International Folk Art Market | Santa Fe
Celebrating Ten Years of bringing the world together
2 0 1 3 t h e s a n ta f e n e w m e x i c a n | s a n t a f e n e w m e x i c a n . c o m
Artisan apparel for nomads and romantics 328 S Guadalupe St Santa Fe 505.438.8198 Boston San Francisco Chicago Washington, DC Kansas City Santa Fe peruvianconnection.com
2013 International Folk Art Market | Santa Fe 3
International Folk Art Market santa Fe International Folk Art Market Santa Fe
A World of Thanks A World of Thanks
government, FoUndAtion, & bUsiness sUPPorters GOVERNMENT, FOUNDATION, & BUSINESS SUPPORTERS
individUAl donors INDIVIDUAL AmbAssAdor DONORS
10th AnniversAry Premier sPonsors
10TH ANNIVERSARY PREMIER SPONSORS
Creating a better way.
Creating a better way.
Google, Inc.* Jesse T. & Jodie E. King Foundation / Hank & Kathryn King Coleman Google, Inc.*Foundation Kind World Jesse T. & Jodie E. King Foundation / Hank & Kathryn King Coleman Mill Foundation Kind World Foundation Mill Foundation
Santa Fe Trails
Santa Fe Trails
The Frost Foundation
The Frost Foundation world
Charles Evans Hughes Memorial Foundation, Inc. Ed & Margaret Seewald Roberts Foundation Charles Evans Hughes Memorial Foundation, Inc. Ed & Margaret Seewald Roberts Foundation Continent
International Folk Art Foundation Ryrico,* In honor of the New Mexico Academy of International International Folk Art Foundation Ryrico,* In honor of the New Mexico Academy of International
Anonymous* Jane Bernard Photography* Anonymous* Joyce & Steve Melander-Dayton Fund at the JaneSanta Bernard Photography* Fe Community Foundation Joyce & Steve Melander-Dayton Fund at the Santa Fe Community Foundation
King Family Foundation The Marvin & Sylvia Rubin Private Family Foundation, Inc. King Family Foundation The Marvin & Sylvia Rubin Private Family Foundation, Inc.
Marc Romanelli Photography*
The Simon Charitable Foundation
Marc Romanelli Photography*
The Simon Charitable Foundation
region Adobo Catering*
REGION BJ Adventures, Inc.
Adobo Catering* Casas de Santa Fe BJ Adventures, Inc. Fashion-Incubator.com Casas Santa Fe FiascodeFine Wines* Fashion-Incubator.com First National Bank Fiasco Fine Wines* First National Bank villAge
Four Seasons Resort Rancho Encantado Santa Fe Four Resort GreerSeasons Enterprises, Inc. Rancho Encantado Santa Fe Hotel Santa Fe* Greer Inn atEnterprises, Santa Fe* Inc. Hotel Fe*Graces* Inn ofSanta the Five Inn at Santa Fe* Inn of the Five Graces*
Lensic Performing Arts Center* Los Amigos del Arte Popular Lensic Performing Arts Center* The Marvin Naiman & Margery LosGoldman Amigos del ArteFoundation Popular Family The Marvin Naiman Neuberger Berman & Margery Goldman Family Foundation Peruvian Connection Neuberger Berman Peruvian Connection
Santa Fe Preparatory School* Santa Fe Spirits* Santa School* Santa Fe Fe Preparatory Valet* Santa Spirits* TodosFe Santos Chocolates Santa Fe Valet* & Confections Todos Chocolates WalterSantos Burke Catering* & Confections Walter Burke Catering*
Dunkin Donuts Flying Star Cafe* Donuts Andiamo! Neighborhood Trattoria Dunkin Council on International Relations India Palace * Belle Jewelry Flying Star Cafe* Council on International Relations India Palace *
Jambo Cafe Silene Floral* Santa Fe Farmers Market Institute* Walmart Jambo Cafe Silene Santa Fe Weaving Gallery White Floral* Cat Design* Santa Fe Farmers Market Institute* Walmart Santa Fe Weaving Gallery White Cat Design*
Anonymous* COMMUNITY Illoominata Anonymous* Illoominata
Sydney & Andrew Davis Foundation Sydney & Andrew Davis Foundation
Andiamo! Neighborhood Trattoria
VILLAGE Belle Jewelry
Santa Fe Brewing Company*
Santa Fe Brewing Company*
Aqui Santa Fe SUPPORTER The Collected Works Bookstore Aqui Santa Fe The Collected Works Bookstore
The Douglass Family Foundation Memsahib Mar The Douglass Family Foundation Memsahib Mar
4 2013 International Folk Art Market | Santa Fe *In-kind donor
Osteria d’Assisi Strategic Health Alternatives Osteria d’Assisi Strategic Health Alternatives
Tesoros Trading Company
Tesoros Trading Company Twisted Cow Compound
Twisted Cow Compound
Charmay Allred AMBASSADOR Donna & Robert Bruni Charmay Amy & BillAllred Conway Donna & Robert Bruni Judith Espinar Amy & Bill Conway Brooke Gray Judith RamónEspinar José & Nance López y familia Brooke Gray Ann Nichols Ramón Joséof&Nance NanceLopez López y familia In honor Ann Rick Nichols & Sandra Porter In &honor of Nance Lopez Nat Rebecca Sloane Rick & Sandra Porter Carole & Edd Stepp Nat & Rebecca Sloane Alexander Tschursin Carole & Edd Eileen A. WellsStepp Alexander Tschursin Eileen A. Wells world Martha & Mark Alexander WORLD Darlene & Jeff Anderson Martha MarkBalzer Alexander JoAnn &&Bob Darlene & Jeff Anderson Nella Domenici & Patrick McDonough JoAnn BobEllis Balzer Sheila && Kirk Nella Domenici McDonough Cynthia Hermes&&Patrick Tom Wilson Sheila & Kirk Ellis In memory of Helen Davis Hermes Cynthia & Tom Wilson Margie &Hermes Tom Kintz In memory of Helen Davis Hermes Diana MacArthur Margie & Tom Kintz Linda Marcus SharonMacArthur & Don McLaughlin Diana Melinne Owen & Paul Giguere Linda Marcus Annette,& Mervin, Margaret, Sharon Don McLaughlin & George Marshall Melinne Owen & Paul Peters Giguere Eleanor &Mervin, MichaelMargaret, Peters Annette, Peter N. Speliopoulos & George Marshall Peters Lynn & Stephen Storey Eleanor & Michael Peters Joel &N.Suzanne P. Sugg Peter Speliopoulos Donna & Cal Sugg Lynn & Stephen Storey Courtney & Scott Taylor Joel & Suzanne P. Sugg Pamela&&Cal Heath Wingate Donna Sugg Courtney & Scott Taylor Continent Pamela & Heath Wingate Polly Ahrendts Catherine Allen & Paul Rooker CONTINENT Jerry Ahrendts & Emy Lou Baldridge Polly Ron BauerAllen & Michael Catherine & PaulSpencer Rooker David&&Emy Leigh Ann Brown Jerry Lou Baldridge LynnBauer G. Brown Ron & Michael Spencer Judy &&Ray Dewey David Leigh Ann Brown Ann Griffith Ash Lynn G. Brown John &B.Ray Gunn Judy Dewey CathyGriffith Hirt Ash Ann DavidB.Jaderlund John Gunn Federico Cathy Hirt& Ellen Jimenez Brian &Jaderlund Brenda Kilcup David Miryam &&Bob Federico EllenKnutson Jimenez Keith &Anderson & Barbara Lenssen Brian Brenda Kilcup Laurie Light Saunders Miryam & Bob Knutson In honor of Roberta & Willis Lee; Patsy Light Keith Anderson & Barbara Lenssen Steve &Light Joella Mach Laurie Saunders Marjorie Madonne & Jay Broadwell In honor of Roberta & Willis Lee; Patsy Light Sarah &Alley Manges Steve Joella Mach Dr. JamesMadonne & Maryann McCaffery Marjorie & Jay Broadwell SusanAlley McGreevy & Herb Beenhouwer Sarah Manges Mertz McCaffery Susan & Mort Dr. James & Maryann MarisolMcGreevy Navas Sacasa Susan & Herb Beenhouwer In memory Juan R. Navas Sacasa Susan & MortofMertz Kerry Olson & David Marisol Navas SacasaKatz Sandra & Arnold Peinado In memory of Juan R. Navas Sacasa Maya Olson Pool &&Alexandra Kerry David KatzPool-Jeffre Carol Relihan & John Arthur Sandra & Arnold Peinado DonnaPool Rust& Alexandra Pool-Jeffre Maya ElinorRelihan Schrader & Stu Arthur Patterson Carol & John Sylvia &Rust Ira Seret Donna Jane Shreffler Elinor Schrader & Stu Patterson Louis & Barbara Sylvia Ira SeretSklar Louisa Stude Sarofim Jane Shreffler Benita&Vassallo Louis Barbara Sklar StevenStude & Linda Wedeen Louisa Sarofim Marianne & Peter Westen Benita Vassallo Donna Wilhelm Steven & Linda Wedeen Marianne & Peter Westen Donna Wilhelm
to our Generous Supporters! CoUntry CoUntry Jasie Barringer Jasie Barringer Charlene Cerny & Joseph Chipman Charlene Cerny && Joseph Chipman Roxanne Decyk Lew Watts Roxanne Decyk & Lew Watts Ruth Dillingham Ruth EstelleDillingham & Michael Eckert Estelle Michael Eckert Nancy & House Nancy House Porter Mary Lawrence Mary Lawrence Hank Lee & PaulPorter Bonin-Rodriguez Hank &Lee & Paul Bonin-Rodriguez John Mary Littrell John Littrell John & & Mary Priscilla Lupe John & Priscilla Lupe Dennis & Janis Lyon Dennis & Janis LyonTimmerman Joni Parman & Ken Joni Parman & Ken Timmerman Owen & Kathy Van Essen Owen Van EssenVelde Michael& &Kathy Laurie Vander Michael & Laurie Vander Velde Barbara Windom Barbara Windom In honor of Nancy Reyes Suarez, Cuba In honor of Nancy Don & Sharon WrightReyes Suarez, Cuba Don & Sharon Wright region region (2) Anonymous Anonymous (2) Rick & Kathy Abeles Rick Kathy Abeles Ann &Aceves Ann Aceves Melissa & Tom Alexander Melissa & Tom Alexander Bill & Judith Alger Bill &&Judith Lyn JamesAlger Avery Lyn & James Avery Jeff Bingham Jeff Bingham Nancy & Richard Bloch Nancy Richard Bloch Sarah &&Doug Brown Sarah &Brown Doug Brown Donna Donna Brown Elizabeth Bruderle-Baran Elizabeth Bruderle-Baran Cassie Bunker Cassie Bunker Caroline Burnett Caroline Burnett John & Kay Callison John & Kay of Callison In honor Nance & Ramon Lopez In honor of Nance & Ramon Lopez Bruce Chemel Bruce Chemel In honor of Edd & Carole Stepp In honor of EddCook & Carole Stepp Quarrier & Philip Quarrier & Philip Cook Mary Corcoran Mary Corcoran Ben Crane Ben Ann Crane Crouse Ann Crouse Sharon Curran-Wescott Sharon Curran-Wescott Cynthia Delgado & John Crant Cynthia Delgado & John Crant Lori & David Delgado Lori & David Delgado Elizabeth & Jack Donehower Elizabeth & JackFrank Donehower Peter & Eleanor Peter & Eleanor Frank In honor of Edd & Carole Stepp In honor Gehrig of Edd & Carole Stepp Madeleine Madeleine Beth Beloff Gehrig & Marc Geller Beth Beloff & Marc Geller Vida Goldstein Vida Bud &Goldstein Valerie Hamilton Bud & Valerie Hamilton Mindy Hardwick Mindy Hardwick In honor of Clarence & Adele Glenn In honor of Clarence & Adele Glenn Joseph & Lynne Horning Joseph & LynneHull Horning Myra & Robert Myra && Robert Hull Johnson Denise William Johnson Denise William Bruce &&Mary Anne Larsen Bruce & Mary Anne Larsen Stephanie & Ed Larsen Stephanie & Ed Larsen Henry & Catherine Lewis Henry & Catherine Lewis Karen Loud Karen JaniceLoud & Arthur Lucero Janice & Arthur Lucero Doris Mann Doris Mann Jill Markstein Jill Markstein Nancy Meem Wirth Nancy Meem Wirth Joanne & Michael Morrissey Joanne & Michael Morrissey Amy Mower Amy Mower Marilyn Murphy/ClothRoads Marilyn Murphy/ClothRoads Jay Oppenheimer & Dolph Haas JayInOppenheimer & Carole Dolph Haas honor of Edd & Stepp In honor Edd & Carole Stepp Carol Prins &ofJohn Hart Carol & John Hart Leslie Prins Rakestraw Leslie Rakestraw Lopez & Dr. Jeff Case Carol Robertson Carol Robertson LopezFamily & Dr. Jeff Case The Robinson Buscher The Robinson Family Mara & CharlesBuscher Robinson Mara Robinson Frauke& &Charles Keith Roth Frauke & KeithFamily Roth The Ruggeiro The Family Allred InRuggeiro honor of Charmay In honor of Charmay Allred & Judy Espinar & Judy Espinar MaryAnne & Al Sanborn MaryAnne & Al Sanborn Nan Schwanfelder Nan Schwanfelder Raphael Shapiro & AngelinaVera Shapiro Raphael Shapiro & AngelinaVera Shapiro
Helene Singer Merrin HeleneSloane Singer Merrin Ginna Ginna Sloane Brown & Doug Brown Susie Smidinger Susie Smidinger Doug Brown In memory of Brown Amy & & Bud Smidinger In memory of Amy & Bud Smidinger Dick & Jacqueline Schmeal Dick &&Jacqueline Schmeal Laura Terry Sullivan Laura & TerryofSullivan In honor Nance & Ramon Lopez In honor Nesto Torresof Nance & Ramon Lopez Nesto Torres Benedicte Valentiner Benedicte Valentiner Victoria Westhead & John Levy Victoria Westhead & John Levy In honor of Matron Mwembe In honor Emily Zantsof Matron Mwembe Emily Zants villAge villAge (2) Anonymous Anonymous Jean Aigner (2) Jean Aigner Elisabeth & James Alley Elisabeth & James Alley N. Matthews In memory of Janice In memory of Janice N. Matthews & Stacey Wilson & Stacey Wilson Barbara Belding Barbara Belding In memory of Janet Belding In memory of&Janet Belding Signe Bergman Jerome Marshak Signe Robin Bergman & Bill Blair& Jerome Marshak Robin Bill Blair Ginger&Blanton Ginger Blanton In honor of Kathryn Coleman In honor of Kathryn Coleman Eleanor Brenner Eleanor Brenner In honor of Ernesto Torres In honor of Ernesto Shirley Burton & MelTorres Meeks Shirley& Burton & Mel Meeks Kirby Jerry Chadwick Kirby & Jerry Chadwick Jane Clayton Oakes & Joa Dattilo Jane & Joa Dattilo LindaClayton DonnelsOakes & Lawrence Logan LindaDusenbury Donnels & Lawrence Logan Mary Mary DavidDusenbury & Carol Farmer David Farmer Candy&&Carol Rick Felts Candy Rick Felts Miriam&Finkel Miriam Finkel Leslie Flynt Leslie Flynt Jill Halverson Jill Halverson Family Hendershott Hendershott Carolyn GibbsFamily & Rick Nelson Carolyn Gibbs & Rick Nelson Susan Henoch Susan Henoch In honor of Jay Coggeshall In honor of Jay Coggeshall Dennis & Grace Hoilman Dennis Grace Hoilman Bill & Pat&Kenney Bill & Pat Sherry & Kenney Adel Kheir-Eldin Sherry & AdelLenihan Kheir-Eldin Tim & Marcia Tim Carla&&Marcia RobertLenihan Leslie Carla Robert Leslie Linda&Ligon Linda Ligon Dee Lockwood Dee RalphLockwood & Cathy Lomax Ralph Lomax Peggy&&Cathy Jerry Martin Peggy Wilson&&Jerry GwynMartin Mason Wilson & GwynofMason In memory Jane Gaziano In memory Joyce McLeanof Jane Gaziano Joyce McLean Charlotte G. Mittler Charlotte G. Mittler Maria Montelibano Maria Montelibano Rich Moore Rich LindaMoore & Bob Off Linda & BobofOff In honor Charmay Allred In honor Romily Perryof Charmay Allred Romily Perry Patrick Samora Patrick BarbaraSamora & Ted Seeley Barbara & Ted Seeley Judith Sellers Judith Sellers In honor of Santa Fe Weaving Gallery In &honor of Santa Abe Marian Silver Fe Weaving Gallery Abe & Marian Laurie Silver Silver Laurie RobertSilver & Irma Smith Robert & Irma Smith Linnea Solem Linnea JimmieSolem Spulecki Jimmie Susan D.Spulecki Summa & Jill Heppenheimer Susan Summa Sarah &D.Jim Taylor& Jill Heppenheimer Sarah & Jim Taylor Kelly Waller Kelly IngerWaller & Bob Woerheide Inger & Bob Woerheide Ahdina Zunkel & Marc Romanelli Ahdina Zunkel & Marc Romanelli CommUnity CommUnity Anonymous (2) Anonymous (2) Jane Alexander Jane Alexander Lyn Andrews Lyn Andrews Robert Armstrong Robert Armstrong Bill & Julie Ashbey BillIn&honor Julie Ashbey of Charmay Allred In honor of Charmay Allred
David & Peggy Ater David & Peggy Ater& Carole Stepp In honor of Edd In honor of Edd & Carole Stepp John & Barbara Berkenfield John & Barbara Barbara Blaine Berkenfield Barbara Annie & Blaine Andrew Brady Annie & Andrew BradyMarie Myers Frey In memory of Rose In memory Ingrid Bucher of Rose Marie Myers Frey Ingrid Bucher Jo Butler Jo ButlerCohen Bobbie Bobbie Cohen John & Liz Crews John Crews Doherty Lowell&&LizRosalind Lowell & Rosalind Doherty Don Duncan Don Duncan Margaret Elliston & Fred Harris Margaret Gail FactorElliston & Fred Harris Gail InFactor honor of Kathryn Coleman In honor of Kathryn Coleman Claire Gantos Claire PeggyGantos Gaustad & Stuart Ashman Peggy Gaustad & Stuart Ashman Paola Gianturco Paola Gianturco Barbara & Larry Good Barbara & Larry Good Haila Harvey Haila CathyHarvey Higgins Cathy Higginsof Jack Johnston In memory memory of Jack Johnston PatInJahoda Pat Jahoda Katheen B. Kain Katheen Ruth KatzB. Kain Ruth SherylKatz Kelsey & George Duncan Sheryl DebbieKelsey Korte& George Duncan Debbie Korte Phil & Judy Laughlin Phil Judy Laughlin Lynn&Lee Lynn Lee Willard & Kay Lewis Willard Kay Lewis Kathryn&Marczak Kathryn Gerald &Marczak Paula McPhee Gerald Paula&McPhee Carleen&Miller Ed Willumsen Carleen MillerMiller & Ed Willumsen Cathy & Scott Cathy & Scott Miller Irwin Mimi Montgomery Mimi RietteMontgomery Mugleston Irwin Riette Mugleston Janet Newport Janet Sarah Newport Orr Sarah Orr Pam Pasco Pam Pasco & Stephen Luckman Julie Payne Julie Payne & Stephen Luckman Robert Pevitts Robert PevittsByers-Pevitts & Beverley & Beverley Byers-Pevitts Yara & Gerald Pitchford Yara Gerald In &honor of Pitchford Edd & Carole Stepp In honor of Edd & Carole Stepp Vivianne & Joel Pokorny Vivianne Joel Pokorny Rosemary&Remacle Rosemary Remacle Nancy Reynolds Nancy HelenaReynolds Ribe Helena Ribe Cwira Richter Cwira Kathy Richter Riley Kathy RaymeRiley Romanik Rayme MarilynRomanik Rosenfeld Thomas Marilyn Rosenfeld & David UllmanThomas & DavidRyser Ullman Monique Monique Thomas &Ryser Jean Sabourin Thomas & Jean Sabourin Lynn Bickley & Randy Schiffer Lynn DavidBickley Sontag& Randy Schiffer David Sontag Carl & Joan Strutz Carl & Joan Strutz Susan Swaim Susan Tom &Swaim Shawn Thomason Tom Shawn Thomason Pearl &Tom Pearl BetsyTom Van Leit Betsy Leit NancyVan Volksen Nancy WendyVolksen Wells Wendy Wells Jim & Amy Weyhrauch Jim & Amy Weyhrauch Cheryl & Rollin Whitman Cheryl & Rollin Whitman Dixie Wilson Dixie AlisonWilson Winter Alison Winter In honor of Cathy Allen In honor Brenda Yatesof Cathy Allen Brenda Yates Sharon Young Sharon Young sUPPorter sUPPorter(2) Anonymous Anonymous Susan Abeln (2) Susan Susan Abeln Akins Susan Akins Damaris Ames & Peter Lloyd Damaris Ames & Peter Lloyd Patricia Antich Patricia AntichBailey Jan & Thomas Jan & Thomas Barbara BarnettBailey Barbara BarnettBeaupre John & Sharon John & Sharon Beaupre
List as of June 1, 2013. Every effort has been made to include a complete and accurate list of donors and sponsors. Please notify us of any omissions or corrections. List as of June 1, 2013. Every effort has been made to include a complete and accurate list of donors and sponsors. Please notify us of any omissions or corrections.
celebrating ten years celebrating of bringing ten years thebringing world of together the world together
Judith Benkendorf & Norman Marks Judith Benkendorf & Norman In honor of women artisansMarks In honor of women artisans & their families & their families Carol Bedner Carol Joan &Bedner Robert Benedetti Joan Robert Benedetti David&Bernstein & Erika Rimson David Susan Bernstein Boren & Erika Rimson Susan BrendaBoren & Stuart Brand Brenda & Stuart BrandHadley & Barbara John Burke John Burke & Barbara Hadley Ann Caldwell Ann In Caldwell honor of Edd & Carole Stepp In honor of Edd & Carole Stepp Eleanor Canon Eleanor Canon In honor of Ava L. Haymon, In honor of & Ava L. Haymon, Judy Kahn, Josephine VanBeek Judy Chosa Kahn, & Josephine VanBeek Carnell Carnell Bonnie Chosa Clark Bonnie Clark Mary Connors Mary Connors Dianne Cress & Jon McCorkell Dianne Cress & Jon McCorkell Jo Ann Crow Jo Ann Crow Janeen Cunningham Janeen Cunningham Sara Cunningham Sara In Cunningham honor of Charles Cranfill In honor ofRon Charles Cranfill Mary Davis & Sherman Mary Davis &ofRon Sherman In honor Andean women In honor of Andean women Linda Dickson Linda Dickson Gail Dobish Gail ReneDobish Donaldson Rene Donaldson Mark Donatelli & Anne Pedersen Mark DarianDonatelli Dragge & Anne Pedersen Darian Dragge& Dave Rashin Ardith Eicher Ardith Eicher && Peter Dave Whitman Rashin Susan Feiner Susan & Peter Whitman WendyFeiner Forbes Wendy P. WesleyForbes Foster P. Wesley Foster Kathy & Lou Gauci Kathy & Lou Gauci Ruth Frazier Ruth Frazier of Michele Baldwin In memory In memory of Gaffner Michele Baldwin Haines & Nancy Haines & Nancy Gaffner Paget Gates Higgins Paget Higgins PatriciaGates Gilliam Patricia Gilliamof Jack Gilliam In memory In memory Jack Gilliam Don & LorraineofGoldman Don & Lorraine&Goldman Phil Goldstone Heidi Ann Hahn Phil & Heidi Ann Hahn MaraGoldstone Christian Harris Mara Christian Harris E. Christian In honor of Harriet In honor of Harriet E. Christian Frances Harris Frances Harris Barbara Hays Barbara MaureenHays Hill Maureen Hill Linda Hummingbird Linda Hummingbird In honor of Christine Johnson In honor Carol Jinkinsof Christine Johnson Carol Jinkins of Sheila Freemantle In memory In memory Annette Kelleyof Sheila Freemantle Annette Kelley Bob Kemble Bob Kemble Deborah Kent Deborah Kent Susan Kovach Susan Kovach Grant La Farge Grant PatriciaLaLaFarge Farge Patricia La Farge In memory of In memory of La Farge Patricia Arscott Patricia Arscott LaVoorhees Farge Mary Lawler & John Mary LawlerLe&Roy John Voorhees Rosemarie Rosemarie Roy Carter & BillLe Leinster Carter & Bill Leinster Meg Leonard Meg Leonard In honor of Diana Mintzlaff honor of Diana Mintzlaff AliInMacGraw Ali MacGraw Meredith & Steve Machen Meredith & Steve Machen Gayle Manges Gayle Manges Dorothy Massey Dorothy MasseyMcKnight Claire & French Claire && French McKnight Marilyn Bob Milhous Marilyn & Bob Milhous Joyce Moldovan Joyce Moldovan In honor of Ann McVay In honor of Ann McVay Jane & William Morgan Jane & William Morgan Ord Morgan Ord Morgan David Morice David&Morice Jane Bob Morris Jane Bob Morris Karen&Mosier Karen Mosier Maggie Muchmore Maggie Muchmore Vicki Nowark & Peter Coha Vicki Nowark Dr. Ferris Olin & Peter Coha Dr. Olin Packman PaulFerris & Sandy Paul & Sandy Packman
Sandra Penn Sandra Penn Kathleen Pflueger Kathleen Pflueger Sarah Potter Sarah Potter James & Deborah Quirk James & Deborah In memory of Dr.Quirk Cliff Vernick In memory Leslie Reichertof Dr. Cliff Vernick Leslie Reichertof Juan Navas Sacasa In memory In memory of Juan Navas Sacasa Barbara & Bill Richardson Barbara & Bill Richardson Griffin Rooker Griffin Rooker In honor of Catherine Allen In honor Judie Rosnerof Catherine Allen Judie PatriciaRosner Ann Rudy-Baese Patricia Ann Rudy-Baese Ann & Rudolf Sacks Ann & Rudolf Sacks Donna J. Seifert Donna J. Seifert In memory of Linda Cordell In Shafer memory of Linda Cordell Ann Ann AnneShafer Shahan Anne Shahan Clare Smith Clare Louis Smith Straney Louis Straney Kim Straus Kim Straus Adeline Talbot Adeline Talbot In honor of Martha & Mark Alexander In honor of Martha & Mark Alexander Sachiko & Anthony Umi Sachiko & Wille Anthony Umi Catherine Catherine Wille Linda Winston Linda Winston Lee Witt Lee MaryWitt Young Mary LindaYoung Zwick Linda Zwick of Emily Bradley In memory In memory of Emily Bradley other sUPPorting other sUPPorting orgAniZAtions orgAniZAtions Breakthrough Santa Fe Breakthrough Santa Fe Center for Nonprofit Excellence Center for Nonprofit City of Santa Fe Parks,Excellence Parking, Police, City& of Santa Fe Parks, Parking, Police, Fire Departments & Baptist Fire Departments First Church First GoodBaptist WaterChurch Company Good Water Heart Company Immaculate of Immaculate Heart of Mary Retreat Center Mary Retreat Center Museum of Indian Arts & Culture Museum Arts & Culture Museum of of Indian International Folk Art Museum FolkArt Art Museum of of International Spanish Colonial Museum Museum of HillSpanish Café Colonial Art Museum Hill Department Café New Mexico New Mexico Department of Transportation of Transportation New Mexico Legislative Council Service New Council Service New Mexico Mexico Legislative Property Control Division New Property Control Division OfficeMexico of Senator Jeff Bingaman Office Jeff Bingaman Office of of Senator Senator Tom Udall Office of Senator Rio Grande SchoolTom Udall Rio Grande School Santa Fe Railyard Santa Fe Railyard Community Corporation Community Corporation University of New Mexico, University of New Mexico, Anderson School of Management, Anderson School of Management, International Business International Students GlobalBusiness Students Global Wheelwright Museum of the Wheelwright Museum of the American Indian American Indian Special thanks to New Mexico’s to New Mexico’s Special thanks Delegation, Congressional Congressional Delegation, Governor Susana Martinez, the Governor Susana Martinez, New Mexico Department ofthe New Mexico Department of State Cultural Affairs, New Mexico Cultural Affairs, New Mexico State Legislators, Mayor David Coss, Legislators, Mayor DavidWurzburger, Coss, Mayor Pro Tem Rebecca Mayor ProFe Tem Rebecca the Santa City Council,Wurzburger, and the Fe Citystaff. Council, and theirSanta invaluable their invaluable staff.
It’ It’ss not not aa Market. Market. It’ s a Miracle. It’s a Miracle.
2013 International Folk Art Market | Santa Fe 5
It’s not a Market. It’s a Miracle. THANK YOU TO OUR MORE THAN 1,500 DEDICATED VOLUNTEERS AND OUR ORGANIZATIONAL LEADERS WHO MAKE THIS MARKET HAPPEN!
Did you know?
Board of Directors
Over ten years... The Market has involved 650 artists from 80 countries, across six continents.
Michael P. Peters, Chair Joni Parman, Vice Chair Jon Patten, Treasurer Suzanne P. Sugg, Secretary Leigh Ann Brown Kathryn King Coleman Richard Porter Edd Stepp
Artists’ earnings have positively impacted the lives of over 1 million people worldwide. Visitor purchases generated more than $16 million in artists’ sales. Most artists have earned at the Market more than 10x what they might earn in one year in their home country. 90% of the sales have gone home with the artists and their organizations to improve livelihoods across the globe.
International FolkArt Market Santa Fe
OFFICERS AND EXECUTIVE COMMITTEE
Catherine Lindberg Darryl Lindberg .
Mark Alexander JoAnn Lynn Balzer Carnell Chosa Nella Domenici Sheila Ellis Peggy Gaustad Alexis Girard Jill Halverson Margie Kintz Sarah Alley Manges Mary Mill Marisol Navas Sacasa Keith Recker Carol Robertson Lopez Sylvia Seret Peter Speliopoulos Alex Tschursin Steve Wedeen ADVISORY MEMBERS
Veronica Gonzales, Cabinet Secretary, New Mexico Department of Cultural Affairs Marsha C. Bol, Director, Museum of International Folk Art Jamie Clements, Executive Director, Museum of New Mexico Foundation ADVISORY DIRECTORS
Market Volunteer Leadership
Charmay Allred Donna Bruni Cynthia Delgado Judith Espinar, Creative Director Hank Lee Nance Lopez Linda Marcus Owen Van Essen Eileen A. Wells Don Wright
Alexis Girard Laurie Morgan Silver Mary Ann Shaening ARTIST DEMONSTRATIONS
Margie Hiestand Deborah Weinberg
Valerie Baugh Amy Conway Denise Johnson Marcia Lenihan Marisol Navas Sacasa Andrea Poole Heather Robertson Susan Surprise Benita Vassallo ARTIST SCREENING COMMITTEE
Marsha Bol, Ph.D. Martha Egan Felicia Katz-Harris Cory Kratz, Ph.D. Mary Littrell Melinne Owen Suzanne Seriff, Ph.D. ARTIST TRAINING
Melinne Owen Richard Haber Bob Zimmerman
Sarah Alley Manges Patricia Sigala
¡FELICIDADES! FAREWELL DINNER
FOOD & BEVERAGE
Laura Lovejoy-May INFORMATION BOOTH
Andrea Fisher Mara Harris
Jeff Case Carol Robertson Lopez
MARKET OPENING PARTY
Martha Alexander Leigh Ann Brown
Annette Kelley Jeff Scattergood
Candace Allen Michael DeGenring Sheryl DeGenring John Stafford ONE WORLD DINNER
BEST OF THE BEST BOOTH
RAILYARD COMMUNITY CELEBRATION
Laurie Vander Velde Michael Vander Velde Bob Casper Judy Casper
Cathy Allen Nella Domenici Jane Shreffler Jean Zunkel Meryl Cohen Sheila Ellis
Judith Espinar Mara Harris Margie Hiestand Barbara Mauldin Marisol Navas Sacasa Sylvie Obledo Lou Ringe Sylvia Seret David Soifer Lea Soifer Benita Vassallo Deborah Weinberg Belinda Wong-Swanson Bill Zunkel
Donna Rosingana Zenia Victor
Joan Chodosh Marlene Schwaljé Paul Schwaljé WATER TEAM
Gayla Bechtol Suby Bowden Cherryl Busch
The Work of Art
The International Folk Art Market-Santa Fe is a results-oriented entrepreneurial nonprofit organization dedicated to fostering economic and cultural sustainability for folk artists and folk art worldwide and creating intercultural exchange opportunities that unite the peoples of the world. Brand design by VWK. Photos © John Bigelow Taylor, Sally Thomson, Bob Smith.
