2017 International Folk Art Market Guide by SFNM Advertising

2017 THE SANTA FE NEW MEXICAN

International Folk Art Market Santa Fe

EL RANCHO DE LAS GOLONDRINAS PRESENTS

THE 10TH ANNUAL VIVA MEXICO! FIESTA AND THE RETURN OF

LOS VOLADORES DE PAPANTLA, MEXICO

Saturday & Sunday, July 22 & 23, 10 am to 4 pm Celebrate the “Mexico” in New Mexico at El Rancho de las Golondrinas! Experience the spiritually charged performance of the Voladores de Papantla. Browse the Las Golondrinas Mercado and visit with over 20 artisans from Mexico. Feast on traditional Mexican food in La Fonda Mexicana. Dance to traditional Mexican music and enjoy traditional Folklorico dance performances.

(505) 471-2261  www.golondrinas.org  334 Los Pinos Road, Santa Fe

Welcome to the 14th annual International Folk Art Market | Santa Fe! Voted by readers of USA Today as the No. 1 arts festival in the country, IFAM | Santa Fe, which takes place July 14 to 16 on Museum Hill, is produced by the International Folk Art Alliance (IFAA), a nonprofit organization based in beautiful Santa Fe, New Mexico. We project that this year, more than 25,000 people will participate in market-related activities, beginning with the free Community Celebration and Artist Procession on July 13. Sponsored by Nance and Ramón José López y Familia, the event features Cuban band TradiSon and Dragons of the World, a youth arts project in collaboration with Meow Wolf and Chimera. (No need to scoop up your little ones if you see a dragon approaching — the creative, youthful minds at Meow Wolf promise to feed the dragons in advance.) Then the 2017 markets artists — 160 from 53 countries, including a record 52 first-time artists — assemble on Jeff Snell Museum Hill for the market opening on Friday night, July 14. This is a VIP experience unlike anything else. The opening jump-starts millions of dollars in artist earnings over the 21-hour market weekend. How do you get to be named the No. 1 arts festival in the country? Part of the answer is that artists return home with 90 percent of their earnings, equipped and empowered to serve as catalysts for positive change — in areas such as health care and education — in their respective communities. To date, the market has generated more than $25 million in artist earnings and hundreds of powerful stories of the transformation of entire communities. It all starts with the excellence of the handmade, passed on by prior generations to the artists gathered in Santa Fe. If you’ve ever wondered how the social enterprise business models used by most of the artists in the IFAA family account for so much positive change, you’ll want to reserve your ticket for “Creating Global Impact,” held at the Lensic Performing Arts Center at 6:30 p.m. on Wednesday, July 12. Free and open to the public, the event features world-class leaders in social innovation from various sectors, each with his or her own approach to creating positive, systemic change in the United States and abroad. If you’re looking for something entirely new to augment your 2017 market experience, check out the 30 artists in the Innovation Inspiration tent. Sponsored by JoAnn and Bob Balzer, this is an IFAAcurated collection of contemporary folk art made using traditional techniques and materials. As the name suggests, these innovative iterations are equal parts beautiful and inspirational. Be sure to ask the artists about their creative journeys and design ideas. Finally, a very special thanks to the people of Santa Fe for their unwavering support over the last 14 years, the 2,000-plus volunteers from seven countries who help produce this amazing event and, of course, our local and national donors, who make it all possible. With a world of thanks, Jeff Snell, CEO PS: Don’t forget to register for the secure Express Pay. It’s the best option for buying excellent art and creating your own global impact as you make new friends from around the world.

partially funded by the city of santa fe arts commission and the 1% lodgers’ tax, county of santa fe lodgers’ tax, new mexico arts, the santa fe new mexican, and first national santa fe

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An exhibition of quilts revealing new insights into the contemporary lives of minority communities adapting to a period of great change in China. JULY 9, 2017 through JANUARY 21, 2018

On Museum Hill in Santa Fe · 505-476-1200 · InternationalFolkArt.org WEDNESDAYS ARE FREE FOR NEW MEXICO RESIDENT SENIORS 60 AND OVER; CHILDREN 16 AND UNDER AND MUSEUM MEMBERS ALWAYS FREE (MUSEUMFOUNDATION.ORG/JOIN)! ENJOY BISTRO DINING WITH A VIEW AT MUSEUM HILL CAFÉ.

Pictured: Bedcover (detail), 1990s, cotton, silk. Wei Guoer and Wei Guofeng (Zhuang), Liupai Town, Hechi City, Tianer County, Guangxi Province, China. Collection of the Guangxi Nationalities Museum. Image courtesy of Michigan State University Museum. This exhibition is sponsored by The Henry Luce Foundation. Additional support comes from the International Folk Art Foundation; the Museum of New Mexico Foundation and donors to the Exhibitions Development Fund; and the E. Rhodes and Leona B. Carpenter Foundation. Free admission to the opening generously funded by the Sangre de Cristo Needlepointers. Project partners include Yunnan Nationalities Museum (Kunming, Yunnan, China); Anthropology Museum of Guangxi (Nanning, Guangxi, China); Guizhou Nationalities Museum (Guiyang, Guizhou, China); Michigan State University Museum (East Lansing, Michigan, USA); Mathers Museum of World Cultures, Indiana University (Bloomington, Indiana, USA); the International Quilt Study Center and Museum, University of Nebraska-Lincoln (Lincoln, Nebraska, USA); the American Folklore Society; and the Chinese Folklore Society.

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2016 Artist Procession and Community Celebration on the Santa Fe Plaza

2017 International Folk Art Market | Santa Fe

Innovate. Inspire.

BY STEPHANIE NAKHLEH PHOTOS BY GENE PEACH When Jeff Snell, chief executive officer of the International Folk Art Alliance, was in Uzbekistan not too long ago, he saw something that changed his thinking about folk art. “I witnessed some artists who saw me coming along wearing my IFAA baseball cap,” he says. “I saw them taking some product off their tables and putting a traditional product in its place. And I thought, What’s going on here?” What was going on, Snell discovered after some inquiry, was that the artisans thought they weren’t allowed to display anything

innovative. After asking to take a closer look at the “forbidden” art, Snell noticed that while the artwork looked modern, it had been created with traditional, time-honored techniques. “These are contemporary iterations of their folk art,” he says. “For example, I saw a wine and cheese board that looked like something you’d see in an upscale American home goods store. The artists had already figured out there were new markets for their wares.” The 2017 International Folk Art Market | Santa Fe honors that spirit of creativity with the theme of “Innovation Inspiration.” Through a gift from longtime IFAM benefactors JoAnn and Bob Balzer, the market will have a special section dedicated to artists who have moved their folk traditions into the 21st century. “Creating Global Impact: Social Innovation and Cross-Sector Solutions,” a panel discussion featuring four international thought leaders, addresses solving social problems by attacking root causes with novel approaches. At the Lensic Performing Arts Center at 6:30 p.m. on Wednesday, July 12, the free program is open to the public, although seats must be reserved in advance online (tickets. ticketssantafe.org). This year’s market also highlights innovation in other ways, such as a new and improved express pay system. “At last year’s point of sale, we opened an opportunity for people to do express pay; this year we’re flipping it around from opt in to opt out, so it’s automatic,” says Snell. Shoppers can register their contact and payment information and be given a PIN, explains Gabe Gomez, director of marketing and communications for IFAA. “When you check out, you will have your own line, and when you give your PIN it pops your information up and runs your purchases through,” he says. Shoppers who would prefer not to give their credit card information ahead of time don’t have to, he adds. “You can still register beforehand, but you don’t have to give your credit card until you pay.” These changes are intended to nudge more people to use the express pay system,

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Change the World. which “only takes 30 seconds per transaction,” Snell says. “When you’re standing in 90-degree heat, that time matters.” New, too, is the opportunity for the public to purchase tickets for the One World Dinner, which takes place Saturday, July 15, from 6:30 to 9 p.m. at La Fonda on the Plaza. (Tickets, $100, are available on the IFAM website.) “Last year it was for private donors only, a dinner with artists so that donors could interact with them. This year a limited number of tickets are available to the public,” says Gomez. “I’ve had people who’ve been to every market say the One World Dinner was the most moving experience they’ve had,” Snell says. “The One World Dinner last year was so well received, we’re making it a key piece going forward. It’s really the whole world at its best: 60 countries, 30 languages. Especially with where we are in the world today, it’s important to have a place where people are fully respected, where their dignity is fully respected.” As much as this market hinges on innovation, tradition sometimes wins out. The 2017 market moves back to its 2015 footprint and brings the food bazaar, which last year was located outside the market, back into the lower parking lot. “The traffic flow last year wasn’t great,” Gomez says. “Having the food outside the market didn’t really work for people. We’re moving back to the footprint we’ve always had.” Shoppers can look forward to extended hours as well. “We’ve extended the early-bird hours on Saturday. It’s now from 7:30 to 10 a.m.,” Gomez says. “Tickets for the early-bird market are $75. General market hours are from 10 a.m. to 5:30 p.m., so that gives shoppers an extra 30 minutes. Our visitors 16 and under are still free for general market hours.”

New home, new opportunities to serve Toward the goal of fostering artist-patron interaction, Snell hopes to establish a regular meet-the-artist feature in the lobby of the new 13

IFAA headquarters in downtown Santa Fe. “We have a goal of getting into our new headquarters, at 620 Cerrillos Road, this fall. I’m pleased on the math: We’re picking up 120 percent more operating space with just 25 percent of the overhead. At 7,600 square feet, we’ll have room for growth on the staff side, and we have a vision for artists to come do a residency. School groups could come in and witness firsthand what micro-enterprise means and see how economies are built around our model. They can see one-of-akind artisanship.” With an expanded headquarters and a lobby that doubles as an art space,

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LATIN AMERICAN FOLK ART Authentic Latin American folk art Retail and wholesale to the trade

1512 Pacheco Street, Unit C-202 Santa Fe NM 87505 • 505-699-4688

Open Daily, 9am-6pm • On the Road to Sandia Crest

www.tinkertown.com • (505) 281-5233

BasketsOfAfrica.coM

Albuquerque Showroom Open Weekdays 10 am – 3 pm 4603 McLeod Rd NE, 87109 — (800) 504-4656 Always Open Online — FREE SHIPPING Supporting African Artists

Quality–Dignity–Creativity

“our mission will be to display art 365 days a year, not just on one weekend,” Snell says. “I think about the artists in Syria, for example, who are experiencing displacement. We can provide a venue in Santa Fe where their product is sold. We can show how the product is made, show the cultural expression. Artists can show people visiting that this is why we celebrate the dignity of the handmade and this is why their work is deemed excellent. That’s the richness of our model: You can hear their journeys through their stories. You can see firsthand the 38 steps involved in the making of the ikat: the pounding, rinsing, dyeing, weaving, patterns, motifs. You go, Oh, now I understand why that scarf costs what it does . . . it’s worth every penny. And you get to hear how the artist’s community has been transformed by their work.”

IFAM | Santa Fe adapts, expands When IFAM began 14 years ago, “They had no idea what was being set in motion,” Snell says. The focus was on preserving and celebrating traditional folk art through a market weekend. “But it isn’t just about preservation of folk art through retail. There’s so much more happening here. Now we have the nomenclature of social entrepreneurship.” The way folk art can completely transform a community is especially evident in the women artisans, who make up 80 percent of market artists. “The artist-entrepreneurs who are women intuit benefits that accrue to their whole community, not just to them solely. It’s a beautiful pivot from the Western entrepreneur, who is seeking to capture profit [personally]. Some social entrepreneurs will try to tell communities what to do. They say: Build a school. I always thought this smacks of philanthropic colonialism. We just get invited to work with artists. We feel they know best what to do with the profits. We have the joy of being part of equipping and empowering artists but not dictating to them what they’re doing.” The IFAM | Santa Fe model has been so successful that it is expanding to other cities. In June 2017, Arlington, Texas, will host the first sister-city IFAM market. “The partners that we’ve identified in Arlington are fantastic. We couldn’t ask for a team that is more aligned in our values and more of a delight to work with and learn from,” says Snell. As the sister-city model expands, “We have to think about what are the irreducibles for our brand, so that when we begin to replicate and scale sister-city markets, like Arlington, visitors will know that this looks and feels like Santa Fe. We will honor the brand that Santa Fe has helped create.”

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v isi t

SANTA FE

Museum of International Folk Art No Idle Hands: The Myths & Meanings of Tramp Art on Museum Hill • 505.476.1200 • internationalfolkart.org

Museum of Indian Arts and Culture Frank Buffalo Hyde: I-Witness Culture on Museum Hill • 505.476.1250 • indianartsandculture.org

New Mexico Museum 0f Art Cady Wells: Ruminations on the Plaza • 505.476.5072 • nmartmuseum.org

New Mexico History Museum/Palace of the Governors Voices of Counterculture in the Southwest on the Plaza • 505.476.5100 • nmhistorymuseum.org museumofnewmexico.org

Partially funded by the City of Santa Fe Ar ts Commission and the 1% Lodgers’ Tax.

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2017 International Folk Art Market | Santa Fe

SCHEDULE OF EVENTS

Tickets to all events are available at folkartalliance.org/tickets or by calling 505-886-1251.

PROGRAMS at the

MUSEUM OF INTERNATIONAL FOLK ART and MUSEUM OF INDIAN ARTS & CULTURE

7.12

7.15

WEDNESDAY 6:30 p.m.

“Creating Global Impact: Social Innovation and Cross-Sector Solutions,” Lensic Performing Arts Center. Speakers include Lidewij Edelkoort, Kim Meredith, Nat Sloane, Dr. Diana Wells and 2017 market textile artist Somporn Intaraprayong (Thailand). Admission is free, but tickets must be reserved in advance online: tickets.ticketssantafe.org.

7.13

THURSDAY 2-4 p.m.

Take a walking tour of International Folk Art Market | Santa Fe Downtown Business Partners and watch folk artist demonstrations before the start of the Community Celebration.

6-8:45 p.m.

Free Community Celebration and Artist Procession at the Santa Fe Plaza, sponsored by Nance and Ramón José López y Familia in partnership with Santa Fe Bandstand and Meow Wolf/ Chimera. Enjoy food, music and the annual Artist Procession, followed by live music from market favorite TradiSon de Cuba.

SATURDAY 1 p.m.

“Folk Arts and Activism” talk in the Gallery of Conscience, MOIFA PHOTOS GENE PEACH

7.14

7.16

6:30-9 p.m.

9 a.m.-5 p.m.

SUNDAY

FRIDAY

Market Opening Party: A Global Gathering Under the Stars. More than 160 master folk artists from more than 53 countries gather on Museum Hill for the 13th annual event. Enjoy shopping, dancing, music, food and drink. Artists’ booths are open and ready to sell. TradiSon de Cuba performs from 7:15 to 8:30 p.m. Tickets $225 ($175 tax deductible).

7.15

Sunday Market, Museum Hill. Tickets $15; kids 16 and under free.

9 a.m.-5 p.m.

Community and Family Day. Artists and students from Meow Wolf/Chimera perform Dragons of the World. Additional performances by entertainers from around the globe. Visitors can participate in hands-on art activities, a music workshop and the Children’s Passport Program.

9 a.m.-5 p.m.

SATURDAY

7:30-10 a.m.

Early Bird Market, Museum Hill. Admission ($75; $50 tax deductible) includes the Saturday Market.

10 a.m.-5:30 p.m.

Saturday Market, Museum Hill. Tickets $20; kids 16 and under free.

6:30-9 p.m.

One World Awards Dinner, Lumpkins Ballroom, La Fonda on the Plaza. Tickets $100 ($50 tax deductible).

Children’s Passport Program. Carrying a passport from booth to booth, kids can talk with artists and receive passport “stamps” from the artists’ home countries.

10 a.m.-12 p.m.

Kids can create wish flags, yucca bracelets and a chalk mural at the Santa Fe Botanical Gardens (free admission to IFAM ticket holders).

1-3 p.m.

Hands-on art activities for kids, including dragon mask making in the MOIFA atrium.

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3 p.m.

Flamenco 101 workshop with Jesus Muñoz Flamenco in the MOIFA auditorium. Learn a few dance steps and different rhythms in this introduction to flamenco. No experience necessary.

3 p.m.

Screening of The Silkies of Madagascar in the Kathryn O’Keeffe Theater, Museum of Indian Arts & Culture

7.16

SUNDAY 11 a.m.

“Folk Arts and Activism” talk in the Gallery of Conscience, MOIFA

1-3 p.m.

Hands-on basket making with Chenille Stems in the MOIFA atrium

3 p.m.

Hands-on drum and dance workshop with Frank Leto of PANdemonium and Pilar Leto of the Odara Dance Ensemble; held in the MOIFA auditorium

3 p.m.

Screening of The Silkies of Madagascar in the Kathryn O’Keeffe Theater, Museum of Indian Arts & Culture

2017 International Folk Art Market | Santa Fe

SCHEDULE OF EVENTS

just over a decade, it has grown from a one-room studio for local weavers into an internationally recognized heritage destination, gallery, retreat center and women’s weaving collaborative of more than 800 artisans from throughout the country.

Art demonstrations by Kathy Whitman-Elk Woman (MandanHidatsa-Arikara) and others under the portal at Museum of Indian Arts & Culture; for dates and times visit folkartalliance.org/museumhill.

FOLK ART LIVE A new series of IFAA-sponsored talks, Folk Art Live is a way for visitors to learn more about market artists and their respective communities. Talks take place in the Kathryn O’Keeffe Theater at the Museum of Indian Arts & Culture.

7.15

SATURDAY

11-11:45 a.m.

“Textile Techniques.” IFAA director and clothing and accessories designer Suzanne Sugg discusses the traditional weaving, dyeing, felting, embroidery and printing techniques used by market artists, as well as the artists creating new looks using traditional methods in the market’s Innovation Inspiration category.

WORKSHOPS

7.15

SATURDAY

TradiSon de Cuba

12:15-1 p.m.

“Creating the Market Ambiance.” Designer and director of Ambiance Decor Sylvie Obledo offers a behind-the-scenes look at the creation of the market’s amazing visual and sensory experience.

1:30-2:15 p.m.

“Artist Generations: From MOIFA to the Market.” Khristaan Villela, director of the Museum of International Folk Art, provides a generational perspective on the market, discussing folk artists with work in the museum and their offspring with work in the market.

7.16

SUNDAY

11-11:45 a.m.

“Jewelry of the Market.” Sheila Ellis, IFAA director, historian and owner of Samarkand (an ethnographic store specializing in jewelry and textiles), discusses market jewelry artisans and their techniques.

12:15-1 p.m.

“Folk Art Innovation.” The 2017 market features 30 artists in a new category, Innovation Inspiration. Artist Selection Committee member and former professor of design and merchandising Mary Littrell shares how these artists have infused their community’s cultural assets with personal expression, fresh perspectives and bold experimentation. Littrell and market artist Rangina Hamidi have written Embroidering Within Boundaries: Afghan Women Create Their Future (Thrums Books, 2017).

1:30-2:15 p.m.

“Social Impact in Laos.” Joanna Smith, executive director of Ock Pop Tok, discusses the group’s Living Crafts Centre, an innovative textile gallery and workshop in Luang Prabang, Lao PDR. In 17

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3 p.m.

An introduction to flamenco with Jesus Muñoz Flamenco, MOIFA auditorium. Learn a few flamenco dance steps and rhythms. No experience necessary.

7.16

SUNDAY 3 p.m.

Hands-on family workshop with Frank and Pilar Leto of PANdemonium and Odara Dance Ensemble, MOIFA auditorium. Learn about the connection between drum and dance in Trinidad, Brazil and Cuba. The Museum of Indian Arts & Culture, the Museum of International Folk Art and the Santa Fe Botanical Garden offer free admission to IFAM ticket holders during market weekend.

SHUTTLES to the INTERNATIONAL FOLK ART MARKET Use the free Park-and-Ride shuttles, courtesy of Santa Fe Trails and the North Central Regional Transit District. No onsite parking is available. Shuttles run continuously during the event.

Sun Park-and-Ride lot (South Capitol)

Free parking is available at the Rail Runner South Capitol Station, located at 1301 Alta Vista St. Access is through Alta Vista Street, West Cordova Road and Cerrillos Road. Free shuttles to the market depart from the west side of the platform. Accessible shuttle services are available at this location.

Moon Park-and-Ride lot (PERA)

Free parking is available at the PERA and Lamy buildings, located at 413 Old Santa Fe Trail. Access is through Paseo de Peralta. If the main lot is full,

overflow parking is available at 402 Galisteo St. Free shuttles to the market depart from the area in front of the Lamy building. Accessible shuttle services are available at this location.

Shuttle schedule

Friday, July 14, Market Opening Party: Shuttles run from 6-9:15 p.m. Saturday, July 15, Early-Bird Market: Shuttles run from 7 a.m.-5:45 p.m. Saturday Market: Shuttles run from 9 a.m.-5:45 p.m. Last shuttles to the market leave the Park-and-Ride lots at 5 p.m. Last shuttles to the Park-and-Ride lots leave the market at 5:45 p.m. Sunday, July 16, Sunday Market: Shuttles run from 8 a.m.-5:15 p.m. Last shuttles to the market leave the Park-and-Ride lots at 4 p.m. Last shuttles to the Park-and-Ride lots leave the market at 5:15 p.m.

OTHER WAYS TO GET TO MARKET Uber: The first ride is free up to $15 for first-time riders. Get a reliable ride in minutes with the free Uber app. Sign up with the code IFAMSF17 at UBER.com/app. Bike: Bike riders must enter Camino Lejo from Camino Corrales. Bike Santa Fe offers bike valet service beginning at 7:30 a.m. Saturday and 9 a.m. Sunday. Traveling north, look for a valet on the right-hand side of Camino Lejo, about 20 yards before the market entrance. The service is free, but Bike Santa Fe gladly accepts donations for service.

Visitors with mobility issues and/or disabilities Accessible transport services are available for attendees with disabilities or mobility issues, as well as for their families and caregivers. Ample accessible parking is available in both Park-andRide lots, adjacent to shuttle pick-up and drop-off areas. Shuttles are fully equipped to transport wheelchairs and scooters of all sizes. Keep in mind that the market is outdoors (under tents) in July. You may encounter uneven walking surfaces, along with uncontrolled heat and weather events.

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ENTERTAINMENT

PHOTOS GENE PEACH

7.15

7.16

9:30 a.m.

10-10:10 a.m.

9:40-10 a.m.

10:15-10:45 a.m.

SATURDAY Opening Blessing Tom Berkes and Madi Sato (Japanese shamisen and vocals)

FOOD VENDORS

10:20-11:10 a.m.

The International Food Bazaar returns to the rear of the market this year. Official vendors include:

11:30 a.m.-12:10 p.m.

Los Niños de Santa Fe (Mexican folkloric dances) Alborz Trio (music of Iran)

12:30-1 p.m.

Agapao Coffee & Tea Anasazi Corn Annapurna’s World Vegetarian Café Celina’s Biscochitos Cleopatra Café Cowgirl BBQ Gujarati Snacks Jambo Café Molly’s Crepe Escape Nath’s Khmer Cuisine Platero Fry Bread & Navajo Tacos Posa’s El Merendero Reid’s Concessions Taos Cow Tres Colores

Opening Blessing

Matunda Ya Yesu (African youth choir)

11-11:30 a.m.

