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t h e s a n ta f e n e w m e x i c a n w w w . s a n ta f e n e w m e x i c a n . c o m
Tableware Bedding Furniture Accessories Textiles Fine Art Jewelry 530 South Guadalupe @ the Railyard 505. 983. 8558 www.casanovagallery.com
Jose Santiago
Weaving from Mexico
Casa Gunginn
Ceramic Figures from Mexico
Irene Aguilar
Faustina Sanchez
Embroidery from Mexico
Bertha Median
2820 Cerrillos Rd. (505) 471-8539 6400 San Mateo Blvd. (505) 349-0970
www.jackalope.com www.facebook.com/JackalopeStores
In partnership with the City of Santa Fe, New Mexico Department of Cultural Affairs, Museum of International Folk Art, and Museum of New Mexico Foundation
THANK yOU TO OUR mORe Than 1,600 AMAZING & DEDICATED VOLUNTEERS!
MARKET COMMITTEE LEADERSHIP
Admissions Doug Holen, Co-Chair Kathleen Nichols, Co-Chair Ambiance Michael Mullins, Chair Ambiance Sales Alexis Girard, Co-Chair Laurie Morgan Silver, Co-Chair Ernie Sulpizio, Set Up Artist Hospitality Valerie Baugh, Artist Meal Services, Chair Amy Conway, Friday Dinner, Chair Zella Cox, Artist Departures, Co-Chair Marisol Navas Sacasa, Artist Local Arrangements, Chair Melinne Owen, Artist Departures, Co-Chair Benita Vassallo, Arrivals, Chair Artist Selection Suzanne Seriff, Ph.D., Chair Barbara Anderson Marsha Bol, Ph.D. Felicia Katz-Harris Diana NDiaye Melinne Owen Artist Training & Colloquium Ahdina Zunkel, Staff Chair Joni Parman Jean Zunkel Best of the Best Booth Sheila Ellis, Chair Booth Photography Paul Giguere, Chair Booth Supplies Jamie Douglass, Co-Chair Susan Henoch, Co-Chair Education Outreach Sarah Alley Manges, Chair Aurelia Gomez, Museum of International Folk Art Patricia Sigala, Museum of International Folk Art Entertainment Neal Copperman, Co-Chair Jamie Lenfestey, Co-Chair Market Sales Reconciliation Helen Lyons, Co-Chair Rich Moore, Staff Co-Chair John Stafford, Co-Chair Passport Project Donna Rosingana, Co-Chair Zenia Victor, Co-Chair Anne Fullerton Jill Markstein Regional Coordinators Mara Harris, Co-Chair Marisol Navas Sacasa, Co-Chair Judith Espinar Nyira Gitana Pat Kutay Steve Kutay Barbara Mauldin Sylvie Obledo Sylvia Seret David Soifer Lea Soifer Deborah Weinberg Belinda Wong-Swanson Bill Zunkel Andy Perea, Security, Museum of International Folk Art Michael Trujillo VIP Coordination Tom Maguire, Chair Thea Witt Visitor Survey Laura Sullivan, Staff Chair Heather Tanner Volunteer Coordination & Training Prudy Krieger, Volunteers, Chair Melinne Owen, Volunteer Chair Coordinator Sarah Taylor, Artist Assistants, Chair John Arnold, Artist Assistant Training & On-Site Supervision, Co-Chair Lynn Arnold, Artist Assistant Training & On-Site Supervision, Co-Chair Peter Greene, Local Interpreters, Chair Don Goldman, Artist Assistant Calling Committee, Chair Volunteer Hospitality Joan Chodosh, Co-Chair Marlene Schwalje, Co-Chair Paul Schwalje, Co-Chair Water Team Ana Chamberlain, Co-Chair Liam Dixon, Co-Chair
Heidi Hahn & Phil Goldstone Barbara Hadley & John Burke Peter & Francie Handler Haila Harvey Judy & Michael Herrmann Audrey & Don Hinsman Barbara & Bud Hoover Debra & Jeffrey Huling Leslie Hylton Marney & Larry Janss Suzi Juarez Tom & Lynda Kellahin Bob Kemble Patricia & William Kenney Nadine Koenig Patricia & Grant La Farge in honor of Ramn & Nance Lopez Lynne Loshbaugh SUPPORTERS Steve & Meredith Anonymous (3) Martha & Mark Alexander Machen Jan & Creve Maples Patricia Antich Marilyn Masters Levine Bill & Julie Ashbey & G. B. Levine Jan & Thomas Bailey Barbara Mauldin Janice E. Baker Tom & Vicki McGuffy Ronni Ballowe Cathy & Scott Miller Susan Bell Tom ODonnell John & Barbara & Karen Tischer Berkeneld in memory of Virginia David Bernstein & Elmer Novotny & Erika Rimson Louis & Janice Oien Deborah Bradford in memory of Lynee Bradley James Laird Ingrid Bucher Anne Pedersen Jane & Bill Buchsbaum & Mark Donatelli Shirley Burton Annet Pellikaan Barbara Carmichael Sandra Penn Georgia Catasca in honor of John Catasca Gerald & Yara Pitchford Sharon & Jim Porter Cara & Robert Chapman Mick & Genie Ramsey Bruce Chemel Jean Ranc in honor of Edd Lisa & Karl Ray & Carole Stepp Tina Rees Carnell Chosa Mozelle & Judy Harriet & Frank Christian Richardson Elaine Clayman Ann Sacks Anne Coller & Bill White Selena Sermeno Janelle Conaway Ann Shafer Betsy & Jay Dalgliesh Patricia Shapiro Mary E. Darmstaetter Beth & Walter Simpson Ann Dehart & Robert Marjorie Sitter Milne Irma & Robert Smith Richard & Dianne Robert & Donna Del Pizzo Spina Helmholz Larry & Angie Delgado Julie Strassburger Rene Donaldson in honor of Don Brenda Edelson & Sharon Ettinger Susan Feiner McLaughlin & Peter Whitman Kim Straus Mrs. Patricia Joan & Carl Strutz Head-Ferguson Peggy Swoveland Anthony Foltman William Ulwelling & Terese Lyons Jean & Bob Vogel Charles & Nancy Forest James Voorhees Barbara Forslund Kay Wille in honor of Bob Lee Witt & Barbara Grifth Jennifer & Roberts French Arthur H. Wolf & Holly M. Chaffee Robin & Jim Gavin Linda Zwick Robert Pevitts & Beverly Byers-Pevitts Vivianne & Joel Pokorny Caroline Ramsay Merriam in memory of Judith Heintz Carol Robertson Lopez & Jeff Case Marilyn Rosenfeld Thomas & David Ullman Monique Ryser Becky Sawyer William Singer & Joanne Cicchelli Susie Smidinger Brown & Doug Brown Clare Smith Sarah & Jim Taylor Tracy & Christopher Thomas-Flinders Julia Thompson Diane Tipton Veirs Jane Wilner Sharon Q. Young
Food & Water Brian Graves, Co-Chair Fernando Gallegos, Co-Chair Signage Ellen Andes, Co-Chair Hospitality Room Alan Karp, Co-Chair Mary Ann Shaening, Chair Transportation, Information Booth Parking & Safety Andrea Fisher, Co-Chair Laura Lovejoy-May, Mara Harris, Co-Chair Art Team Co-Chair Shelley Horton-Trippe, Chair Kelly Waller, Staff Co-Chair Line Hosts Mary Mill Jon Bulthuis, Transit Division David Loren Bass, Co-Chair Director, Santa Fe Trails John Scott, Co-Chair Mike Kelly, Director of Operations, Santa Fe Trails
EVENT SPONSORS
Blue Alchemy Premiere at the Lensic Lensic Performing Arts Center Santa Fe Weaving Gallery Market Opening Party Donna & Robert Bruni One World Dinner St. Johns College Eileen Wells !Felicidades! Farewell Dinner Charmay Allred Sarah Alley Manges Artist Sponsorship Events Charmay Allred JoAnn & Bob Balzer Charlene Cerny Sheila & Kirk Ellis Sarah Alley Manges
SPECIAL EVENTS
Community Celebration at the Santa Fe Railyard Suby Bowden, Chair International Folk Arts Week & Blue Alchemy Premiere Nancy Benkof, Chair Market Opening Party Martha Alexander, Co-Chair Leigh Ann Brown, Co-Chair Judith Espinar, Co-Chair One World Dinner Sue Ann Snyder, Co-Chair Deborah Spiegelman, St. Johns College
SUPPORTING ORGANIZATIONS
Atalaya Elementary School Belizean Grove Breakthrough Santa Fe City of Santa Fe Parks, Parking, Police, & Fire Departments First Baptist Church Flying Star Cafe Good Water Company Immaculate Heart of Mary Retreat Center Museum of Indian Arts and Culture Museum of International Folk Art Museum of Spanish Colonial Arts Museum Hill Caf New Deal Films, Inc. New Mexico Department of Transportation New Mexico Property Control Division Ofce of Senator Jeff Bingaman Ofce of Senator Tom Udall Peace Corps Association of America and New Mexico Rio Grande School Desert Academy Leos Santa Fe Railyard Community Corporation Santa Fe Trails Wheelwright Museum of the American Indian William Siegal Gallery CONTRACT/ SEASONAL STAFF Laurie Bloyer Nyira Gitana Staci Golar Peter Greene Clare Hertel Maureen Hill Helen Lyons David Moore Jeffrey Perren Bob Smith Emily Souder Victoria Spencer
SpecIal thankS to new MexIcoS congreSSIonal delegatIon, governor MartInez, new MexIco State legISlatorS, Mayor davId coSS, Mayor pro teM rebecca wurzburger, and the Santa Fe cIty councIl, and all theIr Invaluable StaFF. List as of June 1, 2011 every eFFort haS been Made to Include a coMplete and accurate lISt oF donorS, SponSorS, and volunteerS. pleaSe notIFy uS oF any oMISSIonS and we InvIte correctIonS.
CELEBRATE
THE WORLD
SAnTA FE inTERnATiOnAL FOLk ART MARkET changing lives through folk art Did you know?
Artists take home 90% of their sales revenue Last year artists sales totaled just over $2 million In 2010, the average sales per Market booth were $15,000 90% of Market artists come from developing nations More than a third come from countries where the average income is less than $3 a day In 2011, artist cooperatives from 30 countries will represent 20,000 members and impact some 200,000 lives From the earnings, many of us did a lot to improve on the families. Myself, I bought a piece of land and paid tuition for my 2 sons. Other artisans did different things like buying cows, goat, pigs, while others put electricity in their homes.
BArBArA MBABzI, GAhAyA LInks CooperAtIve, rwAndA
F o L k A rt M A r k e t. o r G
Megan Bowers Avina Ghida Saim Said Al Butaharah, Sultanate of Oman taken at the 2010 Santa Fe International Folk Art Market Deborah Villa
COVER DESIGN
COVER PHOTO
FOLKART
MARKET
TABLE OF CONTENTS
Maps
8 Downtown map 16 Where to park 30 Booth locator map
2 0 1 1 S A N TA F E I N T E R N AT I O N A L
P u b l i s h e d J u ly 6, 2 0 1 1
Magazine editor Inez Russell 986-3093, irussell@sfnewmexican.com Magazine art director Deborah Villa 986-3027, dvilla@sfnewmexican.com Director of photography Clyde Mueller Marketing and design department manager David Del Mauro Advertising layout Christine Huffman Designers Elspeth Hilbert, Scott Fowler, Dale Deforest, Bill Jacobi, Enrique Figueredo Michael Brendel, 995-3825 Gary Brouse, 995-3861 Cristina Iverson, 995-3830 Alex J. Martinez, 995-3841 Jan Montoya, 995-3838 Art Trujillo, 995-3820 Rick Wiegers, 995-3840 Jim Keyes, 995-3819 Belinda Hoschar, 995-3844
RAIL RUNNER XPRESS ADVERTISING SALES/ COMMERCIAL PRINT SALES SYSTEMS ONLINE SALES MANAGER RETAIL ADVERTISING SALES ADVERTISING
Schedules
18 Events for International Folk Art Week 19 At the market: all the goings on
Features
10 The excitement of market returns to Santa Fe. 15 Getting the most out of market. 21 Peace Corps celebrates 50 years with Railyard party. 27 Exhibits link market and folk art museum. 32 Indigo movie raises money, involves community. 36 Folk arts long and complicated traditions 38 Meet the artists
2011 Santa Fe International FOLKART Market 7
Technology director Michael Campbell Operations director Al Waldron Assistant production director Tim Cramer Prepress manager Dan Gomez Press manager Larry Quintana Packaging manager Brian Schultz printsales@sfnewmexican.com Digital development and projects manager Henry M. Lopez www.santafenewmexican.com Office: 202 E. Marcy St. Hours: 8 a.m.-5 p.m. Monday-Friday Advertising information: 505-986-3082 Delivery: 505-984-0363, 800-873-3372 For copies, please call Reggie Perez, 428-7645, or email rperez@sfnewmexican.com
ADDRESS WEB COMMERCIAL PRINT SALES PRODUCTION
Railyard The
Railyard Plaza
Railyard Park
1. Plaza 2. Loretto Chapel 3. San Miguel Chapel 4. Cathedral Basilica 5. Manhattan Project Office 6. Sena Plaza 7. Cross of the Martyrs 8. The Santa Fe New Mexican 9. Padre Gallegos House 10. U.S. Courthouse 11. Palace of the Governors 12. New Mexico History Museum 13. New Mexico Museum of Art 14. Lensic Performing Arts Center 15. Georgia OKeeffe Museum 16. Santa Fe Community Convention Center 17. Post Office
18. Museum of Contemporary Native Arts 19. State Capitol 20. Bataan Memorial Museum 21. Santa Fe Childrens Museum 22. Center for Contemporary Arts 23. Museum of Spanish Colonial Art 24. Museum of Indian Arts and Culture 25. Milner Plaza 26. Museum of International Folk Art 27. Wheelwright Museum of the American Indian 28. El Museo Cultural de Santa Fe 29. Site Santa Fe 30. Santa Fe Farmers Market 31. Santa Fe Depot/Vistor Center 32.Warehouse 21 33. Canyon Road
BY POLLY SUMMAR
Its a bit like having the biggest circus in the world come to town. Even if you never buy a thing (which is unlikely!), the admission price to the Santa Fe International Folk Art Market is well worth the color, the excitement, the decorations, the entertainment, the sheer international flair and, of course, the folk art masterpieces.
This years market begins with a new community celebration at the Santa Fe Railyard on Thursday (July 7), with a market opening party the following night, Friday (July 8) on Museum Hill. Then comes two days of market on Saturday and Sunday (July 9, 10), a feast for the senses, featuring the worlds best folk artists, all on Museum Hill. Considered the largest international folk art market in the world, more than 22,000 people attended the weekend event last year, along with 132 participating artists. This year, there are 180 artists 60 percent of them new to the market participating, representing 49 countries. There are four countries and a territory new to the market this year: Algeria, Cambodia, Cameroon, Madagascar and Puerto Rico. And Cuba is back, said Ernesto Torres, artist coordinator for the market. And this year, we believe the artists themselves are coming.
ART
PHOTO JUDITH HADEN
TRANSCENDENT
The world comes together on folk art weekend
Details
The 2011 Santa Fe International Folk Art Market begins with a free community celebration from 5-9 p.m. Thursday (July 7) at the Santa Fe Railyard. From 6:30-9 p.m. Friday (July 8) the action moves to Milner Plaza on Museum Hill, with the market opening party with early shopping, dancing, international music, food and drink ($125 a person, $75 taxdeductible). There will be no public parking on Museum Hill this year. See parking and shuttle story for information on how to take a free shuttle to the party. Early Bird market runs from 7:30-9 a.m. Saturday (July 9), with tickets $50 (which includes all day). Regular market hours are 9 a.m.-5 p.m. ($15 advance; $20 at the gate). Sunday (July 10) is Family Day with tickets $5 in advance and $10 at the gate. Youth 16 and under are free both days. Market weekend events also are on Museum Hill.