Co ver Photo Judith Cooper haden Karma lotey has represented the bhutan Karma Collection at market Co ver desIgn deborah villa o wner robin Martin PublIsher ginny sohn edItor rob dean edItorIAl creative director deborah villa 5059863027 magazine editor Patricia west-barker copy editor sandy nelson
P u b l I s h e d J u ly 1 0 , 2 0 1 3
2 0 0 6 S A N TA F E I N T E R N AT I O N A L
TH E S ANTA FE NEW M EXIC AN
Ad ver tIsIng advertising director tamara hand 5059863007 marketing director Monica taylor 5059953888
Ar t dePAr tMent
12 hello, goodbye
manager scott Fowler,
milestones with meaning
dale deforest, elspeth hilbert
13 greatest milestone
advertising layout rick Artiaga Ad ver tIsIng sAles
14 calendar of events
Art trujillo, 5059953852 Cristina Iverson, 5059953830 Mike Flores, 5059953840 wendy ortega, 5059953892 stephanie green, 5059953825 nationals account manager
FolkART ART 2 0 0 7 S A N TA F E I N T E R N AT ION A L
rob newlin, 5059953841
15 entertainment, food 16 work of art 18 short takes
teChnology technology director Michael Campbell
19 offsite parking
Pr oduC tIon operations director Al waldron assistant production director tim Cramer
20 the art of optimism
prepress manager dan gomez press manager larry Quintana
24 music on the move
packaging manager brian schultz dIstrIbutIon
T H E S A N TA F E N E W M E X I C A N
circulation manager Michael reichard
26 the long and short of it
distribution coordinator reggie Perez web digital development natalie guillén www.santafenewmexican.com
30 sustainable solutions
2 0 1 2 S a n ta f e i n t e r n at i o n a l
34 booth locator map
36 designs that define
office: 202 e. Marcy st. hours: 8 a.m.5 p.m. MondayFriday advertising information: 5059953852
38 meet the 2013 artists
delivery: 5059863010, 8008733372 for copies of this magazine, call 5054287622 or email firstname.lastname@example.org
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
2013 International Folk Art Market | Santa Fe 7
MIlestones wIth MeAnIng Itâ€™s not a market, Itâ€™s a mIracle.
Children from the Esiteti Primary School, a project of Africa Schools of Kenya, the first primary school dedicated to educating and enriching the lives of Masai girls. 8 2013 International Folk Art Market | Santa Fe
The International Folk Art Market celebrates its first decade By Arin McKennA During its 10-year history, Santa Fe’s International Folk Art Market has reached worldwide prominence — it is now the largest international folk art market in the world — and founders and longtime supporters alike seem both thrilled and a little bemused by the market’s meteoric rise. The brainchild of creative director Judith Espinar, the concept sparked the immediate interest of executive director emeritus Charlene Cerny, advisory board member Charmay Allred and Tom Aageson, executive director of the Museum of New Mexico Foundation at the time — and the four co-founded the market in 2004. Although they had envisioned it as a one-time event, they reassessed that decision when the first market surpassed their wildest expectations: They anticipated 3,000 visitors and drew 12,000, netting almost $1 million in sales. They had grocery bags filled with cash from the $5 admission fee, and many artists sold out on the first day. The first market’s success convinced the founders to make it an annual event. “That was really based first on the artists loving it and giving us enormous feedback and validation,” Espinar said, “and equally important, if not more so, the community reception to the market.” The second year saw the development of a nonprofit structure and the formation of the partnerships and programs that became the market’s foundation. Three relationships cemented that year — with the Museum of International Folk Art, the Museum of New Mexico Foundation and the New Mexico Department of Cultural Affairs — continue to this day. Ray Dewey and Lynn Brown joined Espinar and Allred as co-chairpeople in year two. Dewey was instrumental in setting up the nonprofit foundation, and Brown helped develop the first artist training program, “Market Readiness,” with the help of UNESCO grant money. Providing artists with tools for success is still a critical component of the market. “Our philosophy about training is very simple,” Espinar said. “It’s learn and do: You’re in the classroom [one day], and the next day you’re selling your merchandise. The learning curve is something like times three if you get to use [what you’ve learned] right away.” Advanced training programs have been added to the curriculum over the years, taking a large leap forward in 2011 when market artists participated in the International Folk Art Market Collection — part of the Dallas Market Center’s Total Home & Gift Market — for the first time. In that program, artists work with a mentor throughout the year and receive a two-hour training on wholesale marketing just before the event. The caliber of the artwork struck the market’s new executive director, Shawn McQueen-Ruggeiro, during her first visit to the event in 2012. “I’ve been to a lot of markets all around the world, and there’s no way you get a market of this quality all in one place, all at one time,” she said. “Usually you’re trying to sift through the market to find things you really think are art or high quality, and this market has 190 artists of that caliber.”
“The Santa Fe Folk Art Market has impacted the Maasai community of Esiteti on so many levels. First it has helped create an income for over 275 Maasai women, giving them earning power in their community, which leads to a stronger voice for women throughout the village. Second the money earned from the Folk Art Market has helped to sustain the local village primary school that provides an education for over 300 Maasai children and lastly, due to our participation in the market we have had the opportunity to create greater market access and are now selling our products in stores across the United States, which helps to bring sustainability to these women, the community and future generations. Above all, the selling of the beads has really changed the lives of these women, who never had a voice in their community. These women are now standing up against gender discrimination, including the issue of female genital mutilation, and the community is beginning to end this practice. The women now feel a stronger sense of purpose in their community because they are now the main income earners in the village, which is creating a greater sense of respect for these amazing and dedicated women. ... We are so grateful for the Santa Fe Folk Art [Market] and all that they do to help indigenous cultures and artisan groups around the world.” James Kamete, Africa Schools of Kenya (2012) 2013 International Folk Art Market | Santa Fe 9
McQueen-Ruggeiro was also impressed by the magnitude of the market and the commitment of the 1,500 volunteers who make it happen. “I truly wasn’t sure whether any other city could give birth to a market like Santa Fe,” McQueen-Ruggeiro said. The market’s reputation for exhibiting the best folk artists in the world was confirmed when six of its artists were among 12 international traditional art masters honored as “living legends” by the World Craft Council in 2012.
The celebration evolves and expands
“The greatest satisfaction that we have achieved through participation in the [market], has been that we have been able to help in part to improve the quality of life in 50 women, and their families. Each group also belongs to the Mega Cooperativa, [whose goals] are to help the group grow economically and their families, especially those [who are in] disadvantaged situations. For example, Warmipak Wasi Foundation works on the eradication of violence [against] women and the family and [has] a house where women have [a safe place to live]. Our house is maintained thanks to the contributions [of ] women artisans who [create artwork for the market] in Santa Fe.” Flor María Cartuche, President, Mega Cooperativa, Ecuador (2011)
In 2010, the market created the Artist Relief Fund following the Haiti earthquake to help artists and their families in times of unforeseen emergencies. Eventually a Friday night fundraiser was added, and it evolved into the opening night party. The Artist Procession — a traditional opening for fairs or festivals in many of the artists’ home countries — was initially part of that opening night party. The procession evolved into a Thursday night concert on the Santa Fe Plaza, then expanded into the Community Celebration at the Santa Fe Railyard in 2011. “This event has a special place in the Folk Art Market in that this is our gift to the city,” Espinar said. “It is free, so nobody has to feel that they can’t see the artists’ procession because it’s a fundraiser and it’s expensive. It’s one of the most spirited times in the whole market. And the artists just feel so honored by the people coming out.” In celebration of its 10th anniversary, the market has sponsored two major new projects, a documentary titled The Silkies of Madagascar and The Work of Art: Folk Artists in the 21st Century, a book by Carmella Padilla. The film documents how attending market has affected not only the members of a cooperative but also their entire community — an effect frequently experienced by market artists. A three-minute screener for the film won a CINE Golden Eagle Award, and the full 30-minute documentary has been accepted for screening at the prestigious 2013 Women Deliver Global Conference in Kuala Lumpur. Several Silkies will attend the market for the third consecutive year. In The Work of Art, Padilla explores why the values embodied in folk art matter in a modern world. “The book really reflects the bigger mission of the market: to contribute to a viable international marketplace for folk artists, to help shape a market in which consumers understand the value of folk art — not necessarily the monetary value but the historic value, the cultural value, the preservation value and the value that having a piece of folk art in your house can bring to your life — in terms of just being part of traditions that have been entrenched in different cultures worldwide,” Padilla said. As the market continues to expand into a broader, more global mission, it promises to be a force for empowering artists around the world for some time to come. “That’s the incredibly exciting thing,” Cerny said. “Something that you helped give birth to, as part of a whole team of people, [is still] going on. And it’s going to go on for a long, long time.”
What’s in a name? It may seem like a minor change, but renaming the Santa Fe International Folk Art Market as the International Folk Art Market | Santa Fe speaks volumes about the market’s growth over the past decade — and its future ambitions. The new name allows the organization to create markets in multiple cities — switching out the “Santa Fe” for Dallas, for example — and to add new activities to support the artists, such as online stores, special collections and publications. kIM kurIAn
10 2013 International Folk Art Market | Santa Fe
Global commitment, global recognition The backing of the United Nations Organization for Education, Science and Culture (UNESCO) spurred the first International Folk Art Market’s momentum. Espinar and Aageson enlisted the support of Indrasen Vencatachellum, director of UNESCO’s Program for the Promotion of Crafts and Design from 1988 to 2008, who promised to sponsor 11 of UNESCO’s Seal of Excellence (now the Award of Excellence) Gold Medal winners so they could attend that first market. UNESCO’s commitment provided the organizers with the leverage they needed to get other organizations on board. The Kellogg Foundation awarded organizers a grant, and The Santa Fe New Mexican agreed to publish a magazine, which Aageson credits for the unanticipated turnout. The Award of Excellence program remains a strong component of the International Folk Art Market. This year’s UNESCO tent features representatives from South Asian Region Countries (SARC); Association of South East Asian Nations Handicraft Promotion and Development Association (AHPADA) and the Central Asia Crafts Support Association. Espinar calls the booth “a really great recruiting tool. Over the years,” she said, “we’ve gotten many, many market artists who have been introduced to the potential of market through their sales in the UNESCO booth.” UNESCO personnel who visited the first market were also introduced to Santa Fe’s cultural wealth, which led to another milestone the following year, when Santa Fe was designated a UNESCO City of Crafts and Folk Art — the first U.S. city to be named to UNESCO’s Creative Cities Network. “That was a huge deal for us,” Espinar said. “We now had international recognition.” Another major milestone came in 2009 when the market was invited to join the Clinton Global Initiative, an organization that convenes world leaders to create and implement innovative solutions to the world’s most pressing challenges. The initiative also tapped three Folk Art Market metal artists to create original awards for its Clinton Global Citizen honors and presented a short film of those artists at the market during the ceremony. “That’s a very prestigious honor to be asked to attend that, and bringing attention to the market brings economic opportunity to the artists — that’s what it’s all about,” said first Folk Art Market board chairman J. Edd Stepp. “So it’s not just window dressing to be honored and be pointed out as significant. What’s really important is what we accomplish for people.” The market expanded its global commitment in 2012 when it became a founding member of the Aspen Institute’s Alliance for Artisan Enterprise, an initiative championed by former Secretary of State Hillary Clinton. The alliance recognizes folk art’s contributions to the economic development and sustainability of traditional communities and the preservation of global cultural heritage. Artisan activity is the second-largest employer in the developing world, just behind agriculture, and the alliance hopes to address related concerns, such as making sure artists receive fair market value for their work and finding ways to expand markets through venues such as cultural tourism. “We feel that the alliance can actually encourage governments all over the world to invest in their traditional arts, because when eco-tourists come, they don’t want souvenirs,” Espinar said. “They want folk art, they want to understand the culture, they want to meet the people who have done these things.”
“Of the things learned in Santa Fe, the best was to see that there is a space dedicated to artists who grow empirical traditional art emerging from the village, without school resources. I also got the opportunity to meet people of goodness and exceptional treatment with sincere desires to help all artists share. Being there almost a week with the organizers and guests of the [market] was the experience [that] far more has shaped my life. All the experiences and events that I had the opportunity to [experience at the market], in one way or another will be reflected in my art. I would like to acknowledge the sponsors of the [market], as many artists with limited financial resources (like me) have been able to show their art and be known internationally. The [market] has been a portal to enhance and grow the customs and traditions of diverse cultures... Thanks to all those who in one way or another helped us feel at home.” Carlos Alberto Cáceres Valladares, Cuba (2012) 2013 International Folk Art Market | Santa Fe 11
Retiring executive director helped turn market into cultural force
Search for market director goes global
By Arin McKennA
Shawn McQueen-Ruggeiro takes over the reins
Charlene Cerny, co-founder and first executive director of the International Folk Art Market | Santa Fe, did not make the decision to retire lightly. “I thought a lot about what it meant to retire from that particular job, which was so all-involving,” she said. “It was hard to retire, because it’s something you love. I have loved every minute of it. But people don’t realize how much work is required on an annual basis. So to be on a schedule where I can wake up in the morning and just have my days stretched out in front of me, or my weekend — I’m enjoying it so much. It feels like freedom to me.” One of three co-chairpeople for the first market, Cerny also served as vice chairwoman when the first board was created in 2006, when J. Edd Stepp was the first chairman. “It became apparent early on that we needed an executive director to be in charge of this organization on an everyday basis,” Stepp said. “[Cerny] had an opportunity for another position, but Judy Espinar said, ‘If you’re going to make any kind of a move, you’ve got to come be the executive director of the Folk Art Market.’ And we were ecstatic that she agreed to do it.” “Because she had been the director of the Museum of International Folk Art [for 26 years], that brought with it a tremendous amount of credibility for our organization in the world,” Espinar said. “It would have been impossible to select a more ideal person,” Stepp added. “She was a founder of the market. She was an expert in folk art. She was an expert in development, which is a key element of the role of executive director. She had been the director of development at Santa Fe Prep, raised millions of dollars for them. And she’s a wonderful leader.” Stepp attributes much of the market’s amazing growth to Cerny’s leadership. He credits her with selecting a fabulous staff and board of directors. “She also moved the organization forward very significantly by heading up and encouraging the creation of a very important and meaningful strategic plan that included such things as building an endowment, moving into a comprehensive capital campaign to raise money for sustainability of the organization and to finally move us into small but very important quarters,” Stepp said, “basically moving the organization forward from a little startup to what is now quite an important and internationally recognized cultural force. It takes strong and effective leadership to get that done.” Cerny downplays her contributions. “Everything we’ve done at the market was a team effort,” she said. “Every single person who works for that market is so committed. So it’s a proud accomplishment for all of us who have had a part in it, and that includes the massive number of volunteers, some of whom have been around from year one.” Cerny plans to stay involved with the organization but is enjoying the perks of retirement: having time to garden and read books, taking an extended trip to Hawaii with her husband and expanding her horizons with activities such as volunteering for the New Mexico Legislative Finance Committee. She also wants to give new executive director Shawn McQueen-Ruggeiro the time and space to settle in. “I think it’s important that the leadership of organizations begins to go into the hands of the next generation,” she said. “The job as executive director of this organization is really very, very demanding,” Stepp said. “Charlene served in this role for over five years and just did a fabulous job. I think she deserves an opportunity to have some fun. We deeply appreciate everything she’s done.”
12 2013 International Folk Art Market | Santa Fe
By Arin McKennA When Charlene Cerny announced her retirement as executive director of the International Folk Art Market | Santa Fe, the question of how to replace her had no easy answers. “It wasn’t like we could go to our competition and recruit someone,” said Leigh Ann Brown, a member of a four-person search committee led by Jon Patten. “Because we’re the largest international folk art market in the world, we really didn’t have a peer we could look to and say, wouldn’t it be great to capture that individual?” The board decided on a “slow and deliberate” approach that incorporated an unconventional element: “I think we had to be introspective first,” Brown said. “What are we really, really trying to accomplish in this next chapter of the Folk Art Market, and who would best be capable? We really wanted to dig more deeply into the possibilities. “The first thing we did was interview all of the staff in terms of what they thought would be an ideal situation for qualifications and experience,” Brown said. The board also asked if any of the employees were interested in taking over the helm. No one stepped forward. Committee members decided to conduct their search via word of mouth rather than by running ads. They emailed their criteria to the complete database of Friends of Folk Art, as well as other nonprofit arts organizations. “We sensed the person was going to be someone that someone knew,” Brown said. “Names started coming to us, and literally we got names from all over the world.” Karen Allison of The Chase Group and Jan Maples of The Connecting Point volunteered to help with recruiting. The Chase Group provided the initial screening to determine the candidates’ qualifications, narrowing the field to three dozen qualified candidates who were reviewed by Maples and the search committee. Using technology such as Skype for initial interviews, the group eventually brought six finalists to Santa Fe, where each was interviewed by staff members as well as the board. “The nearest [candidate] was from Albuquerque and the farthest away was from Yemen — like the Folk Art Market itself,” Brown said. “I would have to say the final six were each outstanding in their own way. And each one of them could have brought something special to the Folk Art Market. But in the end we chose Shawn because of her passion for the market, her energy, her enthusiasm — and her past experience with Project Care International really dovetailed nicely with things that we had on the horizon for the Folk Art Market.”
Synchronicity plays its part San Diego, California-based Shawn McQueenRuggeiro made her first trip to the market in 2012 at the urging of an acquaintance whose daughter is on the market staff. She said she was “overwhelmed” by the experience and is
still amazed by the synchronicity of that same individual informing her of the search soon after her visit. “I feel like my life suddenly makes sense,” McQueen-Ruggeiro said. “We’re able to be an advocate or a voice for these folk artists that are represented all around the world. My heart and soul truly is in developing-world issues, the impact we can have and our role in the world.” McQueen-Ruggeiro brings more than 20 years of fundraising and communications experience in the nonprofit arena to the International Folk Art Market. She spent the last eight years with Project Concern International, a leading health and development organization headquartered in San Diego. While in that position, McQueen-Ruggeiro traveled with donors to developing countries to view the projects they had funded and spearheaded the launch of an initiative called Women Empowered, a savings-based empowerment program designed to help some of the world’s most vulnerable women. She also led a major rebranding effort for the group, organized a 50th anniversary celebration and produced two award-winning films. McQueen-Ruggeiro’s first priority in Santa Fe is the market’s 10-year anniversary, but she is already looking for ways to fulfill the market’s most important mission — expanding opportunities for folk artists. She plans to introduce an online market that can support artists year-round and is looking for solutions to challenges that people from industrialized countries can barely comprehend. “Some of the artists come on camel, by boat, by train, by bike to get here. And then you think, how do they get their products shipped? They don’t have shipping supplies. It’s not like UPS is in every tiny little village,” McQueen-Ruggeiro said. “So these are the things we need to be sensitive to and work through with these artists that do desire a larger marketplace so they can have a more sustainable income. I think that’s really the exciting part of being involved in this. It is just a sincere pleasure to figure out ways to help them be more successful.”
The greATesT MIlesTone Changing lives, connecting the world’s people By Arin McKennA To the board, staff and volunteers dedicated to the International Folk Art Market | Santa Fe, one accomplishment means more than all the accolades and international acclaim the event has accumulated over the past 10 years. “This market is all about the artists to this day,” said creative director Judith Espinar. “That’s what’s so incredible. We have not become a bureaucracy. We have not become a top-down organization. We are bottom up. Our artists are the people we honor in every decision we make. We have always been incredibly united in this.” The artists take home 90 percent of the earnings from their sales, money that can radically improve their lives. They purchase food, clothing, health care and education; they invest in their growing business enterprises and also aid their communities by building schools, providing wells for clean drinking water and contributing to other beneficial projects. “Many, many of our artists come from developing countries, where their chances of making more than $3 a day are minimal,” said newly arrived executive director Shawn McQueen-Ruggeiro. “And then they come here and they can make in one weekend what might have taken them 15 years to make. So the impact of this market is huge. It’s not just the fact that you get to buy something, but you’re actually changing somebody’s life and keeping their tradition and their art and their voice and their culture alive.” The artists also change each other’s lives, sometimes informally, sometimes through market programs, such as the peer-to-peer exchange woven into the training programs. “The most beautiful moments and the most powerful moments are when [artists are talking to each other] about how they do something, how they set up a health plan in their cooperative or how they manage their money or how they organize their inventory. It’s so much more powerful when they’re sharing with each other rather than us saying, ‘This is how you have to do it,’” said Ahdina Zunkel, director of artist development. Often the interaction is even more personal. “At the closing of the first market, at the top of the steps of Museum Hill, a bead artist from South Africa turned around to thank me before she walked down the stairs,” Zunkel said.
Pan Yuzhen and Nilda Callañaupa Alvarez
“The experience for her was not just about the money she received, but more about the gift that she was given to be with her peers, other artists like herself. She gave me a word of advice for the next market and that was to just give the artists the time together, unscheduled, where an artist could sit next to another artist from another country, and they could show each other how they bead — ‘One bead, and then another. You see?’ she said with a smile. And then she turned around and walked down the stairs. “That wasn’t necessarily our vision or our intention, but that was one of the results that have happened that is so beautiful and brings about this feeling of peace.” Co-founder Charmay Allred recounted another such story: “Years ago, I happened to sit at the Saturday night dinner with some men from Uzbekistan and Venezuela, and they told me they had become best friends. Now how can you ever connect Uzbekistan and Venezuela? It’s stories like that which I treasure.”
“Years ago, I happened to sit at the Saturday night dinner with some men from Uzbekistan and Venezuela, and they told me they had become best friends. Now how can you ever connect Uzbekistan and Venezuela?”
Market by the numbers Over the past nine years: 90 million — The estimated economic impact, in dollars, that the market has had on the Santa Fe community. 16 million — The amount of dollars generated from artists’ sales (90 percent of which has gone home with the artists and their organizations). 1 million — The number of people worldwide whose lives have been positively affected by money raised at the markets. 1 million — The number of dollars the market has provided to new artists in direct financial support. 160,000 — The number of visitors, from all 50 states, who have attended the market. 3,400 — The number of volunteers (many of whom are from New Mexico) who have given 120,000 hours of their time (valued at $5.12 million) to make the market a success. 760 — The number of artists and their representatives who have received business development training and support. 650 — The number of master folk artists who have participated. 80 — The number of countries represented at market. 6 — The number of continents represented at market. —DennIs CArroll
2013 International Folk Art Market | Santa Fe 13
COMe One, COMe All TO THe sAnTA Fe RAIlYARd… Join the 10th anniversary community celebration
THURsdAY, JUlY 11 5-7:20 p.m. Picnic and play: international food vendors, music on the lawn 5-6 p.m. Artist demonstrations From JAPAn Kite launch with Mikio Toki; after the launch, he will demonstrate how to make traditional Koinobori (or carp) kites, symbols of strength and perserverence. From IndIA Backstrap loom weaving with Tiala Marsosang Neufeld, who grew up in Nagaland, a hill state in the northeastern region of India; she will demonstrate the techniques and share the stories told in the designs. From IndOnesIA Carved and painted Balinese wood masks with Anom Suryawan, who will demonstrate the traditional art of Balinese mask carving and will talk about the meaning and the tradition of the masks; he may also perform a traditional dance with a mask. From IsRAel Yemenite jewelry and Judaica with Ben Zion David; watch him prepare and interweave silver threads to achieve the braided effect unique to jewelry made by the Jews of Yemen. There will also be a 15-minute video of the entire process. From MeXICO Burnished pottery with Angel Ortiz Gabriel, who uses an ancestral technique to create decorative abstract floral and representations of animals as well as geometric forms. From PAnAMA Tagua seed sculpture with Giovany Peña, who had no formal training to develop his tagua seed, or vegetable ivory, carving skills; he will demonstrate traditional Wounaan carving and painting techniques. From UZBeKIsTAn Woven silk and velvet ikat textiles with master weaver Rasuljon Mirzaahmedov, who will demonstrate the weaving process as his friend and interpreter Aziz shares the history of traditional Uzbek textiles and explains the ikat process.
RAIlYARd enTeRTAInMenT 5:15-5:45 p.m. Valiha music by market artists Randrianomanana Mandimbihery, Roger and Randriamanantena Edmond from Madagascar 5:45-6:10 p.m. Tuvan throat singing and traditional music by market artist Aldar Tamdyn from Russia
CAlendAR OF evenTs wednesdAY, July 10 1-2 p.m. Let’s Talk About This: Folk Artists Respond to HIV/ AIDS. Gallery of Conscience artists talk about what’s happening in our communities around HIV/AIDS advocacy and awareness. Museum of International Folk Art. By museum admission. 2-4 p.m. Community Folk Art Project: “Getting the Message Out” and “What’s Happening in Our Communities.” By museum admission. 7:30 p.m. Festival-au-Désert: Caravan for Peace Concert. U.S. debut of the touring festival in exile featuring worldrenowned Malian musician Mamadou Kelly, Tartit and Imharhan. Presented in collaboration with ¡Globalquerque! The Lensic Performing Arts Center, 211 W. San Francisco St. Tickets, $25-$40, are available at 505-988-1234 or online at folkartmarket.org.
FRIdAY, July 12 6:30-9 p.m. 10th Anniversary Market Opening Party, Museum Hill. A Global Gathering Under the Stars. $175 per person ($125 tax deductible). Purchase tickets at folkartmarket.org. Shopping, dancing, music, food and drink. Artists’ booths will be open. Entertainment provided by TradiSon from Cuba. Buy tickets online at folkartmarket.org or by phone: 505-866-1251.
6:10-6:35 p.m. Traditional music by Jalol Avliyakulov (string and drum), Doira Gijjak (violin) and Rubob Surnay (flute) from Uzbekistan
6:30-8 p.m. Carmella Padilla signs copies of The Work of Art: Folk Artists in the 21st Century, upper level of market.
6:40-7:20 p.m. Ihhashi Elimhlope, a Zulu dance band from South Africa
sATURdAY, July 13
7:30 p.m. Market artists’ procession from the Farmers Market building to the Railyard lawn with global music by Jefferson Voorhees and Danny Bittker 8 p.m. Meet and greet the market artists 8:15-9 p.m. Dancing continues with the West Africa Highlife Band All events are free. Parking is available at the city parking deck and throughout the Santa Fe Railyard. Shuttles will be running from the parking deck to Railyard Park. 14 2013 International Folk Art Market | Santa Fe
7:30-9 a.m. early Bird Market. Museum Hill. $50 ticket ($25 tax-deductible) includes all day Saturday admission. Purchase tickets at folkartmarket.org. 9 a.m.-5 p.m. International Folk Art Market, Museum Hill. $15 advance sales, $20 day of event, children 16 and under free. Purchase advance tickets at folkartmarket.org. On the day of the event, tickets are available at the door. 10 a.m.–noon Carmella Padilla signs copies of The Work of Art: Folk Artists in the 21st Century, upper level of market.
10 a.m., 1 p.m. and 2 p.m. The award-winning documentary, The Silkies of Madagascar, will be screened in the Museum of Indian Arts & Culture, Kathryn O’Keeffe Theater. Free with market admission. 11 a.m.–noon West African Highlife Band. Explore musical traditions with main stage artists in an intimate setting. Museum of International Folk Art Auditorium. Free with market admission. 1 p.m. and 3 p.m. Commemoration and Memorialization: Gallery talk and tour of Let’s Talk About This: Folk Artists Respond to HIV/AIDS with gallery director Suzanne Seriff, PhD, and artists. Museum of International Folk Art. Free with market admission. 2-3 p.m. Tuvan throat singing with Aldar Tamdyn. Explore musical traditions with main stage artists in an intimate setting. Museum of International Folk Art Auditorium. Free with market admission. 2-4 p.m. Carmella Padilla signs copies of The Work of Art: Folk Artists in the 21st Century, upper level of market.
sUndAY, July 14 9 a.m.-5 p.m. International Folk Art Market, Family Day with Children’s Passport Program. Children receive a passport and collect flag stickers from each artist they visit. Museum Hill. $10 advance sales, $15 at the door the day of event; children 16 and under free. To purchase advance tickets, visit folkartmarket.org. 10 a.m.-noon Carmella Padilla signs copies of The Work of Art: Folk Artists in the 21st Century, upper level of market. 10 a.m., 1 p.m. and 2 p.m. The award-winning documentary, The Silkies of Madagascar, will be screened in the Museum of Indian Arts & Culture, Kathryn O’Keeffe Theater. Free with market admission. 11 a.m. What’s Happening in Our Communities: Gallery talk and tour of Let’s Talk About This: Folk Artists Respond to HIV/ AIDS with gallery director, Suzanne Seriff, PhD, and artists. Museum of International Folk Art Auditorium. Free with market admission. 2-4 p.m. Carmella Padilla signs copies of The Work of Art: Folk Artists in the 21st Century, upper level of market.
West Africa Highlife Band pHoToS RoBERT SMITH
SUNDAY, July 14
For updates on events during International Folk Art Market Santa Fe (Wednesday, July 10, through Sunday, July 14) or more details about any of the scheduled Folk Art Market events listed in this calendar, log onto folkartmarket.org/ coming/market-schedule.
10-10:20 a.m. Dancers and musicians from Wat Buddhamongkolnimit Temple, Thailand
For information about additional events around town, pick up a copy of Pasatiempo, The New Mexican’s weekly magazine of arts, entertainment and culture, on Friday. You can also visit santafe.com and scroll down to the International Folk Art Market Santa Fe links.
10:30-10:45 a.m. Alba Rosa Sepúlveda Tapia and Wilfredo Arriagada, Chile 10:50-11:10 a.m. Edmond Randriamanantena and Roger Randrianomanana Madagascar
FOOD BAzAAR AgApAo Coffee American AnAsAzi RoAsted CoRn Southwest American AnnApuRnA WoRld VegetARiAn CAfé Indian
11:15-11:30 a.m. Jalol Avliyakulov, Uzbekistan
CeCi tAdfoR West African
11:30-11:45 a.m. Quang Minh Buddhist Youth Lion Dance Team, Vietnam
CleopAtRA CAfé Egyptian and Mediterranean
Noon-1 p.m. Ihashi Elimhlophe, South Africa
CoWgiRl BBQ American
1:20-1:40 p.m. Aldar Tamdyn, Tuva
CRepe esCApe French, American
2-3 p.m. West Africa Highlife Band
dosA dosA Indian
3:30-4:30 p.m. Encuentro, South America
JAmBo CAfé Caribbean and West African
KonA iCe of AlBuQueRQue Hawaiian/American
11:45 a.m.-12:30 p.m. Rumelia Balkan music
SATURDAY, July 14
nAth’s KhmeR Cuisine Thai and Cambodian
12:45-1:15 p.m. Aldar Tamdyn, Tuva
Museum of International Folk Art auditorium. Explore musical traditions with main stage artists in an intimate setting. Free admission with entry to the market.
posA’s el meRendeRo New Mexican
11 a.m.-noon West Africa Highlife Band
Reid’s fResh fRuit dRinKs American
2-3 p.m. Aldar Tamdyn, Tuva
tAos CoW iCe CReAm American
SATURDAY, July 13 7-9 a.m. Mario Reynolds, Andean flute 9-9:15 a.m. Alba Rosa Sepúlveda Tapia and Wilfredo Arriagada, Chile 9:20-9:35 a.m. Jalol Avliyakulov, Uzbekistan 10-11 a.m. Ihashi Elimhlophe, South Africa 11:10-11:30 a.m. Edmond Randriamanantena and Roger Randrianomanana Madagascar
1:45-3 p.m. TradiSon, Cuba 3:30-4:30 p.m. Mala Maña, Afro-Colombian-inspired music
2013 International Folk Art Market | Santa Fe 15
A sIngulAr story new book celebrates International Folk Art Market artists B y Pat r i c i a W e s t - B a r k e r “As a snowflake or a spiderweb takes shape in nature, a pattern of wondrous proportion and timeless natural beauty builds within the rhythmic loop and flow of the embroiderer’s practiced hand. Sharp with skill and
the knowledge of those who came before, her needle pierces her handwoven cloth with the delicate force of creation. … With every draw of needle and thread, she stitches her singular story into the cultural narrative
WORK OF ART FOLK ARTISTS IN THE 21ST CENTURY Carmella Padilla
of her people. With one last curl and tug of knot, she strengthens the legacy of their artistic tradition.” —Chapter 1, the Work of art: folk artists in the 21st Century
Skill married to cultural intention informs the work of some of the world’s finest folk artists — and infuses The Work of Art, the first book produced by Santa Fe’s International Folk Art Market, with beauty, precision, and heartfelt storytelling. From the start, the main mission of Santa Fe’s International Folk Art Market, now celebrating its 10th anniversary, was to build a uniquely artistcentered global marketplace. The Work of Art replicates that vision by focusing not on the event itself — although the market’s origins, past, and future are well covered in the opening and closing chapters — but on the work, personal lives, and community accomplishments of many of the artists who helped define the market’s first decade. Author Carmella Padilla, an award-winning journalist native to Santa Fe, was involved not only with the conceptualization of the book but also with the beginnings of the market itself — and her deep knowledge of both the event and the players shines through the narrative. “Judy Espinar [co-founder of the International Folk Art Market] is a longtime close friend and professional associate,” Padilla said. “Over the years in our volunteer and nonprofit work, we’ve called on each other for different favors — and I always tease her that [writing this book] was my payback because I had once volunteered her to help us plan and decorate the gala for the opening of the Museum of Spanish Colonial Art.” There had been “mumblings” of producing a book since the first market opened in 2004, Padilla said, but it wasn’t until December 2011 that they talked seriously about doing it. The 10th anniversary was approaching, and there was no better time to honor the market. Many people have asked her if she traveled around the world to collect the stories that form the core of the book, “but that would have taken five years, and there was not the time or the resources for that. What we did have was the world coming here [to Santa Fe]. So I was able to work directly with a number of artists who were here for the market. Last year, I probably did about 35 [artist] interviews in the course of five days.” Padilla was also able to interview a number of international experts — museum curators, folklorists, and people with years of experience working in folk art marketplaces — because they too came to the market from all over the world. Other major resources for the book were the market archives, annual submissions, applications, and “tons 16 2013 International Folk Art Market | Santa Fe
of materials that give really interesting and vital information about the artists, their communities, their art forms, their traditions and processes,” Padilla said. “But the real goal was to try to emphasize the voice and perspective of the artists. I did a lot of research as well, but the idea of an artist-centered marketplace, locally and globally — that was the real goal. It was a privilege to have so many different contacts around the world and to hear those stories here.”