Sindhoor/Natyaveda (Navarasa dance theater)

11:45 a.m.-12:45 p.m. Odara Dance Ensemble (music and dance of Trinidad)

BASADE (Bells and Shakers African Music and Dance Ensemble)

1-1:45 p.m.

1:30-2:15 p.m.

2:15-3:15 p.m.

2:40-3:30 p.m.

3:45-4:30 p.m.

Jesus Muñoz Flamenco Racine Kreyol (Haitian music and dance)

4-5 p.m.

TradiSon de Cuba

TradiSon de Cuba COURTESY

SUNDAY

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The Dragons Are Coming (Chimera) TradiSon de Cuba

Agalu (West African drumming) All Weekend Mario Reynolds plays Andean flute on the steps between levels.

Michelle Tapia

ON THE PLAZA 61 Old Santa Fe Trail 路 Santa Fe, NM 87501 505路983路9241 路 www.maloufontheplaza.com Online Shopping Available

Award winning jeweler Michelle Tapia of Spanish heritage, is a renowned scrimshaw artist. Pieces are hand carved and fabricated in sterling silver, gold, fossilized walrus tusk, turquoise, coral and lapis. Her whimsical jewelry also features cats, dogs, rabbits and various icons of saints. View the collection at maloufontheplaza.com

AND THE WINNER IS...

SOMPORN INTARAPRAYONG, THAILAND

LEADING BY EXAMPLE AWARD FINALISTS BRING RESOURCEFULNESS AND PASSION TO THEIR COMMUNITIES â&#x20AC;&#x201D; AND TO THE MARKET

BY STACI GOLAR Last year the International Folk Art Market | Santa Fe, under direction of its parent organization, the International Folk Art Alliance (IFAA), decided to deepen its commitment to and recognition of worldwide folk artists, organizations and advocates that embody its mission. It did this by adding two award programs to its annual activities to help celebrate and preserve living folk art traditions. The Community Impact Award was established in 2016 to honor artists who further the IFAA m i ss i o n by posi t i vel y 2017 impacting social change in their communities. COMMUNITY In 2017 the finalists IMPACT represent Cuba, Mexico, FINALISTS India, Thailand and the Palestinian territories and hundreds of artists within each of those countries. SHE (Self Help Enterprise), a Community Impact finalist based out of Kolkata, India, has been critical to reviving kantha, a type of Bengali embroidery, while empowering rural female artisans of West Bengal along the way. Currently between 600 and 800 women sell their work under the umbrella of SHE, which grants them financial independence, medical care and more. SHE (SELF HELP ENTERPRISE), INDIA Shamlu Dudeja, chairperson of 20

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EL GRUPO BAYATE, CUBA

SULAFA EMBROIDERY CENTRE, UNITED NATIONS RELIEF AND WORKS AGENCY, PALESTINIAN TERRITORIES

SNA JOLOBIL, MEXICO

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AND THE WINNER IS...

the SHE Foundation, says they feel fortunate to have traveled to Santa Fe several times now, taking IFAA’s training programs and participating in the market itself. “It has always been a very enriching and inspiring experience,” she says. “Two of our kantha artisans attended the International Folk Art Market in 2004 and 2005. They loved the experience of exhibiting to a crowd of people how masterfully they were able to convert a simple running stitch into stitch art. They were very happy to showcase their technique and their products and get a firsthand response from 2017 this group of elite international buyers.” LIVING Dudeja notes that TRADITION SHE participants leave with a refined FINALISTS understanding of what work to bring to new audiences each year. “The training programs have helped me in understanding the American market in a better way and accordingly to bring changes in our product line. The colors, patterns and the sizes; which works best with the American clients. It has helped me in exploring new venues: Dallas, San Antonio and online selling with support from IFAA.” While being a Community Impact Award finalist is already an immense recognition, Dudeja says that winning the award would give the embroiderers “a great sense of dignity and self-worth.” She explains that “economic independence leads to empowerment, and the women can now raise their voice against wife abuse, prevent child marriages and, above all, ensure better education for their children. They inspire their daughters and other women among the circle of their individual friends and families to follow in their footsteps and help the kantha community grow.” Located in Chiapas, Mexico, the cooperative Sna Jolobil was founded to preserve and revitalize Maya textile art. The organization includes 800 weavers from 20 indigenous Tzotzil and Tzeital communities. Members are able to pay for medical needs, school supplies and more through the sale of the textiles they make through the cooperative. Sna Jolobil has participated in eight International Folk Art Markets, and founder Pedro Meza says that the experience has

ABDULLAH & ABDULJABBAR KHATRI, INDIA

ABOUBAKAR FOFANA MALI

ANGELINE BONISIWE MASUKU SOUTH AFRICA

BEN-ZION DAVID, ISRAEL

FATTILLO KENDJAEV UZBEKISTAN

been “a form of training, both technical and methodological, to help us continue to improve our art production and marketing program.” In his application for the award he notes, “Participation in the International Folk Art Market means a great deal to our cooperative. It is a platform that allows us to observe and hear new information through the other participants and buyers.” Somporn Intaraprayong, a self-taught textile artist from Thailand and a Community Impact Award finalist, had the unique opportunity to be part of a storytelling/video workshop last year at the market. Somporn is passionate about using sewing as a way to achieve and preserve emotional and economic independence for women, and her work now supports families throughout Thailand. When the video she began at the market was finally edited and finished, Somporn saw it and cried. When it went on Facebook, it became a sensation in Thailand and the United States, and people began to seek her out as a result. “By posting the seamstresses and their work on Facebook,” Somporn says, “people all over got interested to see more, and more people got interested to learn and do the work. Before, the seamstresses would think of what they made almost as homework, but once they saw themselves and their work in videos and photographs on social media, and everyone liking and sharing it and praising them, their confidence grew and they felt excited. Everyone who sees the posts wants to see more. This results in selling, and selling results in the seamstresses feeling encouraged. There’s more money for their families, but there’s also pride.” Somporn says, “If I receive the award, I will be so happy and proud, because I don’t expect anything. I work because I like it. It helps women and their families, and it shows people the value of tradition and doing work by hand. If I win the award, it will be for the seamstresses and the students. The seamstresses would know they are part of it and feel so proud. They already feel pride in their work, but this would give them extra confidence and encouragement. It would show the seamstresses and the schoolchildren the value of perseverance, and they all would feel inspired to work hard and study hard to make their lives better.” Established in 1950 to provide income for Palestinian refugee women, the Sulafa Embroidery Center of the United Nations Relief

Angeline Bonisiwe Masuku, South Africa

Fattillo Kendjaev, Uzbekistan

Abdullah & Abduljabbar Khatri, India

Ben-Zion David, Israel

Aboubakar Fofana, Mali

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and Works Agency now provides much more. It is preserving the culture of Palestine as well. A household name for quality embroidery in Gaza, Sulafa employs approximately 300 local artisans through the commissioning of traditional and contemporary embroidered goods such as dresses, scarves and pillows. Aisha El Basuoni, business development officer for Sulafa, says that the group would love to receive a Community Impact Award, as it would be a “great opportunity for us to show our handmade products and help expand our work into external markets. Sulafa has become more than a livelihood program. … It is now also a way to preserve the traditions and culture of embroidery within the Palestinian society.” The Living Traditions Award honors artists who reflect the IFAA mission by contributing to the preservation of their cultures through reviving and strengthening traditional folk arts with a strategy for passing on the traditions to future generations. This year’s finalists are from India, Mali, South Africa, Israel and Uzbekistan and represent a wide range of art forms and cultural heritage. Abdullah and Abduljabbar Khatri, brothers and Living Traditions finalists from the district of Kutch in Gujarat, India, say that the International Folk Art Market has helped raise the status of the bandhani textile artists with whom they work back home — most of them women. The Khatris have helped revive the use of natural rather than chemical dyes for this tie-dye technique, which is used on dupattas (a type of multiuse scarf). They currently employ more than 200 women. “At one end, I do feel proud that I got the opportunity to play the role of carrier to take the bandhani to global markets and help garner the world’s attention toward this craft sector at a time when the craft was at a critical crossroads,” Abduljabbar said in his application for the award. “And at the other end, I am also very happy that over the last decade, the people involved with the craft — the women who tie, the dyers, the bandhani artisans — benefited with this change and started getting more work, and more and more people are now getting back into the craft.” Ben-Zion David, an eighth-generation Yemenite filigree jeweler based in Israel, now provides for 13 different families beyond his own due to the success of his business. He recalls that he arrived on the wrong day during his first International Folk Art Market experience, completely missing the artist training programs. Nonetheless, he learned “all he needed to know” during his first year as a market artist, gaining valuable connections along the way. If he’s chosen for the Living Traditions Award, he says, “it will serve as proof that certainly I have succeeded in my life mission, and that is to preserve the dying art bequeathed to me, passed down through the generations. This is as it always has been in my family — nomads traveling, creating these jewels to help them in their lives and on their way. The same goes today, not only here in Israel, but I travel all over the world for exhibits, museums and private demonstrations.”

One World Dinner While the anticipation builds before the final recipient in each award category is announced at the One World Dinner on July 15, all these extraordinary finalists will be celebrated and honored at the special event. This year the dinner is open to the general public for the first time; attendees can learn firsthand how the International Folk Art Market has had a profound and lasting impact on artists’ lives and livelihoods, social enterprises, families and communities. It will be an evening full of life-changing stories that center on folk art — one that you won’t soon forget. 24

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AND THE WINNER IS...

ONE DINNER, TWO WINNERS

N 2016 the International Folk Art Alliance

(IFAA) initiated two new programs, the Living Traditions Award and the Community Impact Award, to serve as a source of inspiration and mentorship for artists through stories of success. Artists nominate themselves in one of the two categories, and a group of five IFAA staff does the first culling of applications. Independent experts choose the final winner in each category, which will be announced this year at the One World Dinner, held 6:30 to 9 p.m. on July 15, 2017, at La Fonda on the Plaza. Tickets to the dinner cost $100 per person and can be purchased (if any are left at press time) by calling 505-886-1251 or visiting folkartalliance.org. During the International Folk Art Market | Santa Fe, all the award finalists will be located in the tent nearest the Museum of International Folk Art on the upper level.

2017 Living Traditions finalists The Living Traditions award honors artists who serve as “an extraordinary example of the IFAA mission by contributing to the preservation of their culture through reviving and strengthening a traditional folk art with a strategy for passing on the tradition to future generations.” Abdullah and Abduljabbar Khatri, India: The Khatri brothers have revived the use of natural dyes for an ancient kutchi art called bhandani, a tie-dye technique that is used on dupattas (multiuse scarves). The art includes a design called chandrukhani that has at least a 300year heritage. The brothers employ hundreds of women in making these naturally dyed textiles. Aboubakar Fofana, Mali: An indigo textile designer, Fofana is increasingly known for his work to revive the ancient art of dying with fermented West African indigo. His latest project is a farming co-op in rural Mali that is growing two species of indigo indigenous to his home village of Bamako. Angeline Bonisiwe Masuku, South Africa: Masuku started ABM Trading to share the art of Zulu basketry with a wider audience and to train women to weave illala palm baskets as a path out of poverty. Her desire to revitalize the art form extends beyond herself — she’s especially interested in teaching young women this skill. 25

Ben-Zion David, Israel: An eighth-generation jeweler, David is focused on preserving and sharing the art of Yemenite filigree and Judaica. He notes that these art forms have faded as Jewish artists have migrated away from Yemen, sometimes leaving centuries-old artistic traditions behind for a different way of life. Fattillo Kendjaev, Uzbekistan: A carpet weaver who lives in Bukhara, Kendjaev has revived the use of natural dyes and weaving techniques for carpets and the use of embroidery for suzanis — arts that were on the verge of disappearing before Uzbekistan gained its independence. As former head of the UNESCO-formed School of Traditional Carpet Weaving, Embroidery and Natural Dyeing, Fattillo has had a far-reaching impact through the hundreds of apprenticeships and classes he’s overseen.

2017 Community Impact finalists The Community Impact Award was established “to honor artists who are an extraordinary example of the IFAA mission by positively impacting social change in their community.” El Grupo Bayate, Cuba: This group formed in 1994 to organize arte naïf painters in the region of Mella, Cuba. The goals are to protect and promote their work for the good of the community, to teach young people about its history and to imbue them with a sense of pride and purpose. The group currently focuses on three main projects: Proyecto Miranda to support artists in neighboring provinces, Proyecto Francisca to support female artists in the area and Alegria de Vivi to support the young people of the community of Mella through art classes. SHE (Self Help Enterprise), India: The most significant work of SHE has been the revival and revision of kantha embroidery, which has ultimately led to the social and financial empowerment of the rural kantha artisans of West Bengal. Currently, between 600 and 800 women sell their textiles under the umbrella of SHE, receiving income, health care and more as a result. Sna Jolobil, Mexico: Located in Chiapas, Sna Jolobil was founded to preserve and revitalize Maya textile art. The organization includes 800 weavers from 20 indigenous Tzotzil and Tzeital communities. Members of the cooperative are able to pay for medical needs, school supplies and more through the sales of their art. Somporn Intaraprayong, Thailand: A self-taught textile artist, Intaraprayong sees sewing and cloth as a way to achieve and preserve emotional and economic independence. Her work now supports women and families in Bangkok, Chiangmai in the northeast and Takhli, where she has also revitalized the use of natural textile dyes such as indigo. Sulafa Embroidery Centre, United Nations Relief and Works Agency, Palestinian territories: Established in 1950 to provide income for Palestinian refugee women, the Sulafa Embroidery Centre has become much more. It is now preserving the traditions and culture of Palestine as well. Nearly 300 refugee women work under its umbrella, telling stories of day-to-day life in Palestinian villages in the dresses, scarves, pillows and many other garments they make.

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— STACI GOLAR

2016 COMMUNITY IMPACT AWARD

ROOTS PROJECT OF SOUTH SUDAN Still empowering women, preserving a culture, promoting peace

BY ZÉLIE POLLON

T WAS THE DINKA CORSET

that got people talking. The colorful beaded corset, made by Mary Padar Kuojok, a grandmother and former cook for the Sudan People’s Liberation Army, drew so much attention at the 2012 International Folk Art Market | Santa Fe that people couldn’t help but want to learn about ROOTS of South Sudan. The group’s mission? To bring women together in the name of creating peace in Africa’s newest country. That was five years ago, and the group’s first appearance at the Santa Fe market. Since then, the nonprofit organization, founded by Anyieth D’Awol, a Sudanese lawyer and human rights investigator, has only expanded its success. Last year ROOTS won the market’s coveted Community Impact Award, which honors artists whose work has created positive social change in their communities. “The work that we do at the ROOTS Project is a testament to unity and diversity,” D’Awol said in her acceptance speech last year, coincidentally the fifth anniversary of South Sudan’s nationhood. “We represent women from 19 different tribes and we work together, and we cope and we become resilient and we continue … and we make beautiful art.” In giving the organization one of the market’s top awards, International Folk Art Alliance CEO Jeff Snell called ROOTS a “beacon of resilience and hope.” He continued, “During this critical period for its citizens, and despite ongoing periods of violence in Juba and other parts of South Sudan, the ROOTS Project continues to provide vital incomegenerating opportunities for its members as well as much-needed social support. By reviving traditional South Sudan folk art, this organization empowers an extremely vulnerable population, which is a big reason why the International Folk Art Alliance 26

GENE PEACH

ROOTS, a nonprofit organization created by Sudanese lawyer and human rights investigator Anyieth D’Awol, won the coveted Community Impact Award in 2016. The award honors artists whose work has created positive social change in their communities.

selected the ROOTS Project as the recipient of the 2016 Community Impact Award.” South Sudan was a new country when Padar Kuojok first introduced her corset at the International Folk Art Market, and its growing pains have been difficult. When South Sudan decided to separate from the north of Sudan in 2011, it first needed to establish

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“THE CYCLES OF VIOLENCE, POVERTY AND INSECURITY CAN BE BROKEN BY THE EMPOWERMENT OF WOMEN WHO WILL PROVIDE THE RIGHT CONDITIONS FOR CHILDREN AND THEIR FUTURE.” — ANYIETH D’AWOL

a new government and public services — and then deal with its own internal and tribal conflicts. It was in the midst of these conflicts that D’Awol created the ROOTS Project. She wanted to bring together women from different regions and tribes to help rebuild peace and cooperation — and in so doing provide women with safety, work and skills. But mistrust and suspicion was rampant, particularly when D’Awol invited women from a displaced people’s camp in Juba after violence flared in December 2013. Time has helped close many of the divides and brought the women closer. Between 50 and 100 women now sit together at the ROOTS Project center in Juba and at a refugee camp and sew intricately beaded ceremonial objects and jewelry. They sew, share child care and meals and build trust and lasting friendships. The added income has helped husbands become more accepting of their working spouses. D’Awol invites husbands who don’t support the work to come learn more about the group. The project can provide legal assistance and encouragement for women to leave abusive spouses if need be. In most cases, the women’s financial success is equaled only by their growing self-confidence. In testimonies on the ROOTS website, women describe many firsts. “I was an orphan and married young and blessed with 5 children in which 4 died and left me with one, an 11 year old girl,” writes Lucia Kedis from the Lopit tribe. She joined the ROOTS Project in February 2016 and enrolled her daughter in school for the first time ever when she received her first payment. With the remainder of her pay, she bought food. The women who join the project are encouraged to enroll their children in school and to take literacy and math classes themselves. Child care, healthy meals, transport and legal support are provided, as well as emergency funding for health care. Emphasizing education for women and girls is still rare in many countries of the world, including South Sudan. But these notions are changing, in part due to efforts by groups like ROOTS. In 2016 primary and secondary school enrollment in South Sudan broke the one million mark, with nearly half of those students being girls (417,978 of 1,039,305 students in just over 3,000 schools). In 2004 political leader and Dinka tribe member John Garang de Mabior declared July 7 to be South Sudan National Girl Child Education Day. Clearly understanding the direction in which the country should head, he said at the time, “Educating girls is a proven way to lift families and communities out of poverty, and crucial to putting South Sudan back on track to recovery and then sustained development.” These are statements D’Awol understands intuitively, and she has had the outreach skill and fund-raising ability to move the project forward. “The cycles of violence, poverty and insecurity can be broken by the empowerment of women who will provide the right 27

conditions for children and their future,” she writes on the website. This year the ROOTS newsletter won a 2016 All-Star Reader-Response Award from Constant Contact. In addition to the International Folk Art Market | Santa Fe, the group will attend a market in Texas this year, opening possibilities for more sales and additional fund-raising potential. While the awards are coming in, the need is still great. South Sudan still suffers from conflict, with growing numbers of displaced women and families, all struggling to find a means of survival. South Sudan does not draw tourists; it is a country rarely visited except by international aid workers and journalists. So the International Folk Art Market provides a means of making invisible women visible, and creating a lifeline through sales — a lifeline that provides not only financial assistance but also a way of protecting and promoting the people, culture and traditions of South Sudan. And of course, the art is beautiful.

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Anyieth D’Awol accepts the 2016 Community Impact Award from Manuel Montoya, Ph.D, IFAA board member.

ON THE COVER

UPDATE

WORLDWIDE WEAVE

Peruvian textile artists to host international conference BY SANDY NELSON Nilda Callañaupa Alvarez hasn’t had time to expand her network of traditional weavers and build a larger textile center outside Cusco, Peru. That project remains on the “to-do” list for Alvarez and her colleagues at Centro de Textiles Tradicionales del Cusco (CTTC), but for now they have a more immediate commitment: organizing a global gathering of textile artists for November 8-11 in Cusco. “We didn’t proceed with our dream of the larger center in the valley,” Alvarez, the CTTC director, said in an email. “This is still a dream and it is a long-term project. Instead, this year … we are going to have an international textile artist gathering, so our focus is that for now.” “Tinkuy: Gathering of the Textile Arts” is planned as a four-day assembly of weavers, art historians, anthropologists and fans of the richly diverse Andean textile traditions. “The word tinkuy means ‘gathering’ in Quechua, the indigenous language spoken by many people in the Andes,” according to the event website. “It is a celebration of the textile art[s] as expressed in dozens of cultures from almost every continent.” In that sense, Tinkuy is a lot like the International Folk Art Market (IFAM) — 28

a coming together of people who appreciate traditional arts and want them to survive the homogenizing forces of globalism and the appropriation of intricate designs, some of them centuries old and all of them culturally meaningful, by the makers of inferior, mass-produced knockoffs. Supporters of genuine folk art traditions — as donors, collectors or mindful shoppers — are part of a growing movement that inspires CTTC’s expansion goals. Since its formation in 1996, the nonprofit organization has supported the work of nearly 600 weavers in 10 communities near Cusco by providing a portal to otherwise unattainable international markets and ensuring that weavers receive fair prices for their vibrant creations. In so doing, CTTC makes it possible for textile artists to support themselves, their families and their communities by making products that are infused with both cultural and commercial value. Alvarez wants to draw more Andean villages into the center’s orbit by creating more partnerships, internships and opportunities for education and work. “Thread by thread, design by design, the weavers from Accha Alta and Acopia, Sallac, Patabamba and six other communities are battling to bring back their traditions from the brink of extinction,” the CTTC website asserts. “Through research and exhibits, the daily use of their textiles and more, the weavers are teaching the world not only why their textiles matter, but showing that they do not reside in the annals of history. Andean textiles are a living tradition.” Learn more at www.textilescusco.org.