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Mongolia
Panama
As a cooperative, we buy school shoes for 12 orphans in our community and created a backyard garden for fresh vegetables. We also put windows to our soup kitchen, which is built for us by a Peace Corps volunteer in 2008. My mother has sugar diabetes and I cannot afford to take her to the hospital, so she was using traditional herbs. After Santa Fe, I took her to the hospital for a medical checkup for the first time in my life. I also bought one cow.
PHEZKWEMKHONO BOMAKE NCHEKA, NESI THEMBENI MDLULI; MBABANE, SWAZILAND
Popular returning artists also include papier-mch artists from Haiti, embroidery artists from India, jewelers from Niger, felters from Kyrgyzstan and rug weavers from Uzbekistan. Besides the art, marketgoers can enjoy live entertainment ranging from Latin rock to music and dance from Oman or Senegal. This years humanitarian booth will be called Shine on Pakistan, spearheaded by market board members JoAnn Balzer and Sylvia Seret. Last year it was raising money for Haiti, Seret said. When the floods happened in Pakistan at the end of July last year, we decided we wanted to dedicate this booth to Pakistan. Seret said the devastating floods have had minimal new coverage. I can imagine people saying, What is that disaster? And yet that disaster affected more people than Haiti and the earthquake in Japan combined. At the cash-and-carry, Shine on Pakistan (booth 111), 100 percent of every sale will go directly to disaster relief. With the help of the Pakistan Embassy in Washington, D.C., the Pakistan Trade Authority and others donors, folk art from textiles and lacquerware to jewelry, ceramics and more will be available at the booth for affordable prices, starting at $5 and up, Balzer said. Market Executive Director Charlene Cerny said the market really does bring out the best in people, and not just through the unlikely coupling of cultures Israelis and Pakistanis, Kyrgystani and Uzbeks, Tibetans and Chinese. Since we started the market, it has been full of surprises, Cerny said. We didnt expect, for example, that marketgoers would find so much meaning in their
encounters with the artists. Friendships develop and peoples lives are changed on both sides of the equation. We didnt anticipate how much the market would give us hope for this troubled world we live in. Last years market generated more than $2 million in sales, with 90 percent of that going home with the artists. That money brought huge consequences to the artists and their communities. The Lila Handicraft womens collective in Pakistan, which brought traditional Ralli quilts to the market, used the money to build a new school. Kandahar Treasures, an embroidery group in Afghanistan, used the money to rescue women begging on the streets and teach them traditional needlework in order to earn a living. Folk artist Janet Nkubana used part of the money to support the cooperative shes a part of in Rwanda that helps Hutus and Tutsi come together to weave peace baskets. The other part Nkubana used to start new community vegetable gardens and to buy mosquito nets to help fight malaria. The market is set up on Milner Plaza atop Museum Hill, just outside the doors of Santa Fes popular Museum of International Folk Art and the Museum of Indian Arts and Culture, and continues down the hill to include both market and food booths. And just like a three-ring circus, this extravaganza is serious business. It might be one of the few events that actually decreases the number of booths not the artists to make the shopping easier for the attendees. This year were aiming for 135 artist booths, Torres said. Last year we were over 140 booths. Were trying to lessen the overwhelm.
Facing page clockwise from top left, Bhutan Karma Lotey, Republic of Peru Flora Callaaupa, Nilda Callaaupa, Niger Elhadji Koumama Oman Shagaila Ghali Al Senaidi (Al Najoom Dance Troupe)
PHOTOS FACING PAGE MEGAN BOWERS AVINA
Haiti
Israel
Cameroon
India
2011 Santa Fe International FOLKART Market 13
The overwhelm maybe, but not the spectacle or surprise. We tend to have 50 percent returning artists, and 50 percent new artists and new artwork, Torres said. But this year its 60 percent new artists and artwork. That can be a tough call. People want to see their favorite artists again each year, after all. But continuing to be in the market each year is not a sure thing. In order to really provide a different enough experience for people to come, we had to set this goal, Torres said. Its a balancing act between sustaining and renewing. The market continues to work on expanding its reach into the world. There are a lot of folk artists who havent yet made their way to our market, Torres said. But through finding various cooperatives, the market is increasing that reach. For example, artists from a weaving cooperative in Guatemala will be attending, as well as a cooperative from the East Flores island of Indonesia whose artists make a very distinctive ikat. Their co-op has 789 members 759 women and 30 men, Torres said. And were having a very isolated indigenous group from Russia this year, Torres said. They were brought to us through a professor from NMSU the Yaoun Yakh, Iugan Kahnty Native Minority. Its a Siberian minority group and theyre the reindeer culture. The cooperative 125 women, 100 men makes such items as coiled split cedar root baskets, fur purses and boots, and birch bark boxes. One of the market standards is that the work be highly authentic to the culture, but the market staff also looks at marketability. Theres a serious investment on their part and our part, Torres said. But you dont know how people will respond, you dont really know. Fur can be an issue for people, but this is really part of their lifestyle. Theyre not doing something as a luxury item. Market staffers, however, definitely have a handle on old favorites among the folk artists who are still showing. There are artists who have been with us since near the beginning, Torres said, including Ousmane Macina of Mali who lives in Santa Fe and makes three-dimensional traditional Mali jewelry in silver and brass. His cousin, Fatim Diallo, does Tuareg painted leatherwork often made into pillows and bags. Another group, MonkeyBiz of South Africa, which does popular beaded animals, didnt make the cut for the 2010 event, but they are back this year. When they didnt
come last year, we heard about it, Torres said. Frankly, they didnt present their best work in their application it didnt really show what they were doing very well. And whether youre redecorating the house or just buying an item or two, youll be doing it under a veritable canopy of what might be the most unique decorations the market has seen, according to market co-founder and creative director Judith Espinar. Every year we get an idea and we work around that, but we reuse all the things we have bought over the years, Espinar said, so the theme becomes kind of an overlay and it ties it together. This years theme? Expect to see an extravaganza of white paper doves everywhere you look and colorful giant paper flowers, some up to 4-feet wide. The white dove symbolizes the 50th anniversary of the Peace Corps, Espinar said. This is being done because there are a lot of return Peace Corps volunteers in New Mexico and they have a very active group. Espinar said there will be hundreds of white doves. Theyre all being made in the workshop of a very famous paper artist in Mexico, Pedro Ortego, outside Mexico City, she said. He is very involved with the traditional paper arts of Mexico. The doves will include three-dimensional ones and two-dimensional ones, too. Marketgoers can purchase similar doves, ranging in price from $5 to $30. Were also using an overlay this year of paper flowers and theyre extraordinary, Espinar said. The flowers are all made by a Mexico City artist who uses just one name, Sara, and also makes terracitas, crowns of flowers. We bought as many flowers for the market ambiance booth as we bought to decorate because theyre so beautiful, Espinar said. The flowers range in price from $5 to $12 for those 2-feet wide; a smaller number of the 4-foot-wide flowers will be available for sale. Espinar said when she first began going to markets in Mexico City nine years ago, many booths were dedicated to flowers and paper decorations. When you go there now, the only paper things you see are those mass-produced expanding paper things like paper pineapples, she said. These flowers were going to have for sale are some of the most beautiful examples of paper work still being done in Mexico. Its really a wonderful representation of this tradition.
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Bolivia
France
Morocco
Republic of Peru
Uzbekistan
Parking maps
S. C apit o
l
Saturday
FREE PARKING
BUS STOP
P FREE
PERA Building
PARKING
P FREE
PARKING
MARKET SITE
No parking is available on Museum Hill during the market, including the Friday evening opening party. There are two locations for parking to catch free shuttle buses to the market: 1) PERA/Lamy Building parking lots, just north of the corner of Paseo de Peralta and Old Santa Fe Trail. New this year is overflow parking in the State Capitol Parking Deck, corner of West Manhattan Avenue and Galisteo Street; from there, its about two blocks to the PERA/Lamy Building. 2) Park in the lots around the Runnels Buildings of the South Capitol Complex and the Department of Transportation buildings. These lots are between St. Francis Drive, Cordova Road, Cerrillos Road and Alta Vista Street. (If youre taking the Rail Runner, get off at the South Capitol Station). Bus times: Friday 69:15 p.m. (for Market Opening Party) Saturday 7 a.m. (for Early Bird Market) Saturday 8 a.m. (for Saturday Market ticket holders) until 5:15 p.m. Sunday 8 a.m. until 5:15 p.m.
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Ongoing
Benefit for Partners in Education Foundation and Santa Fe Arts Commission Artist Exhibit/ Education Program, 6 p.m. Santa Fe Cooking School, 116 W. San Francisco St. Tickets: $250 per person. Reservations: 983-4511 or 474-0240
each sale during then will be donated to the market. How Things Are Made: Korean Paper Making Demonstration Art Santa Fe and Park Fine Art (through Sunday, July 10) at the Santa Fe Convention Center, 201 W. Marcy St. Five artists from South Korea will be demonstrating the traditional art of making Korean paper, known as Hanji. TAI Gallery, 1601B Paseo de Peralta, Nagakura Kenichi Exhibit through July 22, showing a new body of bamboo sculpture. 5 p.m. Friday (July 8), artist reception. Market Opening Party, A Global Gathering Under the Stars, 6:30-9 p.m. Museum Hill
The Arts of Survival: Breakfast with the Curators, Collection Tour, 8:30-10 a.m. Museum of International Folk Art, $20 Museum of New Mexico Foundation members, $25 Non-members. Call 476-1207 for reservations. Dr. Bobbie Sumberg, curator of textiles and costume and representatives from Pakistan Quilt. Casa Nova Gallery, 530 S. Guadalupe St., WWW: The Wonder of Warp and Weft, A Go Indigo! Gallery Exhibit Traditional Spanish Market Artist SelfGuided Tour, 10 a.m.-4 p.m. Find tour information by hitting the purple linkon the Folk Art Weeks online schedule (www.folkartmarket.org/ifaw). That takes you to the Spanish Colonial Arts site, (spanishcolonial.org), and from there, hit the calendar link and scroll down. Or, call 982-2226 for information. Community Celebration: 50th Anniversary Peace Corps Commemoration and Artist Procession, 5-7:30 p.m. Railyard Park. The event is free and open to the public. From 7:30-9 p.m. West African Highlife Band and Meet & Greet market artists. Story, page 21.
Thursday (July 7)
Saturday, (July 9)
Santa Fe International Folk Art Market, 7:30 a.m.-5 p.m., Museum Hill. Gallery Talk noon, 2 p.m. with exhibit artists, Museum of International Folk Art Brilliant Soil, 4 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338, documentary film screening. Followed by Q&A. 5 p.m. Travel Bug, 839 Paseo de Peralta, Nigerian Indigo and Oshogbo Art: A Go Indigo! Talk. Slide show and talk by Victoria Scott.
Circo, at The Screen, 1600 St. Michaels Drive at the Santa Fe College of Art and Design, Call 505-473-6494 for show times. Patina Gallery Breakfast Reception, 10 a.m., 131 W. Palace Ave. Join Patina Gallery owner and international folk artist Ivan Barnett for an intimate conversation about his relationship with the worldrenowned collector Alexander Girard. Tom Maguire, former director of Arts and Cultural Tourism for the City of Santa Fe, will also give a brief talk. Ten percent of
Friday (July 8)
Santa Fe International Folk Art Market Family Day, 9 a.m.-5 p.m., Museum Hill Gallery Talk 11 a.m., 2 p.m. with exhibit artists, Museum of International Folk Art Book reading 11 a.m. My Sisters Made of Light, Travel Bug, 839 Paseo de Peralta, Jacqueline St. Joan will be discussing her novel. Brilliant Soil 8 p.m. Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338.
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What to eat
Agapao Coffee Anasazi Roasted Corn Angel Fire Gourmet Nut Co. Annapurnas Bernies Quick Dog Cleopatra Caf Cowgirl Hall of Fame Ethopian Kitchen Jambo Caf Molly's Crepe Naths Khmer Cuisine Pizza Van Go Platero Fry Bread Posas Reids Concessions Roques Carnitas Taos Cow
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GREAT FINDS
FOLK ART & TEXTILES FROM AFRICA, ASIA, EUROPE & THE A MERICAS A SUPERB SELECTION OF WORLD MUSIC CD S , TOO ! 1O 9 8 1/ 2 S. S T FR A NC I S DR . @ P E N R D. MON SAT 1O 5 9 8 2 . 2 5 9 2
N FO IG LkER A IAN R T
DAUDA
embroidery
RAHMAN
paintings
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From left, Amber Gray, Peace Corps volunteer in Guatamala from 1985-1987, shares her experiences at a 50th anniversary celebration earlier this year in Santa Fe.
JANE PHILLIPS
Returned volunteer Judith Espinar, a co-founder of the Santa Fe International Folk Art Market
JANE PHILLIPS
BRINGING IT BACK
BY ZLIE POLLON When the National Peace Corps office set out to organize its 50th anniversary celebration, its vision included a handful of cities, each with an auditorium, 200 chairs and a podium for speakers, said New Mexico Peace Corps coordinator Alan Burrus. I said, No, no, thats not the way we do it in New Mexico! Instead, Burrus vision of the Peace Corps celebration was right away linked with Santa Fes International Folk Art Market, a favorite among returned Peace Corps volunteers. Since the market began, Returned Peace Corps Volunteers, or RPCV, have volunteered at the market in various capacities, connecting with people from the countries where they served, putting rare language skills to use and bringing their dedication to service back home to New Mexico.
The festivities in New Mexico will be the final of nine Around the World Expos celebrating the Peace Corps 50 years in service, and could draw volunteers from around the region. It promises to be a raucous, four-day celebration, directly integrated into the markets festivities. It will include an opening day procession at the Railyard with folk artists from around the world in traditional garb (arriving by train!), out on a lawn with ethnic food vendors, live music, followed by formal dinners with distinguished speakers. A commemoration sounds like a wake, so were calling it a commemoration celebration event. Were hitting it multiple ways, multiple days and with multiple events, Burrus said. You can see how this isnt fitting their model of a room, a podium and 200 seats!
Community celebration
Free community celebration 5-9 p.m. Thursday (July 7) at the Railyard Park in the Santa Fe Railyard. 5 p.m. Peace Corps Around-theWorld Expo 6:10 p.m. Kevin Quigley, president, National Peace Corps Association 6:40 p.m. International Folk Art Market Artists Procession 7:30-9 p.m. West African Highlife Band. Meet and Greet market artists.
Remember, there is no such thing as a formerPeace Corps Volunteer. Were returned, and part of our goal is to continue the service developed during our time away, and bring it back into our communities. Part of that is through our work with the folk art market.
NEW MEXICO PEACE CORPS COORDINATOR ALAN BURRUS
Alan Burrus, who worked for the Peace Corps in the Tonga Islands from 1967-1970, looks back at photos of his time there.
