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Bridging the Gap: Empowering Traditional Artisans and Artists

Through Digital Marketplaces in Developing Economies

Ailea Florence D. Aquino

University of Baguio

DOI:

https://doi.org/10.51583/IJLTEMAS.2026.150500094

Received: 10 May 2026; Accepted: 14 May 2026; Published: 03 June 2026

ABSTRACT

Traditional artisans and artists in developing economies continue to face limited access to wider markets despite

growing interest in authentic and culturally rooted products. In Baguio City, Philippines, a UNESCO Creative

City for Crafts and Folk Art, many artisans still depend on local exhibitions, tourism, community events, and

informal selling networks. Digital marketplaces may help expand visibility and income opportunities, but

participation remains shaped by issues of trust, accessibility, logistics, digital confidence, and cultural

representation.

This study examines the perspectives, readiness, and support needs of artisans and artists in Baguio City

regarding digital marketplace participation. A qualitative descriptive research design was used, supported by

descriptive survey indicators and thematic analysis. Data were gathered from eighteen artisans and artists

representing visual arts, jewelry, weaving, and other creative sectors. The findings show that participants

generally have strong digital readiness and interest in online selling, especially when supported by training,

secure payment systems, transparent logistics, and culturally responsive platform features.

Thematic analysis identified five major themes: digital readiness and willingness to adapt, trust and security

concerns, market visibility and audience reach, cultural preservation through storytelling, and the need for

institutional and community support. The study contributes to current discussions on digital inclusion and

creative economies by showing that meaningful digital participation requires more than access to technology. It

also requires trust-building, cultural sensitivity, practical support, and community-centered platform design.

The paper recommends the development of culturally responsive digital marketplace systems supported by local

government, academic institutions, creative organizations, technology partners, and artisan communities. These

systems should prioritize accessibility, transparency, digital literacy, authenticity protection, and ethical

representation of traditional and indigenous crafts.

Keywords: digital marketplace, artisans, creative economy, digital inclusion, cultural preservation, Baguio City,

indigenous crafts

INTRODUCTION

Traditional artisans and artists play an important role in preserving cultural identity, sustaining local economies,

and passing creative knowledge across generations. Their works represent more than artistic production. They

reflect memory, identity, local history, and community heritage. In many developing economies, however,

artisans continue to face difficulty reaching broader markets due to limited visibility, geographic barriers, and

uneven access to digital systems.

The growth of digital commerce has changed how products are promoted, distributed, and purchased. Online

marketplaces and digital platforms allow small producers to connect with customers beyond their local

communities. UNCTAD (2024) emphasizes that digitalization can support more inclusive economic

participation when it is managed with attention to access, sustainability, and development needs. For creative

sectors, this means that digital tools can help expand visibility and strengthen market access for cultural

producers.

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Within Southeast Asia, the creative economy has gained increasing attention as a source of livelihood, cultural

sustainability, and inclusive development. UNESCO (2022) recognizes cultural and creative industries as

important contributors to employment, community resilience, and sustainable development. However, the

integration of traditional artisans into digital economies remains uneven, especially in communities where digital

participation intersects with cultural sensitivity, authenticity concerns, and limited operational support.

Baguio City provides a meaningful setting for this study. Recognized as a UNESCO Creative City for Crafts

and Folk Art, the city is home to diverse artists, craft makers, and indigenous creative communities. Many local

artisans participate in exhibits, markets, tourism-related events, and community selling spaces. While these

channels remain valuable, dependence on physical selling environments may limit income opportunities and

expose artisans to market disruptions

Digital inclusion is therefore central to this discussion. Digital inclusion does not only refer to internet access. It

also includes digital skills, affordability, usability, trust, institutional support, and meaningful participation in

online systems (van Dijk, 2020). In the context of artisans, digital inclusion also involves ethical representation

of cultural identity and protection from misrepresentation or exploitation in digital spaces.