In their own words Some of the stories the artisans told are woven into the central narrative of individual chapters — such as “A Socially Responsible Art,” which tells of early market participant Rebecca Lolosoli of Kenya. Brutally beaten by village men when she dared to speak up for rape victims, Lolosoli co-founded the womenonly village of Umoja Uaso (Women United), whose residents supported their liberation “by making and selling [traditional Samburu] beaded jewelry and by marketing their village as a tourist attraction.” Padilla was also moved by her interview with Rangina Hamidi, founder of Kandahar Treasure, a women-owned enterprise that helps women earn a livelihood while preserving the tradition of southern Afghan embroidery. “Rangina is not an artist,” Padilla said, “but because of her challenges of growing up in Afghanistan, coming to the United States, going back there at an incredibly dangerous time to work with these women, and losing her father in the process, I just couldn’t stop listening to her. By the time [the interview] was over, we were both in tears because the story was just so powerful.” Another of Padilla’s favorite interviews was with Carlos Alberto Cárceres Valladares, a Cuban painter whose artwork — an acrylic-on-canvas painting — appears on the cover of the book. “It would have been pretty obvious to put a piece of Mexican folk art on the cover, something that we’ve come to expect,” Padilla said, “but we wanted to throw the viewer off a little bit … and to elevate the form to this other level of elegance and sophistication and beauty that you don’t always see. … It wasn’t an easy road for [Valladares] as an artist, but the fact that he’s been so well received here and is starting to be better received in other venues when he can get there is really inspiring.” Other chapters introduce readers to artists from such diverse countries as France, Uzbekistan, Algeria, Peru, Rwanda, Mali, South Africa, Brazil, Pakistan,
DETAILS The Work of Art: Folk Artists in the 21st Century by Carmella Padilla Introduction by Indrasen Vencatachellum gallery photography by John Bigelow taylor Principal International Folk Art Market photography by Judith Cooper Haden, David Moore, and Bob smith Published 2013 by IFAA Media, santa Fe; distributed by Museum of new Mexico Press Cloth edition: $60; paperback edition: $29.95 Available first at the 2013 Folk Art Market, santa Fe, and online at folkartmarket.org
Niger, India, Cuba, and Laos.
Picture perfect Words alone, though, cannot fully bring these 21st-century artisans to life — so The Work of Art shows as well as tells their stories with close to 200 full-color images. The photos feature artists and their work, their families, their home communities, and their booths at the International Folk Art Market. Kelly Waller, director of marketing and enterprise for the IFAM, served as photo editor for the book. Waller estimated that she looked at about 10,000 images going all the way back to the first event on Santa Fe’s Museum Hill. She made the first cuts on her own, creating a file of about 4,500 images before sitting down with Padilla to select the 190-plus shots that supported the content of the book, met technical requirements for reproduction, and were beautiful in and of themselves. “It was very challenging,” Waller said, “but when we’re talking about artwork, it’s critical that the reader be able to see the faces of the artists, almost touch the work, and gain insight into their day-to-day lives. The chapter that concludes the book — featuring more than 60 stunning gallery-style photographs of folk art masterpieces — “was purposefully designed to be a meditation for the reader on the artwork,” Waller said. The photos also should convince any remaining skeptics that fine art of arresting beauty resides within the handmade traditions.
Georgia O’Keeffe in New Mexico: Architecture, KAtsinAm, And the LAnd
Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. Private Collection. © Georgia O’Keeffe Museum
M Ay 1 7 – S E P T E M B E R 1 1 , 2 O 1 3 This beauTiful exhibiTion tells the little-known story of how the New Mexico landscape, and O’Keeffe’s introduction to Hispanic and Indigenous art and architecture, inspired a significant creative shift in her painting. In addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists Ramona Sakiestewa and Dan Namingha.
Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land was organized by the Georgia O’Keeffe Museum. This exhibition and related programming were made possible in part by a generous grant from The Burnett Foundation. Additional support was provided by American Express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe Arts Commission 1% Lodger’s Tax Funding.
PARTIALLy FuNDED By THE CITy OF SANTA FE ARTS COMMISSION AND THE 1% LODGERS’ TAx.
217 JOHNSON St., SaNta fe, NM 87501 • 5O5.946.1OOO • OKeeffeMUSeUM.ORG
2013 International Folk Art Market | Santa Fe 17
short takes Familiarity breeds festivity By Dennis J. Carroll If the rhythms and musical vibes at International Folk Art Market events seem familiar this year, it’s because organizers have taken special measures to bring back performers who have struck a positive note with market audiences over the past 10 years. “We haven’t had a lot of return groups in the past,” said Neal Copperman, director of Albuquerque’s AMP Concerts and the market’s main recruiter of musical talent. “It’s a little boring to bring back the same groups over and over again.” But for this year’s 10th anniversary celebration, market organizers specifically sought out past entertainers who particularly appealed to marketgoers — those whose workshops and performances brought audiences to their feet in joyful celebration of the world’s many and varied cultures. Copperman specifically cited the Nigerianinspired West africa Highlife Band, the spicy rhythms of the Cuban group Tradison and last year’s “wildly popular”Tuvan throat singer aldar Tamdyn as three featured returnees. The West Africa Highlife Band, which is based in the San Francisco Bay Area, performs at the market’s community celebration at the Santa Fe Railyard on Thursday, July 11, along with craft artists from Madagascar, Tuva and Uzbekistan. The band will also conduct a workshop on Saturday morning, July 13, in the International Folk Art Museum auditorium and perform during the market on Sunday. TradiSon will keep the tempo fiery at the market’s opening party on Museum Hill the evening of Friday, July 12, and will perform at the market on Saturday. Throat singer Tamdyn will entertain at the market both Saturday and Sunday and participate in the museum’s workshops Saturday morning. Also returning as a market favorite is Mario reynolds, 60, an Andean flute player whose soothing melodies have greeted early marketgoers for many of the last nine years. Reynolds is originally from Bolivia and has lived in Santa Fe for the past 18 years, performing at numerous venues and events. He will be playing at the market from 7 to 9 a.m. on Saturday and then at various times both Saturday and Sunday. He makes his own flutes and said he plays contemporary South American, Andean, classical, jazz and “every style of music.” Joining the returnees at the Railyard will be newcomers ihhashi elimhlophe from South Africa. “It’s the first time we have had a group from there,” Copperman said, referring to South Africa. The group, sponsored by the South African government, also performs during the market Saturday and Sunday. Whether it’s this year’s popular returnees or the newcomers, “the entertainers will be very much like the market itself,” Copperman said, “covering a large part of the world in fun and engaging ways.” 18 2013 International Folk Art Market | Santa Fe
Back by popular demand Expect to find more of your favorite artists returning to the 2013 International Folk Art Market. Ernesto Torres, the market’s director of artist relations, said one of the positive results of the market’s revamped artist selection process is a higher proportion of returning artists as compared to new artisans. In the past it’s been about 50 percent returning artists and 50 percent first-timers; this year, expect it to be more of a 60-40 ratio. The increase in returning artists has come about because of changes in the selection process designed to enhance celebration of the market’s 10th year, Torres said. “We wanted those artists who have been coming for several years to help us celebrate the milestone of our 10th year.” Many of the artists who have been here before are featured in a new book by Carmella Padilla, The Work of Art: Folk Artists in the 21st Century. “Those attending the market can read about their favorite artist in the book and then meet them in person,” Torres said, noting that part of the market’s charm and success is that patrons get to develop personal relationships with the artists over the years. The selection committee must ensure that artists meet the market’s craft quality standard and cultural heritage significance and take into account the artists’ proven ability to take advantage of business opportunities even beyond the market. One of the biggest goals, he said, is to “create more opportunities for artists worldwide.” Because just getting to the United States is a major accomplishment for many, artists attempt to make the most of their trip to the states, scheduling other events around the country as they can. “Many of our artists and participants go on to other cities, New York or D.C.,” Torres said. “[The Santa Fe market] is their main focus, but they want to maximize their investment of time and money while they are here.” Several market participants this year will be traveling to Seattle to participate in an exhibit called Empowering Women: Artisan Cooperatives That Transform Communities at the Burke Museum of Natural History and Culture at the University of Washington. This year, Torres said, 59 countries will be represented at the market by 180 artists. For the first time, artists are coming from Egypt, the Ivory Coast, the Dominican Republic, the Kingdom of Tonga, Macedonia, Myanmar and Timor-Leste. Many of the artists are members of 28 collaboratives representing a total of 6,983 members — 5,892 women and 1,001 men.
Llhasa Villages Coop, China (tibet)
alliance aims for broader reach a visit to the International Folk art Market last year by U.s. state Department women’s issues officials did much to spur former secretary of state hillary Clinton to create the global alliance for artisan enterprise in November. ahdina Zunkel, the market’s director of artist development, said seeing the market in action as a place of commerce and cultural exchange inspired the office of Women’s Global Issues delegation to move the idea of such an alliance of government agencies, businesses, artists’ markets and artists from concept to actual creation. Visiting officials met the artists in person and attended pre-market training workshops in which artists learned about cost, pricing and marketing techniques and got suggestions “on how to tell their stories,” Zunkel said. “It just kind of all came together for them,” she said of the state Department officials. Clinton and Melanne Verveer, the former U.s. ambassador at large for women’s global issues, have been pushing for increased awareness and development of the artisan sectors of global economies through such a worldwide effort. In most, if not all, developing nations, Zunkel said, the artisan sector is second only to agriculture as a driver of economic growth. Verveer is expected to attend this year’s market, speaking at various events over the market weekend. the alliance hopes to create sustainable retail opportunities beyond the santa Fe market by helping to eliminate such barriers as poor communication, lack of access to email and other digital modes and problems with visas and shipping, Zunkel said. “It would help us expand our mission beyond what Folk art Market is able to do now.”
Tri Suwarno, Indonesia
Sita Devi Karna, Nepal
PHOTOS ROBERT SMITH
DOWNTOWN PARKING nta F e
Old S a
S. C apit ol
State Capitol Overflow Parking
E. De Varg a
to downtown Plaza
Pera Building FREE PARKING
Paseo de Pera
SOUTH CAPITAL PARKING
Joseph Montoya Bldg.
SOUTH CAPITOL STATION
St. Francis Dr.
New Mexico Dept. of Transportation
FREE PARKING Harold L. Runnels Bldg.
Offsite parking is available for all International Folk Art Market events held on Museum Hill between July 12 and July 14. Free parking and shuttle service is available from the P.E.R.A./Lamy building parking lots located on the northeast corner of Paseo de Peralta and Old Santa Fe Trail (immediately east of the New Mexico State Capitol). Buses pick up from and return to the front of the Lamy building. Overflow parking is available in the State Capitol parking deck located at the corner of West Manhattan Avenue and Galisteo Street (entrance on Galisteo), one to two blocks from the Lamy pick-up site. You can also park in the lots surrounding both the Runnels and the Department of Transportation buildings. These lots are located in the block between St. Francis Drive, Cordova Road, Cerrillos Road and Alta Vista Street. In this area buses load from the west side of the bus platform at the South Capitol Railrunner station. Santa Fe Trails buses are fully ADA compliant with wheelchair lifts. Call 505-955-2001 or 866551-7433 for more information. There is NO public parking on Museum Hill during the International Folk Art Market.
Alta Vista St.
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It’s not a weavIng, It’s a well.
20 2013 International Folk Art Market | Santa Fe
The arT of opTimism artisans turn traditional crafts into community stimulus B y S ta c i M at l o c k The vibrant crafts for sale at the International Folk Art Market | Santa Fe are more than beautiful artwork. They also represent hope and transformation for communities around the world. With every stitch, every bead, every brushstroke, the artisans who create the handiwork are striving for a better future for their families and neighbors. Leading the way are talented entrepreneurs — like Janet Nkubana of Rwanda, Ramu Devraj Harijan of India and Rebecca Lolosoli of Kenya — who realized their traditional skills could be the foundation of new livelihoods and helped turn the practical arts of their cultures into thriving folk art businesses that support whole communities.
Women at the community well in a small village near Bhuj in the Banni region of Kutch, on the IndoPakistan border. Jean Zunkel
Many Folk Art Market | Santa Fe artists rise above unbelievably difficult personal challenges to launch their endeavors. Nkubana, who started the Gahaya Links Cooperative with her sister Joy Ndungutse, grew up in a Ugandan refugee camp in the 1990s surrounded by extreme poverty. She was able to attend school on a church scholarship. Learning to read and write would help her help others when the sisters launched the basket-weaving cooperative in their native Rwanda. That Nkubana had learned the craft from her mother, a master weaver, was equally important to their success. The sisters returned to a Rwanda ruined by the bloody conflict. “Life in the country was a stark reminder of life in the refugee camp, with no food or water and people devastated, with no hope for tomorrow,” Nkubana said in her market statement. Nkubana and Ndungutse started a hotel. Impoverished women and children still suffering the emotional fallout from losing loved ones soon were begging at the door for help. They began to bring the sisters baskets they had woven in the traditional Rwandan style, a practical craft passed down through generations of women. Nkubana realized opening a small gift store in the hotel would give the women a venue to sell the items. The women persevered and their lives slowly began to improve. The gift shop lead to her next idea — to form a weaving cooperative and market the wares more broadly. “The challenges we faced were mainly the consequences of the 1994 genocide against the Tutsi in Rwanda,” Nkubana said. “The communities were divided. Genocide survivors did not want to meet the families of the people who killed their families.” Nkubana and Ndungutse started the cooperative with 20 to 30 women. They called it Gahaya Links, after their father’s clan. The women wove sisal, raffia and sweet grass into the traditional baskets and wall hangings used for storage, wedding ceremonies and as gifts. In the cooperative, their work became art valued for its intricate designs. As the business began bringing in income, the results rippled through their communities. “When women
started getting income from the hand-woven products, the first thing they did was to address home needs like buying clothes, blankets, mattresses, cooking utensils and taking children to school,” said Nkubana. “They started looking well-groomed because they could afford a decent meal and soap to wash their clothes. All families paid up their health insurance. From savings they bought domestic animals like cows, goats and pigs. Some started small businesses.” Beyond improving their home lives, Nkubana said, “[the business] helped in peace and reconciliation in Rwanda, because the first woman who forgave the husband of her neighbor who killed her family was from one of our cooperatives.” The cooperatives have grown to 3,527 members, of which more than 300 are men. For her work, Nkubana, a single mother of five, was awarded the Hunger Project’s Africa Prize for Leadership for the Sustainable End of Hunger in 2008.
Transforming community Ramu Devraj Harijan comes from a long line of entrepreneurs in India, dating back to his grandfather, who started a small business stitching old textiles into mattresses. Fascinated by quilting and design, he has created a thriving venture that has benefitted both his family and village. “The business has changed my whole family’s life and the community’s life too,” Harijan said through an interpreter. The family is from the Banni region of Kutch, known for its cattle breeders and leather artisans. The area lacked schools, and Harijan grew up unable to read or write. After learning leather work, he turned his attention to piecing and embroidering quilts. He made his first quilt at age 12 and went on to study the designs used in other households. His family joined in the endeavor. Others Ramu Devraj Harijan
Joy Ndungutse JAne BeRnARd
laughed at first, Harijan said in his artist statement, but as the quilts began to sell, they asked to learn. Traditionally, women in the community make richly embroidered textiles for their dowries. Men usually cut the tiny pieces of mirror placed on the textiles and help with designing and sewing material pieces together. The women finish the pieces with intricate embroidery. Harijan learned all aspects of quilt making and embroidery from his parents and then expanded on the craft. Now he spends a couple of days each month studying a friend’s coffee table books about crafts. Still unable to read, he memorizes the pictures and tries replicating the designs on the quilts. According to his artist statement, he also “started experimenting with the use of various embroideries from surrounding villages of different communities.” Harijan branched out into bags and cushions and began hiring neighbors to learn the craft. An exporter now purchases many of the quilts and other embroidered works produced by the cooperative. His desire to expand the business is hampered by his own illiteracy. With the help of a brother who studied in the village’s new school, Harijan hopes to continue expanding his market and create more jobs.
“My dream is to provide work to all illiterate peoples [in the community],” Harijan said.
Social investment In 1990, near a wildlife preserve, a group of women established Umoja, a small village in the Samburu District of northern Kenya that its founder, Rebecca Lolosoli, envisioned as a safe haven for women fleeing rape, spousal abuse, genital mutilation and forced marriages. The women sold beaded jewelry to support themselves. They saved enough money to purchase the land for their small village, facing opposition and threats of beatings by men, according to the group’s website. “They said this was because of me and that they had to shoot me to get their women to be women again,” Lolosoli wrote. The village grew to 60 women, weathering defections as it evolved. One group of women left in 1995 to form another village, Nachami Women’s Group, and another left in 2011, unhappy with Umoja’s management, to form Unity. Umoja responded by revamping its structure. “The issues of leadership and infrastructure continue to be a challenge to Umoja,” according to the group’s website. Still the community perseveres. Revenues from the jewelry sales to tourists go back into the Umoja cooperative. The Umoja Women’s Fund pays the women for each beaded item at more than twice the Kenyan fair wage. A portion of the revenues from online and retail sales is also divided among the women. The all-woman village offers health care and classes in Swahili, English and basic mathematics. The women also RIccARdo gAngAle
22 2013 International Folk Art Market | Santa Fe
choose projects — such as scholarships, an 8,000-liter water tank and business training for the artisans — in which to invest a portion of the craft revenues.
A helping hand The International Folk Art Market | Santa Fe has helped these cooperatives and their founders expand their markets and build their business skills. Harijan learned about the market from the Internet. When he was accepted, “our routine business got a swing to the sky,” he said. The market showed him he needed to seek higher quality materials for the higher end quilts for foreign markets. The switch has boosted sales, allowing him to pay better wages to his assistants, he said. Nkubana said her first experience in Santa Fe at the 2008 market was “a dream become a reality. I had always wished to meet artisans from across the world, learn their cultures and see their crafting techniques.” Every visit to Santa Fe, she said, is “a learning experience.”
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MusIc on the Move Malian desert festival tours the world with message of peace By GaBe Gomez There is mystery in world music. More succinctly, there is mystery in what most people think about world music. Neatly packaged and carefully branded compilation music sets, like the ones produced by Putumayo World Music, for example, do little to capture the complexity and context of the environment in which the music originates. The confluence of voices and rhythms that inform and shape the foundation of international music may simply be overlooked or romanticized into innocuous entertainment. “There are perpetual debates about ‘world music’ and whether [the term] means anything. After all, isn’t all music world music?” Neal Copperman commented in an email interview. Copperman is the director of AMP, a local nonprofit that produces shows like ¡Globalquerque! New Mexico’s Annual Celebration of World Music and Culture, which takes place in the Duke City every September. AMP also has been booking the musical entertainment at the International Folk Art Market for the last three years. “Whatever you want to call it,” Copperman said, “I always feel like the presentation of international music always has an educational component to it.” On Wednesday, July 10, ¡Globalquerque! and the International Folk Art Market present Festival au Désert: Caravan for Peace Concert, an unprecedented performance by renowned Malian musicians Mamadou Kelly, Tartit and Imharhan at the Lensic Performing Arts Center in Santa Fe. According to Copperman, the Lensic event is the U.S. debut of this touring festival in exile as well as the official kickoff of the 2013 International Folk Art Market. To truly understand the importance of the tour, one must first understand the importance of a music festival nestled in the sand dunes of Mali. For a decade, musicians from the region, including the late Ali Farke Toure and others from Niger, Mauritania and the nomadic Tuareg tribe, gathered in an isolated location and played what can best described as roots music, or what film director Martin Scorsese famously described as the “DNA of the Blues” — a sound that has motivated artists like Robert Plant, Ry Cooder and Bono to undertake musical pilgrimages to the event. The Festival au Désert will not be held in its accustomed place this year because of the civil war and political unrest in Mali, so many of the musicians involved with the event have embarked on various world tours, hopeful that their stories will bring awareness to the situation in their homeland and ultimately help restore peace. “With the civil war and unrest in Mali, not only is it too dangerous to try to stage the festival,” Copperman said, “[but] it is actually too dangerous for the artists themselves to return to their homes. There has been an effort to keep the music and culture of Mali in the public eye, with artists who are viewed as criminals under sharia law banding together to spread the musical message. The story of the tour is sad and compelling, but the music is magical and captivating.” Helen Lyons, a former finance director at the International Folk Art Market and a current market volunteer, is both an advocate for and deep admirer of Malian culture. Judging from her bookcases lined with various travel and history 24 2013 International Folk Art Market | Santa Fe
books on Mali, artwork collected on various trips to the North African country and a large number of vinyl records and compact discs, she sees the July 10 concert as more than a night of entertainment. “This concert,” she said, “is exposure to how Malians really live on a daily basis. Music is not merely produced for commerce. Musicians are a caste of people, and they play a central part in their oral histories. The music goes straight to the heart of the culture and the people.” This sentiment is emphatically echoed by Copperman: “In most cultures around the world, both music and craft arts are an integral part of the community. African tribes have a long tradition of musicians being historians and reporters, telling tales both contemporary and historical in their music. This is still true in many cultures. The corridos of New Mexican culture are in that same tradition, and it is prevalent in Native American culture too.” One merely has to listen closely to understand that the music of Mamadou Kelly, Tartit and Imharhan goes far beyond mere entertainment. This music is as important to the sustainability of Malian culture as the goods sold at the market. In this, the International Folk Art Market has stepped up and become an important advocate for those who are entrusted with the vitality and health of their respective communities through music. Copperman said it best: “Instead of bringing the world to Mali, they are bringing Mali to the world. From soulful Malian blues, to traditional trancelike nomadic music, to the intense, electric, modern sound of the Malian desert, this concert will be a stunning example of culture in motion and an unforgettable opening for the 10th Annual International Folk Art Market.”
Details Festival-au-Désert: caravan for Peace concert 7:30 p.m. Wednesday, July 10 Lensic Performing Arts center, 211 W. san Francisco st. tickets ($25-$40) available at Lensic box office, by calling 505-988-1234, or online at lensic.org For more information about the concert, visit folkartmarket.org.
Featuring an incredible selection of jewelry, overstock, closeouts, and one-of-a-kind samples - to a fantastic selection of beading supplies, all at fabulously reduced prices!
Folk Art Market Fri, July 12th 10am - 5pm â€˘ Sat, July 13th 9am - 5pm Spanish Market July 27th and July 28th Indian Market August 17th and August 18th Look for our tent at the NW corner of Paseo de Peralta and 414 Old Taos Highway â€˘ Santa Fe, NM www.peyotebird.com 505-986-4900 2013 International Folk Art Market | Santa Fe 25
The long And shorT oF IT Film and videos add a new dimension to the market experience phoTo dAvId evAns
It’s not a textIle, It’s a transformatIon.
26 2013 International Folk Art Market | Santa Fe
Made in Madagascar New film takes viewers deep into the lives of folk artists By Zélie Pollon Organizers of the International Folk Art Market|Santa Fe know well that visitors come as much to hear the artists’ personal stories as to purchase their distinctive and beautiful wares. The artists’ tales of success are particularly inspiring — of children going to school, of medicine bought and homes built, of women becoming independent for the first time in their lives. These success stories are what make the market the exceptional event it is, and for years organizers have wanted to follow an artist home and document the impact of his or her market experience firsthand. This year, in honor of the market’s 10th anniversary, one such story has been captured on film to be shared with visitors over the weekend event. The Silkies of Madagascar is a beautiful, award-winning testament to the power of the International Folk Art Market to positively affect the lives of thousands of people around the world. Award-winning National Geographic photographer and filmmaker David Evans was chosen to create the half-hour film chronicling the lives of the silk weavers of Federation Sahalandy, a collective of 90 women, as they returned home from market with onceunimaginable earnings. Whereas the pay of a weaver on the remote island off Africa’s east coast usually averages about $400 a year, in 2011 the federation reaped more than $32,000 during three days in Santa Fe, of which members took home 90 percent. In 2012 they earned more than $37,000 at the market and an additional $10,000 in wholesale sales. “Access to buyers overseas has changed the lives of every member of our federation,” said weaver Rado, who will be representing the collective also known as the Silkies at this year’s market. “Before, if women needed something, they had to wait for money from their husbands. Now, with our own money, we don’t need to wait for anyone.” Polly Ahrendts, co-producer of the film, said Federation Sahalandy was chosen for the film from hundreds of market participants for several reasons: It was a collective, so funds would
affect an extended community, and because the tradition of collecting silkworms and creating cloth has been handed down for generations. (The fabric woven by the Silkies was originally used to shroud the dead, and the film captures the tradition called “turning the bones,” whereby the bodies of ancestors are removed annually from their burial ground to be honored.) The group was also selected because the Silkies demonstrated long-range planning, using some of their earnings to build three bungalows to be used by eco-tourists. Another reason to highlight this group is that federation funds are being used to reverse the impact of deforestation on Madagascar, Ahrendts said. Silkworms live in tapia trees, and the women’s success demonstrates the value of the forests that remain and the need for reforestation. The film quality of Silkies — two years in the making — is exceptional, and the imagery of the lush, green, terraced hills of Madagascar is stunning. But its greatest appeal is the story of how Peace Corps volunteer Natalie Mundy reached out and created a fair-value, international market for the silk weavings of the women of Madagascar. In so doing, Mundy changed the women’s lives and introduced to the larger world an ancient art form that has always been a way of life to the people of that island. Evans’ three-minute screener for the film has already won the CINE Golden Eagle Award; the full documentary was screened in May at the prestigious 2013 Women Deliver global conference in Kuala Lumpur. Reading stories about Federation Sahalandy is one thing; seeing the glowing, ebullient smiles and the reach of the women’s market success is quite another.
Details The Silkies of Madagascar will be screened at 10 a.m., 1 p.m. and 2 p.m. on Saturday and Sunday, July 13 and 14, in the Museum of Indian Arts & Culture auditorium on Museum Hill. The film is free with admission to the market. 2013 International Folk Art Market | Santa Fe 27
Five in focus Brief videos enrich market experience The International Folk Art Market has produced a handful of short videos that feature five artists from around the world — some who are new to market and others who are repeat vendors. The videos are less than five minutes each, more coarsely made than the Silkies documentary — thankfully there are subtitles throughout — but often perfectly in line with the rural nature of many of the artisans. It’s a chance to see a bit further into the lives and communities of each artist, making for a richer and deeper connection to everyone who has made his or her way to Santa Fe. Lila Handicrafts from Pakistan first attended the market in 2004 selling ralli quilts made of local cotton and decorated with ancient geometric patterns and natural dyes. Started by Surendar Valasai, his brother and mother, the collective is not only reviving an ancient art form, but also showing the value of women as economic contributors to their families. With the funds from the market, the collective has established the Santa Fe Desert School for the children of the artists, both boys and girls. The SEWA Trade Facilitation Center is featured in another short video that shows the power of sales for 15,000 artists in India’s Gujarat Province. Creating a market for women’s work at a fair price was part of the project, but providing water security, food, medical services and a group savings scheme allowed the community to stabilize and thrive. One artist is quoted as saying, “The lives of my family hang on the threads which I embroider, but with the help of SEWA and the International Folk Art Market | Santa Fe, those threads are getting stronger.” Yet another video introduces market newcomer Blaise Cayol, an artist from Tavel, France, who with his wife weaves wicker trays, baskets and racks. Cayol is deeply involved in French national heritage preservation and 28 2013 International Folk Art Market | Santa Fe
has helped revive a tradition of basket weaving that began to fade after World War II. Haitian work has always been popular at the market, and a video featuring artist Dubréus Lhérisson shows the intricacy of Haitian flags, which stem from ceremonial flags and banners used in West Africa. Lhérisson, who will appear at the market for the first time this year, learned much of his skill while living with a vodou priest and skilled flag maker. He says he is inspired by spirits who appear to him in dreams, and he freely experiments, for example by using cotton pads to give a three-dimensional effect. Over the years, Ecuador has sent several different indigenous groups to Santa Fe to feature glass seed bead jewelry. Two years ago the groups joined forces to become La Mega Cooperativa Artisanal de los Saraguros, which will have a presence at this year’s market. The video not only shows the beauty of glass seed bead jewelry, but it also demonstrates the power of collaborative work and collective industry.
To view the five videos as well as the trailer for The Silkies of Madagascar via the new quick response, or QR, codes that organizers will be placing around Museum Hill: 1. Download a QR Scanner Application on your smartphone. 2. Launch the application and center the QR Code on your screen.
3. The scanner app will direct you to the video. No smartphone? Use the following URLs to access the videos and trailer: 1. folkartmarket.org/silkies/ 2. folkartmarket.org/lila/ 3. folkartmarket.org/sewa/ 4. folkartmarket.org/haiti/ 5. folkartmarket.org/france/ 6. folkartmarket.org/ecuador/
MUSEUMS NOURISH THE SOUL
MUSEUM OF INTERNATIONAL FOLK ART New World Cuisine: The Histories of Chocolate, Mate Y Más NEW MEXICO MUSEUM OF ART It’s About Time: 14,000 Years of Art in New Mexico MUSEUM OF INDIAN ARTS & CULTURE What’s New in New: Recent Acquisitions NEW MEXICO HISTORY MUSEUM Cowboys Real and Imagined
2013 International Folk Art Market | Santa Fe 29
SuStAInAble SolutIonS Artists work to conserve the resources they rely on
A collective of silk weavers on the outskirts of Sandrandahy, a remote village in the central highlands of Madagascar has turned an ancient textile tradition into an international enterprise. 30 2013 International Folk Art Market | Santa Fe
By Megan KaMericK The International Folk Art Market | Santa Fe has always focused on preserving cultural traditions. But for many artists, preserving the environment is inextricably tied to that mission as well. “The supply of natural resources is one of the key stories in the world,” said Folk Art Market co-founder Judith Espinar. “Talking about these things enables all of us to understand that this is a bigger challenge.” By fostering sustainability of resources as well as culture, the market also helps create a response to “complacent consumer behavior,” where we do things out of convenience, said ManuelJulian R. Montoya, a professor at the University of New Mexico’s Anderson School of Management. “Our habits are formed by the relative ease of use and ease of access, so the world economy is being defined by that consumption pattern. The Folk Art Market creates a new social space to rethink what those consumption patterns do.”