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CONTINUUM OF CULTURE

Innovation Inspiration Tent brings contemporary flair to Folk Art Market BY DEBORAH BUSEMEYER Somporn Intaraprayong’s handwoven scarves and bags are streaked with shades of blue from natural indigo dyes, representing a weaving and dyeing tradition that dates back thousands of years in Southeast Asia. The weaver from Thailand adds her own creative spin, embellishing with trims and buttons in unexpected ways or creating abstract effects with thick stitches. This combination of innovative art that is both rooted in cultural traditions and meaningful in the modern age is a brand-new category in this year’s International Folk Art Market | Santa Fe. Intaraprayong is one of 30 artists who will sell her work in the Innovation Inspiration Tent, across from Museum Hill Café, at the Folk Art Market this summer. The International Folk Art Alliance (IFAA) developed the Innovation Inspiration category to open up the market to artists who are creating culturally relevant pieces that also reflect the 21st century, said Kevin Recker, IFAA’s creative director. “Folk art, like all creative efforts, is not left out of the forward continuum of culture,” Recker said. “We have an opportunity to reach into the making community with real respect for the creators of their product. We need to be open to what folk artists are thinking about what’s relevant in today’s world, rather than following standards that we think they should. It creates a breadth and diversity to the market that’s outstanding.” The alliance’s selection committee considered the artists’ skills and cultural connections, as it always does, but it also looked at methods, materials, motifs and meanings, as well as whether the work is creative, expressive and socially relevant. “Those extra questions allowed us to maintain a focus on the usual folk art factors but also allowed us to acknowledge social issues, new materials and new technologies,” Recker said. Recker described one of his favorite 30

Thailand, Somporn Intaraprayong

entries, from an Indian woman based in Mumbai. She was a sonic engineer who began experimenting with natural dyes when her work wasn’t fulfilling her. She works with inner-city dwellers who collect and bring her discarded, wilted offerings from temples around Mumbai. She rolls the flowers and plants into handwoven silks and cottons, transferring the colors through a steaming process. “Her work is rooted in culture, involves recycling and a natural, chemicalfree process. And it is beautiful,” he said. As part of their innovative work, artists confront social issues and often collaborate with locals to expand their artistic endeavors so they can better support their families. Intaraprayong teaches women from different regions of her country to sew clothes and accessories by hand using traditional cultural techniques. The work embodies the weavers’ cultural identities and also helps provide for their families and educate their children. Mexican artist Carla Fernández travels to indigenous communities so that artisans and designers can exchange ideas and develop new products. In Chiapas she has worked with artisans who have simplified ancient Mayan embroidery techniques to produce more garments in less time, increasing their income and also attracting more urban customers. The Red Sari, a socially responsible fashion design company with a mission to create and sustain jobs for women in Nepal, uses recycled

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continued on page 32

ARTISTS SHOWING IN THE INNOVATION INSPIRATION TENT From Colombia

Jesús de la Rosa, carvings: wood and tamo vases, decorative dishes and sculptures Ramiro Moreno, carvings: carved wooden animals, seats and canoes Reinel Antonio Mendoza, textiles: Zenú caña flecha palm accessories and home decor

From Guatemala

Roxana Santos Hernández de Joj, textiles: hooked rugs and home accessories

From India

Rosaldo Punzo Nuñez, Ignacio Gabriel Punzo Nuñez and Maria Angelica Nuñez Pureco, metalwork: copper and silver vessels Jovita Cardozo and Macrina Mateo Martinez, ceramics: lead-free clay bowls, vases, cookware and decorative items Porfirio Gutierrez, textiles: Zapotec rugs and tapestries

From Myanmar

Maw Maw Aung, woodwork: lacquerware, eggshell and bamboo boxes, bowls, cups and coasters

Abdulaziz Alimamad Khatri and Suleman Umarfaruk Khatri, textiles: clamp-dyed scarves and shawls Asif Shaikh, textiles: home accessories and handwoven and embroidered, naturally dyed indigo shibori and ikat scarves Manisha Mishra, painting and drawing: Madhubani/Mithila paintings on paper, canvas and fabric Rupa Trivedi Adiv Pure Nature Dyeing Team, textiles: naturally dyed scarves, garments and accessories Sufiyan Ismail Khatri and Juned Ismail Khatri, textiles: blockprinted textiles with natural dyes

From Nepal

From Kyrgyzstan

From Spain

Farzana Sharshenbieva, textiles: silk and wool apparel

From Lao PDR

Bounkhong Signavong, textiles: silk and cotton Lao loom-woven clothing and accessories Hongkham Xiong, textiles: appliquéd, screen-printed and embroidered Hmong baby carriers, blankets, bags and accessories

From Mali

Aboubakar Fofana, textiles: indigo- and mud-dyed clothing and accessories

From Mexico

Carla Fernández, textiles: woven and embroidered cotton and recycled leather clothing Claudia Martinez Vargas, mixed media: recycled mixed-media retablos, nichos and toys Jose German Punzo Nuñez, Ignacio Punzo Angel, Jose

Lao PDR, Bounkhong Signavong

Bishnu Shrestha and Didi Shrestha, textiles: felted, upcycled sari scarves and purses

From Peru

Shipibo Collective, jewelry, textiles and beadwork: achira and glass bead jewelry and accessories, embroidered and appliquéd wall hangings, pillow covers and cushions

From South Africa

BAT Shop Zenzulu (various artists), basketry: telephone-wire baskets and sculpture Nompumelelo Mkhize, basketry: recycled telephone wire baskets and plate chargers

Tanzania, Sidai Maasai Women Organization

Kavita Parmar, textiles: woven merino wool sweaters and coats

From Tanzania

Sidai Maasai Women Organization, beadwork: beaded jewelry, accessories and home decor

From Thailand

Somporn Intaraprayong and Ampornpun Tongchai, textiles and jewelry: handwoven clothing and accessories

From Uruguay

Ana Maria de Prado Pieroni, textiles: merino wool ponchos, ruana wraps and shawls

From Uzbekistan

Firuza Khamraeva, Fattillo Kendjaev, Saidjon Mukhlisov, Fotima Fozilova, Salima Koshmurodova and Zarina Kendjaeva, textiles: silk and wool carpets

Peru, Shipibo Collective

South Africa, Nompumelelo Mkhize

strips of sari fabric and fine merino wool to produce supple, soft scarves and shawls. “It’s a recycling initiative that is just fabulous,” Recker said. “It produces a community result. In this section we were allowed to look at social entrepreneurship, focusing on the good they do through the making and selling of their products.” JoAnn Balzer, an avid folk art collector who serves on the advisory board of IFAA, knew she wanted to support the Innovation Inspiration Tent with her husband, Bob, as part of their interest in transformative philanthropy. “This is transformative in the sense that the artist can be inspired to do new things. It showcases the creativity the artist already has,” she said. Establishing this new category widens the net for participating artists, said Bob Balzer. “New artists who know the traditions but want to do different things can be included now. We see this as part of our efforts to encourage contemporary work.” The Balzers hope the new category will draw more people to the market. “The market needs to change and innovate to inspire younger audiences and make it appealing to a broader range of collectors, buyers and aficionados,” said JoAnn Balzer. “To me there is no limit to the creativity of the artist, so there is going to be no limit to the Innovation Inspiration category.” IFAA restricted the new category to 30 artists, and Recker noted that it wasn’t difficult to choose the talented artists who are participating this year. “I think this will continue of its own momentum,” he said. “There’s no question it’s going to be an amazing new element to the market.” 32

Uzbekistan, Zarina Kendjaeva

Spain, Kavita Parmar

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BREAKING DOWN BARRIERS Resource Fair offers artists more opportunities BY ARIN MCKENNA People who live in developed countries often take regular eye exams and prescription lenses for granted. But for many of the artists who take part in the International Folk Art Market | Santa Fe, those services are out of reach. At the first International Folk Art Alliance (IFAA) Artist Resource Fair, held after last year’s market, 15 weavers from Bolivia’s Cheque Oitedie Cooperative were among those who benefited from free eye exams and donated glasses. According to Ines Hinojosa, many of the women — who create bags and accessories from woven dajudie plant fiber — are over 50 and were having difficulty threading needles. They were unable to afford transportation to the nearest city, much less eyeglasses. “The donation of reading glasses from the IFAA was very helpful for these artisans. Currently they can work day or night without vision problems, so they are very grateful to the IFAA’s program and donors. … Their expressions of thanks are quiet, respectful and dignified,” Hinojosa wrote. Volunteers from Eye Associates of New Mexico provided screenings and matched artists with nearly 1,000 pairs of glasses collected by IFAA and the clinic. Eye Associates staff spent many hours prior to the event sorting 34

the glasses, which IFAA volunteer Jane Shreffler organized, cleaned and packaged. The volunteers had their own stories to tell. Diane Loftus wrote, “The staff’s biggest reward was the artists’ reactions as many were able to see clearly for the first time. Tears, smiles and hugs were heart-warmly exchanged.” An 8-year-old boy’s curiosity was piqued by his mother’s eye exam, so she asked if he could look through the autorefractor for fun. The test revealed that his eyesight was poor — he could read only the largest letter on the eye chart. “We were able to find him an almost perfect glasses prescription from our donated glasses,” Molly Norton wrote. “When the boy put the glasses on and looked all the way across the room, you could tell that he was able to see detail and things in the distance like never before. His smile was ear to ear and I do know that his life was changed for the better.” Artists were also sent home with over-the-counter reading glasses to distribute in their communities. Their reactions impressed volunteer Jana Sky. “So many people were excited to not only have received glasses for themselves, but they seemed equally excited to be taking back readers for members of their community. … I found that to be very touching,” she wrote. Other participants in the 2016 Resource Fair included members of the Santa Fe Community College Department of Dental Health, who offered advice on dental hygiene and representatives from the Bennett Law Group, who advised artists on intellectual property rights. Artists also were recruited for the testing phase of the Zilpa app, designed to connect folk artists to tourists, and were offered information on Pro Mujer, a nonprofit that provides financial services, health care and

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Representing: Officine Creative • Henry Beguelin • Marsell • Gi N Gi Hats

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business empowerment training for underserved women. IFAA initiated the Resource Fair in response to a survey about artists’ most pressing concerns. Access to capital, health care and education topped the list. Participating organizations offered products, services and advice to the 150-plus artists who attended last year’s market. Littleglobe Inc., a Santa Fe-based nonprofit that describes itself as an “art community for social change,” was a participant. The Littleglobe media team, IFAA volunteers and four students from the Global Youth Ambassadors program of Santa Fe’s Mandela International Magnet School worked with eight artists interested in developing video storytelling skills. During the hands-on workshop, the artists operated cameras and audio equipment, interviewed one another and learned skills such as framing and producing cutaway shots. Their short films were shown during the Resource Fair as examples of how artists can utilize video to promote their work. “Really, at the heart of it, is trying to tell the story of each individual, which helps to contextualize who they are and where they’re from HANDMADE BOOTS BELTS •• BUCKLES • HANDBAGS Officine Creative • Masnada • Henry BeguelinCreative • Zero 11• Cashmere Representing Henry Bequelin • •Masnada Officine Marsell • JEWELRY and why this work is so important to them,” said Littleglobe executiveRepresenting 725 Canyon Road • 505.982.9499 • desertsonofsantafe.com • Visit our Facebook page director Chris Jonas. Somporn Intaraprayong, a textile artist from Takhli, Thailand, was one of the media workshop participants. Her video became a sensation all over Thailand after she posted it on Facebook, generating interest from both buyers and those wanting to learn from and work with her. Questions posed by artists who attended the Resource Fair made Jonas realize what some are up against, such as living without internet service or even electricity. “But we taught people how to make videos with their phones so the technical hurdles wouldn’t be quite as insurmountable. … There’s a huge opportunity for these artists, and there are some real challenges that they face.” Securing a loan can be difficult for any small business, but for artists and cooperatives in underdeveloped countries, funding may not be available at all or may come with excessively high interest rates. Programs such as Kiva microloans from the Alliance for Artist Enterprise offer a solution. The alliance presented a workshop titled “Am I Ready for a Business Loan?” during an education program preceding the Resource Fair and had representatives at the fair to help artists complete applications. Ghanaian artist Ebenizer Djaba (better known as Cedi) obtained a loan for his family business, Cedi Beads Industry, which makes beads from recycled glass. The loan was used to purchase raw materials and firewood for the business’s wood-burning kilns. The company is also generating jobs and economic growth by expanding to another showroom and providing beads for other artisans. Association Timidwa — a cooperative of 70 Malian metalworkers and leatherworkers — bought new tools and materials with the loan it Representing Henry Bequelin • Masnada • Officine Creative • Marsell secured, allowing artisans to create more products to bring to market and 725 Canyon Road • 505.982.9499 • desertsonofsantafe.com to improve their wares. “Therefore the Kiva loan is also improving the quality of our artwork,” said association president Mohamed El-Mouloud Ag Hamid. “The artists are very happy with their new tools. For them it feels like a new life, and they work with a smile on their faces.”

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2017 International Folk Art Market | Santa Fe ARTIST BOOTH LIST BY NUMBER

AFGHANISTAN

Rangina Hamidi

LAO PDR

INDIA

Asif Shaikh

AREA A 1. Colombia María Concepción Ospina Gómez 2. Lao PDR Souksakone Khakampanh, Phout 3. South Sudan ROOTS of South Sudan 4. Jordan Halima Al Qaydeh 5. Mexico Isabelle Collins 6. Kyrgyzstan Gulmira Akmatova 7 A. India Mohammed Bilal Khatri 7 B. Bolivia Gladys Dosape Chiqueno 8. India Dinesh Chandra Kumhar 9. South Africa Lulama Patience Sihlabeni 10. Swaziland Thembi Dlamini 11. Algeria Hocine Bazine, Mahfoud Benslimane

Darouny Thongdynalai (L) 30. Panama Hilary Chamarra Membache, Aristarco Peña Teucama 31. Kazakhstan Ilya Kazakov 32. Kyrgyzstan Fariza Sheisheyeva, Svetlana Sheisheyeva

AREA C 56. Uzbekistan Ikhtiyor Kendjaev 57. Mexico Juan García Mendoza 58. Mexico Edith Albarran Duque, Cesar Montes Rosales

33. Nepal Soni Gurung, Phuphu Sherpa, Dechen 59. Egypt Tarek Abdelhay Hafez Abouelenin, Sherpa; Yangma Traditional Weavers Ekramy Hanafy Ahmed Mahmoud Cooperative of Olangchung Village 60. Best of the Best

AREA B

61. Uzbekistan Madina Kasimbaeva

34. Kyrgyzstan Zhanyl Sharsembieva, Aitolkun Sharshembieva, Kadyrkul Sharshembieva, Raushan Sharshembieva

63. Mexico Pedro Ortega Lozano

35. Macedonia Katarina Doda

62. Turkey Ibrahm Kulsu 64. Bolivia Marco Antonio Leonardini, Maria Eugenia Gutierrez Villafan, Marco Ruben Leonardini Gutierrez

12. Peru Deniss Sanchez Aparicio

36. Uzbekistan Damir Usmanov, Rustam Usmanov

13. Uzbekistan Fazlitdin Dadajanov

37. Mexico Miriam Leticia Campos Cornelio

66 A. Mexico Magdalena Pedro Martinez

14 A. Uzbekistan Olim Irgashev

38. China Mei Lan

66 B. South Africa Jabulile Nala (African Art Centre)

14 B. Uzbekistan Nasiba Akhmedova

39. Cuba Sandra Dooley 15. Malaysia Senia Jugi; Roselyn Long Lah; Long 40. India Namabai Bijal Harijan Lamai Penan Community; Long Lamai Penan 41. Italy Andrea Usai Community 42. Colombia Crucelina Chocho Opúa 16. Spain Luis Méndez López 43. India Mamta Varma 17. Afghanistan Rangina Hamidi 44. Mexico Isaias Federico Barragan Baustista 18. Mexico Mariano Valadez Navarro, 45. Mexico Mexican Dreamweavers Rafael Cilau Valadez, J. Ruben Lopez Cruz 46. Turkey Soma Artisans 19. Zimbabwe Evah Mudenda 20. Lao PDR Katu, Hmong, Tai Lue, Oma, Akha Oma 21. Kyrgyzstan Asel Aldasheva 22. Guatemala Amalia Gue 23. Peru Claudio Jimenez Quispe 24. Mexico Odilon Merino Morales 25. Uzbekistan Khasan Umarov 26. Turkey Mehmet Centinkaya Gallery 27. Algeria Karim Oukid Ouksel 28. Mexico Hermilo López Izquierdo

47. India Dharmendra Soni

48. Palestinian Territories Hamdi Natsheh, Hamzeh Natsheh 49. Haiti Serge Joseph Jolimeau 50. Uzbekistan Rushana Burkhanova 51. Nigeria Akeem Ayanniyi 52. Morocco Rachida Ousbigh, Latifa Harchaou 53. Ghana Rhonda Piggins 54. Peru Nilda Callañaupa Alvarez 55. Syria Salaheddin

29. South Korea Lee, Daeyoung

65. India Islamuddin Neelgar

67. Uzbekistan Zafar Sattarov 68. Lao PDR Darouny Thongdynalai 69. Mali Aissata Namoko 70. Ecuador Valentin Alarcon 71. China Huang Biyu, Mo Aiqun, Guoer Wei, Guofeng Wei 72. Mexico Agustin Cruz Prudencio, Agustin Cruz Tinoco 73. Haiti Georges Valris

AREA D 74. Uzbekistan Gulnora Odilova 75. Peru Hilda and Sonia Cachi Yupanqui 76. Mexico Ana Rosa González de la Cruz 77. Cuba Carlos Caceres Valladeres 78. India Dahyalal Atmaram Kudecha 79. Peru Julio Gutierrez Samanez 80. Kyrgyzstan Erkebu Djumagulova 81. Mexico Juan Isaac Vásquez García, Jerónimo Vásquez Gutiérrez, Guadalupe Vásquez

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2017 International Folk Art Market | Santa Fe ARTIST BOOTH LIST BY NUMBER

MEXICO

Jerónimo Vásquez Gutiérrez

MEXICO

NIGERIA

Mariano Valadez Navarro and Rosy Valadez

82. Tajikistan Dilmurod Sharipov 83. India Kartik Hirabhai Chauhan 84. Venezuela Mario Calderon 85. Colombia Patricia Trujillo, Luis Cano, Eduardo Cano, Samuel Cano 86. Lao PDR Veomanee Douangdala 87. India Gopal Saini 88. Jamaica Kemel Rankine 89. Niger Elhadji Koumama, Ismail Elhadji Koumama 90. Indonesia Mayasari Sekarlaranti 91. Pakistan Noshad Yousuf 92. Kenya Meeri Tuya, Loice Sanaipei Lolkinyiei 93 A. Cambodia Saron Chhem 93 B. India Aala Deva Harijan 94. Kyrgyzstan Zhanyl Baisheva 95. Mexico Soledad Eustolia Garcia Garcia, Elia Catalina Gutierrez Garcia 96. France Blaise Cayol, Flavie Cayol 97. Uzbekistan Rasuljon Mirzaakhmedov 98. Madagascar Marie Alexandrine Rasoanantenaina 100. Ecuador Jorge Moscoso 101 A. Colombia Johana Mestre Izquierdo, Hugo Jamioy 101 B. Colombia Luis Lizandro Rodriguez 102. Nigeria Gasali Adeyemo 103. Namibia Omba Arts Trust

AREA E 105. M A Gaspar Rodriguez, F Linares Mendoza, L Linares Vargas, R de la Cruz Cabrera, M A Miranda Razzo, F C Navarro, M Hernández Colmenero, E Vazquez Hernández, A A Arredondo Rangel, E M Sanchez Rodriguez, M García Hernández 106. Asia Foundation 107. UNESCO - WCC, South Asia 108. UNESCO - WCC, Southeast Asia 109. UNESCO - WCC, Central Asia 110. UNESCO - WCC, Latin America

Gasali Adeyemo

Mendoza, Reyna Esther García Mendoza, José Luis Reyes Martínez

AREA H 127. Mexico Carla Fernández 128. Tanzania Sidai Maasai Women Organisation 129. India Abdulaziz Alimamad Khatri, Suleman Umarfaruk Khatri 130. Colombia Artesanías de Colombia 131. Uruguay Ana Maria de Prado Pieroni 132. Mexico Porfirio Gutierrez 133. Nepal Bishnu Shrestha, Didi Shrestha

111. Palestinian Territories Sulafa Embroidery Centre – UNRWA

134. Mexico Jose German Punzo Nuñez, Ignacio Punzo Angel, Jose Rosaldo Punzo Nuñez, Ignacio Gabriel Punzo Nuñez, Maria Angelica Nuñez Pureco

112. South Africa Angeline Bonisiwe Masuku

135. Lao PDR Hongkham Xiong

113. India Abduljabbar Khatri, Abdullah Khatri

136. Myanmar Maw Maw Aung

114. Thailand Somporn Intaraprayong, Ampornpun Tongchai

137. Peru Shipibo Collective

115. India Shamlu Dudeja

139. Colombia Jesús de la Rosa

AREA F

116. Israel Ben-Zion David 117. Cuba Luis Rodriguez Arias, Luis Rodriguez Ricardo 118. Mali Aboubakar Fofana 119. Mexico Pedro Meza

138. India Asif Shaikh 140. India Manisha Mishra 141. Lao PDR Bounkhong Signavong 142. Mexico Claudia Martinez Vargas 143. India Sufiyan Ismail Khatri, Juned Ismail Khatri

120. Uzbekistan Firuza Khamraeva, Fattillo 144. Kyrgyzstan Farzana Sharshenbieva Kendjaev, Saidjon Mukhlisov, Fotima Fozilova, 145. South Africa BAT Shop - Zenzulu Various Salima Koshmurodova Artists

AREA I

AREA G

104. Kyrgyzstan Askarbek Akbutaev, Aigul Diushenalieva, Nazira Termechikova

121. India Bani Mondal 122. Argentina Jerónimo Coll 123. Mali Mohamed El Maouloud Ag Hamid 124. India Siddi Women’s Quilting Cooperative 125. Cuba Leandro Gomez Quintero 126. Mexico José García Antonio, Santa Reyna Teresita Mendoza Sánchez, José Miguel García Mendoza, Sara Ernestina García 39

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146. Mexico Macrina Mateo Martinez 147. Guatemala Roxana Santos Hernández de Joj 148. Colombia Ramiro Moreno 149. India Rupa Trivedi /Adiv Pure Nature Dyeing Team 150. South Africa Nompumelelo Mkhize 151. Spain Kavita Parmar 152. Colombia Reinel Antonio Mendoza 153. Uzbekistan Zarina Kendjaeva

Thank you Our Market Impact Artists Empowered

Over thirteen years, the market has involved 800 folk artists from 90 countries across six continents.

Government, Foundation, and Business Supporters DIG NITARY Jesse T. & Jodie E. King Foundation / Hank & Kathryn King Coleman Google, Inc.*

DIPLOMAT

AMBASSADOR Charles Evans Hughes Memorial Foundation, Inc | Frost Foundation | Turner Foundation

Global Impact

Artists’ earnings have positively impacted the lives of more than 1.1 million people worldwide.

Monumental Earnings

Since 2004, visitor purchases have generated more than $25 million in artists’ sales—with 90% of earnings going home with the artists.

Social Impact

With your purchase you are empowering artists to serve as catalysts for positive social change in their communities by improving employment, healthcare, education, and well-being.