Similar studies in developing contexts show that small creative producers often face overlapping barriers related

to logistics, trust, digital confidence, platform accessibility, and market visibility. However, the way these

barriers are experienced differs by local culture, craft type, and community structure. This highlights the need

for context-specific approaches when designing digital platforms for artisan communities.

Despite growing interest in digital entrepreneurship and creative economies, fewer studies examine how artisans

themselves perceive digital marketplaces and what support they need to participate with confidence. Many

studies focus on technology adoption, while less attention is given to cultural preservation, authenticity, trust-

building, and local realities.

This study addresses this gap by exploring the perspectives of artisans and artists in Baguio City regarding digital

marketplace participation. Rather than focusing only on commercial opportunity, the study examines how digital

platforms may support cultural preservation, market visibility, trust, and inclusive participation when designed

around the actual needs of artisan communities.

Specifically, this study aims to:

1. Examine the digital readiness and online selling perspectives of artisans and artists in Baguio City;

2. Identify the support systems, platform features, and operational needs required for confident participation in

digital marketplaces; and

3. Explore how digital marketplaces may support both economic participation and cultural preservation among

artisan communities.

The study contributes to discussions on culturally responsive digital transformation within creative industries. It

also provides practical insights for policymakers, educators, platform developers, and creative organizations

seeking to support local artisans while protecting cultural integrity.

LITERATURE REVIEW

Digital Inclusion and Creative Economies

Digital inclusion refers to equitable and meaningful participation in digital environments. It includes access to

technology, digital literacy, affordability, usability, and the ability to benefit from online systems (van Dijk,

2020). In developing economies, digital inclusion is closely linked to entrepreneurship, social mobility, and

market participation. However, unequal access to digital tools and support continues to affect marginalized and

culturally rooted communities.

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Ragnedda and Ruiu (2020) argue that digital participation should be understood not only through access, but

also through social, cultural, and economic conditions. For artisans and small creative entrepreneurs, this means

that digital inclusion requires more than being online. It requires systems that help them sell, communicate,

protect their work, and sustain engagement.

The creative economy is also increasingly recognized as a driver of inclusive growth. UNESCO (2022)

highlights the role of cultural and creative industries in strengthening sustainable development, employment,

and cultural identity. Digital platforms can extend these opportunities by helping creators reach wider audiences

and connect with consumers who value authenticity and cultural meaning.

The Asian Development Bank (2021) also notes the importance of creative industries in building inclusive and

resilient recovery pathways. However, many small creative producers continue to experience barriers related to

digital capability, logistics, payment systems, and market visibility.

Digital Marketplaces and Artisan Participation

Digital marketplaces provide online spaces where sellers can display products, communicate with buyers, and

complete transactions. For artisans, these platforms may support visibility, direct customer engagement, and

expanded market reach. However, marketplace participation is not only a technical issue. It is also shaped by

confidence, trust, cultural identity, and platform design.

OECD (2021) explains that digital transformation can help small and medium enterprises improve productivity,

access resources, and connect to wider markets. However, SMEs often face barriers such as limited skills, digital

security concerns, and lack of appropriate support. These concerns are relevant to artisans, whose work is often

handmade, culturally grounded, and difficult to fit into standard e-commerce models.

Trust is also a major factor in online participation. For small sellers, secure payment systems, transparent pricing,

order tracking, and reliable customer service are important conditions for adoption. Without these safeguards,

sellers may hesitate to use digital marketplaces even when they have the basic skills and tools to do so.

Cultural Preservation in Digital Environments

Digital platforms may also support cultural preservation by allowing artisans to share the stories, meanings, and

traditions behind their work. UNESCO (2022) emphasizes that culture should be recognized as a global public

good and supported through policies that protect creative expression and cultural diversity.

For artisan communities, digital storytelling can help customers understand the value of handmade products

beyond price. It can communicate the cultural process, materials, symbols, and identity connected to each craft.

However, digital commercialization may also create risks. Cultural products may be copied, misrepresented, or

separated from their original meaning if platforms do not include safeguards for authenticity and ethical

representation.