JANE PHILLIPS
sustainability for communities around the world. It is not by chance that returned volunteers see the market as a perfect extension of their Peace Corps work. Remember, there is no such thing as a former Peace Corps Volunteer. Were returned, Burrus said, and part of our goal is to continue the service developed during our time away, and bring it back into our communities. Part of that is through our work with the folk art market. Take John Vavruska who volunteered in Nepal from 1983 to 1985, working in water sanitation and supply. Twenty years later Vavruska, a chemical engineer and water consultant for two decades, visited his former Peace Corps home and learned the system he had put in place was in dire need of repair. Back in Santa Fe he was able to raise the funds needed about $2,300 through private donors and an organization called Waterlines. Two years later the system was mostly repaired and extra funds were put into building latrines for schools in the nearby village. He says hes typical of Peace Corps volunteers, who not only bring their service home, but often stay connected with the site of their service. Its the love of the people, place and language that drew Vavruska and his wife to the folk art market where, for the past two years, he has volunteered at the booth of a Nepali womens cooperative. These women were painting on the sides of their houses, he said. A woman volunteering in the area got them to start painting on paper, simple scenes of fields, elephants, daily life Now these women are making some decent money, and they have gained more status in their community because they are income generators. Vavruska says its his respect for the country and incredible rapport with the artist that keeps him coming back to volunteer, a service hell perform as long as theyll have us, he says. President John F. Kennedy first presented his idea for a corps of volunteers during a speech to students at the University of Michigan in 1960. He challenged students to promote peace and American good will by serving their country abroad, and the following year he signed an executive order making the Peace Corps an official arm of the federal government. Since then, more than 200,000 volunteers have served in 139 countries to work in areas from AIDS education, to literacy, agriculture, technological and business development. Todays volunteers are as likely to work in remote villages with no running water as they might be to dress in a suit and enter a 24-story office building to work in computer technology, said Quigley. The average age of volunteers is 28, with 7 percent over the age of 50, and more than 90 percent of them single. The Peace Corps hit its height in the late 1960s drawing up to 16,000 volunteers who wanted to work abroad. That number dropped to around 6,000 by the 1970s, and the corps has been trying to rebuild those figures ever since. The current number of volunteers is 8,655 a high water mark serving in 77 countries, but Quigley fears that number might be unsustainable with current federal budget cuts, which this past November reduced the Peace Corps budget by $26 million. The Peace Corps budget for fifty years has been a total of $7.8 billion dollars, the same amount the Defense Budget burned through in about five days! It says something about the priority our country spends on peaceful engagement as opposed
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to supporting the military establishment, Quigley said. Either the number of countries or the number of volunteers will most likely have to be reduced. Were in a horn of a dilemma, he said. Fluctuating Peace Corps numbers have often been a factor of the organization president of the time, and the president of the United States, to whom the Peace Corps head directly reports. For example, numbers of volunteers plummeted during the Nixon era. Yet, despite vocal support by President Obama during his campaign he pledged to double the Peace Corps to 16,000 by its 50th anniversary and push Congress to fully fund this expansion, especially in Latin America and the Caribbean it seems numbers could still fall because of budget cuts. The impact of the Peace Corps cannot often be measured. Burrus said he returned to Tonga for an anniversary celebration many years after he completed his service from 1967-1970. An official in charge of the program thanked the volunteers for the buildings they built and the schools they helped create, then went on to describe what he felt was the real benefit of the Peace Corps volunteers: In Tonga we appreciated all the skills, but the thing we appreciated the most, was that you were the first people who came and lived like us and spoke our language. What you gave us was respect and respect for ourselves, Burrus recounted. Current budget cuts not withstanding, it seems that as long as there is a Peace Corps, there will be volunteers wanting to participate. Debbie Higgs might be typical of current volunteers: young people who have never ventured out of the United States, and who would like a structured program to help them explore the world. Higgs, 20, originally from New Jersey, both graduated from St. Johns College in Santa Fe and received her official Peace Corps nomination in May. Shell be heading to Sub-Saharan Africa, where she guesses shell work in community service and AIDS-HIV prevention. Its pretty amazing that their mission statement is to promote world peace and friendship, she said. Thats a good thing to get involved with. The Folk Art Market and the Peace Corps may be forever intertwined as it was a Returned Peace Corps Volunteer, inspired by the folk art she saw during her 20s in Mexico and fed by her service in Peru, who helped launch the market years ago. Current market creative director Judith Espinar encourages and is honored by the participation of other returned volunteers who contribute to the successful experiences of the market artists. It is particularly gratifying that many individuals associated with the Peace Corps look at the markets work as a premier example of the Third Goal, Bring it Home, she said. The market shares this honor with Returned Peace Corps Volunteers everywhere who believe in the power of the individual to make this a better world.
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s p e c i a l e v e n t s at t h e F O l K a R t m a R K e t
Lilybead & the Lake Atitlan Weavers Lilybead is an organization which designs and creates beautiful beaded jewelry on the shores of one of the most stunning lakes in the world. Developing a means of support for the indigenous Mayan women that live around the lake, Lily gets more and more women involved in creating these colorful beaded bracelets using the ancient weaving traditions that the Mayans believe connect us all!!! A large selection of bracelets, earrings and necklaces from this group will be available at a special show at the Museum of International Folk Art Gift shop during the International Folk Art Market. Shop Friday, Saturday and Sunday 10:00am 5:00pm.
Global Girlfriends Stacy Edgar, author of Global Girlfriends will be signing her book at the International Folk Art Museum Book Store from 2:003:30pm on Saturday, July 9th during the market. Stacey Edgar started Global Girlfriend in 2003 as a way to provide economic security for women in need by creating a sustainable market for their products. Stacey has been honored by the Microsoft Corporation as a recipient of the companys Start Something Amazing awards, and is a sought-after speaker on the topics of women in the global economy, fair trade, sex tracking, market and enterprise development, cause marketing, entrepreneurship, and parlaying your passion into your career. She lives in Colorado with her family. Huichol Artwork Huichol artists Rosy Valadez, Cilau Valadez, Susana Valadez will be demonstrating and presenting their artwork at the Colleen Cloney Duncan Shop at the Museum of Indian Art & Culture Saturday, July 9 and Sunday, July 10 during the shop hours.
Coleen Cloney Duncan Shop at the Museum of Indian Arts & Culture Museum of International Folk Art Gift Shop
www.worldfolkart.org
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NEW EXHIBITION
okeeffemuseum.org
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Cindy Sherman, Untitled (#213), 1989. Color photograph, 41 x 33 in. Courtesy of the Artist and Metro Pictures.
Shared Intelligence:
OUT OF RUIN
FROM DISASTER, BEAUTY, HOPE AND A MEANS OF SURVIVAL
Portable altars Ralli quilters from relief camps in Hyderabad, Pakistan
BLAIR CLARK
Details
Admission to the Museum of International Folk Art, on Museum Hill, is free with your ticket to the Santa Fe International Folk Art Market. Otherwise, the museum is open daily from 10 a.m.-5 p.m., 5-8 p.m. (free) on Fridays through Sept. 2, except for Friday (July 8). Admission is $6 for New Mexico residents, $9 for non-residents. Youth under 16 are free and students with ID receive a $1 discount. Wednesdays are free for New Mexico seniors with ID, and Sundays are free for New Mexico residents with ID.
BY ZLIE POLLON The world is certainly experiencing its share of natural disasters these days. Tsunamis, earthquakes, wildfires and record tornadoes are the most dramatic of the events weve seen in recent months. Other climate change events, including changing rain patterns or prolonged drought show up in more incremental ways, thus with less media coverage.
Yet throughout, meaning before the sun rises and after it sets, whether it rains or the wind blows, people who make art will continue to do so. They make art as a means of survival, as a means of cultural preservation, and as a means of maintaining hope. This month, the Museum of International Folk Arts Gallery of Conscience will open The Arts of Survival: Folk Expression in the Face of Natural Disaster exploring how folk artists help their communities overcome natural disasters. It will be the gallerys second such exhibition, following last years Empowering Women: Artisan Cooperatives That Transform Communities. Using the four elements earth, water, wind and fire as guideposts, curators chose to feature arts that emerged from the earthquake in Haiti; the floods in Pakistan; Americas Hurricane Katrina, and the volcanic eruption of Mount Merapi in Indonesia. The challenge is that we want to work with these disasters while theyre still meaningful in everyones mind. At the same time, there has to be some distance for the artist to have a chance to recover and to cope, said Marsha Bol, director of the Museum of International Folk Art. So the challenge was to select a disaster where we could actually make contact with artists or people working with them. It is sad to say, we had so many disasters to choose from. Indeed it is difficult to keep up with the disasters occurring around the world. Since the choices were made, an earthquake and tsunami devastated
Details
Folk Art of the Andes, by Barbara Mauldin (Museum of New Mexico Press) is a comprehensive look at the artistic legacy of the highland region of South America. With more than 400 color photographs, the book is a significant contribution to understanding the art and artists of the Andes. Photography is by Blair Clark. Its a wonderful keepsake of the landmark exhibition now showing at the Museum of International Folk Art.
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Japan, and devastating tornados blew through Southern states in the United States. Regardless of the disaster featured, the response is what has been captured, showing examples of how folk art has helped rebuild, establish hope and remember each catastrophe. What Im interested in is the way in which traditional artists survive and help each other, said exhibition curator Suzanne Seriff, also chair of the selection committee for the Santa Fe International Folk Art Market. (After disasters,) many are left without jobs and homes. Traditional artists pick up what they have traditionally done and use their art and creativity to try to sell their art and use their money for economic recovery, but also to provide warmth and comfort, to reestablish a kind of identity, to memorialize, and in countries where they pray to spirits, it becomes an offering, a way to pray. In Indonesia, for example, the more recent explosion of Mount Merapi, the iconic natural treasure and island backdrop, was integrated into local art forms such as puppetry, an Indonesian tradition. Shadow puppets are ornately carved from thin pieces of leather or cloth and are used to tell stories behind lit backdrops, with performances sometimes lasting through the night. The people and their cultural and natural artifacts are so connected, that during the eruption, people looked at the clouds. They noticed the cloud resembled a popular shadow puppet figure named Petruk with a great big nose, Seriff said. They named the 2010 eruption Hot Petruk Cloud. Tens of thousands of people were displaced by the Hot Petruk Cloud, many moving into government camps. In the camps, master puppeteer Ki Enthus Susmono would bring his puppets, incorporating positive messages of hope into his performances. He would tell people to rise up, to not let this get you down, keep going, Seriff said. Similarly, after Hurricane Katrina in 2005, images of natures force became integrated into carnival masks, quilts, scrolls and paintings. The disaster was memorialized in documentaries and in photographs, and it has stained the resolve of all who lived through it. Hurricane Katrina also was chosen for the exhibit so as not to exoticize natural disasters by placing them far from home, Seriff said. Haitis earthquake in early January 2010 killed an estimated 316,000, injured 300,000 more, and left up to a million residents homeless. Last year the folk art market dedicated a booth specifically to raising funds for survivors of the earthquake, some of whom also were market artists. When Seriff began organizing the exhibit, she initially considered an exhibition solely about Haiti. But how to focus on just one catastrophic event when so many were pounding communities around the globe? In fact, 2010 was noted as having the most and most deadly natural disasters on record. And that was before the natural disasters of 2011 began. Another event caught Seriff s attention, as perhaps the greatest tragedy of the disasters cited. Beginning in late July 2010, floodwaters began to rise in northwest Pakistan. The water moved slowly at least slowly for a 24-hour news cycle but didnt stop rising until it had affected some 20 million people. The waters spread over croplands, ending any possibility for a planting cycle in the agricultural region, and forcing people, already living in dire poverty, to carry whatever belongings they could and head to drier land. We learned that when people fled from their homes, what they saw as most important and what they took with them, were these ralli quilts, Bol said. They use them as bedcovers, for warmth, for wrapping up their goods. In one of the camps, women started making ralli quilt tops out of clothes that had been donated to them, perhaps clothes that werent going to be appropriate for them. They were making quilts to sell to make some money and to try to recover. The ralli quilts are beautiful pieces, often with geometric patterns of triangles and squares. For many who might never return home, these quilts now are their only means of income and possibly of warmth. Twenty percent of the country was wiped out, including farmland and crops, so people missed their planting season. Very few people have had the resources to rebuild and great swaths of the country are still camping out because their homes have been destroyed, Seriff said. Besides the exhibit, a special booth at this years market will be dedicated to raising awareness and funds for Pakistans unprecedented and ongoing disaster. The Arts of Survival opened Sunday and will run through May 6, 2012. Many of the artists will be coming for the opening of the show and then staying on to conduct demonstrations and workshops during the week, and also participate in the market itself.
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FOLKART
BACK PLAZA
Laboratory of Anthropology
Water kiosk & drinks Santa Fe New Mexican
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PAK Mail
Rest area UNESCO Award of excellence 120 119 Payment area 118 117 116 115 114 109 110 111 112 113
Entertainment stage
UPPER PLAZA
123 122 Ambiance Sales
Information Peace Corps Best of the Best
ATM
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The New Mexican
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BLUES REVIVAL
Film features global indigo rebirth
Indigo
Above photos, Mali Aboubakar Fofana
32 2011 Santa Fe International FOLKART Market
BY ZLIE POLLON
There are amazing things about indigo, the dye, the plant and the tradition, that I never knew. Big, important things, such as the fact that indigo production underpinned the slave trade in the American South before the Revolution; or that the color, in hues of deep blue, imbues health and well-being; that the Indigo Revolution was about farmers in India refusing to cultivate the plant when so many were lacking rice; or that in different corners of the world, people create the natural dye with varying technique and tradition, but all with the same love and attention one would give to attending a child. These details and more are the subject of a new documentary by New Mexico resident Mary Lance that will show during International Folk Arts Week as a benefit for the Santa Fe International Folk Art Market. Blue Alchemy; Stories of Indigo, traces the history and production of indigo dye, from cultivating the plant, varying Aboubakar Sidik Fofama, Mali, Booth 100 processes of creating the dye itself, and Samporn Intaraprayong and the importance of indigo in history, its Ampornpun Tongchai, Thailand, Booth 26 disappearance and now, re-emergence. Lance follows the renewal of an indigo Gasali O Adeyemo, Nigeria, Booth 37 movement, with people still wed Remigio Mestas, Mexico, Booth 103,104 to the notion of natural products, Amalia Gue, Guatemala, Booth 13 tradition, and the spiritual importance of this special color blue. Some of the practitioners are lyrical in their descriptions of their work, as reverent and humble as the religious following God. Take Hiroaki Murai of Japan, who wants nothing more than the compost he produces to create a beautiful color. That is my dream. I still dont have a lot of experience with my job, so I wonder if I am doing good work. I worry that because of my lack of technique, the cloth dyed with this compost might fade in 50 or 100 or 200 years. I think of that often. Perhaps I cant make a good enough color in my lifetime. But I believe that something cared for with this much affection and love will live forever. Lance was first inspired by indigo in the late 1980s after hearing a lecture on textiles. The multiple-step process, the different traditions and the passion of those who worked with the dye finally came together in her labor-of-love film, which she began working on in 2005. Its a beautiful color that has attracted people for thousands of years. The popularity of blue jeans demonstrates that it still attracts us, she said. While some of its history is dark, Lance said that recent projects are being used to improve the environment and provide paying work for people in developing countries. The renewal of the indigo tradition is visible throughout this years market in art displayed in booths from Thailand, Nigeria, Mali or Mexico. In fact, Nigerian artist Gasali O Adeyemo, who lives in Santa Fe, joined Lance filming in Nigeria and brings his beautiful blue fabrics to the market. For Adeyemo, indigo blue is not just a color but a power, a power to heal illness and to send away bad spirits. Sometimes people tell me that the blue from the fabric has run on my skin, I tell them, Yes! Its good for you because the dye will send sicknesses or allergies away. If there is something you dont want near your body, or on your skin, or in your spirit, it will keep it away, Adeyemo said, adding that the color is also used to paint on houses as a way to keep unwanted spirits at bay. Thousands of miles away in Thailand, artists share a similar spiritual belief in the dye. It has magical powers to heal, said Vichai Chinalai, who works with a womens collective in northern Thailand. The head of the cooperative in Sakonnakorn, Thailand, tells him that since she has been working with indigo both morning and afternoon, her mind and her behavior have become more calm and peaceful, he said. She says its like her children, because she has to look at them every day and see what they need. Its alive. You have to keep feeding it, and notice what it needs to keep it alive.