Botswana Polly Ahrendts first met Thitaku Kushonya of Botswana as the woman sat alone, weaving, next to a three-legged pot in which she boils palm fronds and creates dyes from natural materials. She led Ahrendts, a member of the Folk Art Market board of directors, into a dusty pink building and flicked on the lights. “The walls were covered with the most exquisite baskets I’d ever seen,” Ahrendts recalled. Kushonya is an award-winning artist and innovator who also trains women from other villages in fine basket weaving. She shows them how to make a leak-proof weave with strips of dried palm fronds, how to find dye materials from indigenous bushes and trees, and how to tease out various colors through different techniques. She uses traditional patterns, such as the Tears of the Giraffe or the Urine Trail of the Bull, but then combines them with new designs and different stitching to create unique innovations. “Sometimes I dream about a new pattern,” Kushonya wrote in her market application. “I wake up and draw it, and then weave with the idea from that dream.” In her town, Maun, tourism is the biggest part of the economy and weaving offers a way for women to participate in this sector. Many are widowed or divorced and must raise not only their own children, but also those orphaned by AIDS. Kushonya also trains some of these orphans so they can support themselves. Ironically, conservation efforts for wildlife have hampered some of these efforts, according to Air Botswana Magazine. The movement of wild animals — such as elephants from the Chobe National Park to areas around the women’s villages — makes it difficult for them to gather some of the resources they need to make baskets. Kushonya has raised funds to create indigenous plantations in villages around the Okavango Delta to supply the women with sustainable sources of dyes. Women also trade among each other if they have trouble accessing resources. “Women have multiple ways of making sure supply is available,” said Rachel DeMotts, Mellon Associate Professor of Global Environmental Politics at the University of Puget Sound in Tacoma, Washington, who is researching a project on women and craft in Botswana and Namibia. “Many informal craftmaking groups monitor where and when resources are used and teach new weavers to cut properly so as not to kill the palm trees. They also rotate
The Cheque Oitedie cooperative
The power of your purchase Visitors to the International Folk Art Market | Santa Fe often come away with something more than purchases. “They feel like it’s something greater than the sum of its parts,” said Manuel-Julian Montoya, a professor with the Anderson School of Management at The University of New Mexico. “Even though it is organized by nationality, it is a creative global community. It’s thinking about the body of the planet and the needs of the planet and that’s a very rare thing.” Though a drop in the bucket in the overall global economy, the $2.5 million in anticipated sales over a market weekend represents a big payday for the participating artists. But it’s what happens afterward that is truly significant, Montoya said. “The way people talk about the value of folk art, the way people talk about the forces of preserving things made by hand — that becomes the really powerful and significant force.” This is a compelling counterpoint to what he calls “complacent consumer behavior,” where an incessant demand for cheaper prices fosters mass production and human exploitation. The Folk Art Market model empowers individuals — artists and buyers — by giving them the choice not to participate in that paradigm. It’s a myth that only the wealthy are willing and able to spend more on something that is handmade, said Montoya, who is from Mora, N.M., and sees the folk-art dynamic in this and other small communities in Northern New Mexico, even among those without much money. “If I go to any of my relatives’ houses, the vast majority of the work is done by hand or by trade,” he said. The average artist at the market makes around $17,000 during the weekend event. That’s a massive source of revenue for most, accounting for much of the annual income of these artists, said Montoya, who analyzed the market with his Anderson colleagues. He pointed to an artist from Niger who employs about 300 people in his nomadic community to meet the demand for his product. “He is the single biggest economic factor in his community,” Montoya said. The market also creates relationships that are transnational: Artists receive training while in Santa Fe on pricing, shipping, customs regulations and meeting buyers’ expectations. Mentors connect them with buyers in the wholesale and online sectors as well. “It encourages them to become deeply involved in relationships that provide consistent annual work,” Montoya said. 2013 International Folk Art Market | Santa Fe 31
which trees they use so as not to overtax them.”
Madagascar Federation Sahalandy in Madagascar is changing the lives of women in the country by training them in the traditional art of silk weaving and opening up more markets for the scarves, tablecloths, purses and other products they create — which offers the women more economic independence in the traditional society. Federation members are using techniques handed down for generations, including boiling wild silkworm cocoons, spinning with a drop spindle and dyeing with local sources such as bark and mushrooms. Indigenous silk is a symbol of national pride and cultural identity in Madagascar. But its production relies on pods from silkworms that only reside in the native tapia trees, which are increasingly threatened by human activity, including bush fires, firewood collection and charcoal production. Most of the people in the country’s highlands are rice farmers who also sell charcoal and firewood to supplement their income, and that’s impacting the tapia trees. To help protect the tapia trees essential to their art, Sahalandy members participate in a conservation association. Members have also initiated a fundraising campaign to rebuild a portion of the forest and are working to grow ecotourism by building three guest bungalows and a new showroom, said Natalie Mundy, a former Peace Corps volunteer who works with the federation.
Bolivia The Cheque Oitedie cooperative was formed in 1999 by women from the Ayoreo indigenous culture in Bolivia. For generations, they used the fibers of the garabatá fino plant to weave bags, baby carriers and clothing. But 40 years ago missionaries forced them to move from their homeland into areas where the plant was absent, said ethnobotanist Inés Hinojosa Ossio. The garabatá is part of the arid chacoan forest that is now threatened by agriculture and cattle ranching. Weaving with the plant has been part of daily life for Ayoreo women. It’s how mothers pass down knowledge they developed living in the jungle to their children, who only know jungle life through these stories. Weaving also creates a social space for women to discuss important community issues. So in 1998, the Ayoreo women began cultivating the garabatá on communal forest land and in personal gardens with help from Hinojosa Ossio, a MacArthur Fellow. They maintained the crop without harvesting it for nearly four years while they 32 2013 International Folk Art Market | Santa Fe
evaluated its cultivation and properties, then began planting it more widely to help assure a continuing source of the vital plant. “The sustainable management of the cultivated plants was eventually achieved through the wisdom of their traditional knowledge and the use of modern agricultural techniques,” Hinojosa Ossio wrote in an email — adding that maintaining weaving traditions strengthens concepts of identity among the Ayoreo and helps maintain cohesion in a rapidly changing world.
South Korea Kim Sunghee is on a personal mission to make natural dyes and fabrics the top choices for the fashion-conscious. Kim is Korean but has been living in Shanghai for 16 years and is the founder of Dyetree, a fashion brand that specializes in natural dyes. Kim works to revive ancient traditions using natural dyes and to persuade others to follow suit. At the Folk Art Market, she will showcase Korean traditional patchwork using natural dyes, a technique dating back to the 17th and 18th centuries that reflects the life and culture of Korean women in traditional society. The patchwork was a way to create beautiful things with scarce resources, Kim wrote in her artist application to the market. Women would gather leftover fabric pieces after making clothing and bedding. As they sewed them together, they prayed for health and peace in their families. Kim learned the process of natural dyes through her academic research, from historical documents and in field research with certain minority groups. She has had three exhibitions in China showcasing naturally dyed fabrics and published The Classical Colors of China in 2006. “Garments are a ‘second skin.’ I believe that soon more people will accept the concept that being fashionable is wearing natural and healthy fabrics,” Kim told Shanghai Daily recently.
Mexico Pedro Ortega Lozano is a master of papel picado, the colored perforated paper that is ubiquitous throughout Mexico around fiestas, quinceañeras and other celebrations. But he has elevated the tradition into a new art form, creating elaborate collages reminiscent of Baroque altar screens. His work was featured in the Great Masters of Mexican Folk Art, a program sponsored by Fomento Cultural Banamex in 2011. Lozano funnels many of his proceeds into preserving land and cultural traditions in the chinampa el cantador near his birthplace, San Pedro Tlahuac, on the eastern edge of
Pedro Ortega Lozano
Mexico City. Chinampas are artificial islands developed during the Aztec Empire to grow crops on shallow lakebeds, helping the ancient culture develop unique hydraulic and lake technology. Many of these islands have been severely impacted over the years by the draining of the lakes, the disappearance of some rivers supplying the area and encroaching urbanization — which in turn have led to a gradual disappearance of chinampa agriculture and many species of plants and animals. The Ortega family has controlled this area for generations and about 2,000 meters of land have been converted to pasture. The idea is to promote and foster chinampa culture through agricultural production and tourism. Part of this project includes developing seeds that are in danger of extinction. An on-site kitchen incorporates many of the traditional crops grown in the area for visitors to sample to get a taste of pre-Hispanic traditions. They can also learn how chinampas were created and how various plants are grown on these strips of land throughout the year. Since the size of the chinampa has increasingly deteriorated, efforts are ongoing to find new agricultural production alternatives, such as hydroponics. Espinar said these efforts may seem unrelated to Lozano’s art work, but it’s all part of preserving his heritage. Much of his work reflects his roots in the lake culture around San Pedro Tlahuac. “For Pedro,” she said, “anything traditional is related to his art and his beliefs.”
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1 Japan Mikio Toki 2 Ghana Boamah David Kwaku, Nketia Emmanuel and Jacinta Fosua Gyinae - Thread Foundation 3 South Africa Lulama Sihlabeni - eKhaya eKasi Art & Education Center 4 Indonesia Ida Bagus Anom Suryawan 5 Mexico Odilon Merino Morales 6 India Bhuribai, Suresh Durve, Santosh Maravi, Ramesh Tekam and Manoj Tekam - M/S Padmaja Srivastava 7 Lao PDR Traditional Arts and Ethnology Centre 8 Peru Bertha Medina Aquino 9 India Janmamad Salemamad Luhar - IndIKA 10 Uzbekistan Karimjon Rasulov 11 Mexico Anita Keb and Germina, Claudia May Sulu, Mili Baas, Juana Balderas - Fundación Haciendas del Mundo Maya, A.C. 12 Uzbekistan Mukhayyo Aliyeva 13 Haiti Georges Valris 14 India Rabari Pabiben Lakshman and Rabari Lachhuben Raja - Kala Raksha 15 Uzbekistan Gulnora Odilova 16, 17 Burkina Faso Boubacar Yampa, Boubakar Konate, Madjelia Traore Jofa African Imports 18 Palestinian Territories Hend H. A. Eleiwa and Somaya I. I. Abu Owda United nations Relief and Works Agency Sulafa Embroidery 19 Mexico Carlos Punzo Chávez and José Abdon Punzo Chávez 20 Myanmar Khun Shwe - Yoyamay 21 Russia (Republic of Tuva) Aldar Tamdyn - Ovaa, Xeimer-ool Dongak, Kenin Sat 22 Kyrgyzstan Aidai Asangulova 23 Botswana Thitaku Kushonya 24 Guatemala Amalia Gue / Ixbalamke Cooperative - Olga Reiche / Indigo 25 Myanmar Aung Than Tun, Khin Maung Htwe and Tin Tin Oo - Htwe Oo Myanmar 26 Mexico Angel Ortiz Gabriel and José Angel Ortiz Arana 27 Uzbekistan Sayfullo Majidov and Farukh Majidov 28 France Blaise & Flavie Cayol 29 Niger Daouda Mohamad - Cooperative d’Artisant Bijouterie Tagazte 30 Bolivia Ique Etacore de Picanerai and Adriana Etacore Picanere Organización Cheque Oitedie Cooperative 31 Mexico Berta Servín Barriga - Cooperativa Vasco de Quiroga, Textiles Bordados, Comunidad Santa Cruz A Tata Vasco, Municipio Tzintzuntzan 32 Peru Alberto Quispe Acuna & Ilda Quispe Acuna, Luis Espinoza Fernández, Lider Rivera Matos 33 Uzbekistan Zinnatulla Alembaev and Anvar Alimbaev 34 Vietnam Ly Ta May, Phan Ta May and Ly Pham May 36 Uzbekistan Khomid Zukhurutdinov & Nozima Usmanova - Cooperative Mulkijakhon 37 Israel Ben Zion David 38 China (Tibet) Kalsang Tashi & Kalsang Kezhi 39 China Lu Rong Xiang & Yang Cai Mei 40 Kazakhstan Iliya Kazakov 41 South Korea Yoon Young Giu - Icheon Ceramic Project Cooperative 42 Afghanistan Rangina Hamidi, Spoozmai Hamidi, Fareba Durrani, Parween Mohammad and Zia Jaan - Kandahar Treasure 43 Uzbekistan Rustam Usmanov & Damir Usmanov 44 Rwanda Janet Nkubana - Gahaya Links Cooperatives 45 Pakistan Naina w/o Sudhumal Surendar Valasai - Lila Handicrafts - Ralli Quilts 46 Madagascar Randrianomanana Mandimbihery Roger, Randrenarison Ramananjanahary René, Randriamanantsoa Seth and Randriamanantena Edmond - Cooperative Redona 47 Egypt Hassan el Shark 48 Peru Bernardo Pedro González Paucar 49 Uzbekistan Zarina Kendjaeva 50 Uzbekistan Fatullo Kendjaev and Firuza Khamraeva 51 Mexico Guadalupe Hermosillo Escobar 52 Cambodia Chantha Nguon - Stung Treng Women’s development Centre - Mekong Blue 53 Macedonia Katarina Doda 54 India Maheshwari Samat Maya 54 Peru Wilber Huaman Ciprian 55 India Ramu Devraj Harijan 56 Uganda Nusulah Kinene - Uganda Crafts 2000 Ltd 57 Uzbekistan Ikhtiyor Kendjaev 58 Lao PDR Orijyn 59 Nepal Manjula Thakur - Janakpur Women’s development Center (JWdC) 60 Haiti Josnel Bruno 61 Madagascar Marie Philbertine Razanamalala & Berthe Lalao Olga Razafinandriana - Federation SAHALAndY 62 India Tiala Marsosang Neufeld 63 Haiti Mireille Delismé 64 Kingdom of Tonga Lina Moa, Vaasi Kupu, Ema Latu’ila and Silia Latu’ila Tessa Horan Foundation 65 Thailand Somporn Intaraprayong and Ampornpun Tongchai - Chinalai Tribal Antiques, Ltd. 66 Uzbekistan Gulshod Gulamova & Alisher Muzafarovich Khaydarov 67 Ukraine Anna Nepyivoda, Lesia Pona & Nataliya Tereshchak 68 Uzbekistan Nazirov Askhat 69 Peru Nilda Callañaupa Álvarez and Adela Callañaupa Álvarez - Centro de Textiles Tradicionales del Cusco (CTTC) 70 Kyrgyzstan Farzana Sharshenbieva, Aichurek Dzhunushova, Kadyrkul Sharshembieva & Aitolkun Sharshembieva - 7 Sisters
71 Kyrgyzstan Zhanyl Sharshembieva & Sharshenbieva Aliya 72 Peru Esperanza Elena Palomino Palomino - Artesanías Antu 73 Dominican Republic Creaciones Ecológicas La Colonia Co-op / Uniendo Manos Dominicanas 74 Nigeria Akeem Ayanniyi 76 Uzbekistan Rasuljon Mirzaahmedov 77 Uzbekistan Jalol Avliyakulov 79 Haiti Dubréus Lhérisson and David Boyer 80 Chile Alba Rosa Sepúlveda Tapia and Wilfredo Alejandro Arriagada Sepúlveda - El Arte del Crin 81 South Sudan ROOTS of South Sudan on behalf of the ROOTS Project:, Juba, South Sudan 82 Nigeria Gasali Adeyemo 83 Panama Lubicia Membache, Giovany Peña Teucama - Micro-Empresas de Artistas Wounaan 84 South Africa Beauty Ngxongo- dept of Trade & Industry 85 Lao PDR Veomanee Douangdala and Banee Khounvillay - Ock Pop Tok 86 Spain Luis Méndez López 87 Peru Justo Jesus Cuba Flores 88 Mexico Porfirio Gutiérrez - Alana Coghlan 89 Mongolia Narantsetseg (Nara) Sambuu, Gerelkhuu Ganbold, Tuul Sanjdorj & Bayarchimeg Sanduijav - Hovsgol Park Cooperative 90 India Abdullah Mohmedhussain Khatri & Abduljabbar Mahmadhushen Khatri 91 Mexico Pedro Ortega Lozano 92 Hungary Levente Lehel Sütő 93 Mexico Pastora Asunción Gutiérrez & Violeta Vásquez Gutiérrez - Vida nueva 94 Peru Claudio Jiménez Quispe & Vicenta Flores Ataucusi 95 Namibia Anna Jors - Omba Arts Trust 96 India Santosh Kumar 97 China Huang Guangwen - Minority People Silversmith Folk Artists Cooperative of Southwest China 98 China Pan Yuzhen - Minority People Textile Folk Artists Cooperative of Southwest China 99 Morocco Lhoucine Taous - Azlag dagger Cooperative (La Cooperative Artisanale des Poignards Azlag) 100 Morocco Fatima Akachmar and Hind Akachmar - Cooperative Adwal 102, 103 Market Best of the Best 104, 105, 106 Mexico Herlinda Morales, Manuel Jerónimo Reyes and Cesar Torres Ramirez - Fomento Cultural BAnAMEX AC 107 Algeria Karim Oukid Ouksel 108 Japan Sumi Takamoto 109 Mexico Octavio Esteban Reyes 110, 111 Cuba Cenia Gutiérrez Alfonso, Carlos Alberto Cáceres, Roberto Domingo Gil Esteban, Nancy Reyes Suarez 112 Ecuador Flor María Cartuche Andrade - La Mega Cooperativa Artesanal de los Saraguros 113 Mali Aboubakar Fofana 114 Mexico Pedro Meza Meza and Juan Girón López - Sna Jolobil 115 Haiti Serge Jolimeau 116 Morocco Amina Yabis - Sefrou Women’s Button Cooperative “Cherries” 118 India Self Help Enterprise 119 Mexico Magdalena Pedro Martínez 120 UNESCO Central Asia 121 UNESCO South Asia 122 UNESCO Southeast Asia 123 UNESCO East Asia 124 Mexico Inocencia Hernández Ramírez - Museo Belber Jimenez 125 South Africa Sibusiso Gumede - The durban African Art Centre 126 South Africa Jabu Nala 127 Burkina Faso Habibou Coulibaly 128 Mozambique Camurdino Mustafa Jetha 129 China (Tibet) Dorje, Tsering Chompel, Nyima Chompel, Thupten Chompel, Lhakpen, Sonam, Samkye, Choedon, Diki & Trodok - Lhasa Villages 130 Kenya Beads of Esiteti 131 Uzbekistan Sayfullo Ikromov & Salimjon Ikramov 132 Kyrgyzstan Mairam Omurzakova - Altyn Kol 133 Turkey Ayse Kurt 134 France François Fresnais & Sylvie Fresnais 135 Niger Elhadji Koumama 136 Venezuela Aurora Rodríguez de Caura - Earth Bound, Inc. 137 Colombia Reinel Mendoza Montalbo - divino nino Cooperative / Earth Bound, Inc. 138 Mexico Mariano Cilau Valadez 139 Uzbekistan Otabek Irmatov 140 Swaziland Thembi Dlamini - Tintsaba Crafts 141 Timor-Leste Cipriana Amaral - Feto Forte Quelica Weavers Group 142 Peru Hilda Valeriana Cachi Yupanqui & Sonia Cachi Yupanqui 143 Palestinian Territories Hamdi Alnatsheh & Hamzeh Natsheh - Hebron Glass 144 India Puriben Vaghabhai Ayar, Gauriben Ramabhai Bramin & Ramiben Ratna Rabari - SEWA Trade Facilitation Center (STFC) 145 Peru Mamerto Sanchez Cardenas - Arts and Treasures from Latina America 146 South Korea and China - Kim Sunghee and Lin Duomei - dyetree 147, 148 Pakistan Mohammad Yousaf, Begum Bibi, Abi Gul & Rehmat Ali Poetic Threads of Pakistan 149 Kyrgyzstan Erkebu Djumagulova
2013 International Folk Art Market | Santa Fe 35
desIgns thAt deFIne Colors, patterns, placement convey rich cultural traditions B y S ta c i M at l o c k Using art to define and document our place in the world is a trait humans share across time, culture, religion and race. Some motifs emphasize that universal commonality, while other symbols — from national flags to tattoos, currencies to tapestries — are more tribal, serving as a kind of shorthand for people who share a history, belief or experiences, and ensuring that a culture’s past is remembered by future generations. The meaning of the symbols used by a particular indigenous group is passed from person to person, generation to generation. But unless the significance is written down or passed on orally, the original meaning of the motifs can be lost, according to the American Folk Art Museum’s website. Artists at the International Folk Art Market, then, are not only artisans — they are also ambassadors of their individual cultures, telling the stories that help promote and keep alive the traditional meanings behind the symbols used in their tapestries, jewelry, carvings and pottery.
Center for Traditional Textiles of Cusco, Peru
Weaving is a folk art shared by many traditional cultures, with the different symbols and designs in the textiles distinguishing among tribes, clans or villages. Motifs can also change depending on the purpose of the art piece. A woven cloth for everyday use, for example, will be different in symbols and design than one made for a wedding, as a dowry or for a funeral. Among the Chin weavers of Myanmar are at least 40 clans — each with its own distinct motifs. The differences can be so subtle to anyone who is not a member of one of those subgroups that it takes an expert like textile merchant Pa Mang and textile gallerist Khun Shwe to identify and describe them. Mang, a former veterinarian, now trades in textiles and wrote his anthropology thesis on the textiles of the Chin people; Shwe works at the Yoyamay Ethnographic Textile Gallery in the Yangon province of Myanmar. Motifs on the woven clothing of Chin women may have similar meanings among the clans, but the placement of the symbols and differences in designs are distinctive to
each group. Where a woman’s tunic from the Chinpong clan, for example, will have the motifs on a band toward the bottom, a Khamau woman’s tunic will carry the motifs toward the top on a wider band. The symbols used by each culture are also clues to what they value. Among the Chin weavers, for example, a four-eyes symbol called a mithli symbolizes a family’s commitment to taking care of parents from both sides of a family. Motifs called shak uum represent dried gourd containers used to keep seeds and symbolize the wish for a good harvest. Many of the symbols in their weavings are related to family and children. Among the Dao in Vietnam, the embroidered patches called Loui Tan (the Seal of Pan Hung) sewn onto the women’s trousers tells which group they belong to, and the type, complexity and placement of the patches tell where the woman is from and her age. “It is a showcase of her personal talent,” said Red Dao weaver Ly Ta May in her artist statement. Dao women wear meticulously embroidered clothing every day, whether tending their fields or going to the market. For special occasions, such as weddings, they will wear their most elaborate and intricately designed hats, tunics and scarves.
Beyond bling Jewelry also can distinguish one group from another. The designs of Tuareg crosses, for example, made by men of the tribes in Niger, represent different villages and not a religion, according to Folk Art Market master silversmith Elhadji Mohamed Koumama. Koumama and the artisans who work with him live in Agadez on the edge of the Sahara. “The cross of Agadez not only represents the town but also stands for love,” he said. Among the Tuareg, a groom will traditionally give his bride a diamond-shaped pendant, an egougou, after they have been married for three days. A large pendant inlaid with large stones is worn for festivals and marriages. Tuareg jewlery, said Koumama, “is steeped in symbols and meaning. Shapes that look like hearts are the camel footprints in the sand. A larger circle with a smaller circle inside is the footprint of the jackal. Triangles are a symbol of good luck.” The folk art skills practiced by many of the
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Ly Ta May, Vietnam
people who come to the International Folk Art Market form a core part of their identity, carrying the motifs and their meanings with them through the generations, in much the same way creation stories and traditional ceremonies are practiced and passed along. Koumama’s silversmithing skills were passed to him by the men in his family dating back “for generations beyond counting,” he said.
Teaching traditions In the modern world — one that relies on currencies to raise villages out of poverty — demonstrating that traditional arts and symbols are valuable commodities at folk art markets is an important part of preserving and passing cultural knowledge to a new generation. Nilda Callañaupa Alvarez recognized this need when she founded the Center for Traditional Textiles (CTTC) of Cusco, Peru. Alvarez, author of Weaving in the Peruvian Highlands, an authoritative book on the symbols and styles used by Peruvian weavers,
started the association to help the weavers build markets for their traditional textiles. “Our techniques and the patterns of our textiles have been carried [through] many centuries, from pre-Inca, Inca and the colonial period of our history,” Alvarez said in her artist statement. “The revitalization of these traditions has been a critical work for our project.” Weaving in Peru honors Pacha Mama — Mother Earth. The designs representing earth, animals, plants and people in Peruvian tapestries symbolize the traditional ties between the land and its people. The CTTC has succeded in coaxing young people back into weaving so the links to Pacha Mama aren’t lost completely. “We have established a young weavers group in each center so we can teach the children,” Alvarez said. Artists are usually happy to explain the meaning of symbols in each piece they bring to market. When visitors understand the stories and meanings behind the motifs, the pieces they buy become more meaningful — and the purchases help keep the meaning of ancient symbols alive.
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2013 I n t e r n at I o n a l F o l k a r t M a r k e t a r t I s t s
It’s not a basket, It’s a brIdge.
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AFGHANISTAN Khamak embroideries of Southern Afghanistan
Rangina Hamidi Kandahar Treasure Booth 42 The fine needle embroidery called khamak is a trademark of Kandahar women traditionally used to decorate clothing for male relatives and children and for trousseaus. 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. Kandahar Treasure promotes a unique and traditional art form to create income sources for women.
Khamak embroideries of Southern Afghanistan
Spoozmai Hamidi Kandahar Treasure Booth 42 Initially started as an income generation project within the organization Afghans for Civil Society, Kandahar Treasure is now a viable, self-sufficient women’s business — a transition made possible by participation over several years in the Folk Art Market. Kandahar Treasure has gained both clientele and increased access to markets. Since its founding, artists like Spoozmai Hamidi have worked hard to revive the ancient art of khamak embroidery, taking great care to preserve its traditional designs that were almost lost during the decades of conflict that the people of Afghanistan have suffered.
Khamak embroideries of Southern Afghanistan
Fareba Durrani Kandahar Treasure Booth 42 Kandahar Treasure is a women’s artisan cooperative in southern Afghanistan that specializes in a geometrically designed, handstitched embroidery known as khamak. Fareba Durrani is one of numerous cooperative members who have found this art form to be an outlet for self-expression and for dialogue. Each artist utilizes a unique stitch to create traditional geometric designs inspired by the Islamic art of geographical and mathematical shapes. Traditional khamak embroidery is done with silk thread and stitched onto cotton or linen. Through this delicate art form, the women of the Kandahar Treasure cooperative have been able to become financially more independent.
Khamak embroideries of Southern Afghanistan
Parween Mohammad Kandahar Treasure Booth 42 Kandahar Treasure is a women’s artisan cooperative in southern Afghanistan that specializes in a geometric design, handstitched
embroidery known as khamak. Parween Mohammad is one of numerous cooperative members who have found this art form to be an outlet for self-expression and for dialogue. Each artist utilizes a unique stitch to create the geometric designs inspired by Islamic art. Traditional khamak embroidery is done with silk thread that is stitched onto cotton, linen or silk. The embroidered pieces are then used in pillows, pouches, hand bags, shirts, scarves and shawls. Through this delicate art form the women of the Kandahar Treasure cooperative have been able to become more independent financially.
Khamak embroideries of Southern Afghanistan
Zia Jaan Kandahar Treasure Booth 42 Kandahar Treasure, an independent embroidery cooperative in southern Afghanistan, got its start almost six years ago when a group of women banded together to become owners and leaders of their own business. Their repeated success as participants in the International Folk Art Market in Santa Fe was the primary catalyst for this cooperative. Kandahar Treasure now employs over 370 women. Today, women like Zia Jaan have an independent livelihood and source of income in the war-torn region of Kandahar.
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. But soon the grass was overharvested. Inés Hinojosa Ossio, a Bolivian ethnobotanist and MacArthur Fellow, helped the Ayoreos organize to replant the grass species on their reserves, and in personal gardens, in order to provide a ready resource for their bags and other weavings.
BOTSWANA Baskets woven from Makalani palm leaf fibers and dyed with dyes from tree bark and roots
Thitaku Kushonya Booth 23 Thitaku is a master weaver who makes open-style baskets woven from makalani palm leaf fibers and with dyes from tree bark and roots. She learned to weave from her mother, following in the footsteps of many generations of women. Thitaku began weaving baskets at age five. Incorporating traditional designs in her baskets, Thitaku weaves in a style common in Botswana, adding her own creative and design elements. Thitaku teaches young girls and runs a shop in Maun to help other women weavers make a living from basketmaking. Her baskets have won national awards for their distinction and quality.
Enamel and inlay jewelry
Karim Oukid Ouksel Booth 107 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.
BOLIVIA Bags, skirts, flat panels, belts, bracelets and honey pots woven by the Ayorea from fibers of the garbatá fino plant
Ique Etacore de Picanerai and Adriana Etacore Picanere Organización Cheque Oitedie Cooperative Booth 30 Ique and Adriana are Ayoreo Indians from the Bolivian savannah, an arid and 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
Bobo bronze pendants, amulets and animals Boubacar Yampa Supported by Jofa African Imports Booths 16, 17 Boubacar (Angelo) Yampa’s father died young. Unable to complete his education, Angelo sought ways to supplement his mother’s meager income. Some of the neighbors in his compound made and sold cast bronze objects and Angelo learned the art of bronze casting from them. Bobo bronze art is made using the lost wax method. This involves forming beeswax into a desired shape that is then encased in clay and dried to make a mold. Molten bronze is poured into the mold. The clay is removed and the unfinished bronze piece is then smoothed with files and sandpaper. A patina is applied as the last step in the process. Many of Angelo’s designs are generations old and include copies of excavated pieces. As animists, many people of his community wear talismans to ward off evil or manifest good. These include figures to induce fertility, cure illness, beckon wealth or conjure love.
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S Bobo carved wood masks, stools and game boards
Boubakar Konate Supported by Jofa African Imports Booths 16, 17 With almost half a million people, Bobo-Dioulasso is the second largest city in Burkina Faso. The Konate family has been involved with Bobo art for several generations. Gaoussou Konate, the patriarch, was a wellknown mask maker who was often called upon by elders of neighboring villages to replace ceremonial masks ready for retirement. As his sons grew, Gaoussou brought them into the family business by teaching them the history and culture of Bobo, along with the techniques for carving and decorating masks. Boubakar and his siblings have continued in their father’s footsteps, carving animal-shaped stools and board games as well as the coveted masks. The shapes of the carvings frequently represent the spirits of the bush, which manifest themselves in animal form. These spirits are thought to be able to influence the physical world through bountiful harvests, physical well-being, marriages, etc. The same spirits/animals, in mask form, might also represent a clan’s totemic symbol in the shape of a particular bird, mammal or reptile.
Strip loom woven, indigo-dyed fabric, including women’s wraps
Madjelia Traore Supported by Jofa African Imports Booths 16, 17 Madjelia Traore is an indigo dye artist from Bobo-Dioulasso, Burkina Faso. Her hand-stitched and dyed fabrics are traditionally worn by West African women as cloth wraps around the waist and are also used to carry babies, tie up clothes or wrap one’s head. The cotton is purchased from outlying villages and hand-spun into coarse thread. Using strip looms, the thread is woven into long pieces of narrow cloth and sewn into wearable panels by local city tailors. Madjelia learned her elaborate design technique through a women’s artisan cooperative in Bobo. Her art begins with the wearable panels purchased from the tailors. First, she stitches designs into the panels and dips the whole cloth into a vat of indigo. Once the cloth dries, the stitches are removed and the designs revealed. Traditionally, the handstitched designs helped identify particular tribes. Today, they are frequently bought by city women who tailor the panels into beautiful dresses for special occasions.
Bogolan mudcloth and indigo dye textiles, hats, scarves, bags, bed covers, tablecloths, runners and curtains Habibou Coulibaly Booth 127 Habibou creates textiles using a mud cloth, or bogolan, technique and vegetable-based dyes. In his native Burkina Faso, this craft is typically learned through apprenticeship or passed down from father to son. Ethnic groups in neighboring Mali,
Guinea and the Ivory Coast share similar techniques for creating textiles. The textiles were traditionally used for camouflage for hunting and during important ceremonies such as marriages and circumcisions.