This study builds on these discussions by examining how artisans in Baguio City perceive both the opportunities

and risks of digital marketplace participation.

METHODOLOGY

Research Design

This study employed a qualitative descriptive research design supported by descriptive quantitative survey

indicators. This design was selected to capture both general response patterns and deeper participant perspectives

regarding digital marketplace participation among artisans and artists in Baguio City.

A qualitative descriptive approach was appropriate because the study aimed to understand participant

experiences, concerns, and support needs within a localized artisan context. The study also applied an

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indigenous-informed and culturally sensitive lens by recognizing the importance of cultural preservation, ethical

representation, and community-centered participation.

Participants

The study involved eighteen artisans and artists from Baguio City. Participants were selected through purposive

sampling. They were invited based on their active involvement in creative or craft-related work and their

willingness to participate in the survey.

The participant group included visual artists, jewelry artisans, textile or weaving artisans, and handmade craft

producers. Visual artists comprised the majority of participants, followed by jewelry artisans and smaller

representation from textile and other craft categories.

The sample size was considered appropriate for exploratory qualitative inquiry within a localized artisan context.

The study does not claim statistical generalization. Instead, it focuses on thematic depth, contextual

understanding, and recurring patterns in participant responses. The relatively small sample size is acknowledged

as a limitation, but it remains useful for generating insights into artisan perspectives within the Baguio creative

community.

Data Gathering Procedure

Data were gathered through a structured online survey with Likert-scale items and one open-ended question.

The survey examined digital readiness, online selling experiences, trust and security concerns, support needs,

perceptions of cultural preservation, and desired marketplace features.

Participation was voluntary. Respondents were informed of the purpose of the study, the confidentiality of their

responses, and the academic use of the data before completing the survey.

Data Analysis

Descriptive statistics, including frequency and mean scores, were used to summarize participant responses to the

Likert-scale items. These indicators were not used for statistical generalization, but to support thematic

interpretation and provide context for the qualitative findings.

Qualitative responses were analyzed using thematic analysis guided by Braun and Clarke’s (2021) six-step

process: familiarization with the data, generation of initial codes, searching for themes, reviewing themes,

defining and naming themes, and producing the report.

To support rigor and trustworthiness, responses were reviewed repeatedly to identify recurring ideas and

patterns. Initial codes were grouped into categories and later refined into broader themes. The emerging themes

were compared with the descriptive survey indicators to check consistency between the numerical trends and

participant responses. Representative participant responses were also reviewed repeatedly to ensure alignment

between the final themes and participant intent.

Researcher reflexivity was practiced throughout the coding process. This helped reduce interpretive bias and

supported a more careful reading of participant responses.

Ethical Considerations

The study followed institutional ethical standards. Informed consent was obtained from all participants.

Participants were informed that their involvement was voluntary and that their responses would be kept

confidential and reported only in aggregated form.

The study also recognized the cultural sensitivity surrounding traditional crafts and indigenous artistic

expression. Care was taken to avoid exploitative interpretation, cultural misrepresentation, or commercialization

of participant responses.

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RESULTS AND DISCUSSION

Descriptive survey indicators were used to support thematic interpretation of participant responses. The findings

are presented through three summary tables and discussed according to the major themes identified through

thematic analysis.

Participant Profile

Table 1 presents the distribution of participants according to primary craft specialization.

Table 1. Participant Demographic Distribution by Craft Type

Craft Type

Frequency

Percentage (%)

Visual Arts

66.67

Jewelry Craft

22.22

Textile / Weaving

5.56

Other (Handbound Notebooks)

5.56

Total

100.00

The participant profile shows that most respondents were engaged in visual arts, followed by jewelry craft.

Smaller representation came from textile or weaving and other handmade creative products. This distribution

reflects the strong presence of visual and craft-based creative sectors within the participant group.

Digital Readiness and Willingness to Participate

The findings indicate that participants generally demonstrate strong digital readiness and openness toward digital

marketplace participation.

Most respondents reported having sufficient internet access and device capability to support online selling.