For more information about supporting organizations, visit: folkartalliance.org/supporters

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SANTA FE VALET C H A U F F E U R E D T R A N S P O R TAT I O N

CMY

Santa Fe Trails

N E W M E X I C O L I M O U S I N E & B U S C O M PA N Y

WORLD Anonymous* | Ed & Margaret Roberts Foundation | International Folk Art Foundation Kind World Foundation | Otis & Bettina Chandler Foundation In honor of Jill Halverson Rees Family Fund | TenThirtyOne Fund

LINDBLAD EXPEDITIONS

COUNTRY Goodmans Interior Structures* | Hutson Wiley & Echevarria Foundation Inc. Vila Fund, Santa Fe Community Foundation

GREER ENTERPRISES

Original Art by Cooperativa de las Alfombras de Mujeres Mayas de Guatemala

* In-kind donation

BY ZÉLIE POLLON

MEXICO CITY STUDIO BLENDS MODERN COUTURE WITH ANCIENT DESIGN

SOCIAL INNOVATION AT WORK

BY ZÉLIE POLLON

Carla Fernández’s trendy Mexico City studio looks like a modern art gallery: high ceilings, clean sharp edges and sparse design. It’s not the typical workspace of artisans participating in the International Folk Art Market | Santa Fe, many of whom come from small villages in remote lands. But Fernández is part of a new wave of artists bringing ancient folk traditions into the 21st century. Social Innovation is one of the market’s newest categories, a field that looks to solve social problems by confronting them in novel ways — and Fernández is doing just that. With the motto “The future is handmade,” Fernández works to incorporate ancient designs into her modern clothing, integrating the work of artisans from 12 different communities into her high-end finished product. It’s a way to keep artisans at work and customs alive, particularly at a time when so many immigrants are forced to leave their homes — and traditions — in search of higher-paying opportunities. “It’s very important that the women stay with their kids in their communities. They have to find better opportunities than cleaning houses and leaving their kids behind,” Fernández says. “How many times have we seen 10-year-old children left at home taking care of the other children?” The master artisans — from Oaxaca, Chiapas, Puebla and other regions — usually approach her, inspiring the designs and working by hand using their own traditional methods. In return they are compensated fairly and considered partners in the work. The final design collections, radical by most measures, then travel the world, showing in Boston, Buenos Aires, Singapore and Colombia. Fernández has interviewed with Vogue, The New York Times and The Los Angeles Times — and her incredibly savvy use of social media ensures high visibility wherever she goes. Fernández knows that social media and visuals are critical to the success of her collections, and her website includes numerous videos of artisans at work. It’s an important way for clients who might not be able to visit a village or otherwise see an artist working firsthand to understand the complexity of the work involved. Her videos are so sophisticated, in fact, that a compilation of this work has been shown at film festivals. “The best way to understand the work is to see it, so we do these videos and you fall in love. Then you understand the complexity. It’s crazy!” Fernández says of the production process. “How in the world does this continue

to happen, and how did this start? The processes are so complex, like the first mathematics or the development of humankind. When you see it, it’s like the first computers — how they weave, the techniques they use … then you begin to understand the cultural richness.” Fernández plays with words the same way she plays with textiles, calling her methodology of pattern making the Square Root. It’s modeled on the use of squares and rectangles as the basis for Mexican indigenous garments, she said, and embodies her desire to help preserve the roots of her culture. Preservation is also political and economic. It’s not immigrants taking people’s jobs in the U.S., she reminds us; it’s technology that is making so many jobs obsolete. Her bully pulpit is meant as a statement on tradition. She repeats her motto: “The future is handmade.” The 44-year-old artist and mother of two was drawn to fashion and design at an early age. She describes her mother as a “fashionista”; her father was director of Mexico’s National Museum of Anthropology and History, and he designed museums throughout Mexico. While

traveling with him to various sites around the country, Fernández was amazed not only by the architecture, including the centuries-old pyramids of Teotihuacan, but also that the culture is still present. Women still wear their traditional clothing — ornate embroidery intricately sewn by hand — at home, in the fields, at work and at rest, while raising children or tending animals. The designs are part of everyday life. What Paris and New York create in ateliers and call haute couture is alive in the mountains of Chiapas, the Mixteca coast and the canyons of the Tarahumara, Fernández said in an interview with Vogue. And she wants to share that with the world. Last year presented new openings for Carla Fernández: She added a men’s line and opened new stores in both San Miguel de Allende in the north and on the Yucatan Peninsula. Her next goal is a showroom in the United States — maybe even in Santa Fe. She also created a collection called Dances and Ceremonies and presented the line with help from Merce Cunningham Dance Company members. Like the clothing itself, the presentation incorporates traditional dance from Mexican communities. Fernández presents for the first time at the 2017 International Folk Art Market. She hopes the experience will create new openings — possible collaborations, creative inspirations and certainly new friendships. It’s not her first time to town, however. Last year she participated in Site Santa Fe’s 2016 Biennial, where she learned about the international market. It was the addition of the Social Innovation category that opened the door for her participation. Hers is among 30 other artist groups in the new category. Fernández sees innovation as movement, and fashion is changing every day. “At the end of the day,” she says, “I don’t believe fashion is static. Fashion is ephemeral. We all find new ways to develop, new things to develop.” And new ways to collaborate. Fernández wants to spread not only her fashion designs but also her working philosophy. She is finishing a book — what she calls a manifesto — that details her design beliefs and processes, outlines the way she incorporates local artisans and shows how everyone benefits from the employment structure. It all starts with a belief in preserving culture and tradition while also developing new business models and creating financial success in the process. This is social innovation at work.

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FROM REVIVAL TO RECYCLED ARTS Julio Gutiérrez Samanez, Peru

New artists bring a variety of crafts to market BY ARIN MCKENNA

Leandro Gomez Quintero, Cuba

Sandra Dooley, Cuba

Every year, new artists bring fresh ideas and diverse art experiences that add vitality to International Folk Art Market | Santa Fe. This year the market hosts more than 50 first-time artists. Among them are two who use recycled materials to portray their culture, several who are reviving or sustaining endangered art forms and many who are keeping family artisan traditions alive. Julio Gutiérrez Samanez recently received Peru’s highest distinction given to artists, the Amauta Prize of Peruvian Handicrafts, for his work reviving the country’s colonial ceramics. Gutiérrez Samanez’s earliest

Luis Lizandro Rodriguez, Colombia

Jesús De La Rosa, Colombia

Jesús De La Rosa, Colombia 42

work was researching and reviving pre-Hispanic ceramic techniques. During his travels he learned that Peru’s distinctive Spanish colonial ceramics — which combine techniques of the indigenous people of Cuzco with the style introduced by the Spanish — had virtually died out 50 years earlier. Gutiérrez Samanez found two communities practicing rudimentary forms of the art. He also enlisted a team of artisans, artists, engineers, students, collectors and antiques dealers to help him research the ceramics. He compiled a library of traditional designs and began working to recreate the pieces. A chemical engineer who specialized in ceramics, Gutiérrez Samanez was not content with merely recreating the past. He experimented until he could simulate the traditional lead-based glazes using nontoxic materials, and he developed clay pastes, slips and glazes that could be fired in an electric kiln rather than the traditional wood-fueled kiln. “Rescuing or reviving this art has been to reconnect with my other roots, my Hispanic, Arabic, European and Asian culture, which — together with my Native American culture — makes me universal, gives me personality, cultural identity and pride for my ancestry, traditions and history,” Gutiérrez Samanez said. “All of that makes me different in the context of globalization.” Gutiérrez Samanez has spent 37 years disseminating the techniques he developed to hundreds of artists across Peru through workshops and in his own studio, Taller Inca. He also introduced his improved techniques to the two communities where he discovered the colonial-style ceramics, and he has written an award-winning book titled Rescue of Colonial Ceramics. “Reciprocity is a way of being and acting of the man of the Andes. As well as sharing food and joy in dance and singing, we share art,” Gutiérrez Samanez said. “We do not keep secrets and [we] share everything so that the new generations are even better.” Leandro Gomez Quintero uses recycled paper and cardboard to create models of the 1942-1955 American cars and jeeps still used for transportation in his hometown of Baracoa, Cuba. Gomez Quintero’s first venture into model making began when he was a teacher trying to help his students better understand World War I and World War II. Obsolete vehicles, “loaded down with cargo and many times broken

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Luis Lizandro Rodriguez, Colombia

Sandra Dooley, Cuba

Julio GutiĂŠrrez Samanez, Peru

Leandro Gomez Quintero, Cuba

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down,” are part of everyday life in his community, and he soon saw them as a means of portraying society. He paints and accessorizes each model to mimic the vehicle it is based on, adding details such as a tank for transporting water tied to the roof or a refrigerator hanging out the back. “They bring humor and call attention to the fact that we are an isolated community within a country that has been isolated for many years,” Gomez Quintero said. “By showing the people a part of their everyday lives in a lighthearted way, they come to appreciate and can smile at some of the difficulties that we encounter in just trying to live our lives and getting from one place to another.” Gomez Quintero hopes not only to introduce market-goers to his country and community but to use his earnings to complete repairs on his family’s home, which was destroyed by Hurricane Matthew in 2016. Winds of 185 miles per hour left only a few walls and a staircase standing, and 30-foot ocean surges swept away all his family’s possessions. So far he has been able to replace only the roof and some of the framing through the sale of his art. Another Cuban artist, Sandra Dooley, began painting at 36, when she decided there had to be something more to life than being a housewife and cashiering at a gas station. That was 17 years ago. “I can tell you for sure that my life changed completely from a dull person with very little to say … to the HAPPY woman I am right now!” Dooley wrote in her market application. Dooley’s first venture was making Christmas decorations from eggshells. That progressed to creating postcards, followed by paintings in the style of Matisse and Chagall. Her subjects reflect intimate moments in Cuban daily life, centered on family, friends, pets and even fantasy scenes. Her paintings often feature women distinguished by their thoughtful and reflective expressions. There is a chronic shortage of art materials in Cuba, Dooley said, so she was thrilled when her grandmother gave her bags of remnants ranging from fabric scraps to lace and buttons. She had grown up watching 44

her mother and grandmother bring new life to used objects by adding recycled elements, so having the remnants, collected by her grandmother and great-grandmother, had special significance for her. The gift provided not only raw material but also “the beginning of my passion for making collages out of recycled stuff. I ‘invented’ the perfect combination between the little women I’ve been painting and the beautiful treasures inherited from the strong, resourceful, beautiful women in my family,” Dooley wrote. Dooley has shown her work in Cuba, the United States, Canada and Germany. She writes that selling her art has made her a financially “independent woman … able to help my family to ‘endure’ most of the difficulties that apply to living in Cuba, and I am also able to protect animals, who are one of my greatest passions.” For the last 10 years, Dooley has used part of her earnings to provide shelter, food and medicine to street dogs and cats. She calls her husband a hero for sharing their home with 11 dogs and 14 cats. Luis Lizandro Rodriguez follows in the footsteps of his grandfather, who taught him to gather and prepare guarumo palm fibers and to weave them into baskets when he was 10 years old. The balays (concave baskets) are used by his Cubeo indigenous group for daily activities and some ancient practices. This labor-intensive art form — which involves gathering and stripping the fiber of 60 palms and washing, boiling and dying it before the weaving begins — is primarily undertaken by men. Designs incorporated in the baskets reflect Cubeo folklore about the cosmos. Rodriguez notes that each of the baskets he weaves has a special meaning. “At the beginning, for me, the toughest part was to memorize the designs and learn the different meanings they have. My grandfather was very patient and started with the easiest forms and then continued with the more complex ones,” Rodriguez said. “By the time I was 15, I mastered them all. Today, thanks to my work as an artisan, my family has education and well-being.” The artist emphasizes the patience and calm that goes into each basket. “Everything has a time. If you weave in a hurry, you won’t do pretty designs, paintings. This kind of craft takes time,” he said. “Through my crafts and their designs, I represent my community’s culture. Everything has a reference of our ancestors. So having people of various nationalities get to see my art is a way of prolonging and preserving our traditions.” When he was 14 years old, Jesús De La Rosa began learning woodworking from his father, José Mario De La Rosa. “My parents told me I had to dedicate my life to the artisan craft. I slowly began creating my own bond with this work,” De La Rosa said. What began as an obligation “became my passion and is what drives me every day and what led me to be where I am now.” De La Rosa decorates his hand-carved tableware with a straw marquetry technique called tamo, which he describes as “an ancient craft in Colombia and one of the scarcest” — a technique that has been used in the highland of Nariño in southern Colombia since the 16th century. De La Rosa is an advocate of reviving craft techniques and teaches tamo to several women in his village.

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A GOOD THING

IFAM expansion offers more opportunities for artists, shoppers

BY SANDY NELSON Attending the International Folk Art Market I Santa Fe is one way to collect beautiful art from around the world without spending a fortune on travel. Here, it’s the artists who do the traveling. And this year the International Folk Art Alliance (IFAA), the market’s parent organization, has created three more venues for market artists in addition to the flagship July 14-16 event in Santa Fe. One affiliated event — the International Folk Art Market Collection: Apparel and Accessories Market — took place in March at the Dallas Market Center, which opened 60 years ago as a space where retailers and home decor manufacturers could do wholesale business. The Total Home and Gift Show, also at the Dallas Market Center, takes place June 20-25. The third — the International Folk Art Market at Arlington, a spinoff of the Santa Fe-based market — debuts June 16-17 on the University of TexasArlington campus. It features 35 artists, most of whom are attending all the 2017 IFAA-sponsored markets. “The number one request we receive from artists … is for more opportunities to sell their amazing artwork,” said IFAA CEO Jeff Snell. “In Texas, we found partners who align with our values and with whom we’ve engaged in learning a great deal about building a sustainable, replicable and scalable model for sister markets so we can be responsive to the artists’ top need.” The artists themselves say that attending all four markets offers more places to sell products, gives them more exposure among buyers and folk art organizations and allows them to sell more products in a shorter period, which mitigates the steep costs of travel and other financial risks. And more chances to sell art means greater enrichment of their home communities in ways that sustain cultural heritage.

Cultural jewels “Every market, every appearance and every exposure can bring something that can help us keep the art of filigree alive in the long term and support us, guaranteeing a future to the families in the community,” said Andrea Usai, a jeweler from the Italian island of Sardinia, whose uncle taught him how to make gold and silver Sardinian filigree jewelry. But more markets also mean that the families 46

Nomada Ebenezer Djaba of Ghana at the Dallas Market Center. who work for him must ramp up production to give Usai enough merchandise to satisfy demand and make the most profit possible. “Right now we are at the very peak of our production, as we will need to have enough stock for all four events. Due to the very high costs of our materials, we need to be very careful managing our finances for the four events.” Usai wants to find a range of fairs scattered throughout the year that will allow a normal production schedule and regular paychecks to his suppliers. Until then, he makes the most of his extended stay in the United States, traveling to jewelry stores and drumming up orders outside markets. “Our main focus for the long term remains the idea of starting a school of filigree, where new generations will find inspiration to develop a career in preserving an art that is at risk of extinction.”

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Sisters Hilda Valeriana Cachi Yupanqui and Sonia Cachi Yupanqui of Joyas Cachi usually return to their homes in Peru between markets. For 45 years, the award-winning artisans have designed and created silver jewelry inspired by Peru’s Incan and colonial Spanish cultures. Joyas Cachi employs 22 jewelers and has stores in Lima and Cuzco. “My goal is to make my product known and to make strategic alliances to strengthen my business,” Hilda Cachi said. “In the future, we want to expand our sales in different markets. We are in the sights of the United States, as this market is attracted by silver jewelry and is increasingly a potential buyer.”

Woven wonders The risks of expansion are just as real for indigenous artists as for multinational corporations, though the former have a fraction of the resources to weather adversity. “Our ambition is not exempt of economic risks,” said Magno Caterino of Cooperativa Divino Niño. The cooperative represents indigenous Zenú artists of northwest Colombia, who weave hats and jewelry from the fibers of the bamboo-like arrow cane. “We all could end [up] losing our money. There are more opportunities, but risks are proportional; we can earn more, but we can lose more as well. …. If the handcrafts are not sold, we have to pay for shipment back to our country.” Since Cooperativa Divino Niño first attended the Santa Fe market five years ago, the group has grown to include 40 artists, whose work supports entire communities. “Our marketing strategies have changed radically; our incomes and our daily [foundation] have been influenced as well. Now we have a year-round schedule for production activities and logistics, so we are able to accomplish our market requirements,” said Caterino. Gulnora Odilova of Shakhrisabz, Uzbekistan, stays in the United States between markets, to save money and to find other outlets for leftover embroidered pieces so that she doesn’t have to sell them at deep discounts. “Usually after every market, we leave most of our products to shop owners at lower prices,” she said. “More markets mean fewer low prices.” Odilova has revived her family’s distinctive embroidery patterns, colors, designs and techniques, and her school has trained 500 Uzbek women in traditional needlework. “Embroidery … is my hobby and, at the same time, my business, which helps me not only creatively but also financially,” she said in her artist statement. Developing more markets for folk artists is IFAA’s ambition, Snell said. “We’ll take our lead from this first attempt in Texas. If we feel we’re ready to take another stride, we’ll move forward accordingly. If not, we’ll hit a pause button. That’s what determines our growth timeline, a kind of dynamic symmetry whereby our operational capacity will increase only in proportion to organizational guidelines for excellence. As we show we can replicate and scale in ways consistent with being regarded as the number one arts festival in the country, we’ll open new sister markets not only in the U.S. but abroad as well.”

MARIE FLAHERTY

Dallas Market Center Fashion Show; jacket by Gulnora Odilova, Uzbekistan. Below, El Hadji Koumama, Niger

UP CLOSE AND PERSONAL

Artists offer warm welcome to Passport to Folk Art visitors BY ASHLEY M. BIGGERS In January 2017, Leandro Gomez Quintero welcomed visitors to his humble home in Baracoa, Cuba, treating them to a meal and showing them his jeep sculptures (jeeps are iconic modes of transportation for everything from water to refrigerators in rural Cuba), made out of recycled cardboard boxes. The visitors were part of an International Folk Art Alliance (IFAA) Passport to Folk Art trip that, led by IFAA director Peggy Gaustad, ventured to Cuba to learn more about the country’s distinctive artwork. For nine years, IFAA has collaborated on Passport to Folk Art trips, which take the market experience from Santa Fe to the artists’ home Participants Passport to Folk Art trips countries. travel to far-flung 2017 locales, from Morocco Colombia: December 1-12 to Cuba, to delve into local culture and 2018 learn about folk art Cuba: January 12-22 in a way that goes and February 16-26 far beyond standard Bali-Java: Oct. 1-14 museum visits or even 2019 the rich experience Bhutan-Nepal: March 1-12 o f t h e S a n t a Fe Brazil-Uruguay: Oct. 6-19 market. Trips trace master folk artists to For more information, their home villages, visit folkartalliance.org/ allowing participants passport to see where and how the pieces are made, their cultural significance and how the artists’ participation in International Folk Art Market | Santa Fe is impacting their home communities. “The real takeaway is being with the artists and seeing how their participation in the Santa Fe market has genuinely and significantly changed their lives,” Gaustad says. “It’s much more in depth and personal than a lot of trips.” Gaustad has been leading trips to Cuba

UPCOMING

BJ ADVENTURES, INC.

JoAnn Balzer, IFAA board member, at the Urgut Market, Uzbekistan

since 2012, but this isn’t the only country visited by Passport to Folk Art. BJ Adventures Inc., headed by Jean Zunkel, has organized 19 IFAA trips to 16 countries, including Bolivia, India and South Africa. Trips are usually two weeks long and include meals, accommodations and activities with English-speaking guides (though not airfare and tips). Organizers consider a number of factors in choosing destinations: “Is the country a safe place to travel right now? How many artists can we visit there? Are there other interesting cultural experiences in that country that can be included in the trip? Are there possibly new folk artists to visit that we could encourage to apply to IFAA? We are always looking to discover new artists to apply to the market in Santa Fe,” Zunkel says. “We also like to add visits to more contemporary or innovative folk artists, which has not been part of the criteria for the International Folk Art Market in Santa Fe, but that is now changing.” Catherine A. Allen, chairman and CEO of The Santa Fe Group and a member of the IFAA board of directors, has taken several trips with BJ Adventures. She values the small group sizes (six to 10, rather than the 20 to 30 standard on other trips), the boutique and historic accommodations chosen and the varieties of places on the itineraries. “There’s always a mix of seeing historic and cultural places, museums, old neighborhoods, artists’ workshops and interesting shopping markets,” she says. She recalls her trip to Uzbekistan and Kyrgyzstan, wandering historic markets and mosques and exploring cities along the Silk Road. And of course, there’s the shopping. She and her husband — both avid collectors — shipped home a huge

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Leandro Gomez Quintero, Cuba

BJ ADVENTURES, INC.

Shopulot — the name of a village on the way to Urgut Market, Uzbekistan

container of finds. “The quantity and quality of folk art was outstanding,” she says. Perhaps the desire to take home art is more powerful because the participants meet and spend time with the artists who create the pieces. In Uzbekistan, the group visited the workshop of master silk ikat weaver Rasuljon Mirzaakhmedov, a dozentime market exhibitor, who welcomed them with fresh fruit juices, lamb stew and bread — each loaf marked with the signature stamp of the family that had baked it. He, and artists he represents, demonstrated ikat weaving. This December, BJ Adventures will lead a trip to Colombia; the travelers will visit artists from the Zenú indigenous community, specifically Reinel Mendoza Montalbo and the extended 40-artist family of Cooperativa Divino Niño, who preserve their culture through handwoven black and beige hats. The group will also visit Artesanías de Colombia, an organization that preserves folk art traditions and promotes Colombian identity and culture through its programs. “When visiting the community, we learn firsthand of the impact of what they’ve learned attending the Santa Fe market and the results of what they have done with their earnings,” Zunkel says. “When you go on a Passport to Folk Art trip, you get to meet [the artists] in their home countries and receive the appreciation back tenfold. You go not expecting this but are almost overwhelmed by the warm welcome and invitation into their lives and homes. It is truly a folk art family.” 49

Rasuljon Mirzaakhmedov, Uzbekistan

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EDWARD ADDEO

A World of Thanks to Our Generous Supporters!