CAMBODIA Silk clothing, accessories and wall hangings woven in traditional Khmer style
Chantha Nguon Stung Treng Women’s Development Centre — Mekong Blue UNESCO Award of Excellence Winner Booth 52 Chantha started the Stung Treng Women’s 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. The Mekong Blue silk products are now regarded as one of the finest silk products in Cambodia.
CHILE Horsehair weavings
Alba Rosa Sepúlveda Tapia El Arte del Crin UNESCO Award of Excellence Winner Booth 80 Alba Sepúlveda began hand weaving delicate miniature sculptures and designs out of horse hair at the age of seven, and has been developing her craft for over 50 years. Born into a family of artisans from the renowned horsehair weaving town of Rari, Chile, Alba is one of the foremost weavers in Chile, with a long list of awards on an international scale. She has developed a cooperative called Arte en Crin, made up of 55 artisans from her hometown of Rari. The cooperative was developed with the intention of creating a space for artisans to be able to support themselves through their traditional art, to engage youth in the centuries old tradition, and to preserve this cultural heritage. Their weaving technique is particular to the region and town of Rari where miniature weavers utilize a agave fiber called ixtle along with the horsehair. They create whimsical and vibrant designs drawn both from nature and from folklore, including butterflies, birds, bees, dolls, burros, witches, angels, flowers and rosaries.
Wilfredo Alejandro Arriagada Sepúlveda El Arte del Crin Booth 80 Wilfredo Alejandro Arriagada Sepúlveda works with his mother Alba as award-winning 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 specialized art form that utilizes hand-dyed and hand-loomed
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horsehair to make intricatelywoven miniature baskets, flowers and figurines in the shape of mythological characters. According to popular legend, this craft began over two hundred 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.
CHINA Weavings and textiles that are resist dyed, appliquéd or embroidered
Lu Rong Xiang Supported by Dr. Andrew Wang Booth 39 These beautiful skirts, jackets and bags of the Luo ethnic group of southwest China are all hand dyed, appliquéd and embroidered by one of the region’s master artists, Lu Rong Xiang. Mrs. Lu still lives in the remote village where she was born, and where she learned to make textiles from her mother at an early age. Both the men and the women of this region still wear the traditional robes and jackets for festival occasions. The man’s beautiful dyed jacket is traditionally made by his bride as a wedding present.
Miao textiles that are resist dyed or embroidered including festival banners, festival clothing and pleated skirts
Yang Cai Mei Supported by Dr. Andrew Wang Booth 39 Taking it to the highest level and inspired by Miao traditional legendary stories and culture, Yang Cai Mei’s batik and embroidered textiles have been exhibited in many major metropolitan areas across China, including Shanghai, Guangzhou, Shenzhen and Kunming. Growing up in a Miao village near Anshun, well-known for its traditional batik folk arts and textiles using wax resist dye techniques, Cai Mei started practicing wax painting at the age of 5. She received further training in traditional techniques from Ms. Yang Jing Xio, a well-known master artist. The richly woven and traditionally dyed and embroidered textiles are considered the major living art form of Miao culture as they are indicators of family wealth, belonging to a specific group, and considered as their most important possessions with the symbol and color meanings of fertility, health, prosperity or protection.
Silver work designs of mythological people, animals and nature
Huang Guangwen Minority People Silversmith Folk Artists Cooperative of Southwest China Booth 97 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. The Minority People Silversmith Folk Artists Cooperative of Southwest China represents master craftsmen of the region who carry on their history, customs and religion through the elaborate and symbolic designs of their silver necklaces, bracelets, hair pieces, earrings, garment attachments, and foot ornament accessories. Huang Guangwen first learned the art of Miao silversmithing from his father in Leishan, his home village in Guizhou province, and has traveled throughout southwest China to master the techniques and designs of the entire region. Over the years, Huang Guangwen has earned enough from his jewelry making to educate his four children.
Miao, Yi, Dong and Bai Minority People weavings, embroideries and batik textiles
Pan Yuzhen Minority People Textile Folk Artists Cooperative of Southwest China Booth 98 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 indigodyed cloth. These are then sewn onto garments or other items such as baby carriers. Batik is sometimes used with the embroidery. Pan Yuzhen’s special wish is for more Miao women to have a ready market for their textiles so they can stay in their home communities where they have farms.
Dragon insignia embroidered Chinese textiles
Lin Duomei Dyetree Booth 146 Artist Lin Duomei lives in Suzhou, near Shanghai. Suzhou has had a tradition of high quality silk embroidery for over 2000 years. In imperial times, the city had a weaving and clothing department for the garments of royal households. Lin learned the refined pan jin method of embroidery at age 13 from her mother and grandmother. She is one of only a very few artists skilled in this technique. Pan jin dates back to the 17th century. This type of embroidery is more difficult than other techniques since the artist cannot make adjustments during the embroidery process. The vibrant dragon insignias were traditionally used only on the king and queen’s robes in China and Korea and were created with real gold thread. The five claws on the dragon represented the emperor.
CHINA (TIBET) Tibetan thangka paintings
Kalsang Tashi Supported by Dr. Andrew Wang Booth 38 Kalsang creates thangka paintings, a Tibetan Buddhist art form that encourages personal journeys for spiritual development and is one of the three legendary art works of Tibet. He has travelled to many monasteries to study Tibetan thangka styles and through his experience has created his own style of bold and precise, yet delicate, artwork. These vibrant paintings are used to represent the sacred objects of Buddhism. His process requires very rigorous rules of measurement, proportion, and a calm and fully concentrated state of mind.
Tibetan thangka paintings
Kalsang Kezhi Supported by Dr. Andrew Wang Booth 38 New to the Folk Art Market, Kalsang Kezhi produces his own style of Tibetan thangka painting, or scroll painting, with bold and delicate strokes. He grew up on the massive Oula Prairie and learned this art by traveling to different monasteries. Incredibly detailed and precisely measured, his powerful paintings are a kind of meditation for Kalsang Kezhi. Tibetan thangkas are a sacred part of Tibetan Buddhist culture and serve the purposes of healing the sick, balancing the environment and enlightening those who encounter them. It is said that the art of thangka painting reflects the temperament of the Tibetan plateau and can penetrate the souls of the pious. Enriched with images of Buddhas and Bodhisattvas, they are designed to encourage traditional as well as personal journeys of spiritual development.
Painted wood shrine boxes, boxes, folding tables, racks, bowls, butter containers, candlesticks and trays
Dorje Lhasa Villages Booth 129 Dorje is part of a group called Lhasa Villages that makes yak leather bags, traditional Tibetan striped aprons and products made with apron cloth, appliquéd and tailored products, and painted wood objects. Both Lhasa Villages and its partner company, the Shangri-la Tangtong Handicraft Development Center, employ Tibetan staff who continue to identify and train artisans. Tibetan artisans are threatened by the influx of Chinese manufactured items into Tibet, so Lhasa Villages also helps artisans source quality raw materials and revive lost skills, like natural dyeing. Lhasa Villages is dedicated to preserving Tibetan traditions and making sure that artisans can continue their traditional livelihoods in a changing society. They also ensure that artisans earn a fair wage.
IgnacIo punzo angel, mexIco
selmIra chocho, panama (wounaan)
alIsher khaydarov, uzbekIstan
elhadjI koumama, nIger (tuareg) photos John BIgelow tAylor
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2 0 1 3 I N T E R N AT I O N A L F O L k A R T M A R k E T A R T I S T S Sherma (striped apron cloth) pillows, capes and aprons
Choedon, Diki and Trodok Lhasa Villages Booth 129 Choedon, Diki and Trodok create the traditional striped aprons and waist wrap cloth that keep a woman warm during Tibetan winters and protect her clothing. The aprons comprise three sections of cloth that are hand-stitched and hemmed. The combinations of colors and the width of stripes all tell a story about where the wearer is from. The weft is Tibetan wool, usually bought carded and spun at the market. The wool is dyed using natural or chemical dyes and wound upon a skein. The warp is cotton. The weaver either follows the stripe sequence of an apron that sits before her or she knows the sequence by heart. After the weaver completes the warp, she holds the cloth to a flame to burn off any excess fuzz. Then the cloth is washed, making it soft.
Appliquéd yak-leather bags
Tsering Chompel, Nyima Chompel and Thupten Chompel Lhasa Villages Booth 129 Three brothers — Thupten Chompel, Nyima Chompel and Tsering Chompel — learned leathercraft from their father, who continues to make tsampa (grain) bags and saddle bags, all rooted in traditional nomadic Tibetan life. Lhasa Villages, a Tibetanowned cooperative of 30 women and 20 men, preserves traditions by making sure artisans can continue their customary livelihoods. In a place where roasted barley is a staple, leather bags are produced to carry it. The leather bags and purses, fundamental to nomadic life on the plateau, are made from the skins of goats and yaks. The Chompel brothers use yak leather from a nearby tannery. Leather is glued and then sewn into place with cotton or linen thread. Brass buckles made in the village of Namling are added as a finishing touch. Much of the appliquéd leather is dyed in deep greens, sky blues and the brown of prairie grass, creating a beautiful contrast to the brown or black yak hide. The appliquéd leather bags made by the Chompel brothers carry auspicious symbols, sometimes placed on the corners to strengthen the bag and make it more useful.
Clothing and curtains
Lhakpen, Sonam and Samkye Lhasa Villages UNESCO Award of Excellence Winner (Lhakpen) Booth 129 Lhakpen, Sonam and Samkye are three textile artisans who tailor wool, silk and cotton clothes and create traditional door hangings in their native Tibet. These artisans pursue the traditional arts for which Tibet is famed with the assistance of Lhasa Villages, a Tibetan-owned cooperative of 30 women and 20 men. The cooperative ensures that artisans can continue their
traditional livelihoods. Lhakpen, Sonam and Samkye often work together in the same shop, but each tailor makes individual pieces from start to finish. Their clothes — vests, jackets and frontispieces — inspire pride in those who wear them, often for festivals, and to express personal identity. Both men and women wear traditional handwoven wool coats lined with fleece. Homes, temples and monasteries all utilize vibrant cotton door curtains, an essential feature of a Tibetan exterior.
COLOMBIA Zenu indigenous hats, jewelry, belts and bags woven from the cana flecha palm
Reinel Mendoza Montalbo Divino Nino Cooperative Supported by Earth Bound, Inc. Booth 137 The Zenu are an Amerindian indigenous people in the remote region of northeastern Colombia in the Department of Córdova, known for their handwoven black and beige vueltiao sombreros (hats with revolving bands of color) and jewelry made from cana flecha, a palm found throughout the American tropics. The hats today have become a symbol of national pride for all of Colombia and have been worn by such officials and dignitaries as Gabriel García Márquez, President Bill Clinton and Pope John Paul II, to name a few. The finer hats are very durable and can be folded up and put in your pocket. The Mendoza Montalbo family of Tuchin includes over 40 artisans of the famed cana flecha, whose stylish hats have been premiered in fairs, exhibits and fashion shows throughout the world.
CUBA Naïve paintings, drawings and woodblock prints
Roberto Domingo Gil Esteban Booths 110, 111 Using bright colors and depicting scenes from everyday life, Roberto Domingo Gil Esteban creates what he calls naïve art. He remembers being a small child and painting images depicting all of his daily experiences, and he has carried that passion and excitement into his more recent artwork. Roberto Domingo Gil Esteban is extraordinarily committed to his craft and loves painting without any aesthetic or formal obligations, which he believes has made his work more dynamic and approachable.
Naïve paintings and drawings
Cenia Gutiérrez Alfonso Booths 110, 111 Cenia Gutiérrez Alfonso began painting as a small child and continues today to create folk paintings and ink drawings in Cienfuegos, Cuba. She is self-taught and represents her community in her paintings through their legends, popular beliefs, fiestas and religions. She is particularly known in her community as the painter of guijes, or
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fairies and mystical figures. Of her work the artist says, “It is about materializing dreams, reflecting the world that surrounds me, where urban and rural life intermingle in a macro world of poetry and experiences.”
Naïve paintings and drawings
Carlos Alberto Cáceres Valladares Booths 110, 111 Carlos began painting as a child in elementary school and today is nationally recognized in Cuba. His paintings touch on the themes of the Yoruba religion, Santería, and its deities, the Orishas, as well as the customs carried on by the Guajiros, the people of the Cuban countryside. Carlos’ technique of applying acrylic paint with used toothpaste tubes creates a vibrant and pointillistic style. “Being an artist in Cuba means a lot because you are a person that receives a lot of recognition from his family and the community,” Carlos states.
Naïve paintings of the Orishas
Nancy Reyes Suarez Booths 110, 111 Strong central figures, with ample parts of magic and color, fill the paintings of Nancy Reyes Suarez. Every square inch is filled with figures, designs and color. Self-taught, she watched people paint on the beach in Cuba, and used sand and flowers to create short-lived but beautiful art on the beach. Today she uses a variety of materials — cloth, used ballet slippers, pencils, pens and palette knives — to make raised, tactile paintings. She creates little plastic cones to outline the embossed figures and then uses sand and talcum powder to create the volume. She describes her work as a combination of painting and handicrafts that expresses the environment around her — the city and the countryside — each with energy, light and the spirituality of the Santería, which she practices. “My art is comprehended by my family and my community,” Suarez says. “What I paint is the expression of our rich culture. I express what is our daily life in Cuba. Our ancestral practices are alive and represented in all artistic manifestations.”
DOMINICAN REPUBLIC Crocheted bags made from recycled plastic grocery bags
Creaciones Ecológicas La Colonia Coop / Uniendo Manos Dominicanas Booth 73 The Creaciones Ecológicas La Colonia Co-op is a group of 25 Dominican women who have gathered since 2005 to recycle used plastic grocery bags into crocheted purses and totes of all shapes and sizes. While the raw materials of their craft are new — recycled from machine-made plastic bags — the handwork techniques of crochet and macramé have been practiced for generations by the women of the Dominican Republic. Each finished product takes an artist an average of 10-20 hours to
complete and consists of over 120 clean, recycled plastic grocery bags. While some of the grocery bags are collected locally, the majority are shipped from communities in New Hampshire and Vermont where volunteers have collected over 350,000 bags. The sale of these purses and bags helps support the women of the cooperative and their families, sustain educational programs for children, and address a variety of medical and community needs in La Colonia, a neighborhood in Cotui, Dominican Republic.
disappeared in France after WWII. Gathering different types of willow and other local plants, he weaves baskets for daily use as well as for decoration. Motivated by relatives and friends who remembered the beauty of baskets, he travelled throughout his country to study and learn techniques. His wife assists in collecting the materials and making the baskets. Blaise is working on building a community of basket weavers, reaching out to local design schools as well as collaborating with other artists.
Provençal wicker work baskets, trays and racks
Woven glass seed bead jewelry of the Saraguro
Flor María Cartuche Andrade La Mega Cooperativa Artesanal de los Saraguros Booth 112 Cooperative artist Flor María Cartuche Andrade designs and weaves the traditional bead collars that identify the Saraguro, an indigenous southern Highland Ecuadorian people. The seed-bead collars — from one to six inches in width — are worn daily, even by very young girls. Wedding collars feature multi-colored beadwork and fine netting. The traditional bright colors, horizontal stripes and geometric (triple triangle) forms have been joined by contemporary designs that include fresas or berries, leaves and flowers. “I believe that the Saraguro woman carries in her genes the skill to weave beads,” said Cartuche, “because each time they make different designs with colors that are pleasing to the eyes.” Flor María participated in her first Folk Art Market in 2008, supported by the Fundación Warmipak Wasi, a center dedicated to helping victims of domestic or other violence.
EGYPT Colored ink-on-paper paintings of village life in Southern Egypt
Hassan el Shark Booth 47 Following in the Pharaonic tradition, Hassan captures a side of Egyptian life unknown to most outsiders. Starting as a child, his traditional role in the village was to record significant events. Even after he grew too old for the responsibility, he continued to paint and capture stories. Using all natural, handmade inks, Hassan paints the daily village life, people, animals, objects, and plants that surround him. In addition to teaching his techniques to his children, he also volunteers, showing young village children how to paint. Through his art, he hopes to show the beautiful Egypt he calls home.
FRANCE Provençal wicker work baskets, trays and racks Blaise Cayol Booth 28 Blaise maintains the tradition of wicker basket weaving that largely
Flavie Cayol Booth 28 Flavie and her husband Blaise live in the south of France where they have studiously revived the local basket making traditions renowned throughout this region situated between the Mediterranean Sea and the Alpine Mountains. They began over 15 years ago, visiting the farmers, villagers and basket makers from the Rhone Valley to the mountains where, up until World War II, over 20% of the population cut willow and other raw materials to weave baskets for everyday use, including strawberry, egg, fruit, bread, flower and vegetable baskets.
François and Sylvie Fresnais Booth 134 François Fresnais 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, François creates the forms and his wife, Sylvie, executes the decorations. Aiming to keep the spirit of this tradition alive, they continue to be inspired and guided by other French and international slipware traditions.
GHANA Handwoven asante kente cloth
Jacinta Fosua Gyinae Supported by Thread Foundation Booth 2 Jacinta lives in a traditional community called Ntonso. The main occupations there are the weaving of asante kente fabrics made from silk and cotton, and the making of adinkra (asante kente fabrics stamped with motifs using carved gourd stamps and natural dye). Jacinta learned to weave asante kente from her elders and her passion and enthusiasm show in her work. These cloths are made in small strips and then sewn together. Jacinta carries on an old tradition and works with the Thread Foundation to help improve the quality of life for people in Ntonso by supporting income-
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2013 International Folk Art Market | Santa Fe 43
2 0 1 3 I N T E R N AT I o N A L F o L K A R T M A R K E T A R T I S T S generating activities and educating their children.
Boamah David Kwaku Supported by Thread Foundation Booth 2 Boamah David Kwaku is an adinkra cloth maker from the traditional Kente weaving village of Ntonso in Ghana. The word adinkra means farewell and the custom of creating stamped motifs on strips of hand woven Kente cloth was originally reserved for funerals as a way for loved ones to send messages to someone who passed away. Today, these beautifully decorated fabrics are worn by Ghanaians for special events such as weddings, engagements, naming ceremonies, graduations and festivals. They are also frequently given as gifts to respected persons and loved ones. David learned the adinkra technique from elders in his community. The process starts with the creation of colored dyes from tree bark and includes the art of carving elaborate stamps by hand with sharpened calabash knives. Income from the sale of David’s adinkra fabrics has supported his education from primary school through the Polytechnic University and is the primary income for his family.
Embroidered cloth and clothing
Nketia Emmanuel Supported by Thread Foundation Booth 2 Nketia Emmanuel is known for the intricate embroidery with which he embellishes his hand woven ashanti kente fabrics from southern Ghana. The kente itself is handwoven into strips using rayon, cotton and silk yarns. The strips are then sewn together. Sometimes the strips are woven without any pattern and stamped with adinkra motifs. Kente cloth strips are also decorated with hand or machine embroidery. Nketia apprenticed with other members of his community to learn the technique of embroidered kente cloth, an art that was also reinforced in his studies at school. This art is so well-regarded that even now it is a mark of wealth, high social status and cultural sophistication.
GUATEMALA Maya K’eckchi weaving on backstrap loom
Amalia Gue Ixbalamke Cooperative Supported by Olga Reiche / Indigo Booth 24 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 Cobán 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. They
also have a project making little looms for younger generations to learn the tradition of weaving.
HAITI Sequined and beaded vodou flags
Georges Valris Booth 13 The beaded and sequined vodou flags crafted by Georges Valris incorporate his particular beliefs and artistry into a form with a deep, multivalent history. These elaborately decorated flags, which are used ritually in Haitian vodou temples, have their roots in the use of banners and flags in West Africa. Their glimmering, brightly colored and richly symbolic designs are applied to a stretched canvas using crochet hooks. Today the flags are used for ceremonial and decorative purposes.
Recycled oil drum bowls, platters and candleholders
Josnel Bruno Booth 60 Josnel was an apprentice to master Serge Jolimeau and is now a metalworker in Croix-des-Bouquets, Haiti, who transforms discarded oil drums into remarkable artwork with his skill and creativity. Josnel describes himself as a difficult child who only found purpose once he was taught metalworking. His hammered, chiseled, punched, and incised bowls, platters and candleholders represent another innovation within the tradition that now defines Josnel’s community to the world.
Vodou flags and tcha tcha, beaded and sequined fabric bottles, boxes, purses and pillow cases
Mireille Delismé Booth 63 Mireille embroiders sequined vodou flags, or drapo with imagery expressive of the Haitian people’s deep connection to land, Caribbeaninfluenced culture and a history rooted in Africa. The flags she makes have their origin in the use of richly-colored and decorated banners and flags in many West African celebrations and ceremonies. Mireille learned to make the flags from her cousin after the factory where she worked making wedding gowns closed down. In addition to her signature flags, she now creates other items, such as purses and pillow cases, in a distinctive style that unites a tradition shaped by ceremony with the influences of daily life. With her earnings as an artist, Mireille can send her daughters to school and help support family and friends.
Vodou tapestries on stretched canvas created with recycled materials such as steel, textiles, mirrors, serverware, bronze and copper buttons, thread, aluminum and some paint
Dubréus Lhérisson Booth 79 Dubréus Lhérisson grew up in the neighborhood of Bel Air, in the center
44 2013 International Folk Art Market | Santa Fe
of the Port-au-Prince and apprenticed under a well-known vodou priest to learn the art of flag making. He, along with his business parner, David Boyer, started a studio called Kongo Laroze. They are now collaborating to create works in their own unique style that utilizes recycled materials and found objects, including metals, textiles, old mirrors, buttons, thread, and some paint. The imagery depicts Haitian themes reflective of the vodoun culture. Through his work, he is teaching younger artists the artform.
Vodou tapestries on canvas with recycled materials such as steel, textiles, mirrors, serverware, bronze and copper buttons, thread, aluminum and paint
at LACITA in Biarritz, France.
HUNGARY Transylvanian-Hungarian painted and carved furniture, home items and crosses
Levente Lehel Sütő Booth 92 A 14th generation TransylvanianHungarian furniture maker, Levente creates vivid hand-painted Vargyas floral carvings for the home and special occasions, including elaborate boxes, children’s furniture for baptisms, and the carved wooden headstones specific to the Carpathian basin of Hungary. Using organic paints, made by mashing minerals on stone plates to create the rich colors, Levente creates harmoniously proportioned designs carrying deep symbolism. His family’s works are used in many places — the carvings are found inside churches, on furniture in homes, on the decorative boxes given at celebrations, and even on household items such as washboards and gates.
David Boyer Booth 79 David Boyer was born in Port-auPrince in 1976, the youngest of six children living with their parents in the slum neighborhood of Bel Air. As a young boy, David drew portraits, landscapes and cartoons, and apprenticed with the vodou flag makers of his neighborhood. By adolescence, he was drafting flag motifs for some of the pioneers of this tradition, including Céus St. Louis (aka Ti Bout), Prospere St. Louis and Luc Daniel Cedor. When he began making his own flags, he developed a technique that incorporated a wide range of found objects in his work. In 2007, David and Debreus Lherisson, his partner, collaboratively invented a new technique for creating vodou tapestries on stretched canvas using discarded buttons, pins and other notions. The idea came to them while they were passing a market woman selling cans filled with used buttons on the street. They bought a can for a little over a dollar, created their first co-signed tapestry. From that day to the present, David and Debreus have joined forces to create their highly renowned found-object vodou flags and tapestries. The January 12th earthquake destroyed their workshop in Portau-Prince. They have since relocated to a town miles west of the capital city. There they have resumed their collective creative endeavors, always seeking to exemplify vodou’s inspirational character and to combine its sacred art with innovative techniques and media.
Bhuribai Supported by M/S Padmaja Srivastava Booth 6 The painted stories for which Bhuribai and other members of the tribal Bhil community bordering Gujarat and Madhya Pradesh are well known were originally painted on walls with natural pigments extracted from the leaves and flowers of various plants. Bhuribai was the first person from her village to transpose this traditional festival art onto paper and canvas using acrylic paints. The opportunity came after she relocated to Bhopal as a construction worker and was discovered by the director of the Bharat Bhawan Art Center. Today, Bhuribai’s work has won numerous awards throughout India and one of her paintings was auctioned by Sotheby’s in New York. Her paintings capture every aspect of Bhil tribal life — mythic animals such as the flying snake, ancestral horses, forest creatures and trees, the Bhil deities, village attire, ornaments and gudna (tattoos), dances and festivals. Recently she has included modern luxuries such as airplanes, televisions, cars and buses.
Recycled oil drum sculptures
Painted stories of the Gond tribe
Serge Jolimeau Booth 115 Serge Jolimeau was inspired as a child by the blacksmiths in his neighborhood. He learned metal work from the Louis Juste 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
INDIA Painted stories of the Bhil tribe
Suresh Durve Supported by M/S Padmaja Srivastava Booth 6 Paper and canvas are the media of storytelling for figurative painters such as Suresh Durve from the Gond tribal community of central India. Like all of the painters in his tribe, Suresh’s art is inspired from the tradition of decorating floors and walls with narrative scenes that bring their enchanting folktales to life for family occasions and festivals. Suresh Durve is one of the few Gond artists who has made a name for himself with solo shows featuring
his intricately-designed ink and acrylic drawings. Experimenting with mixed media, Suresh has developed a unique style of his own using black and white forms with a splash of color. True to Gondi artistic tradition, his works speak mainly of the abundance of nature, with a special focus on birds of different species. Suresh’s signature pattern is that of fish scales with a drop of water.
Painted stories of the Gond tribe
Santosh Maravi Supported by M/S Padmaja Srivastava Booth 6 The painted stories of the Gond tribe of central India follow a distinctive style created by filling in surface images with detailed decorative patterns made by paint and permanent ink pens. Among the various explanations for this art’s origin are those that trace the motifs to body tattooing. Every Gond painter has developed his or her own style, some drawing circles, while others draw lines. Some use myriad colors while others create dramatic contrast with black and white. Santosh Maravi is an up-andcoming Gond artist whose signature motif is the glass pattern of the oil lantern. Apprenticing under one of the original Gond master painters on paper, Santosh’s highly abstract and symbolic images set his work apart from those of more traditional painters in his village of Sanpuri.
Painted stories of the Gond tribe
Ramesh Tekam Supported by M/S Padmaja Srivastava Booth 6 Born in the Gond tribal village of Patangarth, Ramesh Tekam has been painting his signature animals for over twenty years. In his childhood, Ramesh saw a lot of wild elephants in the forests around his home. Working with one of the original Gond painters on paper and canvas, Ramesh developed a bold stroke and vibrant color palette to depict the elephants, cows, tigers and other animal species he saw as he grew up. Patrons of Ramesh’s paintings recognize his work by the beehive or paddy motif with which he fills in the bold designs.
Painted stories of the Gond tribe
Manoj Tekam Supported by M/S Padmaja Srivastava Booth 6 Unlike many of the successful Gond artists who divide their time between the village and the more lucrative cities of central India, Manoj Tekam prefers the slow pace of rural village life. He only travels to the large cities when he is in need of drawing materials and outlets to sell his art. The tranquility of the village not only allows him to paint undisturbed, but also provides inspiration for his detailed ink drawings of trees, peacocks, elephants, cows and forest creatures.
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2013 International Folk Art Market | Santa Fe 45
2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S Copper coated, forged metal bells, wind chimes and musical instruments
Janmamad Salemamad Luhar Supported by INDIKA Booth 9 Janmamad Salemamad Luhar represents the ancient tradition of melodic, forged-metal bell and wind chime making of his Muslim Luhar community in Kutch, Gujarat, India. The metal craftsmen of his village have preserved and practiced the art of bell making for over 300 years. Originally used by local cattle, camel, sheep and goat herders, whose animals grazed in the nearby Banni grasslands, the melodic iron and copper-coated bells were made to adorn the animals’ necks and were thought to create good vibrations in the body of the animals to increase the productivity of the herds. Today, the highly-polished and finely-tuned bells hang in entranceways and are combined to make wind chimes and other forms of festive decoration. The daily life of the entire artisan family revolves around the craft, which begins with the men preparing the iron bells from locally sourced scrap iron. While many artisans are trained in the basic art of welding the bells, few have the expertise to get the right tonal sounds out of them — a knowledge and skill that is passed from one generation to the other. Artisans carefully hand-set each bells’ tone with a tool called an ekalavai, and the quality of a bell’s tone is a reflection of the artisan’s mastery.
Rabari embroidered clothing, bags and traditional games, and patchwork and appliquéd quilts, recycled quilts and toys
Rabari Pabiben Lakshman Kala Raksha UNESCO Award of Excellence Winner (Kala Raksha) Booth 14 Rabari Pabiben Lakshman is the eldest of three sisters and part of the nomadic Dhebaria Rabari community in Kutch, western India, near the Arabian Sea. Seeking new applications of traditional fabric and design work, she created the Pabi bag, a narrow purse that was an instant international success when introduced. She became a producer and leader in traditional embroidery art when the cooperative Kala Raksha came to her village. Pabiben set up a producer group and traveled all over India to market their embroidered goods, with intricate stitching, bright mirrors and vibrant colors. Today, she is a group leader in her in-laws’ village. She and her husband supervise three village groups and 60 artisans.
Rabari embroidered clothing, bags and traditional games, and patchwork and appliquéd quilts, recycled quilts and toys
moved to Vandh, a town on the Gulf of Kutch, an arm of the Arabian Sea, she became known as an expert artisan. Her eye for quality is renowned and her work carries both authenticity and traditional meaning. As she re-entered the workforce in the 1990s, the cooperative Kala Raksha met her commercial and cultural needs. She has traveled internationally, acting as marketer, cultural mediator and teacher. Lachhuben has also taught Rabari traditions to students at the American Embassy School in Delhi. While some work is done for contemporary markets, the work continues to be done for the purposes of building a dowry. The beautiful work does double-duty — while it adorns, it also communicates the identity of a woman, her age, marital status, children, etc. Men wear embroidered clothes primarily during weddings and festivals. You might even see bullocks, camels and horses with embroidered finery during certain festivals.
Brass boxes and kitchenware and steel kitchenware incised with decorative patterns
Maheshwari Samat Maya Booth 54 The state of Gujarat in northwest India is home to some of the finest handmade brass and metal craft traditions of the subcontinent. First time Folk Art Market artist Maheshwari Samat Maya is a master metal worker from the Kutch region of Gujarat, whose family has specialized in brass and metal kitchen utensils for generations. With the molds handed down from his father, Maheshwari forges exquisite brass boxes, slotted spoons, nutcrackers, pliers and other kitchen utensils. These are carefully incised with leaves, spirals and other decorative designs. For Maheshwari, as well as for other artisans of his village, the art is “engraved in my life and my blood.”
Embroidery quilts, pillow covers, wall and other decorative items, bags, belts, dolls and pouches
Ramu Devraj Harijan Booth 55 Ramu is a Meghwal who was born in the Banni region of Kutch, where quilt making and embroidery are integral to the culture. Men source and sew the cloth while women are skilled in embroidery and mirrored work. At 12, Ramu made his first quilt for his mother to embroider. Later traveling to government-sponsored craft fairs, Ramu joined a company in Bhuj where he learned new products and improved his skills. Ramu has now trained two of his brothers and two nephews in the work.
Rabari Lachhuben Raja Kala Raksha UNESCO Award of Excellence Winner (Kala Raksha) Booth 14 Rabari Lachhuben Raja learned embroidery in the traditional way from her family in Viyar. When she
46 2013 International Folk Art Market | Santa Fe
Woven cane baskets, women’s ceremonial headpieces, warriors’ hats, beaded necklaces and belts, backstrap loom woven shawls, wrap-around skirts and shoulder bags with traditional Naga tribal designs Tiala Marsosang Neufeld Supported by Harry L. Neufeld Co. Booth 62 Artist Tiala Marsosang Neufeld grew up in Chuchuyimg, a village in the Nagaland section of eastern India, near the border with Burma. Her woven shawls, wrap-around skirts and shoulder bags are festooned with the designs that demarcate tribe, clan and individual in the Naga culture. Many are colored in deep blues and rich magentas. The Nagas, especially the Konyak tribe, are also known for the jewelry they make and wear, sometimes to denote status and power. Some are made with colored glass beads and brass extensions or shells. Others are flat necklaces made of finely woven small beads. Both men and women wear the bright collars. Also featured are beautifully designed bamboo baskets for rice seed and other uses.