Participants also expressed confidence in the potential of digital marketplaces to improve product visibility and

expand customer reach.

Table 2. Digital Readiness and Marketplace Perception Scores

Indicator

Mean

Interpretation

I have sufficient internet access and device capability to sell online

consistently.

4.72

Very High

I believe a digital marketplace can increase my sales and visibility.

4.50

Very High

I need a platform that is easy to use on a mobile phone and simple for

uploading products.

4.33

High

If training and support are provided, I am willing to sell through a dedicated

digital marketplace for artisans.

4.22

High

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I believe there is strong demand for authentic Baguio artisan products online.

4.11

High

I receive inquiries or interest from buyers outside Baguio, including other

provinces or overseas.

4.06

High

Scale Interpretation:

4.50 to 5.00 = Very High; 3.50 to 4.49 = High; 2.50 to 3.49 = Moderate; 1.50 to 2.49 = Low; 1.00 to 1.49 = Very

Low.

These findings suggest that artisans and artists in Baguio City are not resistant to digital participation. Many

already possess the basic technological capacity needed to engage in digital commerce. However, readiness

alone does not automatically lead to marketplace participation. Responses show that willingness increases when

training, onboarding, and platform guidance are available.

One participant shared, “I honestly did not experience selling my works online, but if given the opportunity and

proper guidance, I would be willing to try.” This response reflects the importance of confidence-building and

practical support. The finding supports Ragnedda and Ruiu’s (2020) view that digital participation is shaped by

more than access. It also depends on social support, skills, confidence, and meaningful opportunity.

Market Demand and Audience Reach

Participants generally perceived strong market potential for authentic Baguio artisan products in online spaces.

Some respondents reported receiving inquiries from buyers outside Baguio, including customers from other

provinces and overseas. This suggests that market interest already exists beyond local exhibitions, tourism

events, and physical selling environments.

Open-ended responses emphasized visibility and audience reach. One respondent explained, “Market reach. If

we only reach fellow artists, nothing will be sold.” Another noted the need for “adequate marketing campaigns

so my products will be visible to the right audience.”

These responses show that artisans view digital marketplaces not only as transaction tools, but also as platforms

for promotion and discoverability. For this reason, digital marketplaces for artisans should include marketing

support, product visibility features, and audience-building strategies. This aligns with UNESCO’s (2022)

discussion of creative ecosystems, where cultural production depends on supportive policies, visibility, and

sustainable participation.

Trust, Security, and Transparency

Trust emerged as one of the strongest and most consistent themes in the study. Participants emphasized the

importance of secure payments, transparent fees, order tracking, and reliable customer support. These concerns

are shown in Table 3.

Table 3. Trust, Security, and Platform Support Indicators

Indicator

Mean

Interpretation

I need clear and transparent information on fees, pricing, and order tracking.

4.67

Very High

I need secure and locally accessible payment options.

4.67

Very High

A digital marketplace can help preserve cultural heritage by sharing artisan

stories and meanings.

4.56

Very High

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I need features that protect authenticity, such as verified artisan profiles and

product storytelling.

4.39

High

I need support for shipping logistics such as courier options, pickup support,

or guidance.

4.33

High

I worry that selling online may misrepresent or commercialize cultural crafts

without proper guidelines.

3.83

High

Scale Interpretation:

4.50 to 5.00 = Very High; 3.50 to 4.49 = High; 2.50 to 3.49 = Moderate; 1.50 to 2.49 = Low; 1.00 to 1.49 = Very

Low.

Participants expressed concern about scams, unpaid orders, unreliable buyers, and payment disputes. One

respondent shared the need for “reliable customer support and a trusted payment system so I can safely sell my

products and receive payments without problems.” Another emphasized the importance of a “user-friendly

interface and protection from scammers.”

These findings indicate that artisans need more than access to a platform. They need assurance that digital

transactions are safe, transparent, and supported. Similar concerns are also observed among small enterprises in

developing contexts, where trust and digital security affect online participation (OECD, 2021; World Bank,

2023).

