Railyard celebration Peace Corps at 50 Indigo’s global reach
t h e s a n ta f e n e w m e x i c a n w w w . s a n ta f e n e w m e x i c a n . c o m

2011 s anta f e i n t e r n at ion a l

Opening Reception: Thursday July 7th • 5:00 - 7:00 pm
Featuring world-renowned master Indigo artist, Aboubakar Fofana and ethnic textiles from around the world. Fofana uses the traditional Malian vegetable and mineral dyes and hand spun fibers to create elegant textiles rooted in the traditional styles of mudcloth and indigo.
The Art of Living and Living with Art

Tableware • Bedding • Furniture • Accessories • Textiles • Fine Art • Jewelry 530 South Guadalupe @ the Railyard • 505. 983. 8558

365 days of Folk Art
Other Folk Art:
Luz Maria Andrango
Weaving from Ecuador

Alejandrino Fuentes Vasquez
Wood Carving from Mexico

Jose Santiago
Weaving from Mexico

Casa Gunginn
Ceramic Figures from Mexico

Irene Aguilar

Ceramic Figures from Mexico

Luis & Maria Blanco

Wool Rugs from Mexico

Faustina Sanchez
Embroidery from Mexico

Carved Gourds from Peru

Bertha Median

2820 Cerrillos Rd. (505) 471-8539 6400 San Mateo Blvd. (505) 349-0970

Artisan apparel for nomads and romantics
328 S. Guadalupe Street • Santa Fe, NM • 505.438.8198 • Washington D.C. • Santa Fe, NM • Kansas City, MO • Henley, UK • Manchester,VT • San Francisco (opening Autumn 2011)
2011 Santa Fe International FOLKART Market 3


2011 Santa Fe International FOLKART Market

In partnership with the City of Santa Fe, New Mexico Department of Cultural Affairs, Museum of International Folk Art, and Museum of New Mexico Foundation

Admissions Doug Holen, Co-Chair Kathleen Nichols, Co-Chair Ambiance Michael Mullins, Chair Ambiance Sales Alexis Girard, Co-Chair Laurie Morgan Silver, Co-Chair Ernie Sulpizio, Set Up Artist Hospitality Valerie Baugh, Artist Meal Services, Chair Amy Conway, Friday Dinner, Chair Zella Cox, Artist Departures, Co-Chair Marisol Navas Sacasa, Artist Local Arrangements, Chair Melinne Owen, Artist Departures, Co-Chair Benita Vassallo, Arrivals, Chair Artist Selection Suzanne Seriff, Ph.D., Chair Barbara Anderson Marsha Bol, Ph.D. Felicia Katz-Harris Diana N’Diaye Melinne Owen Artist Training & Colloquium Ahdina Zunkel, Staff Chair Joni Parman Jean Zunkel Best of the Best Booth Sheila Ellis, Chair Booth Photography Paul Giguere, Chair Booth Supplies Jamie Douglass, Co-Chair Susan Henoch, Co-Chair Education Outreach Sarah Alley Manges, Chair Aurelia Gomez, Museum of International Folk Art Patricia Sigala, Museum of International Folk Art Entertainment Neal Copperman, Co-Chair Jamie Lenfestey, Co-Chair Market Sales Reconciliation Helen Lyons, Co-Chair Rich Moore, Staff Co-Chair John Stafford, Co-Chair Passport Project Donna Rosingana, Co-Chair Zenia Victor, Co-Chair Anne Fullerton Jill Markstein Regional Coordinators Mara Harris, Co-Chair Marisol Navas Sacasa, Co-Chair Judith Espinar Nyira Gitana Pat Kutay Steve Kutay Barbara Mauldin Sylvie Obledo Sylvia Seret David Soifer Lea Soifer Deborah Weinberg Belinda Wong-Swanson Bill Zunkel Andy Perea, Security, Museum of International Folk Art Michael Trujillo VIP Coordination Tom Maguire, Chair Thea Witt Visitor Survey Laura Sullivan, Staff Chair Heather Tanner Volunteer Coordination & Training Prudy Krieger, Volunteers, Chair Melinne Owen, Volunteer Chair Coordinator Sarah Taylor, Artist Assistants, Chair John Arnold, Artist Assistant Training & On-Site Supervision, Co-Chair Lynn Arnold, Artist Assistant Training & On-Site Supervision, Co-Chair Peter Greene, Local Interpreters, Chair Don Goldman, Artist Assistant Calling Committee, Chair Volunteer Hospitality Joan Chodosh, Co-Chair Marlene Schwalje, Co-Chair Paul Schwalje, Co-Chair Water Team Ana Chamberlain, Co-Chair Liam Dixon, Co-Chair