Bandhani tie dye textiles
Abdullah Mohmedhussain Khatri UNESCO Award of Excellence Winner Booth 90 Abdullah Khatri practices the traditional bandhani — or tie and dye — processes of his community in western India, but has introduced vegetable dyes to the process that he learned from friends and community members. A pattern is stenciled on fabric, then the cloth is sewn according to the indigo-marked pattern. Men dip the fabric in a dye solution and when the threads are removed, beautiful patterns are made on cloth used by both men and women. Today the fabric may be seen in traditional turbans or stylish modern dresses.
Bandhani tie dye textiles
Abduljabbar Mahmadhushen Khatri UNESCO Award of Excellence Winner Booth 90 The Khatri brothers were born into a family of traditional tie-dyers, but that ancestral line had been broken by their great-grandfather. Drawn irresistibly back toward this traditional Kutch craft, the brothers took advantage of the knowledge of uncles and cousins still in the trade, as well as college studies, to reinvigorate the traditional family business. The brothers experimented with new fabrics and international markets, merging traditional and contemporary designs. From naturally-dyed cotton Bandhani shawls, in traditional indigo, to Habuti silk dupattas (long scarfs), their work has won international acclaim. The process starts by drawing a design on tracing paper that is then punched with needles. Indigo and kerosene are rolled onto the tracing paper, printing the motifs directly on the fabric and highlighting them
in blue. Careful threading of these motifs preserves their color as the fabric undergoes multiple dye processes. Finally, they are removed, completing the picture with great subtlety.
Rajasthani patchwork textiles
Santosh Kumar Booth 96 Santosh gives new life to worn yet treasured embroideries, such as dresses and pillows, by turning them into patchwork decorative wall hangings. Embroidery has always played an integral role in local customs, often serving as required part of a dowry, and now his wall hangings, made from these traditional presents, are being used for modern dowry gifts. Santosh’s family often repurposed older pieces into new textiles and he followed in the tradition, though it was uncommon for young men. He takes great pride in continuing this art form. When agriculture was the only source of income, not enough rainfall caused financial trouble. This desert tradition provides sustainable income in his community and for his family.
Kantha embroidered clothing and accessories, and household goods including bed covers and canopies
Self Help Enterprise Booth 118 Self Help Enterprise (SHE) trains rural women from West Bengal to use nakshi kantha — a centuries-old, simple technique for sewing layers of old fabrics together. SHE also provides these women access to national and international markets for textiles based on nakshi kantha. Traditionally, women from poor and middle-class homes would overlay and rework bits of cloth from worn clothing, using a simple running stitch to create mats, baby wraps and blankets. The practice lagged as printed materials were introduced, but SHE has reinvigorated the art both by providing training and using contemporary colors, geometric patterns and luxury textiles. Through Self Help Enterprise founder Shamlu Dudeja’s efforts, kantha has been popularized among Indian designers and is now used by men and women around the world. The products include fashion garments as well as bedspreads, cushion covers, curtain lengths and table linen, often decorated with beautiful village scenes. Dudeja feels that the women’s deep involvement in culture and their central role in religious festivals allow them to develop highly artistic sensibilities that find expression in their handiwork.
Embroidered clothing, accessories and home furnishings representing the styles and techniques of Gujarat
Puriben Vaghabhai Ayar Supported by SEWA Trade Facilitation Center (STFC) Booth 144 Embroidery strengthens cloth and decorates it. Using only needle, thread and sometimes small mirrors,
women working at home turn the small amount of cloth they have into things that last and that uplift the spirit. Puriben Vaghabhai Ayar has lifted herself up through the production and sale of embroidered cloth made into wall hangings, door hangings and traditional bags. With three children and no work, her family had to mortgage her farm after a severe drought. “Thus we were living a sad and money less life,” she says. Participation in the Self-Employed Women’s Association (SEWA) Trade Facilitation Center changed that. Through the sale of her embroidered textiles at SEWA, Puriben was able to make in a month almost as much as a laborer could make in a year. Not only was she able to help provide a living for her family and an education for her children, she was also able to ensure a promising future for the vibrantlycolored traditional crafts to which she is so devoted.
Embroidered clothing, accessories and home furnishings representing the styles and techniques of Gujarat
Gauriben Ramabhai Bramin Supported by SEWA Trade Facilitation Center (STFC) Booth 144 Gauriben Ramabhai Bramin embroidered her way into ownership of a buffalo and changed her family’s life. Moving every six months to stay ahead of famine, the family was unable to accumulate anything until her needlework skills were noticed by the Self-Employed Women’s Association (SEWA) Trade Facilitation Center. She received 150 rupees to embroider a kurta, a traditional shirt. At 22 years of age, she had never seen a 50 rupee note (one U.S. dollar). Gauriben boldly left her village to attend a SEWA meeting. She learned about savings and insurance and took out a loan to begin farming. With the production of 400 kilograms of grain, she and the other women in her village were able to buy a buffalo to provide milk and labor. What started as a way to earn a few extra rupees has today blossomed into a full-time business for Gauriben, now a representative of and shareholder in the SEWA company. In her words, “Sewa has given us a new life. This is not only one example of my family. There are a number of women having similar stories.”
Embroidered clothing, accessories and home furnishings representing the styles and techniques of Gujarat
Ramiben Ratna Rabari Supported by SEWA Trade Facilitation Center (STFC) Booth 144 The embroidered clothing and home furnishings created by Ramiben Ratna Rabari are marked by a crisp geometry and disciplined symmetry that defines her work. Whether the embroidered product is a wall hanging or theli, a traditional bag, her use of lines and loops to frame her major images cause them to nearly leap off the page. Yet her cushion
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S covers express a subdued elegance. Like other artists who are part of the Self-Employed Women’s Association (SEWA) Trade Facilitation Center, Ramiben works at home, where women teach their daughters the traditional arts.
INDONESIA Balinese carved and painted wood masks
Ida Bagus Anom Suryawan Booth 4 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, which ensures their durability. Ida learned mask making from his granduncle Ida Bagus Tilem, his older brother, and uncle, all well-known wood carvers and mask makers. He also performs topeng dance for ritual occasions in the Mas-Ubud or Denpasar areas.
ISRAEL Yemenite jewelry and judaica formed from silver filigree
Ben-Zion David Booth 37 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 low social status. In his workshop and gallery in Old Jaffa, Israel, Ben-Zion David 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. Today, this jewelry continues to play an important role in Jewish Yemenite culture, particularly in the elaborate, layered headdresses worn by Yemenite brides in Israel.
JAPAN Tokyo-style kites made with washi paper and bamboo
Mikio Toki Booth 1 Mikio creates each kite by hand in a traditional Tokyo style that began many centuries ago. When Mikio was young, he was mesmerized by the kites made and flown by an elderly kite master and felt inspired to design kites. He has been working for 35 years as a kite maker, using Japanese washi paper, which is derived from the paper mulberry tree. He uses dyes and Japanese sumi (black) ink to paint the artwork onto the paper, and splits the bamboo by hand to create sticks for the frame of the kites. These traditional materials create a stained
glass effect when the kite is flown in the sky. Mikio has won international awards for his kite making and hopes to pass on the tradition to future generations.
Natural dye, handwoven textiles including tapestries, runners, curtains, furoshiki (wrapping cloth), cloth for kimonos, fabric, stoles, mufflers and pouches Sumi Takamoto Booth 108 Sumi lives and works in Kumamoto, where she continues the tradition of Japanese textiles made with hand-spun silk and cotton yarns, dyed with fermented Awa indigo and other natural dyes. Her works include ceremonial kimonos as well as textiles for home decoration and clothing for daily life.
KAZAKHSTAN Kazakh jewelry of silver, copper, wood and semiprecious stones, and carved wood, ornamented boxes, mirrors and hair ornaments Iliya Kazakov UNESCO Award of Excellence Winner Booth 40 Iliya’s jewelry and his carved wooden boxes and combs carry Kazakh symbols of protection. Set with local stones and using silver, which Kazakhs believe has purifying properties, his jewelry represents a rich cultural heritage. Working closely with his wife and an apprentice, he creates meaningful and beautiful pieces, such as a two-finger ring that represents the joining of two families, and traditional boxes used to store combs, which have special sacred significance. Using reclaimed woods from old furniture, window frames and pianos, along with distinctive metal plating, he follows a tradition he hopes his own daughter will continue. Iliya has won many awards for his work.
KENYA Maasai beaded jewelry and clothing
Beads of Esiteti Booth 130 Beads of Esiteti is a fair trade social business dedicated to empowering the Maasai community of Esiteti/ Embarinkoi, at the foot of Mt. Kilamanjaro in Southern Kenya, through the sale of their traditional bead work. In partnership with the nonprofit organization Africa Schools of Kenya, Beads of Esiteti generates income for over 220 Maasai women and creates the means for them to care for themselves, their families and their community while creating new educational opportunities for themselves and their children. Due to their new economic prominence in the community, these women now have a voice in determining their own and their children’s destiny. They are working to increase access to education and healthcare, along with economic sustainability. This
48 2013 International Folk Art Market | Santa Fe
past year, the community held the first alternative rite of passage for 42 girls who would otherwise have been circumcised.
KINGDOM OF TONGA Woven bark and leaf purses, bags, cushions, wall hangings, baskets, and fans
Lina Moa Supported by Tessa Horan Foundation Booth 64 Lina Moa makes items of utility such as woven floor mats, table mats, fans and baskets from barks and leaves. Groups of women work together to weave bags, cushions and wall hangings. Pieces are often used for everyday purposes, but some are made for decoration as well as special occasions such as weddings, birthdays and death — honored in an extended ceremonial manner.
Woven bark and leaf purses, bags, cushions, wall hangings, baskets, fans and handpainted tapa cloth
Vaasi Kupu Supported by Tessa Horan Foundation Booth 64 The Kingdom of Tonga is renowned for its large and elaborate tapa cloths, woven mats, purses and baskets, all made from natural fibers. Pandanus leaves are laid out in the sun to dry and, usually, woven by a group of women into mats and other household items. Both tapas and mats are used in important ceremonies such as births, marriages and funerals. They are also a measure of wealth and status. Vaasi Kupu is a wife, mother and grandmother. In addition to her skill as a tapa cloth maker and mat weaver, she is also an excellent cook and enjoys teaching women to make the local delicacies from vegetables and fruits found on the island.
Woven bark and leaf purses, bags, cushions, wall hangings, baskets, fans and handpainted tapa cloth
Ema Latu’ila Supported by Tessa Horan Foundation Booth 64 Ema Latu’ila and her sister Silia weave bark and leaf purses, bags, baskets and mats for the seasonal tourist trade that descends upon their village in the Kingdom of Tonga each year. Ema learned to weave the bark and tapa cloth from her elders and at craft classes held in the village school. Most of the items she makes are utilitarian or created for special occasions such as weddings and birthdays. The designs woven into the mats and tapa cloth are those favored by the King of Tonga.
Woven bark and leaf purses, bags, cushions, wall hangings, baskets, fans and handpainted tapa cloth
Silia Latu’ila Supported by Tessa Horan Foundation Booth 64 Tapa cloth is a bark cloth made in the islands of the Pacific Ocean,
primarily in Tonga and Samoa. It is used for both functional and ceremonial purposes, including events associated with the royalty of Tonga. The painted patterns feature mostly geometricized plants and fish. Special designs are sometimes used to commemorate important events. Silia and Ema Latu’ila, her sister, usually work together and with other women in their village to paint the huge sheets of tapa cloth.
KYRGYZSTAN Felt with silk or felt with Muslim shawls and scarves
Aidai Asangulova UNESCO Award of Excellence Winner Booth 22 Aidai Asangulova grew up in a family of felt makers. As a teenager, she helped her father make yurts and was responsible their decoration. While studying at the Kyrgyz State University, she developed her own unique technique for fusing wool felt and silk. After she graduated she worked for several art studios, but eventually developed her own brand, Aidai that utilizes her seamless rolled felt technique. She now runs her own studio and is the founder of a women’s handicraft cooperative in her native village that has 30 members and operates as a small business. The women work together to create felted and silk textiles that are distinct with unique patterns and designs. She is also involved in training programs, traveling around the country teaching felt techniques, and collecting information about folk art traditions in different regions.
Felt-with-silk scarves and rugs
Sharshenbieva Farzana 7 Sisters UNESCO Award of Excellence Winner Booth 70 Farzana Sharshenbieva has taken on the honored family 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, sheep’s 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. Farzana Sharshenbieva and her family have been translating the natural beauty of their surroundings and the importance of their cultural heritage into these beautiful, handmade products for centuries. They are continuing to pass this on to their children.
Felt-with-silk scarves and rugs
Sharshembieva Kadyrkul, Dzhunushova Aichurek and Sharshembieva Aitolkun 7 Sisters UNESCO Award of Excellence Winner (Sharshembieva Kadyrkul) Booth 70 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. Sisters Kadyrkul, Aichurek and Aitolkun have been involved with this craft in multiple capacities for numerous years. They remember learning this art form along with the history and value of the ornaments depicted in ala-kiyiz, illustrative of nomadic life. The sisters are passionate about their work and continue to pass on the tradition.
Silver bracelets, pendants, earrings, rings, buttons and silver-with-leather belts
Sharshembieva Zhanyl and Sharshenbieva Aliya Booth 71 Sharshembieva Zhanyl and Sharshenbieva Aliya grew up under the artful eye of their sisters, master textile artists, and their father, a master saddle maker. Today, they combine their talent into a jewelrymaking business inspired by their sisters’ designs. Zhanyl and Aliya shape, cut, engrave, solder and polish these designs into exquisitely detailed earrings, cuffs, necklaces and finger-rings of the finest silver. Drawing on their community’s traditions as shepherds and herdsmen, they create decorative motifs for the silver jewelry illustrative of their culture’s pagan symbols for earth, sky and water, as well as the plant and animal life of the region. Traditionally, silver was a measure of wealth and affluence in Kyrgyzstan. Grandmothers stored their silver bullion in the form of a foal’s hoof until the silver was again transformed, but now into bridal jewelry for weddings. Today, the shapes and motifs of the jewelry worn by the Kyrgyz people still indicates social markers such as age, marital status or wealth.
Felt rugs (shyrdak) and home furnishings
Mairam Omurzakova Altyn Kol Booth 132 Mairam Omurzakova is co-founder of Altyn Kol, a women’s handicraft cooperative with several hundred 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 Women’s Creativity in Rural Life by the Women’s 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. Felt-making is a primary tradition of the Kyrgyz people. All young women are taught this craft and the shrydak is still used in all Kyrgyz homes.
Museum Folk Art
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S Felt work dolls
Erkebu Djumagulova UNESCO Award of Excellence Winner Booth 149 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 Djumagulova is a textile artist from the capital city of Bishtek, Kyrgyzstan, who is a master at capturing the expressions and customs of the villagers of her native Kyrgyzstan and Central Asia through the intricately dressed dolls she makes from embroidered felt wool, silk and yarn. Drawn to the traditional Kyrgyz felt arts since childhood, Erkebu followed her dreams all the way to art college, where she researched and learned the intricate arts of felt making from folk artists around the country. Her repertoire includes traditional clothes, decorated household items and the felt dolls for which she is most known.
LAO PDR Woven cotton and silk Tai Lue textiles, woven banana fiber and cotton katu texitles, ikat motif and indigo dye phoutai cotton textiles, and Yao Mien embroideries
Traditional Arts and Ethnology Centre Booth 7 The Traditional Arts and Ethnology Centre offers the beautiful textiles first introduced at the 2012 Folk Art Market by artists Famchoy Saely and Bouathong Phetdara and the Luang Prabang Fund for Culture & Conservation. These textiles are made by artisans from the Katu, Yao Mien, Tai Lue and Phoutai cultures and are created from natural, handspun fibers, including cotton, silk and banana. Some are embroidered using crossstitch, grid-stitch and weave-stitch. Others are of handwoven ikat and indigo ikat. The work includes baby hats with pompoms, bridal head scarves, shawls, ornaments, bags, men’s shirts, women’s skirts, table runners, pillowcases and prayer flags. The Traditional Arts and Ethnology Centre, a museum in Luang Prabang, is the first cultural organization in Laos dedicated to the country’s diverse ethnic cultures and arts. 50% of the museum shop income goes directly to the artists and currently provides income to more than 500 ethnic minority women, men and their families in 12 provinces.
Jewelry featuring the Dok Phikoun flower pattern
Orijyn Booth 58 Working on a bench with a blow torch and hand tools, silversmiths in Vientiane, Laos, labor over silver ingots to create intricately crafted cuffs, bracelets and necklaces. The silversmiths are members of a cooperative called Saoban that is part of a nonprofit school that preserves traditional arts while improving education and healthcare through
revenue development for artisans. Although silversmithing is typically passed down through families, the cooperative is working to introduce more young people to the art in order to keep the tradition alive. The style of silversmithing employed by members of Saoban is particular to the Lao Loum group in Laos. Traditional designs created for the Lao royal court adorn the handcrafted silver jewelry. The Dok Phikoun flower is incorporated into many designs and is believed by the followers of Lao Buddhism to bring health, well-being and prosperity.
Silk and cotton weavings of the Tai-Kadai style
Veomanee Douangdala Ock Pop Tok Booth 85 Veomanee learned weaving at the age of 8, by helping her mother weave the easy parts of patterns for woven textiles used in daily life. She also learned natural dye skills from her mother, a weaver known for her knowledge of natural dyes. In 2000, Veomanee Duangdala cofounded Ock Pop Tok. Ock Pop Tok’s Living Crafts Centre, an innovative textile gallery and workshop in Luang Prabang, provides sustainable employment to hundreds of artisans throughout Laos.
Silk and cotton weavings of the Tai-Kadai style
Hongkham Xiong Ock Pop Tok Booth 85 Veomanee Douangdala and Joanna Smith — the dynamic young founders of Ock Pop Tok — are returning this year with the intricate and beautifully-designed weavings for which the cooperative is known worldwide. This year, the master weaver from the Mekong region and her British business partner will return with first time Folk Art Market artist, Hongkham Xiong, who is an expert in the weaving techniques of the Tai-Kadai people. The name, Ock Pop Tok, translates as East Meets West. It reflects the successful partnership of Veomanee and Joanna and the broader meeting and sharing of ideas, designs and knowledge that the work embodies. In just over a decade, Ock Pop Tok has grown from a one-room weaving studio to an internationallyrecognized heritage destination, gallery, retreat center and women’s weaving collaborative of over 800 artisans from throughout the country.
MACEDONIA Silver filigree jewelry
Katarina Doda Booth 53 Katarina creates award-winning silver filigree jewelry in her family’s workshop, paying close attention to detail and shape. The most intricate pieces are traditional wedding gifts to brides, while simpler patterns are worn in daily life. Jewelry has been made by generations of her family and her parents produce the
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equipment she uses to create her art. Each piece requires much precision and numerous tools. She finds great pleasure in teaching young people how to create filigree jewelry, preserving the tradition and her cultural heritage.
MADAGASCAR Traditional Malagasy musical instruments
Randrianomanana Mandibihery Roger Cooperative Redona Booth 46 Made of gourd and cowhide and stamped with traditional images, the valiha stringed instrument plays a central role in the religion unique to Roger’s community. His cooperative is keeping its ancestral heritage alive through music. Learning from their fathers and brothers, instrument making is a significant part of their livelihood, using the income earned to support their community and families. No cooperative member is formally trained; rather they learn through observation and assisting their elders. The strings on their instruments are often made from carved bamboo and many pieces are created through collaboration.
Traditional Malagasy musical instruments
Randriamanantena Edmond Cooperative Redona Booth 46 Edmond grew up in Mananjara and by the age of 8 was skilled at playing the valiha, a bamboo string instrument made of wire, dried gourd, cowhide and nails. The art of making the valiha has been passed down through generations. It is also part of the religious history. According to this history, the ancestors of the Cooperative Redona migrated from Israel to Madagascar in the 1300s and brought the valiha with them. Today, Edmond’s skill at playing this instrument has taken him to Europe and Asia and, together with the Cooperative Redona, he is keeping their ancestral heritage alive through both instrument making and performance.
Woven silk, cotton and raffia accessories and home furnishings
Berthe Lalao Olga Razafinandriana Federation SAHALANDY Booth 61 The Federation SAHALANDY, in the central highlands of Madagascar, is made up of several weaving cooperatives representing 92 weavers in the area. Federation SAHALANDY empowers by increasing non-subsistence income, finding sustainable markets abroad, building a cultural heritage center, and continuing to teach the weaving tradition to future generations. “One silk strand is strong, but when many are woven together, they are stronger,” is a Malagasy proverb that illustrates SAHALANDY weavers, weavings and community work.
MALI Indigo and mud-dyed woven clothing and accessories including hats, bags and home furnishings
Aboubakar Fofana Booth 113 Aboubakar Fofana utilizes organic hand-spun cotton and natural indigo and mud dyes to create exquisite textiles, which are 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 preserve the use of indigo and to revive the growth of biological indigo and of organic cotton in West Africa, particularly in Mali. Aboubakar’s craft has also been highly influenced by his time in Japan and in France. He feels that time and the changing nature of matter are the primary themes behind his work. His Sublime Indigo initiative addresses all of these priorities by teaching the techniques of textile production and by developing a textile industry in West Africa based on principles of sustainable development and respect for the environment.
MEXICO Backstrap loom-woven, embroidered huipiles
Odilon Merino Morales Booth 5 Odilon and his family are keeping the rare tradition of Amuzgo huipiles, or tunics, alive. Hand-woven on a backstrap loom, these colorful pieces are made with local cottons and feature expressive designs. These designs are often of local plants and geometric shapes that have symbolic significance or personal meaning to the weaver. Odilon is a leader in revitalizing the use of coyuche cotton, a traditional and rare brown cotton that has been replaced in modern huipiles by synthetic material. He also uses an uncommon purple dye that comes from sea snails. Through his clothing he hopes to renew interest in natural materials and traditional dress.
Silver filigree jewelry and nativities
Mili Baas Supported by Fundación Haciendas del Mundo Maya, A.C. Booth 11 Mili Baas comes from the Itzincab Cámara community, in the state of Yucatán. Fundación Haciendas del Mundo Maya, A.C. trains more than 500 artisans and works closely with 200 of them organized in numerous workshops in 16 communities. The Fundación is a member of the World Fair Trade Organization and supports seven cooperatives by providing training for the production process, quality control, administration and marketing, as well as the promotion of fair trade. They also create and
execute actions that promote identity, recognition, and recovery of the expressions of the Mayan culture. They strive to overcome poverty by providing opportunities in education, health, and self-sustainable development with the participation of the population as promoters of their own social welfare projects. Mili is a silver filigree artist who works as part of this larger organization.
Anita Keb Supported by Fundación Haciendas del Mundo Maya, A.C. Booth 11 Anita Keb was born in Granada, located in Maxcanu in the state of Yucatan. Local employment opportunities were very scarce, but like others who joined Fundación Haciendas del Mundo Maya, A.C., she was taught a skilled trade and encouraged to start her own workshop. She learned to make the popular Panama hat. The hat is made from toquillas straw. Because the straw must remain wet while being woven, they are crafted in manmade caves. It is shaped over a wooden mold and steamed with an iron into its final shape. The Panama has several other names. It is often called jipijapa, referring to the small Ecuadorian city of Jipijapa where it originated. It is also referred to as the montecristi and toquilla, names that date back to Colonial times when worn by the Spaniards. The jipijapa remains a part of traditional male attire in the state of Yucatan — worn by Mayan men. For over ten years, the nonprofit organization, Fundación Haciendas del Mundo Maya, A.C., has worked to develop social initiatives in remote communities in the Yucatan Peninsula. Fundación has trained more than 500 artisans and organized 200 of them into 36 workshops in 16 communities.
Nunkini palm rugs
Germina Supported by Fundación Haciendas del Mundo Maya, A.C. Booth 11 Germina lives in Santa Rosa de Lima, within the municipality of Maxcanú, Yucatan, where most of the population speaks Mayan. Until the creation of artisan jobs in her community, men and women had to leave their families and travel to other places for work. Fundación Haciendas del Mundo Maya, A.C. is a non-profit organization that helps artisans establish their own workshops and rescue artisanal traditions of the Yucatan Peninsula. Germina and others were taught the art of making nunkini palm rugs to ensure that the techniques involved do not die out. Each can take more than three weeks to make and incorporates up to forty different designs in one piece. The rugs usually measure 5 feet long by 2.5 feet wide. The nunkini palm is scratched to remove strips for weaving. Some strips are left a neutral color. Others are dyed with aniline to obtain a
Spectrum Arts Inc. Gallery on the Hill Ethnographic Art for the Discerning Collector Antique, vintage and contemporary ethnic, tribal, folk arts, crafts, photography, sculpture, masks, furniture, museum quality textiles, beadwork, basketry, pottery, ethnic clothing, knives and spears from the four corners of the world. Also featuring artists from the Folk Art Festival Moussa Albaka (Tuareg silver jewelry), the Irmatov brothers, (Uzbek painters and carvers), the Hebron Glass artists, and more.
Spectrum Arts Inc. Museum Hill area • By appointment only • 505-995-9642 • firstname.lastname@example.org
Nativities of the World
A book signing by the Author
Susan Topp Weber saturday, July 13th ~ 2:00pm Museum of international Folk Art book shop
50% OFF thru JULY 21
Sanbusco Center • 500 Montezuma Santa Fe • 984.9836
DESERT SON of santa fe
HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY
NEW The over 100 nativities featured in this new book are from all over the world. Most have never been seen before. susan topp Weber has owned and operated susan’s Christmas shop in santa Fe for over thirty years. The book will be available for $24.99.
Come visit the International Folk Art Shop during the market for a special trunk show of embroidered beaded shirts by indigenous Nahuatl women of Mexico.
Repre s e n t i n g He n r y Beg ue l i n, Num e ro 1 0 & O f f i c i n e C rea t i ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com
on Museum Hill 505.982.5186 shop the world at www.worldfolkart.org 2013 International Folk Art Market | Santa Fe 51
2 0 1 3 I N T E R N AT I O N A L F O L k A R T M A R k E T A R T I S T S burnt umber color. The strips are then woven together to create palm rugs for sleeping or decoration.
Miniature carved horn chair
Claudia May Sulu Supported by Fundación Haciendas del Mundo Maya, A.C. Booth 11 Claudia May Sulu comes from the Itzincab Cámara community in the state of Yucatán, a community of approximately 100 families. As in other communities in the Yucatan, local jobs were scarce. Before getting artisan training five years ago through the efforts of Fundación Haciendas del Mundo Maya, A.C., Claudia traveled outside of her community three days a week to work as a domestic. The Fundación invited Claudia to join the local horn shop in order to learn the technique of carving bull’s horn. Over time she has become an experienced carver, specializing in miniature chairs that are replicas of those used in colonial times. Her beautifully carved miniature chairs were once made of tortoise shell but today are replaced by bull horn, a more sustainable material. Fundación Haciendas del Mundo Maya, A.C. is a member of the World Fair Trade Organization. More than 500 artisans throughout the Yucatan have been trained by the Fundación and 200 of these have been organized into 36 workshops in 16 communities.
Handwoven hammocks including cotton, sisal and agave fiber hammocks
Juana Balderas Supported by Fundación Haciendas del Mundo Maya, A.C. Booth 11 Juana Balderas lives in the Tixkokob municipality, known for its hammocks dating back to the Spanish Conquest of the Yucatan. In the Yucatan, hammocks are traditionally used for sleeping. Juana, who is sixty years old, has been weaving since age nine. Her distinctive hammocks use a variety of techniques from weaving to crocheting. The crochet hammocks use a fine white cotton yarn and take up to two months to produce. Because of the labor intensity of this technique, few artisans have continued in this tradition. Her sansevieria hammocks use a fiber similar to sisal, but much softer and of beautiful, soft earth tones. These ancient techniques were almost lost until the Fundación provided training. Having received many state and national awards, Juana is committed to passing on traditional Mayan skills to both her children and other Yucatan artisans. For over ten years, Fundación Haciendas del Mundo Maya, A.C. has served as a link between the present and the past of the Mayan world, helping to preserve cultural values while supporting sustainable economic development. It is a member of the World Fair Trade Organization.
Hammered and engraved silver and copper
Carlos Punzo Chávez and José Abdon Punzo Chávez Booth 19 Carlos and José’s father, Abdon Punzo Ángel, is a nationally award-winning master craftsman from the copper and silver region of Santa Clara del Cobre, in the State of Michoacán, western Mexico. Abdon and his two sons create their exquisitelyhammered copper pots, bowls, vessels and pitchers in elegant, abstract floral and animal shapes that draw and expand upon pre-Hispanic tradition. Abdon has been perfecting his craft since he was five years old and, to date, has won more than 20 national awards as well as the coveted Presidents National Award for silversmithing. Abdon’s busy workshop is always full of members of his family forming gorgeous, hammered copper vessels.
Burnished clay pottery from Tonalá, Jalisco
Angel Ortiz Gabriel Booth 26 Angel Ortiz Gabriel grew up with his artisan grandparents and mother in Tonalá, a town known for its distinctive narrative pottery. Since childhood, he has created handmade pottery such as decorated plates, vases, nahuales, bowls and traditional Tonalá masks. He is dedicated to reviving pottery styles from the 1920s that include traditional country designs called Fantasia (fantasy) and polychrome floral designs. His unique style is easily recognizable. Angel is honored to be able to keep alive old stories and traditions, and bring aesthetic pleasure to people’s lives.
Burnished clay pottery from Tonalá, Jalisco
José Angel Ortiz Arana Booth 26 At age 10, Jose Angel Ortiz Arana began to learn to create traditional Tonalá pottery from his father Angel Ortiz Gabriel. They currently work together in his father’s studio and hand build each piece using press molds and then paint them with thin, delicate handmade brushes. The pottery most often depicts ancient myths, symbolism that relates to nationalism or Pre-Hispanic history, and animal and plant life. He has won several awards for his unique style of handmade pottery and design.
Embroidered clothing and accessories, wall hangings, home furnishings and bags
Berta Servín Barriga Cooperativa Vasco de Quiroga, Textiles Bordados, Comunidad Santa Cruz “A” Tata Vasco, Municipio Tzintzuntzan Booth 31 Berta is a natural-born storyteller, but her tales are stitched in cloth, not woven in words. She uses backstitch, single and double cross stitch, and chain stitch to outline the drawn figures, scenes and landscapes that depict the stories, celebrations and daily life of the Purépecha indigenous community in the west-central state
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of Michoacán, Mexico. The current president of the Vasco de Quiroga Cooperative, Berta leads the women of her village of Tzintzuntzan to produce the exquisitely embroidered story pieces — including rebozos, bed covers, shawls, tablecloths and runners — that they sell from local stands and at local and national crafts fairs throughout Mexico and the United States. Using cotton and yarn, Berta embroiders brightly-colored scenes of cooking and fishing around Lake Pátzcuaro, local festivals and rituals such as weddings, as well as stories from ancient Purépechan mythology. The majority of women still speak their native tongue and adhere to many of their ancient customs, embroidering in the evenings after their chores are finished for the day. The first collective of embroiderers, all women, was organized almost 30 years ago to preserve the traditions of the Purépecha people.
Forged metal, traditional and decorative roof crosses of San Cristobal de las Casas, Chiapas
Guadalupe Hermosillo Escobar Booth 51 Guadalupe Hermosillo Escobar was born in the southern town of Tapachula, Chiapas, where he learned how to forge iron from a master forger. He married his teacher’s daughter and now passes on the art of forged iron to their son. Ironforged crosses were originally placed on Catholic homes to protect inhabitants from evil. Those same crosses, simple and ornate, continue to adorn rooftops as well as hearths in Mexico. The tradition has grown, incorporating symbols of the life and passion of Christ, love of family, and good and evil.
Zapotec natural dye weavings and tapestries
Porfirio Gutiérrez Supported by Alana Coghlan Booth 88 Twelve members of Porfirio Gutierrez’s family pursue the creation of woven textiles. Some gather herbs and insects for the natural dyes; others clean and card the wool. Still others spin the yarn. Finally, Porfirio sets up the family loom — literally a family heirloom — and selects the design. This is the traditional Zapotec way, despite the difficulty of competing with artists who use synthetic dyes. Cochineal (a scale insect), tarragon and tree moss are among the sources of the rich colors. Geometric designs have spiritual names, such as El Viaje del Espiritú (The Spirit Journey) and Ojos de Dios (God’s Eyes) that reflect the spiritual meanings, conveyed to the children by their elders, of the plants and minerals collected to dye the wool.