International Folk Art Market | Santa Fe A program of

International Folk Art Alliance

R EG ION AgaPao Coffee & Tea, Inc.* Aspen Medical Center* The Baldridge Foundation BJ Adventures Ahdina Zunkel Jean Zunkel Cabin Fund, Santa Fe Community Foundation City of Santa Fe Water Conservation Office* E & J Gallo Winery* Fiasco Fine Wine, Inc.* Frogurt Self Serve Frozen Yogurt* IBM Ink & Images, Inc.* Inn at Santa Fe* Inn of the Governors* James M. Ewell Charitable Fund Lensic Performing Arts Center*

Markstein Family Fund at Schwab Charitable Fund Nambe, LLC* New Mexico Bank & Trust Peas ‘n’ Pod / TerraCotta Wine Bistro* Peters Family Art Foundation Railyard Urgent Care* Rebecca Kitson Law* Riskin Associates Architecture, Inc.* Santa Fe Farmer’s Market Institute* Southwest Safety Services* Sunrise Springs Spa Resort & Ojo Caliente Mineral Springs Resort & Spa Todos Santos Chocolates & Confections Tres Colores Restaurant*

VILL AGE 360 West Magazine* Andiamo!* Belle Jewelry Coyote Cafe & Cantina* Dos Equis* Dr. Field Goods* ElleWell* Harry’s Roadhouse* Iconik Coffee Roasters, LLC* Kaune’s Neighborhood Market* La Boca* Pranzo Italian Grill Santa Fe Community College Dental Education Department* Santa Fe Signs & Images* Strongbow Apple Cider* Taco Fundación* Turn & Return Fund, Santa Fe Community Foundation

Studio Twist LLC Wonderbag Foundation* Wurzburger Architects*

Individual Donors

Leigh Ann & David Brown Donna Brown & Mark Capizzi Nella Domenici & Patrick McDonough Judy Espinar Brenda Gaines Brian & Brenda Kilcup Heath & Pam Wingate Newman’s Own Foundation / Patty & Arthur Newman Melinne Owen & Paul Giguere Julia & Jon Patten Ildy & Skip Poliner Louisa Stude Sarofim Barbara & Louis Sklar Peter Speliopoulos Jonathan Spiegel Dr. Stephen Storey Donna & Cal Sugg Courtney & Scott Taylor Alexander Tschursin Michael & Laurie Vander Velde In honor of Muriel Gilberg In honor of Mary Littrell Eileen A. Wells

Lynne & Joseph Horning Pamela & David Jaderlund Jenny & Rob Kimball Karen Loud John & Priscilla Lupe Susan McGreevy & Herb Beenhouwer Stephanie & Mike Mendez Marisol Navas Sacasa & Andres Navas In memory of Juan R. Navas Sacasa Sandra & Arnold Peinado Eleanor & Michael Peters Mervin, Annette & Margaret Peters Carol Relihan Nan Schwanfelder Barbara & Ted Seeley Jane Shreffler Jennifer & Jeffrey Snell Jane & Bob Snow Benita Vassallo Jill Sharp Weeks Marianne & Peter Westen In memory of Frank Sabatté

CONTINE NT Anonymous (2) Polly Ahrendts Catherine A. Allen & Paul Rooker Barbara Lenssen & Keith Anderson Ann Griffith Ash Ron Bauer & Michael Spencer Miryam & Bob Knutson Rod Danielson & Kelly DeHay Sheila & Kirk Ellis Trina & Russ Harlow Terry Hendrix Willa Shalit & Jim Heynen

COUNTRY Caroline B. Burnett Harriet Christian Estelle & Michael Eckert Myra & Robert Hull David & Edelma Huntley Helen Kornblum Diana MacArthur Louise & David Reese Jane Reid Grace Richardson Iris & John Vazquez Stephen Wiman

R EG ION Anonymous (7) Susan Abeln Ann Aceves Melissa & Tom Alexander Lyn Andrews Lyn & James Avery Leslie & Rutgers Barclay Cara & Jorge Barer Susan & Tom Bass Beth Beloff & Marc Geller Dr. Norman Marks & Judith Benkendorf Stacey & David Brodsky Susie & Doug Brown In memory of Amy & Bud Smidinger Connie Burke & Bill Leeman In honor of Kathryn Coleman Kay & John Callison In honor of Nance & Ramón José López Diane & Michael Cannon In honor of Kathryn & Hank Coleman Elisbeth Challener & Brett Bachman Bruce Chemel Anne Chognard & James Ammerman Bonnie Clark Caryn Clayman Mrs. Shelby Conley Joe & Marta Contreras Mary Costello Benjamin F. Crane Ann Crouse Steve & Cathy Dienst In honor of Henry & Anne Farek Mary Anne Donaldson

DIGNITARY Amy & Bill Conway Nance & Ramón José López y familia Bill & Patty Snead Suzanne & Joel Sugg DIPLOMAT In memory of David M. Burke, given by family & friends, including: Ellen W. Burke Haley T. Burke Jean Cacicedo Mary & David Crutchfield Margo Cutler Sarah & John Finn Joan & Bill Grabe Margaret W. Turpin Brooke Suzanne Gray Sibylle Mueller, Architect AIA AMBASSADOR Charmay Allred JoAnn & Bob Balzer Linda Marcus Dr. & Mrs. James McCaffery Sandra & Rick Porter Keith Recker Rebecca & Nat Sloane Edd & Carole Stepp WORLD Anonymous Martha & Mark Alexander

COMMUNIT Y Albertsons Companies Foundation Allegra Marketing Print Mail* Ambercare Medical Supply* Cafe Fina* New Mexico Historic Sites* Singleton Family Foundation Taproot Fund at Laird Norton Family Foundation TEWA Women United* Verde Food Company* The Winter Family Fund

SUPPORTE R Brindle Foundation Chocolate Maven Bakery & Cafe* Jinja Bar & Bistro* Macmillan In honor of Kate Lewis Merck Partnership for Giving / The Merck Foundation The New Baking Co.* New Deal Films, Inc. Peace Corps* Rotary Club of Santa Fe* Sephora USA, Inc. at The Benevity Community Impact Fund Sweetwater Harvest Kitchen* Trader Joe’s*

Sarah Dunning Mary & Jerry Dusenbury Ellyn & Amy Feldman Patricia G. Foschi Robin & Tony Furman Madeleine Gehrig Lister Vida Goldstein In honor Carole & Edd Stepp Gayle Goodman & Kenneth S. Adam In honor of Kathryn Coleman Linda Griego & Ronald Peterson In memory of Amelia Lopez-Doyon Gary Gwozdzik Heidi Ann Hahn & Philip D. Goldstone Valerie & Bud Hamilton Rita Hand Roddie & Steve Harris In honor of JoAnn & Bob Balzer Lilly Hastings Richard Hinshon In memory of Sue Hinshon Anna & Rod Honstein Barbara Colvin Ellen & Jim Hubbell Chris & Sara Julsrud Sherry Kelsey & George Duncan Sherry & Adel Kheir-Eldin Kelly Koepke & Don Pizzolato Mary Anne & Bruce Larsen Hank Lee Linda C. Ligon Ginny Zipperer & Chris Linn In memory of Ro King Mary & John Littrell Sheree Livney & Steve Hanks John Lyon CONT.

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2017 International Folk Art Market | Santa Fe COUNTRY PARTICIPANT LIST AFGHANISTAN ALGERIA ARGENTINA BOLIVIA CAMBODIA CHINA COLOMBIA CUBA ECUADOR

CUBA | SANDRA DOOLEY

EGYPT FRANCE GHANA GUATEMALA HAITI INDIA INDONESIA ISRAEL ITALY JAMAICA

GUATEMALA | ROXANA SANTOS HERNÁNDEZ DE JOJ

JORDAN KAZAKHSTAN KENYA KYRGYZSTAN LAO PDR MACEDONIA MADAGASCAR MALAYSIA MALI MEXICO MOROCCO

KYRGYZSTAN | ASKARBEK AKBUTAEV

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COLOMBIA | JÉSUS DE LA ROSA

MYANMAR NAMIBIA NEPAL NIGER NIGERIA PAKISTAN INDIA | DAHYALAL ATMARAM

PALESTINIAN TERRITORIES PANAMA PERU SOUTH AFRICA SOUTH KOREA SOUTH SUDAN SPAIN SWAZILAND SYRIA

NAMIBIA | OMBA ARTS TRUST

TAJIKISTAN TANZANIA THAILAND TURKEY URUGUAY UZBEKISTAN VENEZUELA ZIMBABWE PROGRAMS UNESCO - WCC SOUTHEAST ASIA UNESCO - WCC CENTRAL ASIA UNESCO - WCC SOUTH ASIA

PALESTINIAN TERRITORIES | HAMDI NATSHEH

UNESCO - WCC LATIN AMERICA ASIA FOUNDATION BANGLADESH LAO PDR, TIMOR-LESTE

UZBEKISTAN | FAZLITDIN DADAJANOV

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2017 International Folk Art Market | Santa Fe ARTIST PARTICIPANT LIST

AFGHANISTAN

ALGERIA

COLOMBIA

EGYPT

AFGHANISTAN

ARGENTINA

CAMBODIA

COLOMBIA

Khamak embroideries Rangina Hamidi

Leather belts and wallets, Damascus and forged steel knives Jerónimo Coll Booth 122 Jerónimo Coll makes leather belts, wallets and both forged and Damascus steel knives. His sogueria (rope work) designs date back four centuries and are representative of gaucho culture.

Handwoven krama baby sling and garment Saron Chhem Booth 93A Saron Chhem represents an artist group that hand-weaves kramas, Cambodian textiles that can be used as scarves, bandannas and slings to carry infants and small children. Typical kramas have a gingham pattern and come in either red or blue, although some come in other colors and ornate designs.

Acrylic wool Wayuu mochila bags and hammocks María Concepción Ospina Gómez

Kandahar Treasure

Booth 17 Kandahar Treasure is a cooperative of embroiderers creating unique work, inspired by Islamic geometric shapes and hand-embroidered on fabric. The cooperative has worked hard to revive this ancient art and traditional designs that were nearly lost during decades of conflict in Afghanistan.

ALGERIA Berber wool rugs Hocine Bazine and Mahfoud Benslimane Booth 11 Bazine and Benslimane’s carpets are made from sheep’s wool, with colorful geometric patterns and motifs that represent the Berber culture and the heritage of seven villages from M’zab in Ghardaia, Algeria. Their complex symbolism, patterns and abstract forms represent the rug weavers’ eye for design and Algeria’s myths, legends and heritage. Enamel and inlay jewelry Karim Oukid Ouksel Booth 27 Karim Oukid Ouksel’s pieces are adorned with filigreed geometric forms, reflecting patterns found in Berber tapestries and ceramics. Ouksel sees his jewelry as more than decoration — it is a physical manifestation of the poems, histories, rivers and mountains that are part of his cultural heritage.

BOLIVIA Traditional dajudie fiber bags and table runners Gladys Dosape Chiqueno Cheque Oitedie

Booth 7B Gladys Dosape Chiqueno makes bags and other accessories from the dajudie plant (Bromelia), which is necessary to the Ayoreo people’s seminomadic life in the jungle. For hundreds of years, women have passed weaving techniques and designs to their daughters, starting in childhood. The Cheque Oitedie cooperative’s mission is to strengthen cultural identity through the promotion of traditional weaving. Mestizo baroque sterling silver earrings, brooches, tupu pins Marco Antonio Leonardini, Maria Eugenia Gutierrez Villafan, Marco Ruben Leonardini Gutierrez Booth 64 Marco Antonio Leonardini, Maria Eugenia Gutierrez Villafan and Marco Ruben Leonardini Gutierrez make jewelry from sterling silver in the “mestizo baroque” style. This technique dates to the colonial era of Bolivia, when Spanish designs blended with the traditional work of indigenous Bolivians. Their earrings and brooches use themes from nature.

CHINA Hand-loomed yak fiber textiles and accessories, wooden yak milking boxes, black pottery cups and teapots Mei Lan Dege Door to Tibetan Arts Culture Tourism Industry Co. Ltd.

Booth 38 The artisans of Dege Door to Tibetan Arts create hand-spun and handloomed textiles made from yak’s wool. Their work also includes wooden yak milking buckets and butter boxes. Door to Tibetan Arts has trained more than 700 Tibetan students in the techniques of traditional Tibetan art. Applique and patchwork, home accessories Huang Biyu, Mo Aiqun, Guoer Wei, Guofeng Wei Booth 71 Huang Biyu, Mo Aiqun, Guoer Wei and Guofeng Wei intricately embroider brightly colored textiles. The designs, including flowers, butterflies, insects and aspects of daily life, symbolize beauty and hope. Huang learned to weave and embroider from her mother and grandmother, who are known as masters in her village. Huang weaves, dyes and spins the cotton cloth for her work.

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Kayuusipaa

Booth 1 Kayuusipaa was created by María Concepción Ospina Gómez to promote traditional weaving and to improve the lives of Wayuu weavers. The weavers make mochila bags and hammocks for daily use. Each bag is adorned with geometric designs, animals and constellations inspired by Wayuu folktales and philosophy. Werregue fiber baskets, vases, trays and bracelets Crucelina Chocho Opua Booth 42 Opua’s werregue (palm fiber) baskets are woven with a spiral technique, with a central cord serving as the soul of each vessel. She uses the figures of animals, plants and spirits to tell the story of the Wounaan Indians. The colorful baskets are used to carry water, to collect fruit and for special occasions. Pre-Columbian brass, gold plated, gold and silver jewelry Patricia Trujillo, Luis Cano, Eduardo Cano, Samuel Cano L.A. Cano

Booth 85 Patricia Trujillo and the artists of L.A. Cano make jewelry using the techniques of pre-Columbian goldsmiths, for whom working with gold was a means to reach divinity. Through study and technical research, L.A. Cano reproduces traditional preHispanic jewelry and art.

2017 International Folk Art Market | Santa Fe ARTIST PARTICIPANT LIST

EGYPT

FRANCE

GUATEMALA

HAITI

Wool mochila bags and floral seed bead necklaces Johana Mestre Izquierdo, Hugo Jamioy Booth 101A Johana Mestre Izquierdo’s mochilas (sheep’s wool bags) feature animals, trees and other elements of Arhuaco cosmology. Her naturally dyed mochilas are a symbol of Arhuaco identity and are much used in daily life. Jamioy creates kamentsa necklaces made of colorful beads strung together freehand or in a vertical or horizontal loom. The necklaces play an important role during the yagé (ayahuasca) ceremony.

boxes are embellished with images of flowers, landscapes and daily life.

Naïve paintings and drawings Carlos Caceres Valladeres Booth 77 Carlos Caceres Valladeres’ intricate paintings touch on themes of Santería, the Yoruba-derived religion, and its deities, the Orishas. His work reflects the customs of the Guajiros, the people of the Cuban countryside. Valladeres has an unusual technique: He applies acrylic paint with used toothpaste tubes.

Gold and silver filigree earrings, necklaces, bracelets and pendants Jorge Moscoso Booth 100 Moscoso’s gold and silver filigreed and repoussé jewelry is embellished with semiprecious stones and freshwater pearls. He honors traditional designs of the Andean highlands that have been passed down for generations. His pieces, crafted using techniques from 400 years ago, are both laborintensive and delicate.

Guarumo palm fiber baskets Luis Lizandro Rodriguez Booth 101B Luis Lizandro Rodriguez is a thirdgeneration basket maker. Each basket requires the fiber of 60 guarumo palms. Images of animals, shapes and patterns in the baskets reflect the Cubeo view of the cosmos: earth, sky and underworld. Wooden bowl sets, benches, plates, spirit boats, masks; straw, sisal and chocalatillo fiber baskets and other home accessories Artesanías de Colombia Booth 130 For 52 years, Artesanías de Colombia, a government entity, has preserved Colombian cultural heritage by improving artisans’ lives and developing technical assistance to strengthen artwork. Thanks in part to the group’s work, the handcrafts sector is a large contributor to the Colombian economy. Wood and tamo vases, decorative dishes and Madonna sculptures Jesús De La Rosa Booth 139 At age 14, under his father’s guidance, Jesús De La Rosa learned the craft of tamo, or straw marquetry, to decorate the surfaces of wooden objects. His hand-carved platters, vases, bowls and

Carved machaco wooden animals, seats and canoes Ramiro Moreno Central Corocito — Resguardo Wacoyo

Booth 148 Ramiro Moreno and the artisans of his community carve wooden seats in the form of animals. The turtles, ant bears, caimans and other creatures symbolize deities in Sikuani culture. Zenú caña flecha woven palm hats, bags, bracelets and home accessories Reinel Antonio Mendoza Montalvo Cooperativa Divino Niño

Booth 152 Reinel Mendoza is the founder of Cooperativa Divino Niño, with 40 artists working to preserve Zenú culture through their art. The cooperative is known for its handwoven black-and-beige vueltiao sombreros, made from caña flecha (arrow cane) and featuring geometric shapes and symbolic animals. The artists are expanding the use of caña flecha into home accessories, handbags and jewelry.

CUBA Mixed-media collage on canvas Sandra Dooley Booth 39 Dooley’s collages represent scenes from daily life: pets, human interactions and the relationship between mothers and daughters. Her paintings consist of figures with thoughtful and reflective expressions. Her mixed-media collages combine recycled fabric, sequins, lace, buttons and oil paint to create bright splashes of color.

Oil-on-canvas naïve paintings Luis Rodriguez Arias and Luis Rodriguez Ricardo EI Grupo Bayate

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Booth 117 The vivid work of El Grupo Bayate highlights the daily life of its community. Oil paintings communicate the affection the artists have for their city and its people and landscapes.

Canvas-backed appliqué and hand-stitched wall hangings and cushion covers Tarek Abdelhay Hafez Abouelenin, Ekramy Hanafy Ahmed Mahmoud

Model cars and jeeps made of painted and detailed recycled materials Leandro Gomez Quintero Booth 125 Leandro Gomez Quintero uses paper and cardboard to create models of American cars, which are used for transportation in his hometown. They are hand-painted and detailed to mimic the original vehicles. His sculpture represents jeeps from 1942 to 1955, as well as Dodge Power Wagons, GMCs and Fords from the era.

ECUADOR Handwoven straw Panama hats Valentin Alarcon Tejedoras de Azogues

Booth 70 Master hatter Alarcon weaves the type of straw hats that the people of Ecuador have worn for centuries. His fedoras, cachuchas, wide-brimmed sun hats and Panama hats are made with both ventilated and solid weaves and are known not only for their fashion appeal but also for their sun protection.

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Tentmakers of Cairo

Booth 59 Tarek Abdelhay Hafez’s hand-stitched appliqué wall hangings feature bold colors and intricate designs inspired by tiles found in mosques and in the tents of the Ottoman Empire. The technique is unique to the Tentmakers of Cairo, a group of 23 shops on a single street — the only place in Egypt where this art is practiced.

FRANCE Provençal wicker work baskets, trays and racks Blaise Cayol, Flavie Cayol Celui qui Tresse

Booth 96 Blaise Cayol of Tavel, France, has been making baskets for 20 years. He maintains the tradition of wicker basket weaving that largely disappeared in France after WWII. Gathering different types of willows and other local plants, he weaves baskets for daily use as well as for decoration.

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Kinkahe grass baskets and handbags Rhonda Piggins

Recycled oil drum sculpture Serge Joseph Jolimeau Booth 49 From recycled oil drums, Jolimeau brings to life beautiful mermaids, shining suns and other Vodou symbols and deities. After flattening the drums, he uses hammers and chisels to cut the metal into fantastical designs with his signature curving forms. He also mentors young artists, allowing them use of his shop.

Chikan embroidery, clothing and home accessories Mamta Varma and Bhairvis Chikan Booth 43 Mamta Varma represents a group of female artists who do traditional chikan embroidery. This delicate needlework often features white thread on white cloth. The designs are transferred onto the cloth using wooden printing blocks, which preserve chikan embroidery’s distinctive style and designs.

Reverse appliqué and appliqué white-on-white home décor Kartik Hirabhai Chauhan Booth 83 Kartik is recognized for his reverse and white-on-white appliqué technique, consisting of floral, animal and geometric patterns sewn together by hand. Hundreds of designs are tessellated to form striking arrangements on pillowcases and bed covers. This style of appliqué originated in the decoration of tents for royalty and is still associated with luxury.

Kundan gold and silver jewelry with gems and stones Dharmendra Soni Booth 47 Dharmendra Soni makes kundan jewelry, known for its bright gemstones and shiny gold. The beauty of his work is in the precise settings of the stones and the intricate enameling. Worn only for special occasions, kundan jewelry is known as the jewelry of India’s gods and goddesses.

Blue pottery home accessories Gopal Saini

Ti-a Baskets

Booth 53 Rhonda Piggins of Ti-a Baskets represents 452 weavers who produce 10 styles of brightly colored baskets. They use kinkahe grass, which is split, rolled, twisted and dyed before weaving. The baskets are part of everyday life, used to store food and gather harvests. Ti-a Baskets promotes local culture and helps its artists gain financial independence.

GUATEMALA Maya K’ekchi weaving on backstrap loom Amalia Gue lxbalam’ke Cooperative

Booth 22 Amalia Gue is the president of Ixbalam’ke, a cooperative of 65 women dedicated to the production of textiles using traditional weaving techniques. Members of the cooperative maintain the intricate technique of gauze weaving and the use of coyuche, or natural brown cotton. Hooked rugs and home accessories Roxana Santos Hernández de Joj Cooperativa de Alfombras de Mujeres Maya en Guatemala

Booth 147 Traditional symbols and motifs of Maya clothing are inspirations for the hooked rugs and home accessories created by the women of Cooperativa de Alfombras de Mujeres. The designs represent members’ ancestry, heritage and community traditions. More than 60 women across the Guatemalan highlands belong to the cooperative.

Sequin Vodou flags and bags Georges Valris Booth 73 Georges Valris’ glittering flags and bags are intricately embroidered with sequins and beads. His intricate beadwork employs traditional symbols, including saints and spirit figures, angels, mermaids and animals from Haiti’s spiritual tradition, Vodou, with its vivid combination of Roman Catholic saints, West African deities and Haitian figures.

Bagh hand-printed scarves, shawls and home accessories Mohammed Bilal Khatri Booth 7A Mohammed Bilal Khatri is a thirdgeneration Indian master in the traditional craft of Bagh printing. His textiles feature black-and-red geometric and floral compositions. The patterns on his printing blocks are based on designs found in Bagh caves.

Silk and lehariya garments, wraps, scarves and bags Islamuddin Neelgar, Anupama Bose Booth 65 Islamuddin Neelgar’s unique garments are characterized by their distinctive patterns dyed in bright and vibrant colors. His focus is on reviving and implementing old designs, specifically using leheriya (meaning “wave”), a dyeing technique that produces complex wave patterns. Leheriya is a traditional craft practiced in Rajasthan, India.

Terracotta plaques of Hindu deities and village scenes Dinesh Chandra Kumhar Booth 8 Dinesh Chandra Kumhar is widely recognized for his terracotta tiles featuring portraits of gods and goddesses. His highly detailed work also depicts Rajasthan village scenes such as weddings, farmwork and daily rural life. While the tiles can be painted, Dinesh prefers to show the natural beauty of the clay.

Silk, wool and cotton shawls and scarves Dahyalal Atmaram Kudecha Somaiya Kala Vidya Booth 78 Dahyalal Atmaram Kudecha has continued the weaving tradition of his family and his village of Bhujodi for more than 25 years. His carefully patterned textiles, made with handdyed yarn, have symbolic meanings rooted in his community’s history. Many of his pieces are worn in ceremonies.

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Ram Gopal Blue Pottery

Booth 87 Padmashri Kripal Singh Shekhawat, who revived blue pottery in the 1960s, trained Gopal Saini. Made in Jaipur, blue pottery is renowned for its rich colors, innovative shapes and floral designs. Kutchi leather embroidered sandals and bags Ala Deva Harijan Booth 93B In Harijan’s village, in the Kutch district in the Gujarat state of western India, it’s a common belief that wearing leather footwear prolongs one’s life. Ala’s leather sandals are often decorated with two styles of embroidery: silver and gold patterns with colorful edgings and punch work in a variety of shapes. Rabari embroidered appliqué and patchwork shawls, bags, dolls, wall hangings and accessories Namabai Bijal Harijan Qasab Kutch Craftswomen Producer Co. Ltd. (Women Artisan Cooperative)

Booth 40 Namabai Bijal Harijan embroiders colorful textiles for daily wear and home decoration. She uses a style passed down through generations of women in her family. The laborintensive process involves creating closely stitched patterns that include geometric designs and motifs influenced by her surroundings. Qasab represents 1,200 women embroiderers from 11 ethnic groups

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throughout Kutch and aims to empower women to take charge of their lives by creating traditional art.

that is part of the visual signature of the artist.

Ajrakh hand block-printed textiles with natural dyes Sufiyan Ismail Khatri, Juned Ismail Khatri Booth 143 Sufiyan and Juned Khatri’s textiles are distinguished by jewel-like colors and geometric, floral and architectural patterns. They add clamp-dye and shibori stitching techniques to create dramatic designs. The cloth is made in a 16-step process and requires a high level of skill and concentration.

For hundreds of years, Yemenite Jews have maintained a closely guarded tradition of jewelry making using precious metals.