Indigo at market
From the top, Thailand Somporn Intaraprayong, Nigeria Gasali Adeyam, Mexico Remigio Mestas Revilla
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The anthropomorphic nature of indigo echoes through Lances film, as if it is only through its critical, attentive care that it will draw breath and come to life. According to indigo historian Jenny Balfour-Paul, the word indigo derives from Greek indikon, or the Latinized indicum, meaning a substance from India. From there the dye spread across the globe eastwards to Southeast Asia, westwards to the Middle East, then to Africa, Europe and Latin America. It is a hue found somewhere on the spectrum between blue and violet, and has been called by names Nil, Ai Zome and Aro. The dye is derived from the indigo plant, which grows in hot, humid climates, and can also be extracted from related species such as Woad, commonly used for the blue dyes in Europe. The process is painstaking, involving numerous steps, immense time and strength. There is mixing and stewing, chopping and brewing, plus the additives that make cultures unique. In Mexico, a woman puts in a cloth talisman of a baby; in Japan, a maker adds a half bottle of Sake. Japanese methods entail creating a kind of compost, which is then soaked. In India, it is a huge vat of water, oxygenated and then drained, the sediment on the bottom of the pool ultimately congealing into bright cubes of blue hue. In Nigeria, women cover balls of crushed indigo plant with wood ash and let it sit for seven days. The variations from culture to culture are amazing, but the devotion is exact from country to country. The demand for indigo increased considerably during the industrial revolution and the popularity of Levi Strauss blue jeans, which originally used natural indigo dye. By the turn of the century a synthetic companion was created. Demand for the natural dye plummeted. It is in part the deep relationship between creator and product that has led to a revival of the craft, alongside a demand for a less toxic method of production. The revival has started small, but in as many locations as its previous life. Lance says the ripples are spreading and the use of indigo and other natural dyes is gaining popularity. Her film closes with producers in Venezuela wanting to bring back a former life and culture. The return is just as much about creating new markets such as for those whose work now appears in Santa Fe as it is about stressing the ways that tradition binds communities. If youre giving people the option that they can stay in their village and celebrate their own tradition and make a sustainable livelihood, its seismic what happens, said Nancy Benkof, coordinator for International Folk Arts Week. Youre creating something that comes from your own family history. Youre putting money into peoples hands and often youre putting coins and dollars into the hands of a mother or grandmother and that translates spectacularly into the children. The girls go off to school, instead of being sold or sent to the fields to work, and the boys go off to school. It creates stability in the family unit and what is a village but a group of family units. For indigo production, that seismic shift is surely about helping to enhance communities and cultures, but for some its the belief that the power of this natural dye can play an even greater role. As Pakistani artist Noorjehan Bilgrili says near the end of Lances film, If anything can bind and connect the world, it would probably be indigo. Blue Alchemy: Stories of Indigo will be shown at 7 p.m. Wednesday (July 6) at the Lensic Performing Arts Center as part of Go Indigo! Wednesday. All proceeds will benefit the Santa Fe International Folk Art Market. The film will open with a live performance by acclaimed Japanese flautist, Kojiro Umezaki, a member Yo Yo Mas Silk Road Ensemble. Kojiro will perform the shakuhachi solo, Kogarashi, a piece composed by Nakao Tozan following the Great Kanto Earthquake of 1923. It will be played to commemorate the lives lost in the 2011 Japanese earthquake and tsunami. Everyone will be asked to wear their best blues. Tickets are now on sale at the Lensic, 505-988-1234, or online at www.ticketssantafe.org. Tickets range from $15 to $75 with a special $10 ticket for students. The $75 ticket includes an invitation to a pre-screening party at the Coyote Cantina, as well as preferred seating at the Lensic. The showing is part of International Folk Arts Week, an extended list of events at theater, in galleries, clubs and restaurants, all meant to bring everyone into the spirit of the Santa Fe International Folk Art Market.
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Films
From Zimbabwe to Santa Fe: www.fromzimbabwetosantafe.com Rough draft first screening at Tipton Hall (earlier this week) Circo: firstrunfeatures.com/circo/ The Screen (Opens July 8) Tierra Brillante (Brilliant Soil): www.brilliantsoil.org CCA: Saturday (4 p.m.) and Sunday (8 p.m.) Blue Alchemy: Stories of Indigo Lensic, July 6, 7 p.m. Pre-screening party at Coyote Cantina with $75 ticket. Events schedule for International Folk Arts Week: www.folkartmarket.org/ifaw
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Karim Oukid Ouksel (below) is bringing Kabyl berber jewelry from his home in Algeria to market. The style of jewelry, he explains in the application, dates back to the 12th century.
MEASURING
BY ZLIE POLLON Ask a dozen people for a definition of folk art and invariably you will get a dozen different answers. Folk art is said to be a means of cultural expression and preservation; indigenous art; poor peoples art; rough-hewn and coarse; utilitarian and decorative; nave or traditional. Many describe it as self-taught or primitive.
There is no wrong answer to the question, but no one description can cover the immense array and variety of folk art the world over. And few terms come close to conveying the intricacy and detail of some pieces, to describing the time and effort they take, to capturing the professionalism and fame of the artists. Rare, too, is the term that expresses the importance that art serves for cultural and economic survival of communities in both remote and highly populated corners of the world. The issues that arise from these varied definitions include the need to teach people what goes into the making of folk art and its value to cultural preservation. Only then, can we understand folk arts true value. The Santa Fe International Folk Art market serves to broaden our understanding of what constitutes folk art, and allows viewers to see how wide the plain and deep the sea of arts is across the world. From Cambodia to India, Afghanistan to Guatemala, viewers can experience the similarities and immense differences of what people create, how and then why, and how important the craft is to each and every artist. In terms of its cultural significance, market organizers are quite specific in their intent that by promoting folk art, they are helping to preserve cultures and traditions, offering incentives away from commercially produced products that might save time but ultimately eat quality. For example, the market gives people the financial incentive to continue using traditional dyes instead of chemicals or to encourage production by hand instead of by machine. It also hopes to honor the hours, days, weeks or even months it can take to complete just one item. This is not just the case with Santa Fes market. Indeed, craft markets everywhere are essential for encouraging selfemployment and rural development, say market organizers. These markets support and empower women, children and families, sustain livelihoods and assure the preservation of endangered cultural traditions. Supporting a goal of economic sustainability is certainly value enough. Then there is the mastery of the work. Many artists who come to Santa Fe are the tops in their trade, commanding international recognition and often higher prices. Higher prices also depend on the materials used, such as gold, silver or silk, or simply because one is getting the best of its kind, made by the best in the world. Period. An artist is recognized as a master through publications, awards and exhibitions. Because these recognitions mean so much in the art world, even a basket maker who uses humble materials can be recognized as a master and command high prices, said Charlene Cerny, executive director of the market. Among the best-known masters at this years market are Ignacio Punzo Angel and family, a metalworker from Michoacan, Mexico; Francois and Sylvie Fresnais, ceramists from France; Fatullo Kendjaev, a rug weaver from Uzbekistan, and winner of the UNESCO Award of Excellence; or Jorg Moscoso, a traditional jeweler from Ecuador, designated by the Minister of Education as a Master of the Taller in the Art of Jewelry.
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The process is complex from drawing the design, to shaping the filigree, to cleaning the piece in acid, to painting the enamels and finishing with a final polish. Its an example of the complexity of folk art and the importance of tradition in making that art.
WORTH
That said, lesser-known names are not necessarily reflective of a drop in quality, but perhaps only a measure of the artists lack of opportunity and exposure. The market is trying to change that as well. Ernesto Torres, artist coordinator for the market, said that each year the market provides an incentive for more than 20 first-time artists. The incentive includes financial assistance that includes airfare, hotel, shuttles and hosting. Many firsttimers are rightfully worried about how their work will fare so this opportunity gives them a chance to participate by lessening that anxiety and the risk factor, he said. These artists arent always easy to find. High-quality artisans are sought and cultivated from the farthest reaches of any country. In a brief email for this article, one market volunteer wrote that he was about to head into the desert in Oman to track down a Bedouin weaver. Hameeda Hamed Al Musalmi lives in the town of Ibra, one of the string of oasis towns that fringe the Wahiba Sands desert, a large expanse of sand desert named after the Wahiba tribes who live there, and who are primarily Bedouin. The spinning and weaving by the women of the Wahiba Sands is considered the finest in all of the Gulf States. Their work is sought after by camel-owners in the Emirates, Bahrain, Saudi Arabia, writes Neil Richardson. For the first time this year Hameeda will bring these goods to Santa Fe. The production of these weavings, not to mention a vast number of fabrics or textiles at the market, is dependent not only on the work put into the eventual creation, but the availability of original products, themselves dependent on the strength of the farming season and the health of a crop. Consider the women of the Hill Tribes in Thailand who create fine embroidery using hand-woven and naturally dyed, rare and unusual fabric. The work that you put into
it to make just one piece is tremendous, said artist sponsor Vichai Chinalai. For instance, if you want to have a good natural dye, it doesnt mean you can do it immediately. It depends on the season. Then you have to have a good plant to use for dye. If its not a good season, then you have to wait another year. Its not like chemical dyes that you can use whenever you want for as long as you want. The same with the cotton, everything depends on the season. If its a good season then its a good product. Yet folk art is often designated a much lower monetary value. People havent adjusted to the fact that master folk artists, because of their reputation as well as the time they spend, can command a lot for their work, just as a master artist can, such as Jasper Johns, said Marsha Bol, director of the Museum of International Folk Art. Its funny, because we never really are surprised when a European painting sells for millions of dollars, but we dont think folk art should sell for a good amount of money, she said. So maybe its time for people to start respecting this work more and assigning a higher value. This is not to say that works at Santa Fes International Folk Art Market are priced high in fact, the market gives people the opportunity to access beautiful, world-class artwork from around the globe for a fraction of prices elsewhere. But it serves viewers well to consider the time and effort that goes into the work that they see. Paying fair prices is the least we can do to honor those who have made their way here as representatives of their culture and their craft, some traveling out of their village for the first time ever. Of course, appreciation does not just benefit the ones who bring their art to market; those of us given the opportunity to view and even to purchase these beautiful pieces of art are perhaps the greatest beneficiaries of all.
2011 Santa Fe International FOLKART Market 37
Poland France Spain Santa Fe Mexico Guatemala Panama Ecuador Peru Bolivia Ghana Nigeria Cameroon Namibia South Africa Cuba Haiti Puerto Rico Venezuela Algeria Morocco Mali Niger
Turkmenistan Uzbekistan Russia Kazakhstan Afghanistan Ukraine Kyrgyzstan Turkey Mongolia Tibetan Yunnan China Plateau Nepal India Pakistan Sultanate of Oman Kenya Rwanda
Syria
Bhutan Thailand
Chile
2011
AFGHANISTAN
Booth 122
ALGERIA
Booth 125
ARZU STUDIO HOPE rugs are woven on looms in the homes of weavers in rural Afghanistan. Woven with a cotton or wool foundation, the wool used is hand-dyed by master dyers. Many ARZU dyes are derived from natural materials including madder root for red, walnut husks for brown, and pomegranate for yellow. The handspun wool absorbs dye unevenly to produce variegated color known as abrash. This charming irregularity creates rugs that are individual and full of character.
Karim is from a small village in the Kabylia region in northern Algeria, an area with a long and rich tradition of Berber jewelry production. He began learning the art of jewelry-making to continue the tradition and promote the rich culture of his community. The filigreed geometric forms in Kabylian jewelry reflect the patterns found in Berber tapestries and ceramics of the region. To Karim, these pieces are more than decorative objects they express poems, histories, rivers and mountains, and the love of his motherland.
blue pine, juniper, rhododendron, burl and cypress, and then painted with colorful organic dyes. Intricate carvings are also used to decorate parts of the home and shrines. Items such as offering bowls, butter lamps and dress clasps (Koma) are made from a range of metals, including silver, copper, brass and cast iron. These are carved on using chisels and special knives.
BOLIVIA
Weaving Ique Etacore de Picanerai
Booth 29
Organizacin Cheque Oitede Cooperative
bands and scarves. Ana has served as President of the Association of Andean Artisans, a cooperative of four weaving centers in Bolivia. Weaving is traditionally done by women (girls begin around age 12). Ana learned the craft from her mother and now conducts workshops to ensure traditional techniques are preserved. At age 8 Patricio left for school in the city of Cochabamba, three hours away from his 60-family village of Chuu Chuuni. At 16 he returned home. He is a farmer, literacy teacher and weaver, and oversees the distribution of wool and the natural dyeing process for the Association.
oon and throughout Africa. He is a weaver and embroiderer, and makes handbags, slippers, caps and purses for men and women. The fine clothing used for special occasions is decorated by drawing designs on the cloth with a piece of chalk or soap, then hand-embroidered.
CHILE
Horsehair Weaving Alba Rosa Seplveda Tapia
Booth 57
El Arte del Crin UNESCO Award of Excellence Winner
Kandahar Treasure
Khamak Embroidery
BHUTAN
Parzo (Woodcarving), Troezo (Metal carving) and Weaving Bhutan Karma Collection
Weaving (tharzo), woodcarving (parzo) and carving on metal (troezo) are three of the traditional arts and crafts of Bhutan. Ornate textiles are handwoven on backstrap or pedal looms that are often passed down through generations. Mothers teach daughters, beginning with girls as young as six. Eastern regions of Bhutan weave cotton and silk kira (the threepaneled national dress for women), gho (the male national dress) and ceremonial textiles. Central and northern regions of the country use sheep and yak wools to weave blankets and even tents. Wood and metalcarving are typically done by men and learned through two-to-three year apprenticeships. Ceremonial masks of mythical animals and Buddhist deities are carved from
The fine needle embroidery called khamakis a trademark of Kandahar women and is traditionally used to decorate clothing for male relatives and children and for trousseaus. Each artist utilizes a unique stitch to create traditional geometric designs inspired by the Islamic art of geographical and mathematical shapes. Khamak artists begin learning as early as five years old, some mastering their skills by age 10-12. Their work is strictly owned and passed down by women only. Kandahar Treasure, a womens artisan cooperative in southern Afghanistan founded by Rangina, promotes this unique and traditional art form to create income sources for women. Fareba is one of numerous co-op members who have found this art form to be an outlet for self-expression, for dialogue, and a vehicle to develop a sense of ownership over their work and lives.
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Ique is an Ayoreo Indian from the Bolivian savannah, an arid and somewhat desolate landscape. Ayoreo hunter-gatherers once used net bags to collect native herbs and roots and for hundreds of years these bags have been made of a special grass gathered by the women. In the last few decades, as the Ayoreos became more settled, the sale of these stunning bags was their only source of cash income and the grass was overharvested. A Bolivian ethnobotanist and MacArthur Fellow, Ins Hinojosa Ossio, helped the Ayoreos organize to replant the grass species to provide a resource for their bags.
CAMBODIA
Silk Woven in Traditional Khmer Style Chantha Nguon
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StungTrengWomens Development Centre - Mekong Blue UNESCO Award of Excellence Winner
Chantha started the Stung Treng Womens Development Centre in 2002 with a $3,000 grant from Partner in Progress in a small house with two traditional wooden weaving looms and a big dream. The project focuses on teaching and mentoring local women in the art of ikat silk weaving while developing life skills that assist in breaking the cycle of poverty and illiteracy.
Alba began hand weaving delicate miniature sculptures and designs out of horse hair at the age of 7, and has been developing her craft for over 50 years. Born into a family of artisans from the renowned horsehair weaving town of Rari, Alba is today one of the foremost weavers in Chile, with a long list of awards and recognitions on an international scale. She has developed a cooperative called El Arte del Crin that is made up of 42 artisans from her hometown of Rari. Their weaving technique is very particular to the region and town of Rari where the weavers utilize a local agave fiber called ixtle along with the horsehair. They create whimsical and vibrant designs drawn from nature and from folklore.