Accessibility and Platform Simplicity

Ease of use was another important consideration. Respondents preferred platforms that are simple, mobile-

friendly, and accessible for first-time online sellers. This preference reflects the practical realities of many

artisans who balance creative work with limited time, resources, and technical support.

Participants highlighted the need for easy product uploading, clear navigation, and practical onboarding.

Platforms that are too complex may discourage participation, especially among artisans who are new to formal

e-commerce systems.

This finding supports digital inclusion literature, which explains that meaningful access must include usability,

confidence, and the ability to participate effectively (van Dijk, 2020). For artisans, this means that platform

design should not be overly technical. It should be simple enough to use while still providing the tools needed

for selling, storytelling, and customer engagement.

Cultural Preservation and Authenticity

A major finding of the study is that participants viewed digital marketplaces as potential spaces for cultural

preservation. Many respondents valued features such as artisan storytelling, verified profiles, and authenticity

protection. They recognized that online platforms could help customers understand the meaning, process, and

cultural value behind handmade products.

At the same time, participants expressed concern that digital selling may misrepresent or commercialize cultural

crafts without proper guidelines. This reflects an important tension between economic opportunity and cultural

protection.

The findings suggest that artisan-centered digital platforms should not function only as commercial spaces. They

should also serve as ethical and educational spaces that respect cultural identity, creative ownership, and local

heritage. Similar concerns have been raised in broader discussions on culture and sustainable development,

where digital systems must protect diversity and creative expression while expanding access to opportunity

(UNESCO, 2022; UNCTAD, 2024).

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CONCLUSION

This study examined the perspectives, readiness, and support needs of artisans and artists in Baguio City

regarding digital marketplace participation. The findings show that artisans are increasingly open to digital

participation and recognize the opportunities that online platforms may provide for visibility, audience reach,

and cultural storytelling.

Contrary to the assumption that traditional artisans may resist digital technologies, participants generally

demonstrated strong digital readiness and willingness to adapt when support systems are available. However,

the findings also show that meaningful participation requires more than technological access.

Trust, transparency, accessibility, logistics support, authenticity protection, and culturally responsive design

emerged as important conditions for digital marketplace participation. Participants emphasized the need for

secure payment systems, scam protection, user-friendly interfaces, marketing support, and ethical cultural

representation.

The study further highlights that digital marketplaces may serve both economic and cultural functions. They can

support market access while also providing space for heritage communication, artisan storytelling, and

authenticity protection.

Overall, the findings contribute to current discussions on digital inclusion and creative economies by showing

that inclusive digital transformation must account for both the economic and cultural realities of artisan

communities.

RECOMMENDATIONS

Based on the findings, digital marketplaces intended for artisan communities should be designed with

accessibility, simplicity, and mobile usability in mind. User-centered systems can reduce barriers for first-time

online sellers and improve sustained participation.

Platform developers and stakeholders should also prioritize trust-building mechanisms such as secure payment

systems, transparent pricing, verified buyer systems, order tracking, and responsive customer support. These

elements are necessary to address concerns about scams and unreliable transactions.

Digital literacy and online entrepreneurship training should be expanded to help artisans build confidence in

product promotion, online selling, customer communication, and platform management.

Digital platforms should also include authenticity protection and cultural storytelling features. These may include

verified artisan profiles, product origin stories, cultural context sections, and ethical guidelines to prevent

misrepresentation.

Finally, collaboration among local government units, academic institutions, technology developers, tourism

sectors, and creative organizations is recommended to support sustainable and community-centered digital

transformation within artisan sectors.

Future studies may include larger and more diverse artisan populations across different regions to strengthen

comparative analysis and deepen understanding of culturally grounded digital participation.

REFERENCES

1. Asian Development Bank. (2021). Creative economy 2030: Imagining and delivering a robust, creative,

inclusive, and sustainable recovery. Asian Development Bank.