Bandhani textiles Abduljabbar Khatri, Abdullah Khatri Booth 113 The Khatris experiment with fabrics and designs for their tie-dyed textiles, merging traditional and contemporary motifs. Their naturally dyed indigo cotton shawls and long, multipurpose scarves have won international acclaim. Kantha embroidered clothing, shawls and home furnishings Self Help Enterprises (SHE) SHE Foundation

Booth 115 Self Help Enterprise has more than 800 artists making kantha embroidery — a centuries-old craft that involves sewing layers of old fabrics together. SHE honors the tradition of using worn clothing, such as saris, but has reinvigorated the art by using contemporary colors and geometric patterns. Kantha embroidered home accessories, bags and story panels Bani Mondal Link Hands for Humanity

Booth 121 Bani Mondal is a textile artist and member of Link Hands for Humanity, a cooperative of domestic violence survivors who make kantha quilts to achieve independence and support their families. The artists transform old saris that would have been discarded into something useful and beautiful. Patchwork quilts made from recycled clothing remnants Regina Francis

Bandhani scarves and shawls Abdulaziz Alimamad Khatri and Suleman Umarfaruk Khatri Somaiya Kala Vidya

Booth 129 The Khatri brothers are 10thgeneration bandhani artists. They combine a clamp-resist dyeing technique with traditional bandhani knotting to create colorful and dynamically patterned scarves. Their designs are inspired by the dramatic colors of nature.

Naturally dyed scarves, garments and accessories Rupa Trivedi

Woven, block-printed and painted scarves, shawls and home accessories embellished with embroidery Asif Shaikh Booth 138 Designer and master embroiderer Asif Shaik’s artwork features embroidery on hand-woven, block-printed and painted textiles. Many of his cotton or textured silk pieces are embroidered with gold thread or the iridescent wings of beetles. His designs take inspiration from birds and flowers, as well as India’s diverse cultural traditions.

Adiv Pure Nature Products Pvt. Ltd.

Madhubani/Mithila paintings on paper, canvas and fabric Manisha Mishra Booth 140 Manisha Mishra’s paintings depict traditional motifs even as they comment on her daily experiences of the natural world, contemporary urban life and changing gender roles. Madhubani painting is characterized by bright colors and stylized figures. Mishra innovated this tradition by painting on sculptural forms.

Booth 90 Mayasari Sekarlaranti’s batik clothing is made with natural indigo dye. The patterns date back centuries. Batik is worn for ceremonial occasions, so many of the patterns have symbolic meaning. Galeri Batik Jawa focuses on conserving batik as part of Javanese heritage.

Siddi Women’s Quilting Cooperative

Booth 124 Regina Francis and the 30 artists of the Siddi Women’s Quilting Cooperative create a distinctive style of patchwork quilts called kawandi. A vibrant array of patterns, colors and textures from a variety of fabrics are combined. The stitches exhibit a distinctive rhythm

Booth 149 Rupa Trivedi founded Mumbai-based Adiv Pure Nature to promote the use of natural dyes — derived from plants, flowers and medicinal herbs — to create an environmentally sustainable fashion supply chain.

INDONESIA Natural indigo batik jackets, scarves and shawls Mayasari Sekarlaranti Galeri Batik Jawa indigo, Co. Ltd

ISRAEL Sterling-silver filigree Yemenite jewelry and Judaica Ben-Zion David Yemenite Art

Booth 116 Ben-Zion David uses traditional tools to shape sterling silver, semiprecious stones, lava, coral and archaeological artifacts into filigree jewelry and ceremonial items similar to those that have been used for centuries. 59

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ITALY Sardinian filigree jewelry Andrea Usai KOKKU

Booth 41 Usai is known for the precision and intricacy of his beautiful Sardinian filigree jewelry. In Sardinia, filigree jewelry is often an heirloom passed from mothers to daughters on special occasions, and may also be given as a token of love.

JAMAICA Jamaican enamel painting on recycled metal Kemel Rankine Antillean

Booth 88 Founded by Jacqueline Bishop, Antillean is a decor and home goods company that encourages, develops and revitalizes folk art traditions of the Caribbean with a goal to improve the livelihoods of its artists.

JORDAN Woven wool carpets and home accessories Halimeh Alkaaidi Jordan River Foundation

Booth 4 Halimeh Alkaaidi and the weavers of the Jordan River Foundation have revived a unique warp-faced flat weave that, combined with rich colors and geometric designs, is a distinctive element of Bedouin rug making.

Thank you R EG ION INDIVIDUAL DONORS (CONT.) Sarah Alley Manges Julie Martinez & Patrick Samora Rebecca & Samuel Mascolo Gwyn & Wilson Mason Amy McCombs In honor of Cathy Allen Sara McKenzie Walter & Terry Melendres Sandy Meseck Elizabeth Minor Rosemary Molnar In honor of Alexis K. Girard Ann Murdy Marilyn Murphy & Robert Medlock Patricia & Arthur Newman Lynn Nichols & Jim Gilchrist Family In honor of Nance & Ramón José López Ann Nichols In honor of Nance López Angelique Pflueger The Cohen-Powers Family Lauren Eaton Prescott Nancy Sutor & Rosario Provenza Leslie Rakestraw Helena Ribe Carol Robertson Lopez & Jeff Case The Robinson/Buscher Family Elinor Schrader & Stu Patterson Bruce Selfon Raphael & Angelina Shapiro Helene Singer Merrin Elizabeth Strutzel Heather & Case Tanner Gail Taylor Benedicte Valentiner Owen & Kathy Van Essen Elizabeth & Gabriel Villanueva Terrell & Hanneke White Richard & Virginia Wiseman Sharon Woods Sharon & Don Wright Jane York Gloria Zamora VILL AGE Anonymous (3) Mary Ann Bennett Danuta Boczar Elizabeth Bruderle-Baran Ingrid Bucher Charlene Cerny & Joseph Chipman Larry & Melissa Cicci Francine Cogen Alan & Cynthia Coleman Roberta Corbett In honor of Linda Marcus

Linda Dewolf Terese Lyons & Tony Foltman Barbara & Larry Good Dolly Gray-Bussard Chesney & John Gulas Jill Heppenheimer & Susan Summa Clare Hertel & Mark Bryant June Johnson Bradham Elizabeth & Albert Kidd Mary King Cary & Karol Kirk Carter & Bill Leinster Tim & Marcia Lenihan In honor of Sachiko Umi Maurice & Virginia Lierz Margaret Lloyd In honor of Kathryn Coleman Charlotte Mittler Deborah Myers Bob & Linda Off Carmella Padilla & Luis Tapia Judie Rosner Judith Sellers Marian Silver Tom & Shawn Thomason Joan Vernick Martha & Ray Wallace Maryla & Piotr Wasiolek Sharon Will & Charles Kreysa Chris Zieve COMMUNIT Y Polly Allen Leslie & Nathan Axelrod Louisa Barkalow Dorsey Bethune Deborah Blanche In honor of Los Flores a La Morada Markeeta Brown Rosalind & Lowell Doherty Susan & Guillermo Durón Ardith Eicher Pat & Walter Farr Patricia Flite In memory of Rosemary Goldner Kathy Franzel In honor of Charmay Allred Carolyn Horne Mary S. Larson Judy & Phil Laughlin Willard Lewis & Kay Lewis Sue & Phil Marineau Linda McIntosh Mary Catherine Messner Michael Mullins In honor of Linda Marcus Kathy R. Neal Paul & Sandy Packman Jean Pagliuso

Yara & Gerald Pitchford In honor of Edd & Carole Stepp Joel & Vivianne Ponorny Laurie Radin Andrea Ramirez Julia Rhymes Linda & Daryl Giddings Linnea Solem Emily Sopensky Lynne Spivey Byrd Teague Anthony & Sachiko Umi Nancy Volksen Susan Hull Walker JoAnn Ward In honor of Suzy Seriff Judy & Andy White Cheryl & Rollin Whitman Kathy Wosika & David Fox Agnes & Clark Zrakovi SUPPORTE R Anonymous (5) Susan W. Akins Damaris Ames & Peter Lloyd Elise Arena In memory of Beatrice Pinkow Julie & Bill Ashbey In honor of Charmay Allred Sally & Rob Baird In honor of Catherine Allen Russell Baker & Mark Corey In honor of Charmay Allred Martha & Hugh Balaam Helen Ballard Barbara Barbara & Marty Frenkel In memory of Ellen McCabe Susan Baskin & Richard Gerwitz In honor of Peggy Gaustad & Heather Tanner Cathy Bekian Robert & Joan Benedetti Jane & George Bingham Pam Bixter Dr. Marsha Bol & Michael Katz Bob & Laurie Brlas Dr. & Mrs. Robert Burdette Kim Burkholder & Gary Gautsche Leslie & Brad Burnside Pam Culwell & Charles G. Case II Susan Cheever Lexy Clement Suzi Click Lewis Jeffrey Cohen & Nancy Seiser Jane & Ken Cole Lizzey Coleman In honor of Kathryn Coleman Susan Conway Oliphant & Pat Oliphant Annie-Laurie & James Coogan Janeen Cunningham Steven Dayton

Ellen Casey & Nubia Domres Thomas & Melinda Donne In honor of Susannah Donne Patricia Erdmann Pamela Etre-Perez Mary Feidt & Eddie Lewis Mary & Joe Ferguson Katherine Fox Ehlert In memory of Gary Ehlert Jennifer & Roberts French Bonnie & Ronald Gendaszek Roberta Glick Naraa Shirendev & Brian Goldbeck Gabe Gomez Janice Gonsalves Diane & Gerald Gulseth Barbara Hadley & John Burke In memory of Alex & Sylvia Abraham Thomas & Judith Heady Bob & Patricia Hinton Tracy Hudson Melody Hunt Joshua Jacobs-Velde In honor of Michael & Laurie Vander Velde Sudha Rani Kailas, M.D., Ph.D. In memory of Kamala Kalla Kitty & Tati Kaupp Connie Kelley Annette Kelley Melinda Kelly Ellen Kemper & Ken Hughes Hilary Kilpatric Mary & Gary Kilpatric In honor of Hilary Kilpatric Nancy Kilpatrick Amie Knox Debbie & Neil Korte Mrs. Adele LaBrecque Linsey & John Layman Marilyn Masters Levine & G. B. Levine Claire Lissance Jeanette Lurier & Frank Schmid Eileen Mandel Beatrice & Pierce McGrath David McLanahan Jan McNeil Susy Moesch Jim & Diane Moore Dianne Moss Luanne & Steve Moyer Melissa, Sara & Linda Neel In honor of Catherine Allen Sarah Nelson Stacy Nelson & Mary Healey Pat & Dan Newman Vicki Newark & Peter Coha Connie Tooker Nuñez & Michael Nuñez Sylvie Obledo

Queta Pacheco Dottie Peacock In honor of Charmay Allred Ulrike Poray Charles Hauber & Ellen Premack Joanna Prukop Shukhrat Pulatov Kara Quarles Melanie & Edward Ranney Crennan M. Ray Beverly Rhymes Adam Richards In honor of Kathryn Coleman Regie & Jeff Roth Patricia Ann Rudy-Baese Janet Russek & David Scheinbaum In honor of Peggy Gaustad Thomas & Jean Sabourin Katherine Sanchez Adhiraj Sen In memory of Raj Sen Marcia Settel Ann Shafer Mary Davis & Ron Sherman Andi Smith Clare Brett Smith Julia & Morgan Smith Erin Snow In memory of Chelsey Russell Cozy Swickard In memory of Monte Swickard Peggy Swoveland In honor of Jane Cole Joseph & Consuelo Tooker Sarah Weiler In honor of Nance López Mary Weiman Shelley Wells Garrett & Virginia Williams Marcia Wilson Lee Witt Robert & Inger Woerheide Carole Wright Nancy Yellin Kimberly Zeilik Special thanks to New Mexico’s Congressional Delegation, Governor Susana Martinez, the New Mexico Department of Cultural Affairs, New Mexico State Legislators, Mayor Javier Gonzales, Mayor Pro Tem Signe Lindell, the Santa Fe City Council, and their invaluable staffs. Donor list complete as of June 1, 2017. Every effort has been made to include a complete and accurate list of donors and supporters. Please notify us of any omissions or corrections.

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Silver-plated brass jewelry with semiprecious stones, leatherwork Asel Aldasheva Booth 21 Asel Aldasheva represents the jewelry and leatherwork of artist Bayish Oskonov. His designs derive from antique jewelry, ethnographic books and museum pieces. Each one-of-akind piece is handmade using classical jewelry-making techniques. Oskonov has two apprentices, to whom he passes on his skills and knowledge.

Kyrgyz traditional felt work dolls and animals Erkebu Djumagulova Booth 80 Erkebu Djumagulova captures the expressions and customs of the villagers of her native Kyrgyzstan through intricately dressed dolls made from felted and embroidered wool and silk. She also makes traditional clothes and household items.

Woven wool horse accessories, personal accessories and household items Askarbek Akbutaev Booth 104 Askarbek Akbutaev and his family weave bags and carpets from sheep’s wool, using designs passed down through generations. These items are widely used in everyday life because of their practicality and durability. Askarbek designs each piece, working with the female weavers of his family.

Kazakh silver jewelry, carved wooden and metal boxes Ilya Kazakov Booth 31 Kazakov’s jewelry, carved wooden boxes and combs feature Kazakh symbols of protection. Set with local stones, the jewelry draws upon a rich, ancient vocabulary of motifs. The boxes use reclaimed wood from old furniture, window frames and pianos, along with distinctive metal plating.

KENYA Beaded Maasai jewelry, clothing and accessories Meeri Tuya, Loice Sanaipei Lolkinyiei Maji Moto Maasai Women’s Project

Booth 92 Meeri Tuya is a bead artist representing Maji Moto Maasai Women’s Project in Maji Moto Village in Kenya. Widows in the village make a living through the sale of their beadwork, which incorporates leather, seeds, wires and string, combined to form a wide range of accessories.

KYRGYZSTAN Woven wool apparel and blankets Gulmira Akmatova Mountain Cedar Woolens

Booth 6 Gulmira Akmatova grew up in a family of sheepherders and has been weaving since childhood. She prides herself on the natural feel of her blankets and apparel. Hand-woven textiles are a significant part of Kyrgyz cultural heritage and play an important role in marriage customs. She is the founder of Mountain Cedar Woolens.

Felt rugs, hats, animals and accessories Fariza Sheisheyeva and Svetlana Sheisheyeva Art Group Saima

Booth 32 Inspired by the natural world and nomadic past of Kyrgyzstan, the Sheisheyevas make felted hats and animals with locally sourced wool purchased from shepherds in their village. They use the natural colors of wool — white, gray and brown — and make their own felt by hand. Felted wool and silk scarves, clothing and accessories Zhanyl Sharsembieva, Aitolkun Sharshembieva, Kadyrkul Sharshembieva, Raushan Sharshembieva 7 Sisters

Booth 34 Zhanyl Sharsembieva is following her family tradition of making scarves and apparel from natural silk, wool and felt. She and her six sisters are dedicated to reviving Kyrgyz traditions and incorporating the natural beauty of their surroundings into their clothes. These products remind the Kyrgyz people of their ancestors and times when their lives were more intertwined with nature.

Felt rugs, wall hangings and household accessories Zhanyl Baisheva Altyn Oimok craft foundation

Booth 94 Zhanyl Baisheva creates textiles using two techniques: terme for woven rugs and shyrdak for felted rugs or wall hangings. Traditional shyrdak rugs employ a complex language of symbols that speak to important events in the life of the family or clan. These types of rugs have been used in the daily lives of the Kyrgyz people for centuries. Altyn Oimok revives the Kyrgyz heritage of felt art through workshops and outreach. Kurak horse decorations and home accessories Aigul Diushenalieva Union of National Handicraftsmen of the Kyrgyz Republic (UNH KR)

Booth 104 Aigul’s kurak textiles are the traditional patchwork of the nomadic Kyrgyz. The colors of black, white and red are representative of day, night and life. Kurak items often include symbolic messages. The designs are improvised within a repertoire of traditional motifs. The Union of National Handicraftsmen is a nonprofit group that unites, develops and provides opportunities for traditional artists.

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Traditional women’s and girls’ apparel and accessories Nazira Termechikova Booth 104 Kurak, the traditional patchwork of the Kyrgyz, is an important design element in Nazira Termechikova’s garments and accessories. Her dresses are worn by nomadic Kyrgyz women for wedding ceremonies, family celebrations and other festivities. Silk and wool apparel Farzana Sharshenbieva Booth 144 Farzana Sharshenbieva creates clothing from felted wool and hand-woven silk, embellished with traditional embroidery. Her designs are inspired by Kyrgyzstan’s natural beauty. Using centuries-old techniques, such as ala kiyiz felting, Farzana fashions modern, beautiful and functional pieces that transmit the spirit of the Kyrgyz people.

LAO PDR Silk scarves, shawls and ceremonial pieces Souksakone Khakampanh and Phout Booth 2 Souksakone and Phout raise their own silkworms, hand-reel the fibers and use natural dyes in the same manner as their ancestors. They weave garments and accessories for their village. Motifs from Lao folklore and mythology, including river serpents, crabs, ducks, and the Tree of Life, adorn the textiles. Collectively,

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their work with 450 hill tribe weavers provides essential economic benefits for many hundreds of families.

works out of a studio space where experimentation with pattern-making techniques and product design is encouraged. She uses numerous techniques in her textiles, starting with silkscreen printing of traditional design motifs in indigo paste. She then decorates the printed textiles with traditional embroidery and appliqué techniques that come directly from her Hmong foremothers.

much research and experimentation, she learned to create nearly 40 bold colors from natural sources such as plants and minerals. Weaving and basketry are the foundation of her culture.

based on principles of sustainable development and respect for the environment.

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Association Timidwa

Katu textiles, shawls, ponchos and accessories Mone Jouymany Living Tribe Alliance

Booth 20 Mone Jouymany’s woven and beaded textiles tell the stories of the Katu people through symbolic patterns. The Katu have a spoken language, but their only written words are the symbols represented in their beaded and woven textiles. Silver jewelry and purses featuring the Dok Phikoun flower pattern Darouny Thongdynalai Blanc de Noir & Co.

Booth 68 Darouny Thongdynalai’s silver jewelry features Dok Phikoun flower patterns, believed to bring health and prosperity. Silver purses, once made for kings and queens to use during ceremonies, are part of the collection, with each piece having a special meaning in Lao culture. Tai Kadai style woven scarves and home accessories Veomanee Douangdala Ock Pop Tok

Booth 86 Ock Pop Tok co-founder Veomanee Douangdala’s silk and cotton weavings are made with indigo and other natural dyes, which provide rich hues. The designs represent Tai Kadai culture and have symbolic meaning in both Buddhist and animist practices. Veomanee is known for her traditional Lao skirts with geometric patterns. Appliqué, screen-printed and embroidered Hmong baby carriers, blankets, bags and accessories Hongkham Xiong Passa Paa

Booth 135 Passa Paa, which is Lao for “the language of cloth,” is a culture-based design collective. Hongkham Xiong

Silk and cotton Lao loom-woven clothing and accessories Bounkhong Signavong Booth 141 Bounkhong Signavong’s textiles are made from silk and cotton. They are naturally dyed using plants native to Southeast Asia. The motifs in his textiles are influenced by Buddhist spirituality. His work incorporates a diverse range of materials and motifs that reflect the cultural heritage of Southeast Asia.

Long Lamai Penan Community Society Atelier Sarawak

Booth 15 Senia Jugi creates traditional Iban baskets using rattan, arrowroot and bamboo. She also makes Iban hats called topi tunjang (“sky pointers”), which resemble crowns pointing to the sky. Society Atelier Sarawak was founded to uphold knowledge of Sarawak culture and arts.

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MACEDONIA Silver filigree jewelry with semiprecious stones Katarina Doda Booth 35 Renowned for her award-winning silver filigree jewelry, Katarina Doda comes from a long line of jewelers. Many of her pieces are decorated with semiprecious amethyst, opal, aventurine and rose quartz, as well as natural pearls and Murano glass. Her most intricate pieces are traditional bridal gifts, but she also makes simpler pieces for daily wear.

MADAGASCAR Vetiver and recycled denim woven carpets and home accessories Marie Alexandrine Rasoanantenaina Booth 98 Marie Alexandrine Rasoanantenaina combines traditional weaving techniques with modern aesthetics to create baskets, rugs and other household items for daily use. After 61

Traditional Iban basketry Senia Jugi, Roselyn Long Lah

Indigo clothing and home accessories Aissata Namoko Cooperative Djiguiyaso

Booth 69 Aissata Namoko and the artists of Cooperative Djiguiyaso use locally grown organic cotton and natural indigo dyes for their pillows, scarves and home accessories. Cooperative Djiguiyaso is made of 143 women and 20 men who are fighting poverty through the creation of textiles. They operate a training center to teach sewing, cutting, traditional cotton spinning and natural dyeing techniques. Indigo and mud-dyed clothing and accessories Aboubakar Fofana Booth 118 Aboubakar Fofana uses organic handspun cotton and natural indigo and mud dyes to create exquisite clothing and accessories. His “Sublime Indigo” workshop teaches the techniques of textile production and stresses the importance of developing a textile industry in West Africa

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Tuareg sterling-silver jewelry and leather boxes Mohamed El Maouloud Ag Hamid Booth 123 Mohamed El Maouloud Ag Hamid learned the art of metalworking from his father, who learned from his father before him. His traditional Tuareg jewelry and knives are engraved and detailed with symbols and ornate patterns. He is the president of Association Timidwa, which has 70 artists representing Mali’s many ethnic groups.

MEXICO Majolica trays, pitchers, platters, urns, plates and bowls Isabelle Collins Arte Ventosa

Booth 5 Isabelle Collins creates her majolica glazed tin pottery using a process introduced from Spain in the 16th century. The forms and painted patterns used in her workshop are inspired by museum pieces. She considers her work a usable art, with each piece serving both a decorative and a functional purpose. Huichol-Wixarika yarn paintings Mariano Valadez Navarro, Rafael Cilau Valadez, J. Ruben Lopez Cruz Wixarikarte

Booth 18 Navarro, a world-renowned Huichol yarn painter, creates elaborate images that incorporate spiritual themes. He has passed this tradition down to his son Rafael, and they have mentored J. Ruben Cruz. Their work expresses the mythology and religious narratives of the Huichol culture.

MYANMAR

NEPAL

NIGER

Backstrap loom-woven and embroidered huipiles Odilon Merino Morales Booth 24 Odilon Merino Morales and his family are helping keep Amuzgo huipiles alive. Hand-woven on a backstrap loom, these garments are made with hand-spun cotton and colorful natural dyes. Designs include patterns of local plants and geometric shapes that have cultural significance or personal meaning to the weaver.

weddings, but many people wear them daily. Federico Jimenez works with fine traditional silversmiths in Mexico to design intricate sterling-silver jewelry and filigree pieces incorporating turquoise, coral and pearls. The centuries-old filigree designs and techniques originated in Spain and were brought to Mexico after the Spanish conquest. Federico and his wife donated a building and their collection of Mexican textiles, jewelry and folk art to the city of Oaxaca.

Sterling-silver filigree and natural stone jewelry Edith Albarran Duque, Cesar Montes Rosales Booth 58 Purépecha jewelry has roots in pre-Hispanic times and nearly disappeared in the 20th century. Jewelers and restorers Edith Albarran Duque and Cesar Montes Rosales have revived the art form, specializing in filigree and silversmith techniques and have recovered old designs.

