Abstract
This study argues that the crafts made and sold at the Durban Station Market have a social life. This argument is undergrounded in the conceptual framework of Actor-Network Theory (ANT) (Callon 1984, 1999; Latour 1996a, 1996b; Law 2009), which foregrounds the relational dynamics between human and non-human actors within socio-material and socio-technical networks. The Durban Station Market is identified herein as the informal urban economy of Durban, KwaZulu-Natal, in South Africa. This study engages with literature on informal markets, craft practices, and material agency to contextualise the complexity of craft as both economic survival and cultural expression.
This study employed a qualitative research design, integrating semi-structured interviews, participatory observations, and visual documentation to capture the lived experiences, practices, and material negotiations of craft makers designed to capture the relationship between human and non-human actors. Key findings reveal how crafts operate as active mediators, shaping and sustaining intricate networks that unify crafters and buyers, ensuring cultural continuity and economic resilience. The relationship between human actors and craft objects emerged as central, highlighting the agency of materials in preserving identity and heritage within an informal market space. This study further advances ANT discourse by applying it to craft studies, demonstrating the value of recognising non-human agency in informal economies. The integration of visual documentation enriches the understanding of the subtle, embodied aspects of craft production often overlooked in textual analysis. Moreover, the study’s insights align with the United Nations’ (UN) Sustainable Development Goals (SDGs) by illustrating how informal craft networks contribute to inclusive economic development, gender empowerment, cultural education, and indigenous knowledge preservation.