifications Framework (EQF): The European Qualifications Framework (EQF) is a common reference framework that promotes transparency and comparability of qualifications across Europe. It allows for the recognition and transferability of qualifications between different countries and educational systems. EQF provides a basis for the development of qualifications in the ceramic artwork field, ensuring that training programs meet certain quality standards and enable graduates to acquire the necessary skills and It facilitates the mobility of ceramic artists and encourages lifelong learning in the field. European Social Fund (ESF): The European Social Fund (ESF) aims to improve employment and social inclusion in EU Member States. It provides financial support for projects and initiatives that enhance skills development, training, and employment opportunities. ESF can be leveraged to fund ceramic artwork training programs that target unemployed individuals, disadvantaged groups, or those seeking to upgrade their skills. By supporting access to quality training, ESF contributes to the professionalization and employability of ceramic artists.     Italy Italy, including the regions of Sardinia and Sicily, has a vibrant ceramic discipline with diverse

Objectives: The research objectives involve conducting a comparative study of ceramics workshops, selecting and adapting approaches to strengthen psychomotor skills, integrating practices for the development of interpersonal social skills, and designing and developing an innovative manual on the development of psychomotor skills through ceramic making.   Participants’ Profile: The research aimed to collect and analyse at least 20 surveys from various professionals and individuals related to the field, youth workers, pottery trainers, educators, other ceramics associations, youth centres, non-profit organisations, and V.I institutions.   Methodologies: The research methodologies include desk research and field research. Desk research involves gathering secondary data on national realities and ceramic traditions, while field research involves primary data collection through interviews with ceramic makers/practitioners. These methods aim to identify effective methodologies for implementing ceramic courses, understand the benefits for psychomotor development, and integrate effective non-formal education practices. The research methodology combines a (i) desk- research (relevant national legislation, official reports, statistics, guides and other publications regarding ceramics), validated by (ii) fieldwork interviews with professionals from the pottery sector and general social fields that could be linked to it.

The ceramic artwork sector in Europe is a diverse and dynamic industry, with employment opportunities varying across different geographical contexts. In many European countries, the creative arts sector, which includes fields such as ceramics, design, visual arts, and crafts, has experienced growth and provided employment opportunities for artists, artisans, and related professionals. While specific employment data for the ceramic artwork sector may be limited, the employment landscape within the ceramic artwork sector can range from self-employed artists and artisans operating their own studios and galleries to individuals working in larger ceramic production companies, museums, educational institutions, and cultural organizations. It’s important to note that the size and composition of the ceramic artwork sector can also vary significantly between countries, economic factors, cultural traditions, and government support for the arts can influence employment rates and opportunities. In some European countries, museums and galleries offer specific programs and resources to promote and enhance the participation of visually impaired people in the artwork sector by providing resources, workshops, and platforms for visually impaired artists to showcase their work and contribute to the artistic community. These initiatives included tactile exhibitions, audio descriptions, and touch tours that allowed visually impaired individuals to experience and engage in artworks through their sense of touch and hearing, ultimately promoting inclusivity and accessibility in the arts.   What’s the involvement of visually impaired people within the artwork sector in Europe? In 2023, there also still no comprehensive data available on the exact level of involvement of the specific target group of the C.A.R.E project, although there are various efforts and programs aimed at promoting inclusivity and accessibility in the arts for visually impaired people (V.I.P.). C.A.R.E. is innovative because it sees the V.I.P. as fully capable of creations, of art and more than enough to be key actors in our societies. It is innovative because its partnership has the expertise and commitment to transfer this vision to the V.I. community and to give them more than one key to unlock their potential as individuals and as professionals, even to build their own enterprise.