2. Braun, V., & Clarke, V. (2021). Thematic analysis: A practical guide. SAGE.

3. Organisation for Economic Co-operation and Development. (2021). The digital transformation of SMEs.

OECD Publishing. https://doi.org/10.1787/bdb9256a-en

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4. Organisation for Economic Co-operation and Development. (2023). OECD SME and entrepreneurship

outlook 2023. OECD Publishing. https://doi.org/10.1787/342b8564-en

5. Ragnedda, M., & Ruiu, M. L. (2020). Digital capital: A Bourdieusian perspective on the digital divide.

Emerald Publishing.

6. United Nations Conference on Trade and Development. (2024). Digital economy report 2024: Shaping

an environmentally sustainable and inclusive digital future. United Nations.

https://unctad.org/publication/digital-economy-report-2024

7. UNESCO. (2022). Re|shaping policies for creativity: Addressing culture as a global public good.

UNESCO Publishing. https://www.unesco.org/reports/reshaping-creativity/2022/en

8. van Dijk, J. (2020). The digital divide. Polity Press.

9. World Bank. (2023). Digital progress and trends report 2023. World Bank.

https://www.worldbank.org/en/publication/digital-progress-and-trends-report

APPENDIX

Appendix A. Condensed Survey Questionnaire

Overview

This survey explored the perspectives of artisans and artists regarding digital marketplace participation in Baguio

City. It examined digital readiness, online selling challenges, market demand, operational needs, and cultural

preservation. Participation was voluntary, and all responses were kept confidential and reported only in

aggregated form.

Response Scale

1 = Strongly Disagree

2 = Disagree

3 = Neutral

4 = Agree

5 = Strongly Agree

Section A. Participant Profile

Primary craft type

Textile / Weaving; Woodcraft; Metalcraft; Visual Art; Jewelry; Pottery / Ceramics; Other

Years practicing craft

0 to 2 years; 3 to 5 years; 6 to 10 years; 11 years and above

Main selling channel

In-person markets or events; resellers or shops; social media; online marketplaces; direct orders or private

messages

Membership in artisan or artist group

Yes or No. If yes, participants were asked to indicate the group.

Section B. Digital Readiness and Challenges

Participants rated their agreement with statements on online selling tasks, digital payments, logistics challenges,

scam concerns, internet access, and willingness to join a dedicated marketplace if support is provided.

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Section C. Market Demand and User Base

Participants rated their agreement with statements on buyer inquiries outside Baguio, demand for authentic

Baguio artisan products, and the potential of digital marketplaces to increase sales and visibility.

Section D. Technical and Operational Requirements

Participants rated their agreement with statements on mobile usability, product uploading, transparent fees, order

tracking, shipping support, secure payment options, and authenticity protection.

Section E. Cultural Preservation

Participants rated their agreement with statements on cultural storytelling, heritage preservation, and concerns

about misrepresentation or commercialization.

Section F. Open-Ended Question

What is the single most important feature or support you need to confidently sell online?

Consent Statement

Participation was voluntary. Participants could skip any question or withdraw at any time without penalty. No

personally identifiable information was collected. By submitting the survey, participants confirmed that they

understood the purpose of the study and agreed to participate.

Appendix B. Sample Open-Ended Responses

Theme

Sample Response

Interpretation

Market Visibility and Audience

Reach

“Market reach. If we only reach

fellow artists nothing will be sold.”

Participants emphasized the need for

broader visibility and customer

access.

Market Visibility and Audience

Reach

“Adequate marketing campaigns so

my products will be visible to the

right audience.”

Artisans viewed digital platforms as

promotional ecosystems, not only

selling spaces.

Trust and Security

“Reliable customer support and a

trusted payment system so I can

safely sell my products and receive

payments without problems.”

Secure payment and customer

support were seen as essential to

participation.

Trust and Security

“User-friendly interface and

protection from scammers.”

Participants linked confidence in

digital selling with safety and ease

of use.

Accessibility and Ease of Use

“If given the opportunity and

proper guidance, I would be willing

to try selling online.”

Guidance and onboarding may help

first-time online sellers participate.

Appendix C. Thematic Coding Matrix

Initial Codes