CAMEROON
Weaving and Embroidery Ngang Ignatius Fru
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Ngang comes from a village in the Northwest Region of Cameroon known as Mankon, where he learned weaving from his grandfather. The villages tradition of weaving cloth is very rich, highly respected and well-recognized in Camer-
In the highlands of Bolivia, the Quechua and Aymara peoples have been weaving textiles since pre-colonial times. To this day, sheep and alpaca wool is prepared and dyed with cochineal insects, eucalyptus and native herbs and plants. Animal and geometric designs are woven into aguayos (carry-alls), wide belts, hat
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Wilfredo works with his mother, Alba, as awardwinning weavers from El Arte del Crin, a unique handwork cooperative originating in the small town of Rari, Chile, where Alba was born. The collective focuses on a very specialized art form which utilizes hand-dyed and hand-loomed horsehair to make intricately-woven miniature
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baskets, flowers and figurines in the shape of mythologized characters. According to popular legend, this craft began more than 200 years ago when two young girls of Rari began to weave different shapes from poplar roots found along a stream and sell them to raise money for their families. Over time, the poplar root was depleted and the community began using horsehair imported from Mexico.
regions master artists, Rong. She still lives in the remote village where she was born and where she learned to make her communitiestextiles from her mother at an early age. Both the men and women of this region still wear the traditional robes and jackets for festival occasions.
Painting
FRANCE
Glazed Earthware Franois and Sylvie Fresnais
Franois has applied his professional training in ceramics to the revival of a centuries-old tradition of pottery making in France. This tradition, through which potters have long worked to transcribe the daily life of the people, nearly disappeared after the Second World War. Having studied these ancient shapes and patterns, he set up a workshop in the region of Burgundy, which has a strong tradition in pottery. Working in partnership, Franois creates the forms and his wife, Sylvie, executes the decorations.
HAITI
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Silver jewelry represents social status in southwest China, and traditionally, all ethnic minority families might work for years to make a whole set of sterling silver accessories for their daughters to wear on special occasions such as weddings or festivals. Gui is a national award-winner and cooperative member from the Miao minority in Guizhou Province. Guis intricately designed earrings, bracelets, necklaces, hair pins and ornaments have been collected by major national museums in Japan, India and England.
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Nixi Black Pottery, which is made by numerous families in a mountain village in Yunnans Tibetan Plateau, is made by hand through an intricate process that can take up to one month to create each piece. This tradition passes from father to son and dates back to 850 B.C. The Nixi Black Pottery comes in unique vessel shapes that are adorned with Tibetan cultural symbols, such as white porcelain shards, which represent good luck and long life.
Painting
GHANA
Recycled Glass Beads Ebenezer Djaba Nomoda
Nicknamed by his grandmother after the Ghanaian currency, Cedi has been making beads from recycled glass since he was 7 years old when he would sneak away from dinner to fill glass molds. Glass beads play an important role in Cedis eastern Ghanaian Krobo culture where they illustrate wealth and status. Young girls wear strings of colorful beads during the traditional dipo coming-of-age ceremony. No longer needing to sneak away, Cedi makes beads in his workshop. He uses a mortar and pestle to crush bottles and then fills molds with the glass. The glass is fired in clay kilns at temperatures ranging from 1500-1800F to shape the glass into beads. The beads are smoothed and strung.
Mireille embroiders sequined Vodou flags or drapo. She learned to make the flags from her cousin after the factory where she worked making wedding gowns closed. With her earnings as an artist, Mireille can afford to send her daughters to school and help support her sisters, aunts, brother, mother and friends. The flags she makes are created to honor and invoke deities in the vodou religion, widely practiced throughout Haiti. Her brother, who inherited the tradition of vodun priesthood, often uses her sequin flags in rituals and ceremonies.
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ECUADOR
La Mega Cooperativa de Saraguro
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Yangsom Lobsang
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Thanka Painting
A number of different minority groups, Miao, Yi, Dong and Bai, live in Guizhou Province and each group is identified by its different traditional techniques of intricate and colorful embroidery. The Miao women produce a variety of embroidered pieces executed in silk floss embroidery thread which is split to make a very fine strand, often on a ground of home-woven indigo-dyed cloth. These are then sewn onto garments or other items such as baby carriers. Batik is sometimes used with the embroidery. Yuzhens family continues to farm in Guizhou while she lives parttime in Beijing working in an embroidery workshop and selling Miao textile items at an open air market.
Tibetan thankas, or scroll paintings, are an invaluable and sacred part of Tibetan Buddhist culture, and serve the purposes of healing the sick, the environment and enlightening those who encounter them. Yangsom, a former yak herder, is proud to be one of the few women involved with this art form.
The indigenous Saraguro people in Ecuador, particularly the women, make brightly colored and intricately shaded necklaces, collars, earrings, rings and bracelets using glass beads. The designs are patterned after motifs from nature and from geometric shapes. These beaded jewelry pieces are an essential part of the Saraguro peoples daily dress.
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Serge was inspired as a child by the blacksmiths in his neighborhood. He learned metal work from the LouisJuste brothers in Croix des Bouquets where Georges Liautaud created cemetery crosses made from iron bars and recycled metal. With the discovery of these crosses, a new and original art form was born that has resulted in thousands of new jobs in Haiti. Serge opened his own shop by the time he was 20. His work has been shown at the Brooklyn Museum and at LACITA in Biarritz, France.
CUBA
Painting Carlos Alberto Cceres Valladares
Carlos began painting as a child in elementary school and, today, is a nationally recognized artist in Cuba. His paintings touch on the themes of the Yoruba religion, the Orishas, and the customs carried on by the Guajiros. His technique of applying acrylic paint with used toothpaste tubes makes for a vibrant and unique style. These paintings on hand-stretched canvas illustrate the religious traditions and rich culture of the Cuban countryside.
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GUATEMALA
Weaving on Backstrap Loom Amalia Gue
Amalia represents Ixbalamke, a cooperative of women dedicated to the production of traditional textiles and preservation of traditional weaving. They live in the community of Samac de Cobn in Alta Verpaz and are inspired by the landscape and beautiful views of the region. The members of the cooperative maintain the intricate technique of gauze weaving and the use of coyuche, or natural brown cotton-practices that are rapidly disappearing.
Ixbalamke Cooperative
The jewelry of Jorg Moscoso comes to Santa Fe through local gallery Belle Jewelry. It is the traditional Andean Highland earrings, pendants, chains and necklaces that one might have seen on the streets of Ecuador years ago, but which have been lost to hard economic times. Jorg, who has been designated by the Minister of Education and Culture as a Master of the Taller in the Art of Jewelry, founded the Fundacion Artesanal de Cuenca, dedicated to the preservation of indigenous crafts.
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These beautiful skirts, jackets and bags of the Luo Ethnic Group of southwest China are all hand dyed, appliqud and embroidered by one of the
Les Dix Doigts de La Valle is an association of approximately 100 women artisans in a rural area of Haiti. More than 100 years ago, they were taught by a group of nuns how to make Richelieu embroidery, or cutwork, which the nuns felt would provide the community with another source of income. While it has been difficult for these artisans to consistently access the necessary raw materials and find safe spaces for storage, particularly in the face of Haitis recent earthquake, they are tremendously invested in this art form, and in finding ways to sustain their families and alleviate their communitys profound poverty through the sale of their exquisite cutwork.
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Cuba Cenia Gutirrez Alfonso, Carlos Alberto Cceres Valladares, Roberto Domingo Gil Esteban
PHOTO LYN AVERY
These papier-mch masks, figurines, bowls and ornaments are made from paper cement, wheat paste and cardboard, and used both for daily tasks and for ceremonial purposes in Haiti. The masks may be used to celebrate Carnival or may represent ancient heroes. The artist, Marie Bernard Pascale Faublas, began learning this craft at age 13. She later organized a cooperative to spread the production of this spectacularly colorful folk art.
region, Bashir painstakingly creates large shawls, embroidering the fine pashmina wool with delicate patterns in silk thread known as sozni needlecraft. These shawls often are used in marriage parties and are known as the fabric of royals.Bashir is the winner of the UNESCO crafts prize and the national award of Indias Ministry of Textiles. He taught his son, Firdose, the centuries-old Kashmiri art form, which involves cleaning and transforming raw pashmina goat wool into fine thread, weaving the thread with a handloom and embroidering floral motifs with silk, metal or pashmina. In Kashmir, where they live, pashminas are part of the national identity.
early as the 5th-century AD. He also works with Kamandi, an elaborate embroidery technique that utilizes tiny wires worked into motifs such as sprays of flower and leaves.
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In Jacmel, Haitian artisans have been practicing the art of papier-mch, which they call Savoir Faire, for many years. They utilize mud molds, cement, wheat paste, paint and cardboard to create masks and other figures depicting animals, ancient heroes and vodou spirits particularly for the masks used for carnival. Robert is one of 52 members of the cooperative, Association pour le Developpement de LArtisanat du Sudest.
Though he received a B.S. in chemistry and, at one time, thought of pursuing an MBA abroad, Shohel felt that his true calling was in the inheritance and preservation of his communitys traditional tye and dye fabric artistry. Despite widespread trends of simplification and modernization, Shohel adheres to traditional designs and techniques that carry with them extremely detailed social and religious significance. Each piece of fabric is tied with millions of tiny knots arranged into patterns and dyed one or more times, leaving only the knotted areas untouched by the new layers of color.
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In the Indian communities of Patan and Kutch, detailed embroidery is used to decorate nearly everything from clothes to items for ceremonies, houses and cattle. The color palates, stitches and designs are passed down by women from generation to generation and distinctive to their particular community. In the 1980s, the Self-Employed Womens Association began organizing poor women workers in the informal sector to provide them with a sustainable income and help them move towards self-reliance. Dhanuba, from Gangaonpura, Kutch, is one of SEWAs nearly 500 members who now use their skills to support themselves and their community.
INDONESIA
Masks Ida Bagus Anom Suryawan
Born in Mas village in Bali, Ida makes masks from light pule wood for use in the topeng masked dance ceremony. The brightly colored masks feature as many as 40 layers of acrylic paint, ensuring their durability. Ida learned mask making from his great-uncle Ida Bagus Tilem, an uncle, and an older brother, all wellknown wood carvers and mask makers.
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Handloom Weaving
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Like many women in the Northern Indian region of Gujarat, Kakuben began learning the elaborate embroidery traditions of her local community from her mother at a very young age. But she never thought that these skills could provide her with a livelihood until a period of extreme economic hardship forced her and her family to leave their homes, migrating constantly in search of work. Eventually she was connected with SEWA Trade Facilitation Center, which helped her provide a home and a living for her family.
Tri Suwarno
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INDIA
Embroidery and Weaving Bashir Ahmad Jan
Firdose Ahmad Jan
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UNESCO Award of Excellence Winner
Bashir has achieved worldwide recognition for his needlecraft embroidery on pashmina wool. Inspired by the natural beauty of his
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Deviben is a second-generation member of SEWA Trade Facilitation center. Years ago, SEWA helped her mother escape the need to migrate for casual labor and provided their family with a stable income, as well as schooling for Deviben and her siblings. Following in her mothers footsteps, Deviben has begun to participate in publicity and design efforts to bring SEWA into international markets.
Alfonsa is from East Flores, an area of Indonesia renowned for its textiles. She represents the Womens Weaver Cooperative of Lepo Lorun which means House of Weavingin the Sikka language. With seed money from the Indonesian government, the Cooperative was
able to purchase sewing machines and start their new venture. They produce bags, scarves, garments and table runners from cloth woven on a simple loom, made of spun yarn dyed with tropical plants.
Seal of Excellence for three consecutive years. Kazakh jewelry is made by hand from silver using traditional tools and methods. It marks the different stages of a persons life.
ISRAEL
Haiger Sana and Khadra Elsaneh
Sidreh
KENYA
Supported by Anthony J. Foltman, Terese M. Lyons and Friends
villagers of her native Kyrgyzstan and Central Asia through her intricately dressed dolls. Drawn to the traditional Kyrgyz felt arts since childhood, Erkebu followed her dreams all the way to professional art college where she carefully researched and learned the intricate arts of felt making from local folk artists around the country.
Bedouin Weaving
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Altyn Kol
tradition of making ala-kiyiz Kyrgyz felt rugs, as well as making scarves that combine silk and felt and traditional jackets. These beautiful and delicate crafts are made with local raw materials, including natural dyes, sheeps wool and handmade yarn from sheep. Her family even began to utilize the remnants from felt carpets by creatively transforming them into other necessary domestic goods and toys.
MADAGASCAR
Association SAHALANDY
Haiger is 58 years old, a mother of nine children, and part of Sidreh, a nonprofit organization established in 1998 to empower, represent and improve the socio-economic situation of Bedouin women living in Israel. Sidreh works with some of the most underprivileged in Israel, among whom education levels are also alarmingly low. The aim of the Weaving Project is to preserve this beautiful tradition, while promoting employment and small business development.
Agnes practices traditional glass bead work in the Kajiado District, a lightly populated section of the Rift Valley just south of Nairobi, Kenya, where the Maasai are the dominant population. She grew up in a traditional home made of mud and dung, surrounded by thorn bushes to protect their cattle from predators. Her husband, Patrick, is a leader of Maasai warriors.
Yemenite Jewelry and Judaica formed from Silver Filigree Ben-Zion David
For hundreds of years, Yemenite Jews have maintained a closely guarded tradition of jewelry making using precious metals. Their tools and techniques have been passed down as family secrets from one generation to the next, protecting a heritage and a livelihood that has constituted a special role for Yemenite Jews in spite of their social standing historically. In his workshop and gallery in Old Jaffa, Ben-Zion is seeking to revive this disappearing art form which he learned from his father and grandfather. Ben-Zion uses traditional tools to shape sterling silver, semi-precious stones, lava, coral and archaeological artifacts into filigree jewelry of all sorts, including ceremonial items that have been used for centuries by Yemenite Jews.
Mairam is director and co-founder of Altyn Kol, a womens handicraft cooperative with 200 members. Altyn Kol, founded in 1995, was formed after the collapse of the Soviet Union as an initiative against the economic hardship that followed. In 2005, Mairam was awarded the prize for Womens Creativity in Rural Life by the Womens World Summit Foundation for her work. Mairam is an expert shyrdak-maker. She learned felt art from her mother, and has now passed on her knowledge, of technique and the art of designing patterns, to her daughters.
Marie is part of the Association Sahalandy, located in the central highlands of Madagascar. The association is made up of seven weaving cooperatives representing 80 weavers in the area. Its objectives are to empower women by increasing non-subsistence income, finding sustainable markets abroad, building a cultural heritage center, and continuing to teach the weaving tradition to future generations.
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MALI
Jewelry Ousmane Papa Macina
For at least 10 generations the Macina family has made gold and silver jewelry in the subSaharan country of Mali, which is known for its gold mines in Timbuktu. There, metalworking is passed down from father to son and among brothers and uncles. (Womens creative skills are directed to pottery and basketmaking.) Following in the family tradition, Ousmane began formally learning the craft from his father. Utilizing the symbols of the great Fulani empire, Ousmane creates graceful designs of twisted gold and silver wire filigree and granulation. He uses the hand-made tools such as the Fulani tonde (anvil) and the fulah (hammer) to create his work.
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The semi-nomadic, pastoral Samburu people of northern Kenya were named by a neighboring tribe because of their striking jewelry and face paint reminiscent of colorful butterflies. Samburu women make vibrant beaded jewelry that is worn by all members of the community. Different designs denote a persons age and the jewelry is an important part of Samburu culture. Rebecca is a prominent activist and artist within her Samburu community. In addition to making the traditional hand-strung, colorful beaded necklaces and bracelets, Rebecca founded the womens organization Umoja to help combat the marginalization and abuse of Samburu women. Umoja offers human rights training for local women on issues such as HIV/AIDS, forced female genital mutilation and combating domestic violence.