Backstrap- and pedal-loomwoven and embroidered clothing and home accessories Ana Rosa Gonzalez de la Cruz

Cotton- and silk-blend rebozos Hermilo López Izquierdo Rebozos Tenancingo

Booth 28 Hermilo López Izquierdo is carrying on his family’s tradition of weaving rebozos, classic Mexican women’s shawls. These are produced with a variety of different ikat patterns, created with a resist-dye technique prior to weaving. The ends of each shawl are finished with a fine macramé fringe. Hand-embroidered textiles: blouses, dresses, shirts and skirts Miriam Leticia Campos Cornelio Cornelio Sánchez Family Booth 37 Miriam Leticia Campos Cornelio’s embroidery designs are inspired by the landscape of the valley of Oaxaca. Working alongside the women of her family, she uses techniques such as openwork, knotted threads, crochet and pleating. The combination of techniques and materials results in a unique design for each garment. Gold and silver filigree jewelry Isaias Federico Barragan Baustista, Federico Jimenez Museo Belber Jimenez

Huipiles, rebozos and accessories Margarita Avendano Luis (Mexican Dreamweavers) TIXINDA - Mixtec weaving and dyeing cooperatives

Booth 45 Margarita and the 60 weavers of TIXINDA (Mixtec weaving and dyeing cooperatives from Pinotepa de Don Luis in Oaxaca, Mexico) use backstrap looms to create traditional clothing. Members of the cooperatives grow their own cotton and dye it with various natural dyes, including indigo, cochineal and tixinda, a purple dye from the endangered Purpura Pansa sea snail. Their weavings include a variety of designs, from naturethemed motifs to complex geometric patterns. Palm leaf baskets Juan García Mendoza Arte Palma

Booth 57 Juan García Mendoza weaves palm baskets that are used daily in Mexico. The dried palm fiber is sourced locally in communal lands surrounding Mixtec villages. Designs on the basket symbolize water or the sacred plumed serpent.

Booth 44 Isaias Federico Barragan Baustista works with gold and silver, incorporating turquoise, coral and pearls in his filigree jewelry. The earrings, necklaces, pendants, rings and bracelets are traditionally worn during Oaxacan festivals and 62

Retablo collages with cut paper Pedro Ortega Lozano Booth 63 Pedro Ortega Lozano creates collages with multiple types of paper, ink, watercolors and lace. Historically used for religious ceremonies, they are now used for holidays and other events. Each collage is hand-painted on paper that has been hand-cut with a pocketknife. Black pottery sculptures of women dressed in regional costume Magdalena Pedro Martínez Booth 66A Magdalena Pedro Martínez’s ceramic sculptures portray Oaxacan women dressed in regional costumes. The lifelike figures and costumes are created through careful burnishing and minutely detailed carving. She uses a reduction-firing technique to produce the deep black of her clay figures. Oaxacan hand-carved and painted figures Agustín Cruz Prudencio and Agustin Cruz Tinoco Booth 72 Father and son Agustín Cruz Prudencio and Agustín Cruz Tinoco are skilled wood carvers. Their wooden figures are carved from pine, cedar or mahogany. The brightly painted and intricately detailed jaguar boxes, religious figures and nativity scenes reflect local traditions and play a significant role in the lives of the people of Oaxaca.

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El Camino de los Altos

Booth 76 Ana Rosa Gonzalez de la Cruz’s richly colored, woven textiles feature traditional Mayan symbols representing the sky, the fertile earth, flowers and trickster monkeys. She also adds embroidered details to each piece. Each item is dyed with natural pigments. El Camino de los Altos aims to improve the lives of its 130 weavers and to preserve the tradition of this ancient art. Hand-woven Zapotec wool rugs and shawls Juan Isaac Vásquez García, Jerónimo Vásquez Gutiérrez, and Guadalupe Vásquez Booth 81 Juan Isaac Vásquez García and his children use Zapotec design elements and patterns from pre-Hispanic buildings in their weavings. He was instrumental in reviving the use of natural dyes for Zapotec weavings and has passed down his techniques to his children and grandchildren. Silver and gold-plated jewelry Soledad Eustolia Garcia Garcia, Elia Catalina Gutierrez Garcia El Principe of Monte Alban

Booth 95 Soledad Eustolia Garcia Garcia’s traditional Oaxacan jewelry features intricate details made using multiple techniques, including filigree, lost wax and casting. She combines gold, silver or copper with pearls, coral, turquoise and other gems. Her family workshop focuses on creating pieces derived from Spanish colonial jewelry.

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NIGERIA

PERU

SOUTH AFRICA

Backstrap-loom-woven clothing and accessories embroidered with Maya designs Pedro Meza

moss and indigo. The process is time-consuming and multifaceted; a weaving may take several weeks to produce.

MOROCCO

NEPAL

Djellaba button jewelry Rachida Ousbigh and Latifa Harchaou

Tibetan woven carpets and wool blankets with symbolic motifs Soni Gurung, Phuphu Sherpa, Dechen Sherpa

Sna Jolobil

Booth 119 Pedro Meza’s traditional brocade designs date back to the year 600 and have been used as ceremonial dress since the Classic Maya period. He and the weavers in his cooperative use backstrap looms and finish each piece with colorful embroidery. Sna Jolobil aims to preserve traditional design and technique through the study of ancient textiles. Terracotta figurines and animals José García Antonio, Santa Reyna Teresita Mendoza Sánchez, José Miguel García Mendoza, Sara Ernestina García Mendoza, Reyna Esther García Mendoza, José Luis Reyes Martinez Booth 126 José García Antonio uses clay from his village to create life-size sculptures of Zapotec women, mermaids and other figures. After experiencing problems with his sight for 50 years, José is now nearly blind but continues to work daily. His wife assists with the finishing details of his sculptures. Clothing with embroidery, beadwork and leather fretwork Carla Fernández Booth 127 Carla Fernández is a fashion designer inspired by the richness of indigenous Mexican handcrafts. She works with more than 94 artists in five states to adorn her clothing with embroidery, beadwork and leather embellishments. Her tailoring builds on pre-Hispanic flat construction techniques, deepening the Mexican roots of her designs. Zapotec rugs and tapestries Porfirio Gutierrez Booth 132 Gutierrez’s rugs are hand woven on a traditional two-harness loom. His designs are inspired by Zapotec patterns. He uses natural dyes, including cochineal, tarragon, tree

Copper and silver vessels Jose German Punzo Nuñez, Ignacio Punzo Angel, Jose Rosaldo Punzo Nuñez, Ignacio Gabriel Punzo Nuñez, Maria Angelica Nuñez Pureco Booth 134 Ignacio Punzo Angel shares the metalwork of silver and copper, passed down through the generations, with his Michoacán family. Some of his pieces are smooth, while others feature a pineapple-like texture. Sometimes Ignacio and his sons work together, taking turns hammering one sheet of metal to fashion a single piece. Recycled mixed-media nichos and toys Claudia Martinez Vargas Booth 142 Claudia Martinez Vargas uses recycled materials to create collages and shadowboxes with scenes featuring Mexican traditions, symbols and environs. She creates colorful and playful visions of her community, its customs and moments of daily life. Lead-free clay bowls, vases, cookware and decorative items Macrina Mateo Martinez Colectivo 1050°

Booth 146 Macrina Mateo Martinez is one of many artists in Colectivo 1050°. She is renowned for creating unique red pottery, polished to a sheen through a special technique. The shapes of her work are inspired by nature. For her, a pot is more than a physical object — it represents her identity, her heritage, her people, and a better future for her family. Colectivo 1050° represents Oaxacan artisans from traditional backgrounds who are pursuing new creative directions in clay while maintaining ecological and fair trade practices.

Artisant des Femmes de Khenifra

Booth 52 Ousbigh and Harchaou are members of Artisant des Femmes de Khenifra, a cooperative of women who make traditional djellaba buttons, turning them into jewelry. The buttons are made with dyed silk or agave threads and sewn with a depth of detail. Color choices and styles reflect the personalities, backgrounds and identities of the artists.

MYANMAR Lacquerware, eggshell and bamboo boxes, bowls, cups and coasters Maw Maw Aung Bagan House Co., Ltd.

Booth 136 Maw Maw Aung is a fourth-generation lacquer artist. Bagan House Co., Ltd. is a lacquerware workshop that promotes traditional techniques paired with modern designs. Aung uses bamboo, wood and horsehair for her lacquerware home accessories, with eggshells to embellish the designs. Due to multiple layers of lacquer and delicate, complex etching with a needle, some pieces take up to one year to complete.

NAMIBIA Ostrich eggshell, PVC jewelry, beaded and embroidered art cloths Omba Arts Trust Booth 103 The artists of Omba Arts Trust specialize in ostrich eggshell jewelry, beaded and embroidered art cloths and bracelets made from PVC pipe. The artists come from 20 cultural groups and communities. Omba Arts Trust supports sustainable livelihoods through the development and marketing of quality Namibian art.

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Yangma Traditional Weavers Cooperative sponsored by Tibet Aid Wind Horse Project

Booth 33 The artists of Yangma Traditional Weavers Cooperative of Olangchung Village weave carpets and blankets with patterns connected to the Buddhist belief system. Soni Gurung specializes in weaving imagery of snow lions, peacocks and phoenixes. The cooperative was founded to preserve the weaving traditions of the Yangma peoples. Felted, upcycled sari scarves and purses Sudip Moktan, Bishnu and Didi Shrestha The Red Sari

Booth 133 The artists of The Red Sari create scarves and purses by felting and fusing upcycled silk saris and wool fibers. The Red Sari is a socially responsible fashion design company with a mission to create and sustain jobs for women in Nepal.

NIGER Fine silver Tuareg jewelry Elhadji Koumama, Ismail Elhadji Koumama Tuareg Jewelry Cooperative

Booth 89 Elhadji Koumama and his son Ismael are members of the Tuareg Jewelry Cooperative. More than 50 silversmiths continue a tradition of artistry that spans 25 generations and benefits more than 200 people from their community. Most pieces are geometric and have symbolic meaning.

AMAZING PRICE REDUCTION ON

53 AVENIDA LAS NUBES $899,900

Grandeur, stately custom finishes, and astounding beauty of craftsmanship greet you as you are welcomed into the embrace of this stunning home. Views to the Sangre de Cristos from the spacious rear portal are entertainer’s dream! What a great area to enjoy the fountain and water feature amid the backdrop of the mountains and the divine night sky. Home is built with the high end finishes of Italian Tile Floors, Vigas, Beams, granite counter tops, hard trawled walls, 3 fireplaces, 18 SkyLights, Library and Rastra Construction. A Masterful Chef’s Kitchen adjoins the family room and opens to another of 4 portals. Home is both intimate and cozy yet offers the ultimate place to entertain. Master Suite with sumptuous bath, steam shower, and attached study, or exercise room. 4 Car Heated Garages, Separate Office and Attached 18x24 Artist Studio also with separate entrance. All of this on 6.24 acres where Horses Are Allowed, close to all the Eldorado amenities and about 20 minutes to The Santa Fe Plaza. Choice! DIrections: Third Eldorado Entrance, Avenida Eldorado just over the railroad tracks to Tren Villa. Tren Villa to Right on Avenida las Nubes. Home is on Right.

Bernadette Parnell Mobile 505.629.5126 | bernadettweparnell@gmail.com | www.SantaFeYourHome.com Each Office is Independently Owned and Operated. An Independent Member Broker. All information contained herein is a believed to be correct. Equal Housing Opportunity.

130 Lincoln Avenue Suite K , Santa Fe, NM 87501

You dropped while you shopped. Introducing online scheduling for Urgent Care visits.

phs.org/urgentcare Medical Group A department of Presbyterian Hospital 454 St. Michael’s Dr.

You can also schedule by phone and we still accept walk-ins.

URGENT CARE HOURS: Mon-Fri 8 am – 7 pm, Sat, Sun and Holidays 8 am – 5 pm.

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UZBEKISTAN

NIGERIA

PALESTINIAN TERRITORIES

African drums and musical instruments Akeem Ayanniyi Booth 51 Akeem Ayanniyi makes traditional West African drums that are played for ceremonial events. These instruments are handmade with local materials. Ayanniyi uses mahogany or teak, topped with cowhide and laced with rope. The shape creates the sound of the drum. Batik and adire fabric and clothing Gasali Adeyemo Booth 102 Gasali Adeyemo creates fabric and clothing using batik designs and the traditional adire technique. Each textile has traditional Yoruba designs. He uses broom stalks, chicken feathers and cassava paste to make each piece. He specializes in the use of indigo dyes because of their importance to his people.

NOW OPEN!

PAKISTAN

200 Canyon Rd

at Paseo de Peralta

Santa Fe, NM

Tribal truck art on metal and wood Noshad Yousuf Booth 91 Noshad Yousuf paints model trucks and home accessories with bright colors and designs taken from the trucks that fill the streets of Pakistan. The paintings depict pop culture icons as well as Pakistani aspirations.

505-820-0120 www.tesoros.com Folk Art, Jewelry, Clothing, Books, Textiles, Furniture, Milagros, Antiques y mucho mas!

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Hand-blown glass Hamdi Natsheh, Hamzeh Natsheh Hebron Glass

Booth 48 Hamdi Natseh creates hand-blown glass using techniques, shapes and patterns characteristic of the region for hundreds of years. A centuries-old part of Palestinian heritage, handblown glass decorates both homes and religious sites and is shaped into adornments worn at celebrations. Embroidered clothing, accessories, bags and cushion covers Sulafa Embroidery Centre â&#x20AC;&#x201C; UNRWA Booth 111 The artists of Sulafa Embroidery Centre are supported by the United Nations Relief and Works Agency. They create textiles filled with traditional Palestinian motifs. Embroidery plays a central role in these womenâ&#x20AC;&#x2122;s lives, providing income and an opportunity to share their experiences and to perpetuate Palestinian culture. The embroidery provides income to approximately 350 women and their families.

PANAMA Wounaan rainforest baskets Hilary Chamarra Membache Artistas Wounaan

Booth 30 Hilary Chamarra Membache and the women of Artistas Wounaan weave baskets from palm fiber for functional and decorative purposes. Part of the Wounaan heritage and cultural identity, weaving techniques and designs are passed from mother to daughter. Colorful geometric patterns and representations of birds, butterflies and flowers decorate their baskets.

ElFLAMENCo LIVE THE PASSION OF SANTA FE

Antonio Granjero + Estefania Ramirez

UZBEKISTAN

ZIMBABWE

PERU

Colonial-style Peruvian glazed ceramic vessels and plates Julio Gutierrez Samanez Booth 79 Chemical engineer and writer Julio Gutierrez Samanez have revived the lost style and techniques of colonial ceramics of Cusco, Peru. The floral and avian designs of his plates and ceramic vessels date back to the 17th century. He produces his own pigments using locally sourced minerals and has trained hundreds of artisans in his techniques.

Clay figurines, cathedrals, pitchers, dishes and home accessories Deniss Sanchez Aparicio Booth 12 Deniss Sanchez Aparicio is a fifthgeneration ceramicist recognized for her clay figurines and home accessories. Her miniature clay cathedrals are used to bless new households. She uses feathers to paint, creating fine lines for facial features. Her work is fired in an adobe brick kiln that was built by her family and has been used for generations. Retablos and small sculptures Claudio Jimenez Quispe Booth 23 Claudio Jimenez Quispe makes boxes filled with retablos and small sculptures that express social issues, modern politics and the daily life of the Peruvian people. For Claudio, retablos are a way to share and understand traditions and to create awareness of what’s happening in the world. Handspun, natural-dyed Alpaca and wool textiles Nilda Callañaupa Álvarez

Icaro embroidered and appliqué wall hangings and home accessories Adelina Maldonado (Shipibo Collective)

2017 Summer Seasons June 29 - Sep 3 Doors open 6:30 pm, 7:30 pm Show

135 W Palace Ave Santa Fe, NM 87501

Photo:Morgan Smith

Ministry Foreign Trade and Tourism of Peru

Booth 137 Maldonado’s embroidered and woven wall hangings and home accessories are inspired by shamanic songs. Her textiles feature a distinctive geometric pattern known as kené, which represents the patterns and movement of the anaconda. According to Shipibo legend, the anaconda brought the universe into existence by singing a song depicted in the patterns on her skin.

Centro de Textiles Tradicionales del Cuzco

Booth 54 Founder and director of CTTC, Nilda Callañaupa Álvarez began spinning wool from sheep and alpaca at the age of 6 and began to weave her first patterns at age 7. Nilda and the CTTC weavers emphasize traditional designs and techniques. Silver jewelry with Inca and Spanish colonial designs Hilda Valeriana Cachi Yupanqui, Sonia Cachi Yupanqui Booth 75 Hilda Valeriana Cachi Yupanqui is one of seven sisters who are preserving silver-working traditions passed on to them by their father, Gregorio. Her work, which fuses the traditional with the contemporary, is in the Smithsonian Institution’s collection. She and her traditionalist father work together to create a blended style.

SOUTH AFRICA Bead and wire sculptures Lulama Patience Sihlabeni eKhaya eKasi Art & Education Centre

Booth 9 Lulama Patience Sihlabeni is the project leader of the eKhaya eKasi Art & Education Centre. The artists of the center make beadwork and wire art. The beaded sculptures depict such subjects as animals and automobiles, and wall hangings often feature animals such as hippos and rhinos.

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(505) 209-1302 www.entreflamenco.com ww

Zulu Pottery Jabulile Nala

Annual Sale

Okuhkekodwa Trading and Projects, African Art Centre

25% to 40% Off

Booth 66B From a long line of famous potters, Jabulile Nala is known for infusing her work with a contemporary spirit, creating larger and more elaborate forms. Traditionally, Zulu beer pots — a customary part of Zulu weddings, births, marriages and burials — symbolize hospitality and communality.

Photo: Wendy McEahern

All Merchandise on Display

Zulu ilala palm baskets Angeline Bonisiwe Masuku Booth 112 Angeline Bonisiwe Masuku weaves traditional ilala palm baskets used in daily life as well as for decoration. She incorporates imagery from her immediate environment, as well as geometric designs from Zulu beadwork. Her baskets come in a variety of traditional shapes. Telephone wire baskets and sculpture Various Artists

from July 14th to July 24th

BAT Shop | Zenzulu

FAIRCHILD & CO. 110 West San Francisco Street • Santa Fe 505.984.1419 • fairchildjewelry.com

LAURA SHEPPHERD

Booth 145 Under the auspices of the BAT Shop, a retail and wholesale outlet focusing on product development and marketing of crafts from KwaZulu-Natal Province, Zenzulu is known for fusing contemporary design with traditional crafts. The artists of the BAT Shop use recycled telephone wire to create baskets, jewelry and home accessories. Recycled telephone wire baskets, bowls and plates Nompumelelo Mkhize Booth 150 Nompumelelo Mkhize learned to make telephone wire baskets from her grandmother, who also passed on traditional Zulu designs, patterns and shapes. She hand weaves each basket using recycled wire to create brightly colored works with geometric designs.

AT E L IE R & S TO R E

New Clothing Collection from Folk Art Market Artist Mukhayyo Aliyeva

SOUTH KOREA Celadon, white porcelain, buncheong, temmoku and crystalline-glazed ceramics Daeyoung Lee Icheon Ceramics Cooperative

photosantagto.com

65 w. marcy street santa fe, nm 87501 505.986.1444 • Shop online at laurasheppherd.com

Booth 29 Daeyoung Lee and the cooperative’s other members create ceramics in several traditional styles: celadon, dating from the 10th century, distinguished by a pale green-blue color and a clear glaze; buncheung, from the 15th century, characterized by a white glaze; and joseon white porcelain, also from the 15th century, marked by simple designs.

A fair trade business 68

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SOUTH SUDAN South Sudan beaded jewelry and beaded clothing ROOTS of South Sudan (on behalf of ROOTS Project) Booth 3 The Roots Project promotes peace building and teaches traditional arts in South Sudan. The 60 women artists are from 16 different tribal groups and are known for their beaded jewelry and clothing. The colors, patterns and styles of each piece are specific to the tribe of the maker.

SPAIN Charra filigree gold and silver jewelry, Salamanca charro buttons Luis Méndez López Luis Mendez Artesanos S.L.

Booth 16 Luis Méndez López is a thirdgeneration goldsmith famous for his gold and silver filigree jewelry. Working alongside his brothers, he creates pieces of jewelry with a delicate combination of traditional and contemporary facets. Luis is known for his charro button jewelry. Woven Merino wool sweaters and coats Kavita Parmar The IOU Project

Booth 151 Kavita Parmar is co-founder of the IOU Project, which works with heritage materials and hand-loom weavers to help raise awareness about sustainability in fashion. She has worked with sheepherders in Spain to revive a 12th-century breed of sheep that was once vital to Spanish craftspeople, using the hand-spun yarn to create modern garments inspired by traditional shepherd attire.

SWAZILAND Swazi woven sisal baskets Thembi Dlamini Tintsaba Master Weavers

Booth 10 Thembi Dlamini is a member of Tintsaba Master Weavers. She is a master weaver recognized for her baskets’ unique patterns and symmetry. Natural dyes are used to create bright colors and patterns that reflect nature and Swazi symbols.

SYRIA

TURKEY

Hand-blown recycled glass Salaheddin Booth 55 The glass blowers of Salaheddin use molds from the 1920s and recycled glass to create lanterns and vases. Recycled glass is sorted by color and broken into little pieces, melted in a traditional clay furnace and mouthblown. Salaheddin creates new opportunities for master artists of Syria.

Caucasian embroidery Mehmet Cetinkaya Gallery Booth 26 The artists of the Mehmet Cetinkaya Gallery create silk embroideries in a tradition dating back more than 300 years. The patterns range from geometric to floral. All materials are naturally dyed. Silk items are believed to bring good fortune to families and are a symbol of status.

TAJIKISTAN

Scarves, shawls and jewelry with oya Turkish lacework Soma Artisans

Tajik silver filigree and stone jewelry Dilmurod Sharipov Booth 82 The silver filigree and gemstone designs of Dilmurod’s jewelry are inspired by nature and traditional embroidery patterns. They are symbolic of the sun, family relationships and love. The sun is an important part of Tajik culture and is depicted in many of Dilmurod’s works.

TANZANIA Beaded jewelry, accessories, home décor Sidai Maasai Women Organization Booth 128 Sidai Maasai Women Organization collaborates with Maasai women in Tanzania in producing and marketing unique hand-made beaded jewelry. They use traditional techniques merged with modern aesthetics to make necklaces, bracelets and other pieces featuring predominantly white beads with blocks of color.

THAILAND Hand-woven clothing and accessories Somporn Intaraprayong, Ampornpun Tongchai Booth 114 Somporn Intaraprayong and Ampornpun Tongchai collaborate with weavers and dyers to create hand-sewn clothing and accessories using traditional stitching and natural dyes. Weavings are used to show unity, identity and status and are worn for ceremonies and special occasions. The process of weaving and dyeing is often done collectively.

Anatolian Artisans, Inc.

Booth 46 Soma Artisans creates scarves, shawls and jewelry with oya, a traditional Turkish lacework. Oya serves as a means of expression and communication for Turkish women, with symbolic colors and motifs. Red is for excitement and love, blue for comfort and happiness, green for hopes and wishes. Oya works are highly valued and recycled repeatedly. Anatolian Seljuk ceramic bowls and plates Ibrahim Kuslu

T O N Ydress MALM ED Komarov with JEWELRY ART Tony Malmed jewelry

Handmade in Santa Fe since 1982

Anatolian Artisans, Inc.

Booth 62 Ibrahim Kuslu’s pottery features humans, animals and mythical creatures and uses a sgraffito engraving technique. He studied Seljuk ceramics and artifacts dating back to 11th-century Anatolia and revived the designs and methods of the era. Anatolian Artisans provides sustainable economic benefits to artists of Turkey.