Mixed media collages
Pedro Ortega Lozano Booth 91 Pedro creates the perforated paper ornaments that brighten Mexican homes and streetscapes
for annual fiestas, birthday parties, quinceañeras, and even the Folk Art Market. Applying familiar tools and techniques, he has taken the tradition and transformed it by creating elaborate collages that suggest the Baroque altar screens in Mexican colonial churches. Pedro and his work were featured in the Great Masters of Mexican Folk Art exhibition and publication organized by Banamex.
Loom woven Zapotecan rugs, home furnishings and bags
Pastora Asunción Gutiérrez Reyes and Violeta Vásquez Gutiérrez Vida Nueva Booth 93 Vida Nueva is 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. The cooperative’s weavings contain traditional geometric designs with dozens of different colors made with natural dyes, ranging from fuchsia to purples and reds.
Fomento Cultural BANAMEX, A.C.
Fomento Cultural BANAMEX, A.C. was formed in 1996 to preserve and to promote the values of the Mexican culture from its roots to very diverse cultural 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. The collection has since been greatly expanded with regard to specialties and 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:
Appliquéd and glazed clay candelabras, vases, bowls and incense burners
Herlinda Morales Supported by Fomento Cultural BANAMEX AC Booths 104, 105, 106 Herlinda creates elegant lead-free, black candleholders that combine Catholic symbols with imagery from her native Purépecha culture. She works in the family workshop in Santa Fe de La Laguna in the Mexican state of Michoacán. 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
Purépecha women’s 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. At previous Folk Art Markets, her work was represented by Barro sin Plomo, a nonprofit that has helped Mexican artisans create sustainable products while preserving traditional art forms and advocating for lead-free production.
Appliquéd and glazed clay candelabras, vases, bowls and incense burners
Manuel Jerónimo Reyes Supported by Fomento Cultural BANAMEX AC Booths 104, 105, 106 Manuel Jerónimo Reyes learned pottery making as a boy by watching his grandfather, Venturo Reyes Luz. At the time, Venturo was one of a few artists in the community of Santa Fe de La Laguna working in clay. Manuel remembers his grandfather coming down from the mountain for the family’s mid-morning meal and then going with him to the workshop where he watched Venturo shape his clay figures. Using a blend of clays that he gathers in two mines nearby, Manuel molds and polishes his pieces. He then attaches the clay appliqué consisting of his signature doves and other birds, before firing twice. Manuel’s glazes are lead free. His pieces are utilitarian and decorative.
Wheel-thrown, majolicastyle enameled talavera dishware, candelabras, jars and flowerpots
Cesar Torres Ramirez Supported by Fomento Cultural BANAMEX AC Booths 104, 105, 106 Cesar Torres Ramirez learned to make majolica pottery at the renowned talavera factory of the Uriarte family. Originating in Spain, this pottery found new forms of expression through motifs and coloring unique to the city of Puebla, a mecca of colonial Mexican art. The distinctive whitish enameled background of the pottery is the result of rapid immersion in a preparation of tin. The pieces are then left to dry for several days before the traditional designs are applied. These are first drawn with a pencil and then retraced using a fine brush, a step called plumea. A feast for the eyes, Cesar’s work includes dishes, platters, jars, boxes and candelabras.
Handpainted clay scenes, masks, dragons and demons
Octavio Esteban Reyes Booth 109 Octavio is an indigenous Purépecha and has been an artist since the age of 12 in his hometown of Ocumicho, Michoacán. His parents trained him in the techniques and traditions of his region. He creates masks, dragons, and demons made of clay in the traditional Ocumicho technique of shaping figures by hand, which are fired and then painted using brushes made from human hair. The devils,
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S or diablitos, are used mainly around Christmas and Holy Week in dances and celebrations. The community of Ocumicho depends on their art for their primary source of income, as they have done for generations.
Handwoven Mayan textiles of Highland Chiapas, including clothing, bags, dolls and home furnishings Pedro Meza Meza Sna Jolobil UNESCO Award of Excellence Winner (Sna Jolobil) Booth 114 Pedro heads up the award-winning cooperative, Sna Jolobil, in Chiapas, Mexico, an association of 650 weavers. The cooperative provides training, supplies raw materials, and markets the members’ work. All of the work represented is traditional Highland Maya handwork. The work of Sna Jolobil artists is considered to be some of the finest examples of contemporary Maya textile art.
Black pottery sculptures of women dressed in regional costume and catrinas (skeletal figures)
Magdalena Pedro Martínez Booth 119 Magdalena Pedro Martinez uses the distinctive black clay indigenous to her town of San Bartolo Coyotepec, in the Mexican state of Oaxaca, to form her sculptures of women dressed in regional costumes. What gives these sculptures a creative edge is the carefully engraved detail the artist bestows on each piece. The faces, hands and feet are particularly life-like. The regional costumes are carved in detail, which gives each piece specific embellishments. She burnishes the clay to achieve a contrast that sets her work apart. Magdalena grew up in a family of artists who encouraged her to experiment with the black clay that gave the villagers a way of making cookware for everyday use, a technique that is still used today. Magdalena said she wanted to create a permanent record of the traditional costumes worn by the women in her area, and she wanted to create that documentation in clay.
Ofebre filigree jewelry
Inocencia Hernández Ramírez Supported by Museo Belber Jimenez Booth 124 Inocencia Hernández Ramírez began making delicate and intricate filigree at age 12, in Oaxaca, a Mexican state known for its tremendous filigree traditions. She works with gold and silver, 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.
Huichol Wixarika yarn paintings
Mariano Valadez Booth 138 Huichol yarn painting has been a part of Mariano Valadez’s heritage for as long as he can remember. His family often made them for sacred places and ceremonies in their indigenous community. He now makes these vibrant and elaborate yarn paintings to support his family, but has continued to incorporate spiritual and mythological themes, peyote visions, ceremonial life and Huichol cosmology in his work. Mariano Valadez not only identifies as a Huichol yarn painter, but also as a storyteller who is translating his culture’s rich traditions and beliefs into an art form.
Huichol Wixarika yarn paintings
Rafael Valadez Booth 138 Rafael Valadez is part of a new generation of young Huichol Indians who have migrated to cities outside of their indigenous villages. Educated as doctors, lawyers and teachers, they use their professional positions to advocate for the rights of their Huichol communities, while continuing to apprentice to learn the traditions and arts of their elders. The son of world-renowned Huichol yarn painter Mariano Valadez and anthropologist Susana Valadez Eger, Rafael has been mentored by his communities’ master craftsmen and shamans to carry on the Huichol mystic arts to coming generations. One of the few in his community fluent in English, Rafael uses his voice as an advocate for Huichol indigenous rights and his vision as an artist to spread the meaning and beauty of his culture to the world.
MONGOLIA Containers made of horn, wood carvings, clothing and felt work
Narantsetseg (Nara) Sambuu Hovsgol Park Cooperative Booth 89 Narantsetseg comes from a family of traditional nomadic herders and learned her 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). Before establishing the cooperative, artisans worked individually in their homes and they sought markets alone. Forming artisans into small groups enabled all to help improve productions systems and access additional markets. The cooperative specializes in making garments, felt boots, purses, and toy animals from the felt scraps. As Mongolians move to the cities for work there is growing demand for traditional folk art.
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Secular paintings (Mongolian Zurag)
Gerelkhuu Ganbold Hovsgol Park Cooperative Booth 89 Gerelkhuu Ganbold has been painting in the traditional Mongolian style called Mongolian Zurag since he was a young boy. He thoroughly enjoys painting Mongolian folk tales and images of different nomadic tribes, especially developing a passion for painting detailed and expressive images related to migration. Gerelkhuu Ganbold is part of the Hovsgol Park Cooperative, which is located in a small village and works hard to train local people to make traditional crafts and clothing in order to create employment opportunities, stimulate the economy and preserve cultural traditions.
Tuul Sanjdorj Hovsgol Park Cooperative Booth 89 Before Hovsgol Park Cooperative was established in 2000 through funding from United States Aid for International Development (USAID), artisans like Tuul worked individually in their homes and sought out markets on their own. Forming artisans into small groups enabled all to help each other improve production systems and access additional markets. The cooperative supports a wide range of traditional arts, including painting and carving. Artist Tuul Sanjdorj’s specialty is the beautiful clothing typical of nomadic Mongolians.
Bayarchimeg Sanduijav Hovsgol Park Cooperative Booth 89 The traditional dress of Mongolia has remained virtually unchanged for hundreds, if not thousands, of years. Master garment maker Bayarchimeg Sanduijav has meticulously studied and perfected the traditional method of construction and decoration of costumes from her home region in central Mongolia, as well as other regions of the country. Although Bayarchimeg grew up in Mongolia’s urbanized capital city, she spent most summers with her grandparents in the countryside. There, she learned the traditional crafts every Mongolian child should know: to care for domestic animals, milk yaks and cows, make yoghurt and dried yoghurt cheese for winter, milk mares and make fermented airag, and move their household to follow the livestock to good pasture. When this busy schedule permitted, her grandmother taught her to make clothing and household goods. Bayarchimeg discovered that she loved to sew and continued to work on her stitchery in the winter months. Following her grandmother’s teachings, she became proficient in sewing many types of traditional Mongolian clothing, including the intricately appliquéd and decoratively stitched long coat known as the deel, and the richly ornate vests and jackets
worn by both men and women. According to Bayarchimeg, the secret to her beautiful, even and strong stitches lies in the thread itself — spun from the wool of the camel’s mane.
MOROCCO Tuareg and Berber-style daggers
Lhoucine Taous Azlag Dagger Cooperative (La Cooperative Artisanale Des Poignards Azlag) Booth 99 Dagger-making has over 700 years of history with the Amazigh, or Berbers, in Southern Morocco. The artisan’s roots lie in the ancient Berber village of Azlag, near the famous M’gouna Rose Valley. The name Azlag means come together, and their handicraft supports over 100 families in the community. The president of the Azlag Dagger Cooperative, Lhoucine Taous, represents 72 artisans — the only group of its kind — following a tradition of handcrafted designs, which have been influenced by the mix of cultures in this North African kingdom. The beautifully handcrafted daggers are made from various metals, woods, animal bones, skins and plants that are used to naturally dye the handles.
Beni Ourain-style, handknotted pile carpets, flat weave carpets and home furnishings
Fatima Akachmar and Hind Akachmar Cooperative Adwal Booth 100 Fatima and Hind represent the Cooperative Adwal, a group of 22 women living in the community of Ribat El Kheir in the Middle Atlas mountain range. They weave pile carpets from wool in hand-knotted patterns that are memorized and passed down through generations. The complex designs utilize diamond patterns, and Berber symbols are incorporated into each piece. The cooperative is working to provide needed income to women of the village, many of whom are unmarried. They also provide training for apprentices to ensure the continuation of this unique tradition.
Hand-knotted thread buttons, button jewelry, slippers adorned with buttons, scarves and shawls
Amina Yabis Sefrou Women’s Button Cooperative “Cherries” Booth 116 Amina Yabis 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 women’s craft association called Golden Buttons to market the hand-woven buttons women had been making in their homes for generations. Economic success led to
a literacy campaign for women and more economic opportunities.
MOZAMBIQUE Psikelekedana softwood carvings — daily life in Mozambique
Camurdino Mustafa Jetha Booth 128 The trademark folk art form of Santo Damásio in Mozambique is Psikelekedana, a type of softwood carving made from the wood of the cashew nut tree. Dino began to learn to carve at the age of 18 from an elderly neighbor who was a master of the craft. Dino learned to join the figures to a base in order to create scenes of daily life, and customs and traditions such as weddings, and Chiguiana, the after-wedding ceremony for receiving gifts. He received further training from Aid to Artisans and has participated in exhibitions in Maputo as well as the National Fair organized by Cedarte.
MYANMAR Backstrap loom-woven headscarves, scarves, runners, blankets, cushion covers and beaded tunics
Khun Shwe Supported by Yoyamay Booth 20 Chin weaving is the most intricate and unusual of weaving traditions in Myanmar, formerly known as Burma. The textiles are made on backstrap looms and are woven by women in their homes. These include everyday tunics, special beaded ones for occasions like the harvest festival, and textiles that become part of a dowry. Dominant colors are soft black, rose and purple with rose, yellow and white designs that look like tapestry. Within Chin culture, there are at least 40 subgroups. Each group maintains its identity through its weavings and the textiles reveal the status of a person in the community. Yoyamay, a well-known reputable shop in Yangon, is the leading outlet for Chin textiles. Both Khun Shwe and Pa Mang, who run the shop, are experts in describing the subtle differences. Chin State is an impoverished area and the mission of Yoyamay is to ensure that Chin cultural traditions and skills are being passed on by master weavers to younger ones.
Elaborately costumed, carved and painted wood marionettes
Khin Maung Htwe Htwe Oo Myanmar Booth 25 Puppetry in Myanmar goes back to the 15th century and was originally created by families for entertainment and to teach. This tradition is a combination of sculpture, painting, dressmaking, embroidery and performance art with different artisans working on each aspect. Htwe is deeply committed to preserving this dying art form and works with multiple generations
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S to preserve the creation of the puppets and their cultural heritage. With no public libraries in Myanmar, the mobile puppet libraries relay traditional stories and current events to the people of Myanmar.
NAMIBIA Ju/’Hoansi Bushmen ostrich eggshell jewelry, Ikung and Ju/’Hoansi Bushmen linotype prints, baskets from the Kavango region, Khwe Bushmen baskets, PVC jewelry from the Kavango and Kunene regions, and Ikung and Ju/’Hoansi Bushmen beaded pictures
Anna Jors Supported by Omba Arts Trust Booth 95 Anna Jors and other Ju/’Hoansi Bushmen artisans create ostrich eggshell jewelry from individuallyshaped beads made from eggshell sourced from commercial farms. These adornments are exchanged as gifts or worn during cultural dances and festivals. For centuries, the stories of the Bushmen have been depicted through painting on rock — the animals hunted and plants gathered, as well as the spirits guiding their lives. With the loss of land and landbased resources, their stories and language are dying out, and, with these, the rock art. The Bushmen are now reviving their stories through the medium of linotype prints. The 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. 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. The Bushmen of Southern Africa have been creating and trading glass beads for centuries. They are now using these colorful and delicate glass beads to create elaborate designs on fabrics that depict different aspects of Bushmen culture, such as animals and medicinal plants. In 2012, Mara Britz represented the Ju/’Hoansi Bushman community and the many artisans supported by Omba Arts at the Folk Art Market.
NEPAL Maithili painting on handmade paper
Manjula Thakur Janakpur Women’s Development Center (JWDC) Booth 59 In the village of Janakpur in eastern Nepal, the Janakpur Women’s Development Center began with the purpose of empowering women
through the practice of their traditional art. Women of the Maithili culture traditionally painted designs on the outside walls of their homes, but now have begun painting the same images on handmade paper. The wall paintings were made for special occasions such as weddings and festivals, including Deepawali — celebrating Laxmi, goddess of wealth. While some male members of the community first criticized the women when they began to paint, the women are now lauded for their courage and ability. The center employs 41 women and has brought income to many families in the Janakpur area. The artists are now able to send their children to school and afford medical care.
NIGER Silver Tuareg jewelry
Daouda Mohamad Cooperative D’Artisant Bijouterie Tagazte Booth 29 Daouda Mohamad is a member of the Idan (Tuareg metalsmiths) who live near Agadez, a dry and isolated area in Niger. Tuaregs lead a nomadic life, often moving when life in Agadez isn’t able to support its families. The Cooperative D’Artisant Bijouterie Tagazte was started in 1997 after a group of Agadez jewelers moved to Bamako, Mali, where they worked in their trade and sent money back to their families for food, clothing and education. Because of political unrest in Mali they have had to return to Agadez. Currently, there are 12 members but that will grow as nephews and sons gain enough skill. Boys usually start their apprenticeship around age seven and gradually, over a fifteen-year period, become master artisans by working with their fathers and uncles. Using simple hand tools, fine silver and ebony, malachite, lapis and other beautiful stones are turned into earrings, rings, pendants, bracelets and necklaces. Worn by both men and women, jewelry represents wealth, status and group affiliation. Select pieces are given to mark rites of passage, including coming of age and marriage. A member of the cooperative won the Unesco Award of Excellence in 2000 and the group has also received national awards.
Tuareg jewelry and animals (fine silver, ebony and stones), and Tuareg leather work
Elhadji Koumama Supported by Terri Hendrix / Tuareg Jewelry and Ann M. Elston Booth 135 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,
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worn by all ages to protect against evil spirits. The Koumama family works in several small groups of two to fifteen 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. Traditional leather products from the region are made of goat leather dyed with natural dyes, with cutout designs and long fringe that is sometimes braided to make tassels. These items are used in the everyday life of the Tuareg people.
NIGERIA Ashiko, Djembe and talking drums
Akeem Ayanniyi Booth 74 The gorgeous West African drums and the hypnotic, dynamic rhythms of Agalu African music are the two folk art traditions brought to us by Akeem Ayanniyi from Nigeria, Africa. These instruments are all hand crafted with local materials, carved from mahogany or teak, topped with cow hide, and laced with rope strings. The shape creates the type and sound of the drum: conical is ashiko, inverse conical is bata, mushroom is djembe, and cylindrical shape is the famous Yoruba talking drum. The pitch can be raised or lowered by squeezing the drum’s strings, and the artistry of playing is in the adjustment of the strings. These West African drums are among some the oldest village-tovillage communication instruments, and the heavily forested Yoruba area of Nigeria is where the talking drums were said to be invented. The instruments are integral for Yoruba life and played for ceremonial occasions and religious functions. Akeem is from a highly respected family of drummers and drum makers, and he can proudly trace this folk art in his family through nine generations. He founded an Agula dance troupe and tours Europe and the United States sharing African music and culture.
Batik, adire and tie-dye fabric and clothing
Gasali Adeyemo Booth 82 The delightful batik, tie-dyed and adire fiber art techniques are used in the expressions by Gasali Adeyemo from Nigeria, Africa. The graceful geometric batik designs are laid out by using a coating of either paraffin or beeswax which is then carefully removed after the 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. Adeyemo specializes by using indigo
dyes because of its importance to his people. The indigo dye allows for delightful contrasting shades of blue. The designs can use symmetry but each design has a specific meaning or identity. The design can become like a passport so that when you travel you can show your village of origin. Nigeria is Africa’s most populous country with over 250 ethnic groups. Adeyemo’s singular creations are mainly traditional Yoruba designs. Adeyemo is an artist who has emerged into a respected circle of fiber art artists. He was a student at the Nike Center for Arts and Culture and has become a trainer of the arts of the Yoruba people. Growing up, his mother made clothing for the family through which he was introduced to the techniques of fiber art.
PAKISTAN Ralli quilts (patchwork, appliqué, embroidery)
Naina w/o Sudhumal Surendar Valasai Lila Handicrafts-Ralli Quilts Booth 45 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, appliqué and embroidery. Lila Handicrafts is a cooperative of women from a small village in the Thar Desert region of Pakistan, Tehsil Diplo. The money the women make is used to pay the costs for their children to attend the village school. In 2011, Naina w/o Sadhumal Surendar Valasai represented the women of Lila Handicrafts – Ralli Quilts at the Folk Art Market, marking the very first year that a cooperative member was able to attend. Naina returns for the 2013 Folk Art Market.
Moghul Kundan jewelry of the Khyber Pakhtunkhwa province
Muhammad Yousaf Supported by Poetic Threads of Pakistan PTOP (NGO) Booths 147, 148 Muhammad Yousaf, 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 Yousaf also utilizes lac, the secretion from a bug native to India, as glue compound to hold the jewels in place. This is a jewelry crafting tradition, dating back to the Mughal Empire and Dynasty between 1526 and 1858, that has been utilized for dowries as well as everyday use.
Embroidered clothing, accessories and household goods of the Khyber Pakhtunhwa province
Begum Bibi Supported by Poetic Threads of Pakistan PTOP (NGO) Booths 147, 148 The Swat Valley is known for its intricately-embroidered wedding blankets, pillows and clothing. It lies in the mountain regions of Pakistan bordering Afghanistan. Begum Bibi is one of the senior supervisors of a handicraft center in Swat and, for the past 15 years, has trained young girls and women in tailoring, crocheting, and machine and hand embroidery. Since the mass exodus of 2.5 million people from Swat in 2009 and the floods of 2010, she has been trying to regroup her women and start anew with the help of Poetic Threads of Pakistan. Poetic Threads of Pakistan has been working with Begum Bibi to support her handicraft center in preserving and promoting their beautiful, traditional work. The embroidery technique for which Begum Bibi is well known consists of geometric designs that are interpretations of flowers. For this work, she and her cooperative utilize handwoven cotton or linen. Traditionally, Hazara women would bring their embroidered linens to their husband’s home upon marriage. This embroidery work has become a means for many women and girls to support their families and encourage local economic development.
Kalashi embroidery, weaving, bead work and basketry of Chitral Province
Abi Gul Supported by Poetic Threads of Pakistan PTOP (NGO) Booths 147, 148 Abi Gul is a member of the isolated Kalasha people, numbering 3,000, who live in the remote mountainous area between Pakistan and Afghanistan. Kalasha means Wearers of the Black Robes. Unlike most other villages in Pakistan, Kalasha women are permitted active membership in the governing body and central roles in village decision-making. Kalashi women’s folk art from the Chitral Province encompasses elaborate, embroidered and woven textiles, handwoven baskets and exquisite bead work. Abi Gul and the women and children of her province take pride in their traditional dress colorfully embroidered black dresses, headdresses, shawls and belts. In the morning, they tend their fields and sheep. Evenings, they cook, make apricot wine and embroider intricate geometric and floral designs on clothes, bags, hats and accessories for their own use, as well as for sale in their handicraft stores in Chitral City. The arts are so central to their life and work that Kalasha women are frequently buried with a freshly made, traditional spinning instrument, along with a bag of food for the afterlife.
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S Kalashi carved wood ancestral and animal figures, housewares, architectural elements, musical instruments and toys
Rehmat Ali Supported by Poetic Threads of Pakistan PTOP (NGO) Booths 147, 148 The Kalasha people are a small and isolated minority, animists in a predominantly Muslim region. Because of this, their traditions and religious convictions are under threat from increasingly strict interpretations of Islam. Like most Kalasha males, Rehmat Ali incorporates his people’s animist beliefs into the elaborately-carved effigies and figures he makes for local festivals and the home. Besides ancestral effigies and images of local deities, Rehmat is also known for the hand-carved kitchen wares, musical instruments, toys, stools, chests and architectural elements (doors and window frames) that he carves with simple hand tools from indigenous walnut, apricot, mulberry and juniper.
PALESTINIAN TERRITORIES Embroidered clothing, accessories, bags and cushion covers
Hend H. A. Eleiwa and Somaya I. I. Abu Owda United Nations Relief and Works Agency (UNRWA) Sulafa Embroidery Project Booth 18 Traditionally it has been very important for Palestinian villagers to assure that their daughters are acquainted with embroidery skills and techniques. By the age of ten, most girls have fully mastered the skills and can begin the finely detailed panels for their trousseau garments. The creation of valuable wedding costumes is, to this day, a source of great pride for Palestinian women. The United Nations Relief and Works Agency runs a self-supporting embroidery program which employs over 500 refugee women in the Gaza Strip to produce articles to sell at the Sulafa Embroidery Shop, helping preserve valuable traditions and increasing family incomes.
Hamzeh Natsheh Hebron Glass Booth 143 The Natsheh Handicrafts workshop is a family group that is carrying on this ancient tradition of mouthblown, hand-decorated glass that is passed down from generation to generation. Now using recycled Coca-Cola bottles and a steel pipe, or kammasha, the glasswork is blown at 1,000 degrees celsius, and then left for eight hours to cool. This tradition is threatened due to decrease in tourism, problems of export, and restrictions on movement of Palestinians.
Hamdi Alnatsheh Hebron Glass Booth 143 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 centuriesold part of Palestinian heritage, handblown glass adorns both homes and religious sites, and is shaped into adornments worn at celebrations.
PANAMA Darien Rainforest baskets woven from black palm (chunga)
Lubisia Membache Micro-Empresas de Artistas Wounaan Booth 83 The Wounaan are a small ethnic traditional group of about 8000 people based in the Darien rain forests of Panama. Carrying on the traditions of her important culture, Lubisia weaves palm fibers into baskets (hosig di) that reflect the importance of the natural world around this earthbound — in the best sense of the word — people. Covered with brightly colored birds and butterflies, or arranged in mesmerizing patterns of black and natural palm, each intricately-woven basket can take anywhere from 2 weeks to 1 year to make. Lubisia has taught her daughters to carry on this important cultural tradition.
Tagua Wounaan vegetable ivory sculptures
Giovany Peña Teucama Micro-Empresas de Artistas Wounaan Booth 83 Tagua, or vegetable ivory, is a type of palm tree native to the Darien rainforests of Panama close to the Colombian border. Like the coconut, the dark brown seeds of the Tagua tree begin as soft, edible flesh. As the fruit matures, it remains as white as ivory and turns hard as stone. The Wounaan people have developed a fine art of carving the hard seed into magnificent figurines and jewelry, using only the simplest manual tools of knives, chisels, dyes and sandpaper. Through their art, they have developed an appreciation of the importance of sustaining and protecting their natural rainforest habitat, as well as the value of their age-old artistic cultural traditions.
PERU Mates gourds hand carved with designs depicting daily life, special events, and fantastical animals Bertha Medina Aquino Booth 8 Bertha is from Cochas Chico Huancayo, a small village high in the Andes of Peru. Bertha learned the art
58 2013 International Folk Art Market | Santa Fe
of gourd carving at the age of five from her father, Evaristo Medina, who is also world-famous for his work. Gourd carving goes back generations in the Medina family. Each gourd is unique and tells a story of daily life in the Peruvian Andes. The gourds she carves are grown only on the coast of Peru, and she travels there to find the right gourd for each creation. Once collected, the gourds are 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 gourd’s surface.
Horn jewelry, hair combs, purses and serving utensils
Lider Rivera Matos Booth 32 Lider was incarcerated in Castro, Lima’s largest prison, for seventeen years because of his involvement with the Shining Path. Now free, this experience has humbled him and he is determined to create a new life for himself and his son. He realizes that change must come through peaceful means. A carpenter by trade, Lider learned how to carve and shape horn from a fellow prisoner. The intricate reticulated hair combs and simple but elegant spoons and pins show a remarkable degree of skill and attention to detail.
Brass shawl pins (tupus), preColumbian and Inca-design earrings, and filigree earrings
Luis Espinoza Fernández Booth 32 Luis Espinoza Fernández grew up in the silver mining town of Yauli la Oroya in the central highlands of Peru. At the age of twelve, he was sent to San Jeronimo for an education as well as the opportunity to apprentice with a master silversmith. Luis seeks inspiration from the pre-Columbian, Inca and colonial periods for his silver, gold and copper jewelry. He creates dramatic earrings in the shape of birds or ancient pre-Columbian faces, adorned with touches of filigree. Another form of Luis’s jewelry is the traditional tupus, a large pin made of silver and gold that originates in pre-Columbian time and is used to fasten shawls. The decorative disc on the end of the pin might have the face of a Mayan god or be carved with ancient motifs. Their popularity as decorative and functional pieces of jewelry continued throughout the colonial period to the present. The ornate silver and gold pins are often passed down from mother to daughter as family heirlooms.
Knitted coca bags and makitos (traditional wrist warmers), woven bags, hair ties, llamas, and pompoms Alberto Quispe Acuna and Ilda Quispe Acuna Booth 32 Alberto Quispe Acuna is one of ten siblings. All live near each other in the area of San Antonio
de Matipacana, an agriculturally rich region of the central highlands of Peru. Alberto and three of his brothers are weavers. The brothers, Alberto and his wife Ilda, and the families comprise the association of Naturandina which is dedicated to preserving their traditions expressed through weaving, braiding, knitting, crocheting and pom poms. The weavers work on waist looms (kiwa). This enables them to work on small intricate pieces using 100 percent wool dyed with pure vegetal tints. The traditions of knitting and weaving are being passed on to their children who are being taught these skills from an early age.
Polychrome sculptures crafted from Maguey wood
Bernardo Pedro González Paucar Booth 48 Pedro González Paucar comes from a long tradition of imaginería makers. Imaginería — the making of crosses, retablos and mixed figures — has had its roots in the Huancayo region of the Peruvian central highlands since the mid-sixteenth century. Pedro’s father, uncles and grandfather were his teachers. By the age of eight, he was able to model, carve and use a brush. Pedro’s first experience involved making a hummingbird out of maguey. Maguey, a soft wood, is the primary material. Other materials include plaster and cloth as well as ochre and shade rust pigments. The mixed figures are used as Christmas decorations and his image of Santiago, a saint important to the people of Huancayo, is incorporated into festivities.
Carved wood serving utensils
Wilber Huaman Ciprian Booth 54 Wilber comes from a community of thirty families, Chiopampa, located near the town of Ayacucho. Beginning at the age of 9, he worked to help support his family of six brothers and sisters by harvesting cotton, working in a gas station, and baking bread. His father is a woodcarver and Wilber learned to carve by observing him, and then would sneak into this father shop and practice with his tools. Wilber’s carved spoons and bowls find daily use in his community, given as gifts and sold for income.
Handspun, natural-dye alpaca and wool textiles woven on backstrap looms
Nilda Callañaupa Álvarez, Adela Callañaupa Álvarez and Florentina Quispe Huaman Centro de Textiles Tradicionales del Cusco (CTTC) UNESCO Award of Excellence Winner (Nilda Callañaupa Álvarez) Booth 69 Textiles in the Andes are an important social and ethnic marker and a significant part of the cultural patrimony. Each community uses a different combination of designs and colors that reflect their connection with the earth through agriculture,
cosmology and nature. Founder and director of CTTC, Nilda Callañaupa was born in Chinchero Village near Cusco, Peru. She began spinning wool from sheep and alpaca at the age of six, and was weaving her first patterns by age seven. CTTC weavers, such as Nilda, Adela and Florentina, are remarkable in the quality of the textiles that they produce as well as their emphasis on traditional designs and techniques. The CTTC works with over 500 weavers. 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.
Gourds carved by hand with designs depicting daily life, special events and the myths and history of the community, carved gourd baskets, birdhouses and ornaments
Esperanza Elena Palomino Palomino Artesanías Antu Booth 72 Among the Andean mountains of Peru, in the tiny village of Cochas Chico, Esperanza carries on the 4,000 year old tradition of carving gourds. Each intricately-carved gourd tells the stories of her Inca ancestors: their myths, history and customs, as well as the everyday life of the people. Motifs of flowers and birds of the nearby rainforest are carved into the baskets and birdhouses. The most detailed gourds take months to complete. Gourds also serve a practical function and are used to store food and spices, as well as for drinking beverages such as chichi and mate de coca. Esperanza started the cooperative, Artesanías Antu, to train other people in her community and ensure that a high standard is preserved. While the Peruvian government is attempting to increase exports by encouraging simpler designs that can be completed in a day or two, their cooperative is resisting these changes. It remains a labor of love for the preservation of their heritage.
Colonial Cusco school-style paintings, altars, triptychs, icons and polychrome carved wood sculptures
Justo Jesus Cuba Flores Booth 87 Justo Jesus Cuba Flores’ vibrant paintings are examples of the colonial Cusco tradition, a tradition that dates from the 16th century Spanish conquest of the Incas in Peru. The friars taught European painting techniques and the natives incorporated their own cultural elements to create this unique artistic tradition. Religious images are depicted, drawing extensively on red, yellow and earth colors and gold leaf as added decoration. The paintings continue to be used in religious celebrations and as traditional wedding gifts to convey blessings on the new family. The artist learned this folk art from
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S his family as well as by growing up in Cusco surrounded by examples of the merger of Inca and Spanish culture into mestizo culture. Justo Jesus Cuba Flores learned to restore colonial art when young and opened his own workshop over 25 years ago. He has received multiple international folk art awards and is training his brothers and other apprentices to continue this artistic tradition.
Traditionally, the ceramics of Quinua were used for everyday utilitarian ware, including plates, glasses and candleholders. The more figurative church scenes and animals were put on the roofs of houses to provide protection for the family. Determined to pass the tradition along to the next generation, Mamerto teaches ceramics at colleges and artisan centers throughout Peru.