With Kyrgyzstans independence in the 1990s, the countrys economic infrastructure was destroyed. For Oksana, who then had two small children, it was difficult to find work amid high unemployment. She and four other young women artisans formed a group to produce felt headwear. The group now consists of 11 Kyrgyz women and four men who aim to revive, preserve and develop folk art that originated from sheep-breeding and their cultures previously nomadic way of life.
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Fatim Diallo
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Leather Work
KAZAKHSTAN
Jewelry Serzhan Bashirov
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UNESCO Award of Excellence Winner
KYRGYZSTAN
UNESCO Award of Excellence Winner
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At a young age, Serzhan took an interest in making handmade jewelry after learning about metal work and the meaning of ornaments from his father and grandmother. His excellent craftsmanship has earned him the UNESCO
Almost every culture around the world tells the stories of its people through handmade dolls elaborately clothed in the traditional dress of the region. Erkebu is a textile artist from the capital city of Bishtek, Kyrgyzstan, who is a master at capturing the expressions and customs of the
Ala-kiyiz is a traditional felting technique from Kyrgyzstan that has been passed down since the 17th century. It comes from nomadic cultures that utilize the wool of sheep that graze in the mountainous terrain of Kyrgyzstan. Kadyrkuls family has been involved with this craft in multiple capacities for numerous years. She remembers learning this art form along with the unique history and value of the ornaments depicted in Ala-kiyiz, illustrative of nomadic life. Farzana has taken on the honored family
Lao textiles are hand-woven using silk and cotton. They are embellished utilizing tapestry, weft weaving and ikat techniques. These traditions are passed down generationally between women and, customarily, when a young woman begins weaving cloth for her dowry she signals her readiness for marriage. The textiles are used for numerous purposes and on a daily basis. Fortunately, for the artisans of the Phaeng Mai Gallery, textiles have also become a way to support themselves economically and to preserve the well-being of their communities.
Fatim is from Fururu, a small village in the desert near the border of Mauritania. At the age of 7 her grandmother began to teach her the tradition craft of leatherwork. The stunning geometric patterns Fatim inscribes and paints on her leather bags and pillows are shared by nomadic peoples like her people, the Fulani, but also the Tuareg and Berber. Such bags are used to decorate newlywedshomes and also to carry foods such as couscous and dried camel meat.
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Aboubakar utilizes organic hand-spun cotton and natural indigo and mud dyes to create exquisite textiles spun on a traditional West African loom and hand-stitched to create the finished products. He came to learn about traditional West African textiles by traveling around West African countries and speaking to his elders. From these experiences he began to feel an urgency to preserve the use of indigo and to revive the growth of biological indigo and organic cotton in West Africa, and Mali.
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handmade brushes. The pottery most often depicts ancient myths, symbolism that relates to nationalism or pre-hispanic history, and animal and plant life.
Zapotec Weaving Pastora Asuncion Gutirrez Reyes and Violeta Vsquez Gutirrez
Pastora and Violeta represent Vida Nueva, a cooperative of Zapotec women from Teotitlan del Valle, an indigenous Mexican community with centuries of weaving history. Their patterns and techniques have been passed down for generations and express their unique culture. Members pool their resources to provide economic opportunity as well as serve their community through projects related to health, hunger and preservation of their Zapotec heritage.
MEXICO
Hand-Carved and Painted Figures Agustn Cruz Prudencio Agustn Cruz Tinoco
For hundreds of years since, woodcarvings of nativity scenes, virgins, saints and other religious images have held a significant role in daily spiritual life. The centuries-old tradition began before the arrival of the Spanish with a custom of giving a baby a small carving of their spirit protector or nahual.The hand-carved, wooden figures created by Augustn Cruz Tinoco and his son, Agustn Cruz Prudencio, begin as blank pieces of pine, bursera, cedar or mahogany wood. Through their carving they seek to understand and exploit the natural forms and qualities of the wood. Both artists have won multiple awards in their home state of Oaxaca and nationally.
Teofila is a storyteller. She uses backstitches, single and double cross-stitches and chain stitches to depict tales of the Purpecha people. Using cotton and yarn she embroiders brightly colored scenes of cooking and fishing around Lake Patzuaro in Michoacn, Mexico. She began embroidering at age 10 and, although she sells her crafts from a small stand, she has won more than 22 local, state, national and international awards and leads a womens collective of embroiderers.
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Vida Nueva
in the clay work but in the dual firings required. Working not only in the familiar green glossy glaze, Hilario often uses yellows and blues for his pots, candelabras, and punchbowls.
dyes used derive from organic sources such as coconut, pomegranate, indigo and mangrove. Luisas weavings range from subtle to bold in color and design.
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Cecilia is from the village of Ahurian, a place known for the woven rebozo a traditional womens shawl. She wove her first shawl at age 10 and has passed the skill on to her four daughters, who in turn have taught their daughters. The colorful, striped rebozos are woven with alternating stripes, finished with feathery fringe edges, and sometimes include flowers, arrows and geometric patterns.
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Fomento Cultural BANAMEX, A.C. was formed in 1996 in order to preserve and to promote the values of the Mexican culture from its roots to very diverse cultured and popular expressions. Initially, through a two year process of research and artists selection from all regions of Mexico, a collection of traditional arts was assembled from 150 master craftsmen. Since 2005, the collection has been expanded to include 250 specialties from 300 artists. The organization is also dedicated to improving work conditions and expanding production opportunities for folk art and craft producers. The BANAMEX booths feature the artists that follow:
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Remigio works with weavers from 11 indigenous groups to encourage a return to natural dyes, traditional designs and old weaving techniques, particularly the backstrap loom. The clothing types are typical of this region, which has one of the most diverse and elaborate costume traditions in the country. His shop in Oaxaca, Los Baules de Juana Cata, is one that many tourists consider a destination.
The metal work of this Michoacan family begs to be touched. Some of the pieces are smooth, others boast a texture similar to a pineapple. The similarity is in the fact that all the pieces, which are either silver or copper, are fired in an open pit in pine charcoal ash and special stones. Once the work has been fired, it then is picked up by a pair of traditional tongs and hand-hammered to give the vessel or figure its specific form. Ignacio and his sons, all of whom live in Santa Clara del Cobre, work together using one sheet of metal to fashion the desired shape. It is a technique Ignacio learned from his father, who learned from his father, and later passed it down to his own sons. But the threat of violence from the nearby drug cartel weighs heavily on the minds of the artisans. Ignacio said that not only has it cut into tourism, but it now is threatening the very existence of the ability of Ignacio and his family to create the art itself.
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Ignacio Punzo Angel, Jos German Punzo Nuez, Ignacio Gabriel Punzo Nuez and Jose Rosaldo Punzo Nuez
Metal Work
Angel grew up with his artisan grandparents and mother in Tonala, a town known for its distinctive narrative pottery. Since childhood, he has created handmade pottery such as decorated plates, vases, nahuales, bowls and traditional Tonala masks. He is currently dedicating himself to reviving pottery styles from the 1920s that include traditional country designs called Fantasia(fantasy) and polychrome floral designs. At age 10, Jos began to learn to create traditional Tonala pottery from his father, Angel. They currently work together in his fathers studio and hand build each piece using press molds and then paint them with thin, delicate
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Inocencia Hernndez Ramrez began making delicate and intricate filigree at age 12, in Oaxaca, a Mexican state known for its tremendous filigree traditions. She currently has her own store and works with gold and silver, as well as with turquoise, coral and pearls. Filigree is a tradition that was brought to Mexico in the 16th century from Spain. The earrings, necklaces, pendants, rings and bracelets made from this technique are traditionally worn during Oaxacan festivals and weddings, but many people have begun to wear them daily.
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Nicolasa is a master weaver from San Bartolo Yautepec, a small community in the Sierra Sur region of Oaxaca. Nicolasa weaves on a backstrap loom using a cotton warp and weft. An expert in the plain weave plus supplementary weft weave technique, Nicolasas weavings achieve an embroidered effect. However, her designs are interwoven using a heddle rod they are not embroidered.
Pottery is an ancient and traditional craft in Michoacan. In the town of Huancito, artisans make burnished vases and towers of cantaro pots. Burnished pottery is a naturally lead-free technique because it does not require leaded glazes. Bernardina works with her family to create her lead-free pottery. Her husband is charged with transforming powder into wellkneaded and rested clay. Bernardina creates the vases with clay molds, decorating them with liquid clay and detailed paintings.
Luisa is a master of backstrap loom weaving. She works with a range of natural fibers, including cotton, silk and wool. Many of the
Herlinda creates lead-free, black candleholders that combine Catholic symbols with imagery from her native Purpecha culture. She works with her parents, Guadalupe and Gilberto, in their workshop in Santa Fe de La Laguna in
the Mexican state of Michoacn. From mining the clay, to preparing and molding it, and decorating it with delicate figures, the family is involved in the entire process of production. The candleholders, whether single stands or elaborate eleven-candle candelabras, have a deep black sheen once removed from the kiln. They are an important component of Day of the Dead and Holy Week celebrations. Through her involvement with the Purpecha womens organization Uarhi, Herlinda learned about the health benefits of creating lead-free pottery. She and her father convinced her skeptical mother to transition to lead-free production.
style called Mongolian Zuragsince he was a young boy. He paints images of folk tales and various nomadic tribes, has developed a passion for painting detailed and expressive images related to migration.
and was so named to express their optimism for success, as well as the figurative light of the carpetsbright colors and cheerful designs.
Containers made of Horn, Felt Work and Wood Carvings Narantsetseg (Nara) Sambuu
Lead-free Pottery
Narantsetseg (Nara) comes from a family of traditional nomadic herders and learned her felt making skills from her family. In 2000, Nara was instrumental in establishing the Hovsgol Park Cooperative through funding from United States Aid for International Development (USAID).
Booth 92
Amina was a typical Moroccan housewife and mother of four boys whose husband was a school teacher. With the support of her husband and family, she decided to break out of the narrow role defined for her by Moroccan society and help women play a part in the economic and political life of her community. She formed a womens craft association called Golden Buttons to market the hand-woven buttons and weavings that women had been making in their homes for generations.
Supported by Omba Arts Trust Booth 91 The Bushmen of Southern Africa have been creating and trading glass beads for centuries. Mara and other artisans in her community have begun to use these colorful and delicate glass beads to create elaborate designs on fabrics. With the beads and embroidery, they depict different aspects of Bushmen culture, such as animals and medicinal plants that are an important part of their daily life. Since many of the Bushmen are nomads and their culture is constantly changing, they have found it important to capture their cultural traditions through these vibrant and elaborate fabrics.
Houa Albaka
Booth 51
Leather Work
Houa comes from a family of traditional Niger craftsmen. She started learning leather craft at a young age from her mother. Traditional leather products from the region are made of goat leather dyed with natural dyes, with cut out designs and the addition long fringe, sometime braided with tassels. These distinctive items continue to be used in everyday life of the Tuareg people and are unique to their culture.
NEPAL
Painting on Handmade Paper Sita Devi Karna
Booth 96
Janakpur Womens Development Center (JWDC)
NAMIBIA
Basket weaving (Gihiriku and Sambiyu/Kavango Region), (Khoe Bushmen, Caprivi Region), Jewelry (JuHoansi Bushmen), (Gihiriku and Sambiyu) Kristina Shitoka Ndimbi
Supported by Omba Arts Trust
The Hovsgol Park Cooperative specializes in making clothing, felt boots and purses, as well as toy animals for children made from felt scraps. However, the cooperative supports a wide range of traditional arts, including painting and carving. Tuuls specialty is the beautiful clothing typical of nomadic Mongolians.
MONGOLIA
Secular Paintings (Mongolian Zurag) Jaakhankhuu (Janna) Grisha Gerelkhuu Ganbold
Hovsgol Park Cooperative works to train local people to make traditional crafts and clothing in order to create employment opportunities, stimulate the local economy and preserve cultural traditions. Jaakhankhuu (Janna) specializes in traditional painting that often depicts scenes from the daily lives of nomadic herders. Before fellow artist Narantsetseg (Nara) Sambuu established Hovsgol Park Cooperative in 2000 with funding from US Aid for International Development, Janna, like many others, worked individually in her home and sought out markets on her own. Forming artisans into small groups enabled all to help each other improve production systems and access additional markets. Fellow coop member, Gerelkhuu, has been painting in the traditional
Booth 92
Altai Craft, a womens cooperative, was created in 2003 with the mission of alleviating poverty in the Kazakh villages of western Mongolia. Amangul, a member, hand embroiders using the traditional Kazakh chain stitch, learned as a young girl from her mother. The stitch is done with a tambour hook which is often made from a recycled bicycle spoke. This vibrant embroidery style began around 3000 B.C. and has traditionally been used to decorate the interior of tents and to make traditional hats and clothing for special occasions.
Booth 92
MOROCCO
Amazigh (Berber) Weaving Rkia Ait El Hasan and Khadija Ighilnassef
Booth 2
Jamaiate Tifawin (Association of Light)
Kavango Region and Caprivi Region baskets are made from the fronds of the hyphaene petersiana palm.The fronds are left in their natural color or dyed using different plant materials such as the leaves, roots and bark of a variety of shrubs and trees. Kavango baskets are made with the coil method; Caprivi baskets, warp and weft. Baskets in the Kavango Region are used for harvesting pearl millet, as well as for winnowing, storage and transport. Khoe Bushmen baskets were for gathering, but are no longer used this way. The ostrich eggshell jewelry is made from individually-shaped beads using eggshell from commercial farms. These adornments are exchanged as gifts or worn during cultural dances and festivals. The Gihiriku and Sambiyu bracelets are made from PVC etched with traditional designs by men from the Kavango Region. Originally, bracelets were made from bone or ivory as body adornment for the seminomadic Himba people.
Booth 91
Sita is one of 41 women who have benefited from working collectively at the Janakpur Womens Development Center. Together, they make unique and vibrant paintings on lokta, handmade paper, depicting religious icons and traditional images that represent prosperity and wealth, specifically for newly married couples. For many generations, the women of this region created similar paintings on the walls of their homes. This collective of women has been able to transfer these paintings onto paper to sell in order to sustain themselves and their families.
Bogolan are West African handmade mud cloths, cotton fabric dyed naturally with fermented mud. Hadiza learned this stunning technique when she moved to Mali and the Bambara people taught it to her. Bogolan represent West African identity and culture, and have been used for generations for daily tasks and to decorate peoples homes and offices.
NIGER
Jewelry Moussa Albaka
Moussa designs gorgeous jewelry using sterling silver, Tuareg silver and semi-precious stones. His techniques include engraving intricate geometric designs, using decorative inlay, and a lost wax process. Many of his pieces show the repouss style by which Moussa hammers a shape on the reverse side which creates a raised design on the front. The repouss style is a slow process, but it maximizes the touch, feel, and visual beauty of the bracelet or necklace and amulet.
Booth 51
Nomadic Tuaregs typically owned few material possessions, but they cherish beauty, so jewelry has been an important (and portable) art form in their culture. Most pieces are geometric in shape and have a special significance including crosses given from fathers to sons, triangular pieces given from mothers to girls, diamonds given by men to their brides, and amulets, square pendants encasing a selection from the Koran, worn by all ages to protect against evil spirits. The Koumama family works in several small groups of two to 15 men with boys beginning their apprenticeship at age seven. The pieces are made by the lost wax method, then engraved and hammered, and adorned with stones.
NIGERIA
Batik, Adire and Tie Dye Gasali O Adeyemo
The graceful, geometric Batik designs are laid out by using a coating of either paraffin or beeswax which is then carefully removed after the
Booth 37
Rkia and Khadija are part of Jamaiate Tifawin, the Association of Light. This womens group produces traditional amazigh (Berber) weaving
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fiber is dyed. Adire is a second method. It uses the traditional tools of a broom stalk, a chicken feather, and cassava paste. Sometimes in the Adire method a stencil design is the overlay, and at other times the artist creates the patterns by hand. In some creations a tie dye technique called stitch resist is used by stitching the raffia into the fabric. The other technique is done by hand using the raffia to create the design. Gasali specializes in using indigo dyes because of its importance to his people. The indigo dye allows for delightful contrasting shades of blue.