108 Don Gaspar 505-988-9558 1 0 8 D o n G a s p a r •open S a n tdaily a F e • 505.988.9558 • SpiritoftheEar th.com

URUGUAY Merino wool ponchos, ruanas and shawls Ana Maria de Prado Pieroni Manos del Uruguay

Booth 131 Ana Maria de Prado Pieroni weaves and hand-dyes traditional gaucho garments and home decor items from Uruguayan wool. Her work is recognized for the quality of its hand-spun yarns and its subtle colors, many of which come from natural dyes. The knitter behind each product signs a tag, which accompanies it to market. Manos del Uruguay is a nonprofit organization that promotes Uruguayan identity and generates work for more than 200 female artists.

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Thank You to our more than 2,000 dedicated Volunteers, Staff, and Organizational Leaders! BOARD OF DIREC TORS OFFICERS

Kathryn King Coleman, Chair Edd Stepp, Vice Chair Richard Porter, Treasurer Benita Weber Vassallo, Secretary BOARD OF DIRECTORS

Mark Alexander Cathy Allen Nella Domenici Sheila Ellis Peggy Gaustad Brenda Kilcup Jennifer Kimball Karen Loud Linda Marcus Manuel Montoya Jon Patten Keith Recker Liz Rees Jane Reid Carol Robertson Lopez Robert Snow Peter Speliopoulos Suzanne Sugg Alexander Tschursin Michael Vander Velde Elizabeth Washburn EX-OFFICIO MEMBERS

Jamie Clements President/CEO, Museum of New Mexico Foundation Veronica Gonzales Cabinet Secretary, New Mexico Department of Cultural Affairs Khristaan Villela, Ph.D. Director, Museum of International Folk Art ADVISORY BOARD MEMBERS

Sarah Alley Manges JoAnn Lynn Balzer Leigh Ann Brown Carnell Chosa Cynthia Delgado Alexis Girard Hank Lee Nance López Marisol Navas Sacasa Michael Peters Sylvia Seret Owen Van Essen FOUNDERS

Tom Aageson Charmay Allred Charlene Cerny Judith Espinar

IFA A STAFF CHIEF EXECUTIVE OFFICER

Jeff Snell, Ph.D.

ASSOCIATE DIRECTOR OF COMMUNITY RELATIONS & VOLUNTEERS

Jennifer Billig

EXECUTIVE ASSISTANT & OFFICE ADMINISTRATOR

Siobhan Brennan

ARTIST ASSISTANTS

International Folk Art Alliance

INTERPRETERS

Laurie Vander Velde Michael Vander Velde

ARTIST DEMONSTRATIONS & WALKING TOUR

Debby Everett

ARTIST DINNERS

Jill Markstein Zenia Victor

Margie Hiestand Deborah Weinberg

ACCOUNTING SPECIALIST

Marcia Lenihan Denise Johnson

Tish Langbridge

A program of

George Haddad Catherine Howell Ken Hughes Laura Lovejoy-May Loretta McGrath Carolyn Spidle Judy Williams Lollie Yancey

DIRECTOR OF MARKETING & COMMUNICATIONS

Gabe Gomez

International Folk Art Market Santa Fe

Noreen Perlmutter Ann Sager MARKET HOSTS

Stuart Freedman MARKET SIGNS

ONE WORLD AWARDS DINNER

PASSPORT PROJECT

VIP PROGRAM

ARTIST HOSPITALITY

Chris Linn

Annette Kelley

Jeff Case Carol Robertson Lopez

MARKETING ASSISTANT

ARTIST LUNCHES

VISITOR ASSISTANCE GOLF CARTS

PROJECT MANAGER

Lauren Newman

Diane Bethune

Jeff Scattergood

DIRECTOR OF ARTIST OPPORTUNITIES & SOCIAL IMPACT

ARTISTS TRAVEL & REGISTRATION

Brenda Kilcup

Sandy Peinado

ADVANCEMENT ASSISTANT

Kathy Perren

DIRECTOR, FINANCE & HR

Pattie Ravenheart

Cynthia Feiden-Warsh Gloria Zamora ARTIST RESOURCE FAIR

Linda DeWolf Bill Ferguson

VOLUNTEER HOSPITALITY

Marlene Schwalje Paul Schwalje Lisa Storti WATER TEAM

Heather Tanner

Sheila Ellis Meryl Cohen

Bob Hinton Patricia Hinton

ASSOCIATE DIRECTOR OF ADVANCEMENT

BIKE VALET

Margie Hiestand Hal Hiestand Marisol Navas Sacasa Linda O’Leary Sylvie Obledo Melinne Owen Lou Ringe Sylvia Seret David Soifer Lea Soifer Sheila Vaughn Ph.D. Deborah Weinberg Belinda Wong-Swanson Bill Zunkel

Connie Tooker Nuñez

Stephen Newhall BOOTH PHOTOGRAPHY

DIRECTOR OF ARTIST RELATIONS

John Littrell

DIRECTOR OF IFAM | SANTA FE

Kevin Finger Joseph Hohlfeld

Sachiko Umi

Ginger Williams

SPECIAL THANKS TO THESE IFAA TEAM MEMBERS:

Clare Hertel Noah Hilsenrad Sylvie Obledo Keith Recker

BOOTH SUPPLIES

CASHIERS

Candace Allen Jen Palmer COMMUNITY CELEBRATION

Claire Stasiewicz

REGIONAL COORDINATORS

COMMUNITY EDUCATION

IFA A VOLUNTE E R LE ADE RSHIP ALBUQUERQUE AIRPORT GREETERS

Jabeen Vagh

AMBIANCE DECOR

Trina Harlow

DALLAS VOLUNTEERS

Nathan Axelrod ¡FELICIDADES!

Sarah Alley Manges FRIDAY NIGHT OPENING PARTY

Pam Burnham Marlene Jackson Sherry Snyder

Bonnie Bennett Tony Bennett

AMBIANCE SALES

Peter Greene

Alexis Girard Julie Ruth Mary Ann Shaening

GREEN TEAM

HANDYPERSON

Steve Dahlman INFORMATION BOOTH

Andrea Fisher Mara Harris

INTE R NATIONAL FOLK ART MARKET SANTA FE The world’s largest market and cultural festival of handmade work by master folk artists has hosted more than 800 artists from 90 countries.

VISUAL MERCHANDISING

BEST OF THE BEST BOOTH

DIRECTOR OF ADVANCEMENT

Our generous supporters make these programs possible:

The International Folk Art Alliance, a tax-exempt, 501(c)3 nonprofit organization, works in partnership with the New Mexico Department of Cultural Affairs, Museum of International Folk Art, Museum of Indian Arts & Culture, the Museum of New Mexico Foundation, and City of Santa Fe. Partially funded by the City of Santa Fe Arts Commission.

INTE R NATIONAL FOLK ART MARKET ONLINE Entrepreneurship education program and online store for artists entering the global marketplace, providing them an opportunity to earn a year-round income. INTE R NATIONAL FOLK ART MARKET COLLEC TION at the Dallas Market Center A wholesale market opportunity for artists at one of the largest home & gift shows in the country. ME NTOR TO MARKET Entrepreneurship education program that helps folk artists develop business and marketing skills to participate more effectively in the global marketplace. PASSPORT TO FOLK ART TRIPS Provide the unique opportunity to meet folk artists in their home countries and experience rich histories and traditions firsthand. IFA A ME DIA Advocates for artists by sharing their inspirational stories in print and film.

UZBEKISTAN

The Ryder Studio

Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com

Ikat apparel, scarves, bedcovers and fabric Booth 13 Fazlitdin Dadanov represents a fourth generation of weavers and makes silk, cotton and velvet apparel with traditional Uzbek ikat designs. Ikat is a complicated 37-step process that starts with the cocoon of the silkworm. Dadanov is a master of Abrbrand warp tying, which translates as “to tie a cloud.”

“Soriba Fofana” by Anthony Ryder

Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life

Painted wooden baby cradles Olim Irgashev Booth 14A Olim Irgashev carves and paints baby cradles that are widely used and deeply valued in Uzbek households. Many symbolic patterns are carved and painted on the cradles. Irgashev builds his cribs to sway rhythmically and considers the child’s comfort through each step of construction.

A Christmas Store

Dolls with traditional clothing Nasiba Akhmedova Booth 14B Nasiba makes ceramic dolls and designs clothing and jewelry based on regional outfits of 19th-century Uzbekistan. Each doll is unique and has its own character, reflecting Uzbek history.

OPEN DAILY 9am - 8:30pm 116 East Palace Santa Fe, New Mexico 87501 (505) 983-4823 1-800-525-5764 ww www ww.theshopchristmas.com w

Forged knives, daggers and swords Khasan Umarov Booth 25 Khasan Umarov’s hand-forged knives, daggers and swords have handles decorated with horn and bone. He combines hard and soft steel to create the strength and flexibility of each blade. In Uzbek culture the knife is considered a sacred object and has a protective function as well as a practical one. Rishtan decorative plates, bowls, vases and tiles Rustam Usmanov, Damir Usmanov Booth 36 Rustam and Damir Usmanov combine traditional designs with original shapes and motifs to create the blue ceramics of Rishtan. Made from local clay, this pottery has been famous for centuries. They draw inspiration from natural shapes, flowers and calligraphy and are known for the richness and precision of their patterns.

Silk, wool and cotton rugs Rushana Burkhanova Bukhara Carpet School

Booth 50 Burkhanova’s carpets are made of silk, cotton and camel and sheep wool dyed with pomegranate, onion and other vegetal and natural dyes before being knotted on vertical carpet looms. Some carpets take more than two months to complete because of the complexity of the geometric patterns. Wool and wool and silk Afghan and Bukhara rugs Ikhtiyor Kendjaev Booth 56 Ikhtiyor Kendajev’s ancestors were carpet makers from Afghanistan who brought the skill with them when they moved to Uzbekistan. The patterns are from ancient Afghan designs and the dyes are natural. Suzani apparel, personal accessories and wall hangings Madina Kasimbaeva Booth 61 Madina Kasimbaeva’s embroidered home accessories and wall hangings are widely used in daily life. Tashkent palak embroidery is known for its center roundel, an ancient symbol of power and fertility. The center images often contain six dots, with a seventh in the middle, representing the seven layers of the sky. Kilim hand-woven wool rugs Zafar Sattarov Booth 67 Zafar’s hand-woven kilims are made from sheep’s wool and dyed with natural red, black and brown pigments. Geometric kilim motifs are often symbolic, and these flat-weave carpets hold a special significance in Uzbek culture, where they are often placed at the center of the room. Shakhrisabz embroidered clothing, accessories and home furnishings Gulnora Odilova Booth 74 Gulnora Odilova follows her family’s long tradition of creating Shakhrisabz embroidery. She has revived the style, learning once-forgotten patterns and rare colors and designs inspired by Uzbekistan’s countryside and foliage. She established a school of embroidery and has taught hundreds of women Shakhrisabz and suzani techniques. Woven silk and adras ikat clothing, accessories and home furnishings Rasuljon Mirzaakhmedov Crafts Development Center IKAT-UZ

Booth 97 Rasuljon Mirzaakhmedov is at the forefront of a revival of the rare and complicated technique of velvet ikat 70

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weaving, in which white silk threads are dyed and placed on a narrow loom. His ikat fabrics feature beautiful colors and complex designs. Suzani embroidery tapestries and pillows Zarina Kendjaeva Carpet Weaving, Embroidery & Natural Dyeing School by UNESCO

Booth 120 Zarina Kendjaeva’s designs are based on 18th- and 19th-century museum pieces. Suzani is used for decorative wall hangings, curtains and bedcovers as well as other household items. Suzani textiles are made from finely hand-woven cottons or silk material. The embroidery often covers the entire cloth. Silk and wool carpets Firuza Khamraeva; Fattillo Kendjaev; Saidjon Mukhlisov; Fotima Fozilova; Salima Koshmurodova; Zarina Kendjaeva School of Traditional Carpet Weaving, Embroidery & Natural Dyeing supported by UNESCO

Booth 153 Husband and wife Fattillo Kendjaev and Firuza Khamraeva are master weavers and dyers. They weave silk carpets, incorporating centuries-old designs using traditional weaving methods and natural dyes. The floral and geometric designs are based on styles seen in old paintings.

VENEZUELA Painted wooden decorative toys and circus scenes Mario Calderón Booth 84 Mario Calderón’s wooden toys evoke a time gone by and transport adults back to their childhoods. His brightly colored and detailed work conveys a sense of nostalgia that he hopes will bring to mind a simpler and more peaceful time.

ZIMBABWE Ilala palm baskets Evah Mudenda Booth 19 Evah Mudenda’s ilala palm baskets are used for serving fruit and gathering eggs as well as for decorative purposes. They are traditionally given as wedding gifts due to their beauty and usefulness. The designs date to the period of Great Zimbabwe, where the Nambya tribe originated.

OTHER | PROGRAMS Best of the Best Supported by all market participants Booth 60 The Best of the Best booth is made possible through the generous contributions of all Folk Art Market participants. Each piece is selected by Best of the Best expert folk art shoppers. All proceeds benefit the International Folk Art Alliance’s support of the artists. Fomento Cultural Banamex A.C. Booth 105 Out of concern for the survival of traditional art forms, BANAMEX developed the Program in Support of Folk Art in 1996. This year’s Fomento Cultural BANAMEX A.C. booth represents the following artists: Mario Agustín Gaspar Rodríguez, Francisco Coronel Navarro, Felipe Linares Mendoza y Leonardo Linares Vargas, Mauricio Hernández Colmenero, Erick Vazquez Hernandez, Rodrigo de la Cruz Cabrera, Marco Antonio Miranda Razzo, Aurelio Agustin Arredondo Rangel, Eduardo Marcelino Sanchez Rodriguez and Magdiel García Hernández. Asia Foundation Booth 106 The Asia Foundation is a nonprofit international development organization committed to improving lives across a dynamic and developing Asia. With a network of offices in 18 Asian countries, it partners with bilateral and multilateral development agencies, allowing representation from Bangladesh, Laos and Timor-Leste at this year’s market. UNESCO – World Crafts Council Award of Excellence South Asia - Booth 107 Southeast Asia - Booth 108 Central Asia - Booth 109 Latin America - Booth 110 The Award of Excellence is the UNESCO-World Crafts Council flagship program for handicrafts. 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 that assures buyers that award products are culturally authentic and have been manufactured in a socially responsible manner with respect for the environment. 71

Contemporary Polish Folk Art Boleslawiec Stoneware Amber Jewelry & Specimens Folk Art Saints, Crucifixes & Icons

Tadeusz Kacalak at his studio in Poland Tadeusz will be at the Folk Arts of Poland gallery in July and August carving sculptures and acceopting commissiions. 118 Don Gaspar Avenue Santa Fe, NM • 505.984.9882

faopoland@aol.com • www.folkartsofpoland.com • Summer Hours: 1-7

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Traveler’s Market presents

Santa Fe Flea market 2904 Rufina Street, Santa Fe. NM (around the corner from Meow Wolf)

www.santafefleamarket.com

Open Every Weekend until Sept 23 & 24, Saturday 8 am - 3 pm Sunday 8 am - 3 pm (Open on Fridays in August)

July 11 - 30 Exhibit from the Xanadu Warehouse: Storyboards from Papua New Guinea, Chiwara Masks from the initiation society from Bambara Tribe in Mali.

Sponsored by Traveler’s Market DeVargas Center, (Behind Office Depot) 40 Dealers of Fine Tribal and Folk Art, Jewelry, Books, Antiques, Furniture, Textiles and Beads www.travelersmarket.net

Traveler’s Market DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667

43 Dealers of Fine Tribal Art & Jewelry, Books, Antiques, Folk Art & Furniture, Textiles, Beads

Mon - Sat 11am-6pm Sunday 12 am-5pm

Take care of your shipping at the one place that takes care of you. No item is too big or too small for The UPS Store Fragile items our specialty Freight Services We now do Shredding We take Passport Photos • Packing Supplies • Bubble Wrap • Tape • Boxes • Styrofoam Peanuts • Color Copies • Private Mailbox Rental • Visit The UPS Store for all your Packing, Shipping & Shredding needs Shipping Prices DIRECT from UPS! Expert Packaging by Certified Packers

The UPS Store

223 N. Guadalupe, Santa Fe, NM 87501 • 505.982.0974 (Guadalupe & Catron) store1750@theupsstore.com

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Visit the Botanical Garden While You’re at the Market W E ' R E R I G H T AC R O SS T H E ST R E E T !

The Garden is FREE to all Folk Art Market Visitors July 15 & 16. Mention this ad for 10% off items* in our Garden Gift Shop. *some items are excluded from this offer

O P E N 7 DAY S A W E E K , 1 0 A M – 4 P M

Current Exhibition—

Conception, Abstraction, Reduction: T H E A R T O F DA N , A R LO & M I C H A E L N A M I N G H A

Museum Hill · 715 Camino Lejo Santa Fe · 505.471.9103

SA N TA F E B OTA N I C A LG A R D E N .O R G

Santa Fe’s Largest And Most Complete Consignment Store. Santa Fe’s Largest And Most Complete Consignment Mexico’s Largest And Most Complete Consignment Store. e’s Largest And Most Complete Consignment Store. Santa Fe’s Largest And Most Complete Consignment Store. “Like” us onStore. Facebook at facebook.com/doubletakesantafe AtNew the corner of Guadalupe & Aztec | 505.989.8886

“Like” us on Facebook at facebook.com/doubletakesantafe the & corner of|Guadalupe & Aztec | www.santafedoubletake.com 505.989.8886 “Like” us on Facebook at facebook.com/doubletakesantafe er of At Guadalupe 505.989.8886 @doubletakesantafe “Like” us on Facebook at facebook.com/doubletakesantafe theAt corner ofAztec Guadalupe & Aztec | 505.989.8886 73

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Artists Directory & Booth Locator Map

IndianMARKET

OFFICIAL SWAIA GUIDE

2016 A RTI S T D I R EC TO RY & B OOT H LOC ATO R M A P

2017 INDIAN MARKET

ADVERTISERS!

Publishing SUNDAY AUGUST 13 2017

Santa Fe Indian Market SOUTHWESTERN ASSOCIATION FOR INDIAN ARTS

SANTA FE NEW MEXICAN

The official Southwestern Association of Indian Arts guide to the largest Indian Arts market in the world. Includes the official Artist Directory & Booth Locator Map, exclusively in this publication.

Space reservation and ad copy FRIDAY JULY 14

DISTRIBUTION Reach 50K+ readers with Sunday insertion in the Santa Fe New Mexican plus 11,000 bonus distribution

To advertise: 505-995-3852 or

advertising@sfnewmexican.com 74

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Summer Jewelry Sales Folk Art Market July 13 - 15th 10 - 5pm

Spanish Market July 28 - 29th 10 - 5pm

Indian Market August 17 - 19th 10 - 5pm

50-75% Off

Handcrafted Jewelry American Silversmiths Global Artisans Food & Music Come colorfully clad!

675 Harkle Rd., Santa Fe, NM Learn more at:

www.peyotebird.com Follow us on...

GALLERIES = HOME AND STUDIO = MUSEUM STORE = RESEARCH CENTER Be inspired

WWW. O KEEFFEMUSEUM. O RG

For two decades, the Georgia O’Keeffe Museum has shared the vision of a true original. Join us this summer as we look back and head forward. Come be inspired.

CLOCKWISE: MARIA CHABOT, GEORGIA O’KEEFFE HITCHING A RIDE TO ABIQUIU, 1944. PHOTOGRAPHIC PRINT. GIFT OF THE MARIA CHABOT LITERARY TRUST. © GEORGIA O’KEEFFE MUSEUM. LIVING ROOM, GEORGIA O’KEEFFE HOME & STUDIO, ABIQUIU, NM. PHOTO BY HERB LOTZ. © GEORGIA O’KEEFFE MUSEUM. PHOTOS: GEORGIA O’KEEFFE MUSEUM. © GEORGIA O’KEEFFE MUSEUM. GEORGIA O’KEEFFE, GHOST RANCH LANDSCAPE, C. 1936. OIL ON CANVAS, 12 X 30 IN. GIFT, JEROME M. WESTHEIMER SR. © GEORGIA O’KEEFFE MUSEUM.

GALLERIES

HOME AND STUDIO

MUSEUM STORE

W W W. O K E E F F E M U S E U M . O R G

RESEARCH CENTER

ON THE COVER

Noche de Muertos

Nilda Callañaupa Alvarez, Peru Photo by Gene Peach OWNER Robin Martin PUBLISHER Tom Cross EDITOR Ray Rivera EDITORIAL creative director Deborah Villa dvilla@sfnewmexican.com, deborahvilladesign.com magazine editor Patricia West-Barker copy editor Peg Goldstein photography Gene Peach ADVERTISING advertising director Bernie Schutz advertising sales manager Wendy Ortega classified manager Wayne Barnard ADVERTISING SALES Mike Flores Chris Alexander Dana Teton Deb Meyers Daniel Curtis Sandra Jaramillo Erica Valdez ADVERTISING ART DEPARTMENT creative and marketing manager Kathryn Lopez designers Elspeth Hilbert, Joan Scholl, Rick Artiaga web designer Michael Harrison

Save the Date November 4, 2017

TECHNOLOGY technology director Michael Campbell WEB digital enterprise editor Henry Lopez www.santafenewmexican.com PRODUCTION operations director Tim Cramer prepress manager Dan Gomez

Noche de Muertos

press coordinator George Gamboa packaging coordinator Brenda Shaffer DISTRIBUTION circulation director Michael Reichard distribution coordinator Reggie Perez

A benefit gala & party for The Museum of International Folk Art

—

November 4, 2017 Gala Dinner & Auction

Post-Noche Dance Party

La Mejora Fiesta (con calaveras) moifa.org/noche #PostNoche

ADDRESS office: 202 E. Marcy St. hours: 8 a.m.-5 p.m. Monday-Friday advertising information: 505-995-3852 delivery: 505-986-3010, 800-873-3372 for copies of this magazine, call 505-986-3010 or email circulation@sfnewmexican.com

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International Folk Art Market | Santa Fe

KYRGYZSTAN Gulmira Akmatova

HAITI Serge Joseph Jolimeau

P U B LIS H ED

COLOMBIA Reinel Antonio Mendoza Montalvo

ZIMBABWE Evah Mudenda

COLOMBIA Johana Mestre Izquierdo PHOTOS BY GENE PEACH

INSIDE 10

Letter from Jeff Snell Entertainment Schedule

Worldwide Weave By Sandy Nelson

Artist List by Booth Number

Innovate, Inspire, Change the World

By Stephanie Nakhleh

By Staci Golar

By Deborah Busemeyer

By Zélie Pollon

Schedule of Events

Park-and-Ride

Leading by Example One Dinner, Two Winners By Staci Golar

By Arin McKenna

Booth Locator Map

ROOTS Project

Continuum of Culture Social Innovation Breaking Down Barriers

New Artists

By Arin McKenna

Folk Art Expansion By Sandy Nelson

By Zélie Pollon

7. 6.17

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Passport to Folk Artists By Ashley Biggers

2017 Countries Participating

2017 Artist Biographies