Retablos, figures and masks
RUSSIA (REPUBLIC OF TUVA)
Claudio Jiménez Quispe and Vicenta Flores Ataucusi Booth 94 Vicenta and her husband Claudio represent the world-famous Quispe family of Peru, widely known for their Peruvian retablos, or portable shrines. Such shrines have been traditionally used by Quechua-speaking indígenas to bring fecundity to their agricultural fields and to ask for the intervention of a Catholic saint or deity to give intervention for a successful crop. The Quispes have made their mark in part by introducing contemporary themes and representing scenes of Andean life that encompass religion, customs, tales and legends and social life. The Quispes left Ayacucho, the town famous for this type of work, in 1989 when the political situation created difficulties there. They have resided in Lima ever since.
Silver jewelry and items that incorporate Inca and Spanish colonial designs
Hilda Valeriana Cachi Yupanqui and Sonia Cachi Yupanqui UNESCO Award of Excellence Winner (Hilda Valeriana Cachi Yupanqui) Booth 142 Hilda and Sonia are two of seven sisters who actively preserve silver working traditions passed on to them by their father, Gregorio. Archeological excavations show that some of the forms still made today, such as shawl pins, date back nearly 2,500 years. Hilda, who first aspired to become an economist, brings an entrepreneurial vision to her work, introducing new techniques that result in higher-quality work and greater productivity while still maintaining traditional designs. Her work, which fuses modernity with tradition, is represented in the Smithsonian Institution’s collection.
Clay nativities, churches, madonnas, candleholders, figures and animals
Mamerto Sanchez Cardenas Supported by Arts and Treasures from Latina America Booth 145 Mamerto Sanchez Cardenas comes from a long line of renowned figurative potters from the Quinua District of the Ayacucho region of Peru. He continues the tradition that he learned from his father and grandfather as a child. Starting with the high quality red and cream clay found in this area of the central Peruvian highlands, Mamerto creates elaborate church scenes, animal candelabras, musician sets and fantastic animals painted with natural paints and polished with stones.
Musical instruments of the Republic of Tuva
Aldar Tamdyn Ovaa Booth 21 The sound that emanates from the instruments of Aldar Tamdyn reflects the religion, culture and landscape of the Republic of Tuva, a country of some 310,000 people in southern Siberia. Once a part of the Soviet Republic, Tuva is rediscovering the rich musical culture suppressed by the Soviets. The music and throatsinging capture and reflect the natural world of Tuva, a place of deserts, mountains and steppes where summer temperatures break 110 degrees and winters can see temperatures of 60 below zero. The music has been kept alive by shamans and shepherds. The Ovaa collective makes a variety of traditional Tuva instruments, including the four-stringed spike fiddle (byzaanchy); the flat drum used by shamans (dungur); the three-string plucked lute (chanzy); and the large frame drum (kengirge). Often the necks of the stringed instruments are topped by an intricately carved bust of an animal of Tuva — the horse, ox, yak or reindeer. As a young boy Aldar would take home instruments no longer in use and deconstruct them, learning how the masters fashioned them from oak, goatskins and other available materials.
Carved soapstone snow leopards, rams, goats, oxen and other animals and dragons
Xeimer-ool Dongak Booth 21 Xeimer-ool Dongak hand carves graceful soapstone animals, including oxen, horses, mountain rams, snow leopards and eagles. All of these animals play important roles in Tuvan nomadic and pastoral traditions. They are revered for their beauty, strength and mythological meanings. The dragon and tiger recall the Chinese influence on their culture during periods of Chinese rule. His hand-carved soapstone pieces represent the revival of a Tuvan folk art. Xeimer-ool Dongak learned to carve from a community of master carvers who preserved the tradition in secret during Soviet occupation. The carvers’ guild, of which Xeimerool Dongak is a member, is now training urban youth in this folk art to restore interest in Tuvan culture and to create economic development opportunities.
60 2013 International Folk Art Market | Santa Fe
Tuvan horse whips, bridals, saddle ornamentation, stirrups and knives
Kenin Sat Booth 21 Tuvan nomadic traditions, kept alive during the repression of the Communist era, inspired the designs of these exquisitely decorated tools. The bridles, whips, saddles, hunting knives, and stirrups continue to be used by herdsmen in their daily lives, and are specifically designed for the small Tuvan horse breeds and reindeer and moose hunting. The artist makes the knife blades and silver handles with wood and horn inlays by hand. The images of the Tuvan cat, the Ying Yang, and shamanic images all connect contemporary Tuvans to their ancient history and culture. Kenin Sat learned his craft from his father and grandfather and is teaching his children, nieces, and nephew these blacksmith and metallurgy techniques. His work is exhibited in the Tuvan National Museum.
RWANDA Handwoven baskets, ikangara wall hangings, bracelets and earrings
Janet Nkubana Gahaya Links Cooperatives Booth 44 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. Janet Nkubana, co-founder of Gahaya Links, learned to weave from her mother. Following the Rwandan genocide, the Gahaya Links Cooperatives were founded as a way of turning Rwanda’s ancient basket weaving tradition into a source of livelihood for the rural women who found themselves without any means of support. The members receive eighty percent of revenues from the sale of their pieces, while the remaining twenty percent goes into a cooperative savings account. This model has proved successful in generating a livable income for many of its members and has contributed to the rebirth of Rwanda following the genocide. The Gahaya Links Cooperatives specialize in making the elegantlyshaped, conical peace baskets that have earned these entrepreneurial women international fame.
SOUTH AFRICA Bead and wire sculptures
Lulama Sihlabeni eKhaya eKasi Art & Education Center Booth 3 Lulama represents the eKhaya eKasi Art & Education Center at the market. The center is located in the township of Khayelitsha and works to benefit the community through a diverse array of programs that
target illiteracy, unemployment, poverty, the AIDS epidemic, and lack of social services. Most of the members of the center are originally from rural provinces and learned the art of beadwork and wire art as they were growing up in their villages, working alongside their grandparents and elders. They now train their children, teaching history and tradition through their work. Their income-generating and functional art features tribal patterns, native wildlife, and social issues.
Baskets from Zululand
Beauty Ngxongo Supported by Department of Trade and Industry, South Africa Booth 84 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. Beauty’s signature basket is the Isichumo, the water vessel.
Burnt wood and painted animals carved of Mpengede wood
Sibusiso Gumede Supported by The Durban African Art Centre and Department of Trade and Industry, South Africa Booth 125 Sibusiso grew up in rural Manuza, watching the wood carvers in his neighborhood. Today, he works with a group of wood carvers continuing the art form. His whimsical animal sculptures, hand carved from indigenous Mpengede wood, are decorated with the Ukushisela technique of wood burned designs. His village has no electricity and all carvings are made by hand in the traditional Zulu culture process. Sibusiso and his community of wood carvers look to the natural environment and African folklore for inspiration, creating animals that animate the stories and reflect the creativity of their community. For the 2013 Folk Art Market, in addition to the carvings of Sibusiso Gumede, The Durban African Art Centre booth will also offer the telephone wire work of internationally known Zulu artists Elliot Mkhize and Nomvuselelo Mavundla, as well as the beaded dolls of the Amangwe Beaded Bergville Dolls Project, KwaZulu Natal.
Wood-fired red clay, Zulu pottery
Jabu Nala Supported by Department of Trade and Industry, South Africa Booth 126 Descending from a famous line of potters, Jabu was taught by her mother, renowned potter Nesta Nala, and her grandmother Simphiwe. Her family is known for infusing their
work with a contemporary spirit, creating larger and more elaborate forms, for which Jabu has become nationally and internationally known. In the traditional manner, Jabu handdigs clay near her home and coils, burnishes, fires, and rubs her pots with animal fat. Zulu beer pots — a customary part of Zulu weddings, births, marriages and burials — symbolize hospitality.
SOUTH KOREA Diverse ceramic styles, including celadon, bunchung, white porcelain and temmoku
Lee Dae Young Icheon Ceramic Project Cooperative Booth 41 Lee Dae Young and the cooperative’s other members create ceramics in several styles, including celadon, Bunchung, white porcelain and Temmoku. Of these, the three major traditions within Korean ceramics are celadon, dating from the 10th century, distinguished by the pale green-blue color and a clear glaze; Bunchung, from the 15th century, characterized by a white glaze; and Joseon white porcelain, also from the 15th century, marked by simple designs. The city of Icheon now boasts 300 ceramic studios, the Ceramic Art High School and a national ceramic festival.
Natural dye Korean patchwork textiles, silk scarves, padded clothing, silk, cotton and ramie fabrics
Kim Sunghee Dyetree Booth 146 Sunghee creates traditional Korean free-form geometric patchwork screens out of leftover pieces of fabric. Dyetree members create these and other naturally dyed silk and cotton textiles for decorative use and clothing, teaching each other new skills. They also reach out to local villages to encourage the use of natural dyes and techniques. The colors expressed by the dyer not only represent the conventions of the time, but also secret recipes and experiences, passed down through generations. Sunghee has earned three degrees in textile studies and has published a book on the colors of classic textiles.
SOUTH SUDAN Beaded Dinka corsets for men and women, beaded jewelry and clothing worn by the men and women of the Dinka, Murle, Shilluk, Latuka, Taposa and Mundari tribes
ROOTS of South Sudan on behalf of the ROOTS Project: Juba, South Sudan Booth 81 The bead work colors, patterns and styles are unique to each tribe and indicate tribal affiliation. Some ornaments can communicate marital, age or social status. Many of the ROOTS Project artists have learned the traditional patterns and techniques from family or community members
Traveler’s Market Special Event July 9 - July 28
Hours Mon - Sat 11 - 6 pm, Sunday 12 - 6 pm .
Naga Treasures: An Exhibition and Sale of Tribal Textiles, Costumes, Jewelry and Basketry
July 9th – July 28th
From the Harry and Tiala Neufeld Collection Nagaland Video streaming during the exhibition
Open Monday, July 15th 11am – 6pm Special thanks to Harry and Tiala Neufeld, Sheila Ellis, Valarie Nebres and all the dealers at the Traveler’s Market.
Ao tribal women Copyright Rob of Rochdale www.flickr.com/photos/longsidepies 2013 International Folk Art Market | Santa Fe 61
2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S and are now teaching others. South Sudan became the world’s newest nation in 2011. The ROOTS Project employs over 60 demobilized women from 16 different tribal groups, selling and marketing their traditional arts. The project also provides a safe work space, childcare and materials for the artists.
SPAIN Charra filigree gold and silver jewelry of Salamanca
Luis Méndez López Craftsmen’s Luis Méndez Booth 86 Luis began working at his father’s filigree jewelry workshop in Tamames, Salamanca, when he was 14. 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 worked over a metal sheet.
SWAZILAND Swazi woven sisal baskets
Thembi Dlamini Supported by Tintsaba Crafts Booth 140 Tintsaba Crafts grades Swazi baskets into five different grades: trainee, market, craft, gallery and master weaver. Out of 400 basket weavers, 40 weavers have been developed by Tintsaba as master weavers. Thembi Dlamini, who will bring her own baskets as well as represent the work of Tintsaba’s other basket weavers, is a master weaver. Basket making goes back hundreds of years among the Swazi and is part of the Swazi homestead tradition. Over the last 50 years, baskets have been improved by adding color. Training is largely mother to daughter. Skills taught include hand cleaning and spinning of the sisal. The grading of Swazi baskets into five different grades is done by thickness of coil, fineness of cotton, shape and strength, and the pattern’s originality and symmetry.
THAILAND Handwoven clothing and accessories
Somporn Intaraprayong Supported by Chinalai Tribal Antiques, Ltd. Booth 65 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 traditionallywoven fabrics.
Handsewn, embroidered clothing, accessories and household goods
Ampornpun Tongchai Supported by Chinalai Tribal Antiques, Ltd. Booth 65 Ampornpun is working 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 had organized a cooperative of weavers in her village, encouraging use of home-grown silk and cotton and natural dyes.
TIMOR-LESTE Handwoven tais mane (men’s cloth) and tais feto (women’s cloth), including Ikat
Cipriana Amaral Feto Forte (Strong Women) Quelica Weavers Group Supported by Inti Raymi Fund, with support from Sandler Trade LLC, Alola Fundasaun and Embassy of Timor-Leste, Ministry of Foreign Affairs Booth 141 Cipriana Amaral and the Feto Forte (Strong Women) Quelica Weavers Group’s vibrant cotton weavings use red stripes to convey the distinctive characteristics of the people from the Makasae region: bravery, curiosity and energy. Women learn the motifs of their family and their husband’s family, spin cotton, apply locallymade dyes and weave unique designs using the traditional backstrap loom. The tais mane (men’s cloth) and tais feto (women’s cloth) are worn for ceremonies, used as dowry and exchanged as barter. The women’s cloth is worn in a tubular manner; the men’s cloth, around the waist. The Feto Forte (Strong Women) Quelica Weavers Group is a cooperative in the Baucau District. The Weavers Group uses the proceeds from the sales of tais feto and tais mane to support their savings and loan program.
TURKEY Igne Oyasi knotted-silk-withhorsehair lace jewelry and knotted-silk-with-horsehair lace-embellished scarves
Ayse Kurt Booth 133 Ayse has been making oya, silkknotted lace embellishments on head scarves, for over 50 years. Making the silk, dying it with natural dyes, and shaping the bold shapes with horse hair, the silk motifs are used to express the emotions of the women who make them. They are used at weddings, child births, and other special occasions, as well as in daily life. At certain festivals, men wear an efe, a version of the oya that publicly displays how much he is loved by how difficult the silk embellishments were to make.
UGANDA Baskets woven from raffia and banana stems, desi (reed), sea weed and millet stem
Nusulah Kinene Uganda Crafts 2000 LTD Booth 56 Basket weavers make up the majority of the over 200 artisans who contribute work to Uganda Crafts 2000 LTD. Since 1983, Uganda Crafts has been providing income to some of the most disadvantaged Ugandans: the disabled, widows and people living with HIV/AIDS. Nusulah Kinene, one of the founders, is herself disabled. A basket weaver, Nusulah, like many of the basket makers, learned to weave baskets from her mother and grandmothers. The baskets balance tradition and creativity with ingenuity. Natural materials such as raffia, banana and millet stems, reeds and sea weed are interwoven to create distinctive patterns in a range of colors, both soft and vibrant. Ugandan households continue to make and use these baskets for food preparation, protection, and for marriage gifts.
UKRAINE Embroidered clothing, household goods, and bead jewelry
Nataliya Tereshchak Booth 67 Nataliya began learning embroidery at age eight, and has continued to create traditional embroidered clothing and beading throughout her life. Using traditional techniques such as reverse fabric tweed effect embroidery, cross stitch, and white-on-white embroidery to feature the geometric designs of the Pokuttya region, Nataliya creates the traditional clothing and household decorations that are connected with a number of beliefs and myths.
Pysankas wax-resist decorated easter eggs
Anna Nepyivoda Booth 67 Anna represents the Hutsul, an ethno-cultural group of Ukrainian highlanders who are known for colorful and sophisticated embroidery, carpet weaving, and egg decorating. Born in the village of Vyzhnyi Bereziv, Ganna learned traditional embroidery and carpet weaving from her mother, but later gained skills in leatherwork and pysanka (Ukrainian painted eggs). Ganna considers her mission not merely in preservation and revival of ancient traditions in her own works, but also in strengthening public awareness through advising women of her community and teaching.
Handwoven accessories, carpets, household goods, embroidered clothing and Pysankas wax-resist decorated eggs Lesia Pona Booth 67 Geometrical forms, such as the diamond, rosette and variations
62 2013 International Folk Art Market | Santa Fe
of the cross, typify the embroidery motifs of the Ukraine’s Pokuttya region, the cultural context for Lesia’s 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 fabric’s 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 Ukraine’s most renowned embroidery artists, a master of white-on-white embroidery. In the Ukraine, white-on-white embroidered clothing is worn for special occasions such as weddings, baptisms and first communions. Pysankas, wax-resist decorated eggs, are traditionally made during Holy Week, for Easter. The pysak is the stylus with which intricate patterns are drawn using beeswax in a process that involves the layering of colors.
UZBEKISTAN Ornamental painting on lacquered papier-mâché boxes and miniature paintings on silk paper
Karimjon Rasulov Booth 10 Karimjon Rasulov’s family produces various forms of Uzbek art, including miniatures, embroidery and weavings. He learned the secrets of miniature art from his father and grandfather. In 2007, Karimjon received an award as the best miniaturist of the year from the Uzbekistan government. He is training his daughter and other apprentices to continue this art form. Uzbek miniature painting dates from the Samarkand era in the 14th century, when these delicate pictures decorated palaces, the homes of the wealthy and mausoleums. Karimjon uses either silk paper made from mulberry tree bark or papier-mâché prepared by hand-gluing many pages together. The figures are painted using oil paint. Because the pictures are intended to tell a story through the iconic figures and other symbols, they must be read from right to left.
Adult and children’s ikat kaftans, silk dresses, hats, and scarves
Mukhayyo Aliyeva Booth 12 Mukhayyo’s passion for design and clothing helped her pursue her dream of opening a business with her sister while working at the American Embassy as a cultural assistant. Uzbekistan’s folk art of traditional costumes comes from a long and distinguished history that almost disappeared during the country’s modernization faze. Mukhayyo’s workshop was one of the first to promote traditional designs of kaftans and dresses, designs that she found in museums and old photographs. The style and ornamentation of the clothing reflects centuries of cross-cultural trade along the Silk Road.
Embroidered wall hangings, jackets, vests, hats, boots, bags, wallets and pillows
Gulnora Odilova Booth 15 Shakhrisabz is a kind of embroidery that exists only in the region where Gulnora lives. Gulnora learned this traditional art form from her mother and grandmother and, today, she has passed it down to her son, daughter and eight local apprentices. The special feature of this embroidery is that it utilizes homemade cotton and silk thread to produce patterns unique to the region. Gulnora has received many awards for her work.
Sayfullo Majidov and Farukh Majidov Booth 27 Sayfullo and his son, Farukh, come from Nurata, one of the main centers of traditional Uzbek embroidery where the culture of nomads mixed with the sedentary population and created a rich intermingling of traditions that remains very strong today. Sayfullo was taught his skill by the women of his family and, by an early age, he was knowledgeable about the ancient designs and their symbolism, techniques and methods of natural dying, cloth making, and suzani production. He is now teaching his son the suzani tradition.
Carved wood boxes, chess sets, plates and book rests
Zinnatulla Alembaev and Anvar Alimbaev Booth 33 The delicate carvings of Zinnatulla Alembaev and Anvar Alimbaev continue the Uzbek tradition — dating from nomadic times — of making household utensils from wood. Today, despite the high cost of fine natural materials, many household items and architectural details are still ornately carved from woods such as walnut, apricot, oak and elm. The wood is dried, treated with oil, and then hand carved using fine chisels. A small box may take up to two days to complete. Zinnatulla Alembaev learned his craft from famous Uzbek wood carvers O. Faizullaev and B. Ganiev. He studied at Tashkent College and Tashkent University. Zinnatulla has his own workshop and Anvar Alimbaev has apprenticed with him to learn the craft.
Hand-knotted, natural dye wool and silk tribal carpets
Khomid Zukhurutdinov and Nozima Usmanova Cooperative Mulkijakhon Booth 36 In 2002, Khomid Zukhurutdinov helped found Cooperative “Mulkijakhon” for the purpose of weaving carpets in the styles and techniques of different regions of Uzbekistan — styles that were distinguished by distinctive designs that had been lost. The weavers of Cooperative Mulkijakhon, represented by Khomid and Nozima at the Folk Art Market, make hand-knotted, natural-dye tribal
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2 0 1 3 I N T E R N AT I O N A L F O L K A R T M A R K E T A R T I S T S carpets using wool, silk, vertical and horizontal looms, and special scissors for the pile. Starting with 12 members, the cooperative has grown to include 39 weavers. The homes of Uzbeks are decorated with carpets. The carpets are used both as floor coverings and wall decorations. Traditionally, the Uzbek bride is expected to bring at least three to four ornamental carpets when she arrives at her husband’s house to live.
Blue Rishtan pottery
Rustam Usmanov and Damir Usmanov UNESCO Award of Excellence Winner (Rustam Usmanov) Booth 43 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 factory in 1998, Rustam continued production in his 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. Rustam’s work is exhibited at the Hermitage Museum.
Suzani embroidery, tapestries and pillows
Zarina Kendjaeva UNESCO Award of Excellence Winner Booth 49 Zarina uses silk threads dyed with madder, indigo, pomegranate and onion skins and a variety of stitches, including the hook stitch, an almost forgotten technique she is working to revive. She was taught by her mother, a master of embroidery, and learned hook work from an old Bukhara woman who was one of the last artisans who knew the technique. Zarina bases her designs on 18th and 19th century museum pieces. Suzani was used for decorative wall hangings, curtains and bedcovers, as well as small functional household items, such as bags and pillow covers. They were made from finely hand woven cottons or silk material and often the embroidery covered the entire cloth leaving only small areas not filled with intricate hand work. Suzani is part of a renowned tradition of textile production in Uzbekistan and Cental Asia. The techniques are being revived by artisans like Zarina.
Silk and wool carpets
Fatullo Kendjaev and Firuza Khamraeva UNESCO Award of Excellence Winner Booth 50 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 art’s 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. Feruza Khamraeva, Fatullo’s wife, is also a master weaver and dyer. She works with Fatullo at his Carpet Weaving Training School, teaching weaving, design and assists with dyeing. Feruza is a master of suzani embroidery. With support from UNESCO, Fatullo founded and heads the training school in Bukhara. Its success was rewarded with UNESCO aid enabling him to open a second school in the historic town of Khiva. In 2005, the training school won the UNESCO Seal of Excellence.
Carpets and kilims
Ikhtiyor Kendjaev Booth 57 Ikhtiyor’s ancestors were carpet makers from Afghanistan and brought this skill with them when they moved to Uzbekistan long ago. The family’s skills were passed from generation to generation and Ikhtiyor learned carpet making from his grandfather and his father who also taught him the art of natural dying. The designs used for their carpet making are from ancient Afghan designs and they carry out this craft using natural dyes which enhances the value and beauty of each carpet.
Alisher Muzafarovich Khaydarov and Gulshod Gulamova UNESCO Award of Excellence Winner (Alisher Muzafarovich Khaydarov) Booth 66 Jewelry making has held a prominent place in Uzbek arts since the 19th century. The Khaydarovs — Alisher (father), Gulshod Gulamova (mother) and Shakhzod (son) — continue to contribute to this tradition that has been in their family for generations. The Khaydarov family reproduces classic old designs for both men and women using methods learned from Alisher’s grandfather: wire drawing, engraving, granulation, filigree work, stamping and enameling. The addition of colorful stones such as emeralds, rubies and coral, combined with gold and silver, and made with the traditional techniques of filigree, granulation and enameling. Alisher Khaydarov received the UNESCO Award of Excellence in 2006 and 2007.
Embossed and engraved metal household items and architectural elements
Nazirov Askhat Booth 68 Metal embossing, one of the oldest artistic traditions in Uzbekistan, is now being revived. Nazirov Askhat learned his trade from an Uzbek master and is teaching his children and students to carry on the tradition. He has received a UNESCO diploma for the development of handicrafts. Nazirov Askhat designs each piece and casts the metal work with tools made by him. Complex designs are embossed on dishes, sabers, sconces and door handles made of copper, brass, nickel silver and bronze. The
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pieces are used in everyday life and as decorations in public spaces and private homes. In the 18th and 19th century, these embossed pieces were used in everyday life and were also an indicator of social status and wealth.
Woven silk and ikat clothing, accessories and home furnishings
Rasuljon Mirzaahmedov UNESCO Award of Excellence Winner 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. In 2007 UNESCO helped Rasuljon establish a training center in Margilan City. Rasuljon has authored and published a book on natural dyes.
Musical instruments of Uzbekistan
Jalol Avliyakulov Booth 77 Dating back to the 8th century, Uzbek musical traditions are now being revived in the post-Soviet era. Jalol Avliyakulov learned the craft of making Uzbek instruments and the art of playing them from his grandfather, with whom he spent a great deal of time as a child. He has a workshop in the Old City of Bukhara, working with his wife who teaches embroidery. His son will be joining him in the workshop this year. His handmade instruments produce unique tonalities and melodies deeply rooted in the Central Asian nomadic history of Uzbekistan. The gijjak, a string instrument, is constructed of wood that has been dried for three years before being carved and then covered with an animal skin. Special shapes representing the culture are used to decorate the instruments. One traditional venue for Uzbek music is the men’s wedding day breakfast, when several artists play the instruments and sing.
Forged metal with decorative natural materials
Sayfullo Ikromov and Salimjon Ikramov Booth 131 Swords, sabers, daggers and knives comprise the craft of Sayfullo and Salimjon Ikromov, independent artists and blacksmiths. They use a variety of metals, from stainless steel for utility knives to Damascus steel for swords. Their wares range from the utilitarian to the dramatic with intricate engraving and handles
made of horn, bone and precious metals. Whimsically curved scissors in the shape of birds are part of this collection. The Ikromovs are hereditary blacksmiths in the Bukhara style. Sayfullo’s father and five brothers all learned the trade. A fourthgeneration knife maker, Sayfullo has won international competitions.
them with their particular ethnic group. Ta May creates garments for everyday use as well as for special occasions. These garments may take up to one year to complete.
Ornamental painting on lacquered papier-mâché boxes and miniature paintings on handmade silk paper
Phan Ta May and Ly Pham May Booth 34 For Dao women, like sisters Phan Ta May and Ly Pham May, practicing the art of embroidery is part of their daily life and the very identity of the community. The sisters were raised in a large family in the village of Ta Phin, Sapa, in Northern Vietnam. They learned to embroider at a very young age from their mother. Phan Ta May and Ly Pham May are never without a needle, thread and a piece of embroidery on which they work during and after long days tending the fields. Some of the embroidered pieces can take up to a year to complete. Made completely by hand, the finished textiles include pants, tunics, bags, head dresses, bridal scarves, ceremonial scarves, hats for children and embroidered necklaces. For centuries, the Red Dao have been known for their exquisitelydetailed embroidered garments, whose red color was the inspiration for the name Red Dao, originally given to this community by outsiders.
Otabek Irmatov Booth 139 A native of Tashkent, Otabek began painting miniatures at an early age and studied the craft as an apprentice to Tashkent masters for seven years before opening his own workshop in 1999. He makes his own papiermâché boxes and, drawing from the pre-Islamic period when it was permissible to depict people and animals, decorates the boxes with elaborate scenes of love, friendship and amusement. Otabek has exhibited in Tashkent, Bukhara, Samarkand and Kazakhstan as well as museums in Germany, France and England.
VENEZUELA Wuwa, Jojo, Wapa and Setu baskets
Aurora Rodríguez de Caura Kanwasumi Basket Cooperative Supported by Earth Bound, Inc. Booth 136 Aurora was the first woman to leave her home village of 100 residents, Boca de Ninchare, to go to school at the insistence of her father. As president of the Kanwasumi Artisan Cooperative, she and other weavers individually hand weave wuwa baskets (women’s burden baskets) and jojos (round storage baskets). Traditional men’s baskets called wapa are highly decorated winnowing baskets that are presented to a new bride. No tools are used except a machete to help cut the minñato vine from which the baskets are made. The Ye’kwana are indigenous people who live in the remote Upper Caura watershed, use these baskets in the gathering and preparation of yucca used in making cassava bread.
VIETNAM Red Dao embroidered textiles, including tunics, pants, bridal and ceremonial scarves, headdresses, children’s hats and embroidered necklaces
Ly Ta May Booth 34 Ly Ta May was born into the Dao community in Ta Phin village in Sapa, Vietnam. Like all of the girls in her family, she learned to embroider from her mother. She works every day as a farmer tending to her fields and taking care of her four children, while still finding time to embroider intricate patterns onto pieces of dyed cloth. The choice and distribution of the designs is a manifestation of the embroiderer’s talents and identifies
Red Dao embroidered textiles, including tunics, pants, bridal and ceremonial scarves, head dresses, children’s hats and embroidered necklaces
International Folk Art Market | Santa Fe
“Best of the Best” Supported by all market participants Booths 102, 103 The Best of the Best booth is made possible through the generous contributions of all Folk Art Market participants. Each piece is selected by the Best of the Best Folk Art Expert Shoppers. All proceeds benefit the Market’s support of artists.
UNESCO Award of Excellence Program
Representing Award of Excellence Winners from Central Asia, East Asia, South Asia and Southeast Asia Booths 120, 121, 122, 123 The Award of Excellence is the UNESCO flagship program for handicrafts. It is part of UNESCO’s 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 which assures buyers that Award products are culturally authentic and have been manufactured in a socially responsible manner with respect for the environment.
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1:00PM-3:00PM - 17 Plaza Del Corazon - An adobe jewel box, flagstone floors, plastered interior walls, four kiva fireplaces, beautiful ceiling treatments in every room & the magical location overlooking the lake and the two finishing holes $650,000. MLS 201300262. (2 br, 3 ba, Las Campanas Drive to Plaza del Corazon turn left. The home is on the left. This is the Nambe Casita.) Suzy Eskridge 505-310-4116 Santa Fe Properties. 1:00PM-4:00PM - 7 Sendero Centro, Club Casitas, Las Campanas - Sweeping golf course/lake views! Main residence + private guest casita - Club Casitas area. Newly finished/never occupied. Large kitchen. High end finishes throughout. No steps. www.7senderocentro.com $1,295,000. MLS 201300298. ((Main entrance to Las Campanas Clubhouse). Clubhouse Drive, left at Casitas to Plaza Del Corazon, left on Sendero Centro. First house on left.) Nancy Lehrer 505490-9565 Bell Tower Properties, LLC.
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N-28 2:30PM-5:00PM - 6 Vista de la Vida - Luxury 4549 sqft home ideal for guests and entertaining includes 3 BR/4 BA, office, family/media room, fitness center & workshop. Wide plank Nortic pine & travertine stone floors, vigas, 4 fireplaces. $1,150,000. MLS 201301256. (Camino La Tierra, right on Fin del Sendero. Right on Lluvia de Oro, right on Bella Loma. Right on Vista de Esperanza, left on Vista de La Vida. House is on the left.) Matt Desmond 505-670-1289 Santa Fe Properties.
1:30PM-4:30PM - 3 Campo Rancheros - Stunning 5536 sq ft Western Mountain-style home in the Estancias, built by Roger Hunter with Spectacular Jemez and Sangre de Cristo mountain views. Pitched roof, stone/ wood finishes, entry rotunda. $1,495,000. MLS 201300813. (599 - rt @ Camino La Tierra, 2 miles rt @ first Y, rt @ second Y after Parkside Drive (do NOT go under the Bridge). Stay on Camino La Tierra, past Trailhead, rt @ Campo Rancheros.) Tim Galvin 505-795-5990 Sotheby’s International Realty.
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1:00PM-4:00PM - 19 Camino De Colores/Las M e l o d i a s - Style and value are now available in Las Campanas. Each of the 22 developed lots are sited to maximize panoramic views. Each home is quality constructed; choose from 5 floor plans. $434,000. MLS 201201818. (From 599, exit off on Camino La Tierra (Las Campanas), follow signage to Las Melodias, make a right at Paseo Aragon (at gate contact Realtor), make a right onto Camino de Colores. Model home on left.) Gary Bobolsky 505-470-0927 Sotheby’s International Realty.
1:00PM-4:00PM - 14 Rising Moon, Las Campanas Magnificent Sangre de Cristo views! Beautiful, well constructed "adobe" home! 3BR/4BA/3767’ with multiple patios/portals. Versatile floor plan with a few interior steps. 2.42 AC www.14risingmoon.com $975,000. MLS 201301196. (Las Campanas Drive, left on Koshari, 2nd left on Rising Moon, #14 on left.) Tom Shaw, Host 512-7555270 Bell Tower Properties, LLC.
12:00PM-5:00PM - 709 Luna Vista - Open Fri-Mon. Stop by and we’ll show you the details of our quality construction at Piñon Ridge. Address is model home not for sale. Poplar floor plan available. 254,900 $254,900. (Take 599 Bypass, exit onto Ridge Top Road and head north. Turn right on Avenida Rincon, follow around to Camino Francisca, turn right on Luna Vista. Follow signs to open house.) Carmen Flores 505-699-4252 Homewise, Inc.
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