SULTANATE OF OMAN
Coiled Leather and Desert Palm Baskets Fatima Mohammed Al Musheiki
PAKISTAN
Moghul Kundan Jewelry (22K Vermeil) Muhammad Yousaf
Booth 40
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman
Toyin, through the blacksmiths art, creates the most intricate images on aluminum panels. He uses a repouss method, which is the process of ornamenting aluminum surfaces with designs in relief by hammering out from the back. Sometimes it can be done by pressing the reverse side. Literally the French meaning for repouss is to push forward. He uses local blacksmithing tools such as the chisel hammer, knife, punches, and hot coals for forging. This folk art is hung on palace walls and around village houses as decorations that tell local folkloric stories and of local ceremonial events. Toyin was born into a family of traditional artists in Oshogbo, Nigeria, which is known as the broad middle belt of Nigeria.
Fatima lives in the small settlement of Mishaylah in the southern region of Dhofar, a remote and arid area, sparsely populated by semi-nomadic Bedouin communities. As an artisan, she makes use of raw materials found in the desert environment. Among the most of important of these is the wild desert palm, known locally as qadaf, that grows in wadis (dried river beds) and provides frond material for coiled basketry. This type of basketry produces durable, lightweight containers for both liquids and dry goods. Fatima is one of a new generation of basketmakers in Mishaylah. She learned from an aunt who was one of only six artisans still making traditional coiled baskets.
The coastal town of Sur, in the Sharqiyah region of Oman, is one of Omans great historic entrepots and played an important role in Omans emergence as a seafaring nation. In addition to India, East Africa and Southeast Asia, Omani merchants sailed all the way to Canton in China. The crafts of Sur and the surrounding region are reflective of the importance of trade to the local community. Houda is a member of the Al Hashmi tribe. She is particularly known for heavily encrusted bands of silver embroidery that are used to adorn the cuffs of womens trousers and their dishdashah.
Muhammad, a goldsmith from Mardan, has handcrafted intricate and delicate jewelry for many years and comes from generations of male jewelers. The style of his work is called Kundan and utilizes gold, 22k vermeil plating, silver and varied, natural semi-precious and precious stones. Muhammad also utilizes lac, the secretion from a bug native to India, as glue compound to hold the jewels in place also a Kundan tradition. This is a jewelry crafting tradition dating back to the Mughal Empire and Dynasty, between 1526 and 1858.
When the seaport was built in Pakistan, truckers began decorating their trucks with brightly colored, richly detailed designs and embellishments depicting their aspirations and dreams. Haider grew up watching his father and uncles do this in his village in Southern Punjab and learned quickly. In addition to decorating trucks, he now makes miniature decorated trucks as well as traditional items used by truck drivers such as bowls, plates and kettles.
PALESTINIAN TERRITORIES
Handblown Hebron Glass Hamdi Natsheh
At the age of 7, Hamdi began learning glass blowing from his father. Now 60 years old, he continues to blow glass alongside his family for their store, Hebron Glass. The pieces created by Hamdi and his family are made using techniques characteristic of the region over hundreds of years. The works embody the old stories of Palestine and represent unique shapes and patterns. A centuries-old part of Palestinian heritage, handblown glass adorns both homes and religious sites, and is shaped into adornments worn at celebrations.
Musandam and Dhofari Incense Burners and Dhofari Pottery Zeina Shaaban Salim Al Noobi
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman
Booth 129
Booth 55
Zeina is from the coastal town of Taqah in the southern region of Dhofar, the fabled land of frankincense a resin once valued more highly than gold. It is customarily burned on hot coals in a clay censer known as a majmar, a folk art product that has come to symbolize the hospitality for which the Omani people are famous. The pottery of Dhofar, made by women who typically work in small cooperative groups, includes incense burners, milk pots, water bowls, clay camels for children, bread presses, pipes and cooking pots. Terracotta clay collected from the base of the mountains is used and the pottery is highly burnished and decorated with traditional iron oxide pigments. In the early 1990s, Dhofari pottery was in danger of dying out. Zeina is one of the master potters who helped to spearhead the revival of Dhofari pottery. She learned from an older artisan and was one of three women of her generation who took up this craft.
Hameeda lives in the town of Ibra, one of a string of oasis towns that fringe the Wahiba Sands desert, an expanse of sand named after the Wahiba tribe primarily Bedouin who live there. Living in a small family settlement, Hameeda is one of five daughters who have all learned to spin and weave from their mother. They weave rugs and camel saddle bags using the natural colors of the wool as well as red dye from madder. They also make a range of traditional trappings girth straps, saddle pads, halters for use on camels. Traditionally these are made from wool, but weavers now also use cotton, silk and synthetic threads.
Bibi is part of a cooperative that does traditional Jisti embroidery work. This embroidery technique is extremely detailed and utilizes precise geometric designs that are interpretations of flowers. Bibi and her cooperative embroider on handwoven cotton or linen. Traditionally, Hazara women would bring their embroidered linens to their husbands home upon marriage. Recently, this embroidery work has become a means for many women and girls to support their families and encourage local economic development.
PANAMA
Wounaan Vegetable Ivory Sculpture (Tagua) Octaviano Chamarra Membora
Octaviano is part of the Wounaan National Congress Cooperative in the Darien- Choco region of Panama. The Wounaan artisans create clever and imaginative depictions of plants and animals utilizing Tagua, an ivory nut harvested from palms that grow from Panama to Bolivia. After shaping and polishing the Tagua, the artisans paint them with natural extracts of plant and earth. The techniques used have traditionally been used by the Wounaan Indians to craft wooden hunting weapons, canoes, paddles and ceremonial objects. This art form also encourages preserving local rainforests as it provides a sustainable source of income for local communities that does not cause deforestation.
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman
Jewelry, Household Items and Ornamental Weaponry Ali Abdullah Mohammed Al Kindy
Nizwa, the capital of Omans interior region, is among the largest of the fortified towns that stand guard over the inland trade routes linking Muscat with the Gulf. Nizwa has a thriving souq (market) that caters to locals as well as villagers from the mountains and the Bedouin who travel from Omans desert region. Ali is a member of the Al Kindy tribe from Omans interior regions. He is from a family of silversmiths.
Ralli quilts are made in the remote regions of Pakistan and India by women artisans, many of whom will not travel out of their own village without their husbands or another male. Patchwork ralli quilts are patterned textiles made of old cloth from discarded clothing and household fabrics that are sometimes hand dyed to give them a new appearance. The cloth is torn or cut into geometric shapes, then stitched together on a palm mat on the ground using a large needle and cotton thread. Three quilting methods are used: patchwork, appliqu and embroidery. Lila Handicrafts is a cooperative of women from a small village in the Thar Desert region of Pakistan, Tehsil Diplo.
Booth 66
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A Solid Foundation
Fast Facts:
Rio Grande is the only elementary school in Santa Fe accredited by ISAS State-of-the-Art Facilities on a 5-Acre campus Student Teacher ratio is 9:1 in Grades K-6 74% of RGS Lead and Specialist Teachers have Masters Degrees
Environmental Stewardship is a goal
715 Camino Cabra Santa Fe, New Mexico 87505 www.riograndeschool.org E-mail: barbara_bentree@riograndeschool.org 3 Years Old through Grade 6 Financial Aid available
Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.
505.983.1621
45
Republic of Peru Macedonio Eduardo Palomino Torres and Luzmila Huarancca Gutirrez
PHOTO BOB SMITH
Alina, master Wounaan basket weaver represents the Wounaan culture of the Darin Rainforest in Panamas Darin National Park. Wounaan women have been weaving Hsig Di utlitarian baskets for centuries, developing highly evolved skills that rank their baskets among the best in the world. Most Wounaan weavers pick up the sewing needle at an early age at their auntsor mothersknees. Only the most supple, emerging fronds from the top of the sacred black palm tree are harvested for this work. Designs are worked intuitively from the bottom up. During the last several decades, Hsig Di baskets have become increasingly complex with basketmakers integrating geometric, floral, and faunal designs inspired by the surrounding rainforest. Alinas integration of a wide color ranges enables her to achieve delicate shading in her flower and butterfly motifs.
Booth 66
painstakingly hand-carved using a variety of knives, awls, and other tools. Details are then hand-painted onto the gourd, or other shading effects are created using burning cords or small twigs to mark the gourds surface.
Tefilo crafts utilitarian and decorative tin work used in homes as well as churches and other public buildings. Using a variety of hand tools, including shears, files and hammers, he shapes high quality tin, both purchased and recycled, into many shapes in preparation for painting. The results are richly colored and skillfully finished pieces such as frames repoussd with birds, flowered candlesticks, life-like roosters and angelic musicians. Tefilo, his wife Mara, and their 10 children work together to design, shape, solder and paint the tin work produced by the Araujo workshop.
Like her brother, Mabiln Jimnez Quispe, Eleudoras work expresses a variation on the traditional form. In addition to retablos, Eleudora makes retablo-style mirror frames. The frames are large and decorated with Andean scenes depicting festivals, legends and religion, as well daily life. Her retablos are made in the classical tradition of a deeper box with two painted wood doors. They incorporate scenes typical of her father, Florentino Jimnezs work, especially nativities. Eleudora began working as young girl in her fathers workshop, Retablos San Marcos.
of 6, and was weaving her first patterns by age 7. The CTTC now works with over 450 weavers and 250 children in nine communities. CTTC weavers, such as Nilda and Juana, are remarkable in the quality of the textiles that they produce as well as their emphasis on traditional designs and techniques. The work of the center is not just to preserve and to study Peruvian textiles, their symbolism and significance, but also to assist families to create a larger market for their textiles and a new economy for their communities.
POLAND
Wood Sculpture Tadeusz Kacalak
Booth 80
Supported by Folk Arts of Poland
REPUBLIC OF PERU
Supported by Museum of NM Shops / Museum of New Mexico Foundation
Weaving and Embroidery Macedonio Eduardo Palomino Torres and Luzmila Huarancca Gutirrez
Artesanias WARI URPI
Tablas de Sarhua
Booth 58
Pompeyo is originally from Sarhua Ayacucho. Pompeyo remembers growing up with an incredible painted tabla de sarhua of his village and ancestors that was in his grandparentshome. Eventually, he migrated to Lima where his uncle taught him to create these elaborate and colorful tablas that he began selling at an artisan market. A tradition of Sarhua for over 100 years, the tablas represent the genealogical heritage of families from Pompeyos village as well as scenes of daily life in rural Andean villages.
Booth 7
The hand-embroidered textiles created by the members of Artesanias WARI-URPI embody traditional, brightly-colored representations of the flora and fauna of Peru. These have their origin in and still reflect the traditional embroidery of the WARI-URPIs ancestors who can be traced back to the eighth century B.C. Worn daily by the WARI women of the Huanta-Ayacucho region, embroidered shawls called llicllac are often used to carry children, crops or wood.
The work of Vidl exemplifies the Andean tradition of Pampa de Quinua, located near Ayacucho. Vidls grandfather used local clays to create utilitarian bowls and ceremonial plates in colors of cream and black, and varied reds and browns a tradition that Vidl continues. The pieces are thrown on a wheel and painted with rooster feathers using colors made from minerals found in the area. Works include small bulls and houses that are placed on the roofs of houses as blessings. Decorated plates are used in religious ceremonies, particularly in homage to Pachamama, the Andean Earth Mother.
Marina is part of Maroti Shobo, a womens artisan group located in a small, jungle Shipibo community. She and others produce textiles for household and ceremonial use. When they were young, the mothers made a solution from the root of the Piri Piri plant and dropped this into their eyes during the new moon so they would be able to see the patterns they weave into the cloth.
Booth 79
Taduesz is a former barber who taught himself to carve while waiting for clients at his barber shop in Mazowsza, Poland. Kacalaks handcarved wood sculptures represent a style of sculpture from the Lecynia region of central Poland. They depict religious and village scenes, and birds. Cured Linden wood is carved by hand with chisels and other hand tools and later painted with water colors. Taduesz also paints watercolors.
Booth 80
Booth 11
Julin is a weaver in the Ayacucho style of the Andes. He continues working in a tradition passed down over the centuries, generation to generation. The rugs, blankets, ponchos and shawls that he weaves on a foot loom are made from the wool of alpacas, llamas and sheep. The weavings are distinguished by their bold geometric and pictorial designs.
The youngest son of internationally-recognized retablo maker, Florentino Jimnez, Mabiln has developed a variation on this folk art form that is still rooted within the Andean traditions of Ayacucho. Mabilns retablos are flat and framed. Religious iconography saints and diverse expressions of Mary is colorfully portrayed on the framed wood panels. Each retablo speaks to the accomplishments and duties of the particular saint. In making his retablos, Mabiln follows the traditional retablo process, using fundamental materials such as ground humanaga stone, yucca paste and peach juice.
Booth 67
Reverse glass painting is an art form used since ancient times throughout different areas of the world including Europe. The work was primarily painted for church alters and the subject matter was usually religious scenes. Magdalena carries on this tradition by making wonderful nave depictions of religious paintings as she paints onto the back of the glass which is then covered with gold leaf and finished off with a leather backing. Her frames are molded out of papiermch and painted by hand.
PUERTO RICO
Masks Ral Ayala Carrasquillo
Booths 23, 24
Supported by Zulma Santiago Vega
Founder and director of CTTC, Nilda was born in Chinchero Village near Cusco, Peru. She began spinning wool from sheep and alpaca at the age
During the third week of July, the people of Loiza, Puerto Rico, celebrate the Feast of St. James the Apostle with one of the islands most colorful Carnivals. Brightly colored coconut
Go
A Talk, Carving and Performance of a sacred Temple Mask Dance by famous Carver, painter and performer from Mas Village, Bali.
DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667
35 Dealers of Fine Tribal Art & Jewelry, Books, Antiques, Folk Art & Furniture, Textiles, Judaica & Beads
Travelers Market
47
masks, part of the Carnivals Vejigante de Loiza costume, are an important feature of the festivities. The mask makers of Loiza focus on four main types of mask: los vejigantes, representing the Moors; los viejos, elders; las locas, madwomen; and el caballero, representing the Spaniards. Carved from dried coconut husks, Raul has made these masks for more than 40 years, carrying on a tradition learned from his father, Don Castor Ayala, founder of the Ballet Folklrico Hermanos Ayala.
native minority Khanty people, and to preserve and develop their traditional culture, economy and way of life. Members of Yaoun Yakh make a variety of traditional arts that are used by Khanty families, including lidded baskets, decorated fur purses, Khanti boots, three-dimensional puzzles, dolls and birchbark baskets.
Supported by MonkeyBiz
Booth 112
RWANDA
Handwoven Baskets and Urusika Decorative Panels Janet Nkubana, Muteteri Michelline, Kankindi Pricilla and Muteteli Michelline
For centuries, Rwandan women have taken up basket weaving as part of their rite of passage into adulthood. The baskets, which are woven with a variety of organic reeds and grasses using traditional tools, carry designs with longstanding and particular cultural meanings. After the Rwandan Genocide, the Gahaya Links Cooperatives were founded as a way of turning Rwandas ancient basket weaving tradition into a source of livelihood for the rural women who found themselves without any means of support. The members receive 80 percent of revenues from the sale of their pieces, while the remaining 20 percent goes into a cooperative savings account. Among the baskets that the weavers specialize in making are the elegantly shaped, conical peace baskets that have earned these talented and entrepreneurial women international fame.
Felix is a santero in the tradition of Jos Rosado, one of Puerto Ricos most celebrated santeros, from whom he learned to carve. Using soft native woods, cedar being his favorite, he sculpts and paints different kinds of figures. In addition to saints, these include The Three Kings, angels, the holy family and Mary. Originally made for personal use at home, over time the santero made images for neighbors and the community.
Booth 1
Mathapelos mother and other women in her village began creating beaded dolls and other contemporary interpretations of bead work traditional to the Zulu, Xhosa, Ndebele and Sotho tribes. Their creations inspired Barbara Jackson and ceramist Shirley Fintz to join with Mathapelo to establish the MonkeyBiz Bead Project, a nonprofit organization for the revival of traditional South African bead work and a source of economic support for women bead artists. The organization employs 410 women, supplying them with richly colored glass beads to use in creating exquisite one-of-a-kind bead work.
Zulu clans. Originally, these were created to be carried by women who were childless in the belief that the dolls would make them fertile. Now these dolls are designed so that their attire indicates age or marital status as well as the various stages of growth of girls, childhood and adolescence to womanhood.
Booth 139
Booth 59
Papier-mch Vejigante Masks and Costumes from Ponce Carnival Jaime Zayas Medina
A fourth-generation papier-mch mask maker, Jaime is from Barrio Belgica in Ponce, Puerto Rico, where this folk art has its roots. The Ponce Carnival is celebrated yearly and coincides with famous Mardis Gras such as Rio de Janeiro,Venice and New Orleans. For more than 100 years, papier-mch masks have been an important part of the Ponce Carnival. The traditional mask has multiple horns, pointed teeth and a large snout. Multicolored, they complete the handmade costumes adorned with sequins, bells and ribbons.
Now an award-winning potter, Thembile began working with clay as a very young child, making her own toys. At age 12, Thembile started making real pots.She uses clay that she digs herself, mixing grey clay with red clay and water, and then building and shaping with a piece of calabash and a knife. Designs, geometric as well as plant-like, are incised with a sharp wire.
Booth 112
Ceramic
Booths 23, 24
SOUTH AFRICA
Supported by The BAT Shop
Booth 5
RUSSIA
Coiled Split Cedar-root Baskets, Fur Purses and Boots, Puzzles, Dolls and Birchbark Boxes Tatiana Mikhailovna Kelmina and Yegor Pavelovich Kelmin
Elizabeths telephone wire basket and sculpture designs combine both figurative and geometric elements. She is especially inspired by traditional Zulu bead work patterns from the Eshowe area and African animals. As a young girl, her father took the family on outings to the local nature reserve to see wild animals in their natural habitat solidifying her love of nature at a very early age.
Tatiana represents the native Khanty community association, Yaoun Yakh. The organization was created to defend the traditional milieu of the
48 2011 Santa Fe International FOLKART Market
Booth 8
Wire art is thought to have its beginning in toys homemade from castoffs. The added dimension of colorful glass bead work reflects the deep roots in bead work that has always had a prominent role in ritual adornment, daily wear and tribal identity. South African in origin, wire art is often practiced as part of the informal or street economy, especially in urban centers. In rural areas, it continues to thrive as a way to recycle materials creatively as toys. Constructed from wire of different gauges and metals, and glass beads of all sizes and colors, the resulting sculptures include safari animals, reptiles, birds, fish, insects, musical instruments, cars and more. Made by women artists, most of whom were unemployed mothers, sales of these sculptures provide both direct income for the artists and funding for programs at eKhaya eKasi, an arts and education center established by Art Aids Art in Khayelitsha, near Cape Town.
Booth 86
Booth 133
Beauty lives in the Empembeni district of Hlabisa and is a Zulu master basket weaver. Her work is in all major South African museums, including the South African National Gallery, Cape Town, and has also been collected by the Metropolitan Museum of Art in New York and the Smithsonian. Beauty uses native grasses and palm leaves to make her baskets. Her dyes are derived from fruits, leaves, bark and roots. Color thread changes produce the designs which are derived from beading traditions. Beautys signature basket is the Isichumo, the water vessel.
SPAIN
Charra Filigree Jewelry Luis Mndez Lpez
Craftmens Luis Mndez
The Amangwe clan is situated in Bergville, a very rural community in the province of KwaZulu Natal. Zenzomuhle grew up making bead jewelry and beaded traditional clothing for herself and her community. The elaborately beaded dolls that she and other women of the Dolls Project make are a tradition common to
Luis began working at his fathers filigree jewelry workshop in Tamames, Salamanca, when he was 14. He and his brothers now represent the third generation of goldsmiths in their family. A traditional goldsmith technique introduced by Greek and Phoenician settlers in Spain and Portugal, filigree is similar to textile embroidery, employing gold and silver threads that are smoothed or twisted and, sometimes, worked over a metal sheet.
Booth 81
Now exhibiting
Tom Suhlers
fine art photography
704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 www.wheelwright.org MondaySaturday 105 Free admission
Open 7 days a week
on the plaza, in the Plaza Galeria photographygallerysantafe.com
This project is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; the Thaw Charitable Trust; and many private donors.
49
SWAZILAND
Phezkwemkhono Bomake-Ncheka Cooperative
Basket Weaving
has succeeded in empowering a large group of women to earn a sustainable income and re-energize a textile tradition.
UZBEKISTAN
Cooperative Bogiafzal
Booth 22
Booth 47
TURKMENISTAN
Booth 6
Phezkwemkhono is a Swazi call for women and translates to, your hands, your brain, and your entire being are your wealth.The cooperative is in the driest region in the country where farming is close to impossible and more than 80 percent of the population depends on food aid. The only source of potable water for this community is a borehole, and most have to walk for hours to get there.
Tavus Khaidova
THAILAND
Weaving and Clothing Somporn Intaraprayong Ampornpun Tongchai
Booth 26
Learning from her elders, Tavus began making carpets of wool, silk and cotton at a very young age, and subsequently started a handicraft business. Her felt rugs are made in the traditional manner, only using the wool of Sarajin sheep. When making felt rugs, Turkmen women use their elbows and hands to roll and beat the wool as they pour boiling water on it.
Oksana Soyunmammedova
ANSI is an 18-member cooperative dedicated to preserving Turkmen folk art traditions, especially weaving and embroidery. Keteni, a silk fabric traditionally used by the Turkmen people as the cloth on which they embroider, provides a shimmering background for their complex designs. Jewel-tone colors further distinguish the array of items ANSI makes, including traditional clothing and accessories such as coats and bags, as well as bed covers, pillows and decorative panels. Red, the most popular color, was incorporated into clothing as a talisman against the evil eye.
Booth 95
Bogiafzal, the cooperatives name, meansbeautiful gardenand derives from poets comparing suzani embroidery to ablossoming garden.Cooperative Bogiafzal brings together women from Savrak, Shurobod, Talisafed and other villages of Shafirkan district in Bukhara province to create suzanis in the traditional way. Handwoven, dyed or natural cotton, silk and adras silk combined with cotton form the base for the embroidery work. Because the handwoven cloth can often be narrow, several panels are sewn together before a design is drawn on the cloth by an artist. The panels are then separated and distributed among the members to embroider a portion of the overall design.
Booth 9
Forged Metal with Decorative Natural Materials Shokir Kamalov Shavkidin Kamolov
Shokir represents the fifth generation in a family of blacksmiths. He produces the special scissors used in the gold embroidery for which Bukhara is noted. In addition, the family is known for their production of knives, sabers and other specialized blades. They do both hot and cold forging in their work, not only fashioning tools for their own work, but also making decorative items in silver, copper, brass and bronze, as well as bone, rams horn and deer antlers augmented with semi-precious stones. Shavkidins bird-shaped scissors embody the city of Bukhara as they represent storks, which are a symbol of the city. Shavkidin learned the craft from his father at an early age and today they work together creating hand forged metal items just as their forefathers have done for hundreds of years. He is a sixth generation blacksmith and metal worker born into a Bukhara family of blacksmiths.
Booth 53
Booth 30
Born in Bangkok, Somporn has worked in a social services capacity with several Hill Tribe groups in Northern Thailand. An artist in her own right, she is helping to teach and organize women from remote villages to hand sew garments in an effort to preserve their traditionally-woven fabrics. Ampornpun works in northeastern Thailand in Sakonnakorn, where traditional weavers are known for the use of indigo and other natural dyes in their clothing. Ampompun is a farmer and weaver who has organized a cooperative of weavers in her village, encouraging use of home-grown silk and cotton and natural dyes.
Booth 15
Jasur Allanazarov
Using as many as 18 different tools, Jasur transforms the rough surface of Elm wood through the fluid and exquisite designs he carves into the wood that he shapes into items such as boxes, trays and chairs. His art work echoes the elaborately-carved architectural elements of mosques and madrassas, as well as the pillars used in the aivans or courtyards of homes.
Carving (Wood)
Booth 68
UKRAINE
Lesia Pona
Booth 48
TURKEY
Caucasian Embroidery Mehmet Cetinkaya Gallery
The embroidery arts of Armenia have been passed down from mother to daughter through the generations for more than 300 years. Originally used to create dowry pieces that demonstrated the skill and aesthetic of the bride, each piece contains intricate geometric or floral designs that have remained virtually unchanged throughout the years. Several years ago, Mehmet, a renowned dealer of traditional weavings and textiles from Central Asia, began working with a group of Armenian women who still possessed the embroidery skills of their ancestors. Today, her embroidery project
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Booth 43
Geometrical forms, such as the diamond, rosette and variations of the cross, typify the embroidery motifs of the Ukraines Pokuttya region, the cultural context for Lesias weavings and embroidery. Even floral motifs have changed over time and become geometrically stylized. Lesia embroiders using several stitching techniques, including merezshka, a technique that creates a lace-effect, and nyzynka, done mostly on the fabrics reverse side to produce the effect of tweed. Lesia first learned to embroider from her mother and went on to study with one of the Ukraines most renowned embroidery artists, a master of white-on-white embroidery. In the Ukraine, white-on-white embroidered clothing is worn for very special occasions such as wed-
The blue ceramics of the village of Rishtan, made from unique local clay, have been famous for centuries. Forms are made on a foot-kicked pottery wheel, then hand-painted and glazed with metal oxide. When the collapse of the Soviet Union closed the local factory in 1998, Rustam, who designed patterns there, continued production in his home workshop. While ceramics historically reflect intricate geometric forms and designs common in the region, Rustam and Damir combine traditional forms and designs with original shapes and motifs.
Booth 18
Booth 33
Booth 70
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coral, combined with gold and silver, and made with the traditional techniques of filigree, granulation and enameling, offer a glimpse into a past era. Traditionally, most Uzbek women wore a tumor a jeweled amulet case that contained prayers and objects for protection, or even a magic spell.
Booth 87
Booth 138
Booth 106
Shine on Pakistan Supported by JoAnn Balzer and Sylvia Seret, to benefit SHINE Humanity
This years humanitarian booth provides an opportunity to support victims of Pakistans devastating floods. One hundred percent of all booth sales will go directly for humanitarian relief and sustainable long-term primary health care for the flood victims, provided by the non-profit SHINE Humanity. Pakistan has a rich tradition of artistic expression and creativity in its handicrafts. The booth will feature a wide array of these handicrafts including jewelry, lacquerware, handwoven textiles, wooden crafts, ceramics, mirror embroidery, appliqu, bead work, metal work and basketry. The Pakistan Embassy in D.C., the Trade Authority in Pakistan, and local supporters have donated items specifically for sale in the booth.
Booth 111
After graduating from the School of Art at Bukhara University, Fatullo was drawn to silk carpet designs from the Timurid Era (1370-1507), one of Islamic Arts most brilliant periods. When he learned many old patterns had been lost, he copied carpet designs depicted in antique miniature paintings and recreated them with traditional weaving methods and natural dyes. With support from UNESCO, Fatullo founded and heads the Carpet Weaving Training School in Bukhara. His success was rewarded with UNESCO aid enabling him to open a second school in the historic town of Khiva and much of the money he makes selling the carpets goes back into his school teaching others their heritage and making strides in re-establishing the art of Uzbek carpet making. In 2005 the training school won the UNESCO Seal of Excellence.
ZIMBABWE
Basket Weaving Matron Mwembe
Booth 14
Supported by Busungu Mbubupa Youth Group - Ntengwe for Community Development
VENEZUELA
Wuwa, Jojo and Wapa Baskets Maigualida Edith Martnez Nuez and Evelyn Martnez
Medewa Cooperative Supported by Earth Bound, Inc.
Booth 90
Booth 76
The region of the Ferghana Valley (Margilan) is famous for its handmade silk ikat production. Rasuljon represents five generations of ikat weavers in Margilan City, the most famous place for silk production in Central Asia. His family is at the vanguard in a revival of velvet ikat weaving in which white silk threads are dyed and placed on a narrow loom, a technique that is highly complicated and practiced by very few. The process requires a month to produce just a few yards of fabric. Rasuljon has created ikat cloth for international designers to use in their yearly collections and in 2005 his work was awarded a Seal of Excellence by UNESCO.
Booth 99
Yusufjons Samarkand-style mosaic tile work continues the tradition learned from master tile maker, Abduaziz Khakimov, with whom he apprenticed. First Yusufjon became skilled at painting tiles. Once he mastered painting, he went on to learn how to blend colors and make and fire tiles. Samarkand-style tiles are notable for the predominance of blue among colors used. According to Yusufjon, the city of Samarkand is often calledBlue City,Blue Samarkandand theCity of the Blue Domesbecause the citys mosques, madrassas and mausoleums are faced with carved, blue mosaic tiles.
The only tool used to make the baskets is a knife for slicing and scraping the fibers of vines or palm leaves into perfectly even strips. These strips are dried and then dyed using a variety of leaves, roots and mud. Most baskets are made by women who weave the wuwa, an hourglass-shaped burden basket. There are also round storage baskets called jojos. Both types incorporate highly-decorative designs of geometric shapes and native animals. The painted wapa, woven by men, is specifically a ceremonial basket. Skills are passed from mother to daughter, father to son. Maigualida is the daughter of a renowned basket weaver of Santa Mara de Erebato, an indigenous Yekwana community of southern Venezuela. Like Maigualida, Evelyn learned to weave baskets by the time she was 8 years old.
Booth 20
Matron is a member of the Busungu Mbubupa basket weaving group, an income generation project of Ntengwe for Community Development. The group consists of 116 women of the Tonga tribe. The nsangwa baskets that they make are hand made from natural fibers and dyes, and utilize traditional designs. The baskets are used for everything from fruit collection to wedding gifts. Ntengwe for Community Development is an organization that teaches HIV/AIDS awareness and develops projects to improve the standard of living in the area.
UNESCO Award of Excellence Program Representing Award of Excellence Winners from South Asia and Southeast Asia
The Award of Excellence is the UNESCO flagship program for handicrafts. It is part of UNESCOs Division of Cultural Expressions and Creative Industries. The Award of Excellence objectives are to provide market opportunities to ensure sustainability of handicraft industries, to establish rigorous standards of excellence for handicrafts, to encourage innovativeness, and to offer training and support services. The handicraft sector plays an increasingly significant role in local economic development and poverty eradication, as new opportunities help establish sustainable livelihoods. The award provides a credible quality control mechanism.
The Best of the Best booth is made possible through the generous contributions of all Market participants. Each piece is selected by the Best of the Best Folk Art Expert Shoppers. All proceeds benefit the Markets support of artists.
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Larry Jacquez
Ron Rodriguez
Gregory Lomayesva
asian adobe
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.com
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rts of Pola A lk nd o F
Booth #80
Four evangelists
Madonna of skepe
st Francis of assisi
st. Francis
Real Baltic Sea amBeR textileS emBRoideRed clothing ceRamicS decoRative eggS ReveRSe glaSS PaintingS
collection of 1970s poland folk art sculptures 19th century eastern european: Dowry Chests, CupboarDs, sCulptures, ICons, russIan laCquer boxes, paIntIngs
CELEBRATING 20 YEARS!