Heidi Hahn & Phil Goldstone Barbara Hadley & John Burke Peter & Francie Handler Haila Harvey Judy & Michael Herrmann Audrey & Don Hinsman Barbara & Bud Hoover Debra & Jeffrey Huling Leslie Hylton Marney & Larry Janss Suzi Juarez Tom & Lynda Kellahin Bob Kemble Patricia & William Kenney Nadine Koenig Patricia & Grant La Farge in honor of Ramón & Nance Lopez Lynne Loshbaugh SUPPORTERS Steve & Meredith Anonymous (3) Martha & Mark Alexander Machen Jan & Creve Maples Patricia Antich Marilyn Masters Levine Bill & Julie Ashbey & G. B. Levine Jan & Thomas Bailey Barbara Mauldin Janice E. Baker Tom & Vicki McGuffy Ronni Ballowe Cathy & Scott Miller Susan Bell Tom O’Donnell John & Barbara & Karen Tischer Berkenfield in memory of Virginia David Bernstein & Elmer Novotny & Erika Rimson Louis & Janice Oien Deborah Bradford in memory of Lynee Bradley James Laird Ingrid Bucher Anne Pedersen Jane & Bill Buchsbaum & Mark Donatelli Shirley Burton Annet Pellikaan Barbara Carmichael Sandra Penn Georgia Catasca in honor of John Catasca Gerald & Yara Pitchford Sharon & Jim Porter Cara & Robert Chapman Mick & Genie Ramsey Bruce Chemel Jean Ranc in honor of Edd Lisa & Karl Ray & Carole Stepp Tina Rees Carnell Chosa Mozelle & Judy Harriet & Frank Christian Richardson Elaine Clayman Ann Sacks Anne Coller & Bill White Selena Sermeno Janelle Conaway Ann Shafer Betsy & Jay Dalgliesh Patricia Shapiro Mary E. Darmstaetter Beth & Walter Simpson Ann Dehart & Robert Marjorie Sitter Milne Irma & Robert Smith Richard & Dianne Robert & Donna Del Pizzo Spina Helmholz Larry & Angie Delgado Julie Strassburger Rene Donaldson in honor of Don Brenda Edelson & Sharon Ettinger Susan Feiner McLaughlin & Peter Whitman Kim Straus Mrs. Patricia Joan & Carl Strutz Head-Ferguson Peggy Swoveland Anthony Foltman William Ulwelling & Terese Lyons Jean & Bob Vogel Charles & Nancy Forest James Voorhees Barbara Forslund Kay Wille in honor of Bob Lee Witt & Barbara Griffith Jennifer & Roberts French Arthur H. Wolf & Holly M. Chaffee Robin & Jim Gavin Linda Zwick Robert Pevitts & Beverly Byers-Pevitts Vivianne & Joel Pokorny Caroline Ramsay Merriam in memory of Judith Heintz Carol Robertson Lopez & Jeff Case Marilyn Rosenfeld Thomas & David Ullman Monique Ryser Becky Sawyer William Singer & Joanne Cicchelli Susie Smidinger Brown & Doug Brown Clare Smith Sarah & Jim Taylor Tracy & Christopher Thomas-Flinders Julia Thompson Diane Tipton Veirs Jane Wilner Sharon Q. Young

Food & Water Brian Graves, Co-Chair Fernando Gallegos, Co-Chair Signage Ellen Andes, Co-Chair Hospitality Room Alan Karp, Co-Chair Mary Ann Shaening, Chair Transportation, Information Booth Parking & Safety Andrea Fisher, Co-Chair Laura Lovejoy-May, Mara Harris, Co-Chair Art Team Co-Chair Shelley Horton-Trippe, Chair Kelly Waller, Staff Co-Chair Line Hosts Mary Mill Jon Bulthuis, Transit Division David Loren Bass, Co-Chair Director, Santa Fe Trails John Scott, Co-Chair Mike Kelly, Director of Operations, Santa Fe Trails

Blue Alchemy Premiere at the Lensic Lensic Performing Arts Center Santa Fe Weaving Gallery Market Opening Party Donna & Robert Bruni One World Dinner St. John’s College Eileen Wells !Felicidades! Farewell Dinner Charmay Allred Sarah Alley Manges Artist Sponsorship Events Charmay Allred JoAnn & Bob Balzer Charlene Cerny Sheila & Kirk Ellis Sarah Alley Manges

Community Celebration at the Santa Fe Railyard Suby Bowden, Chair International Folk Arts Week & Blue Alchemy Premiere Nancy Benkof, Chair Market Opening Party Martha Alexander, Co-Chair Leigh Ann Brown, Co-Chair Judith Espinar, Co-Chair One World Dinner Sue Ann Snyder, Co-Chair Deborah Spiegelman, St. John’s College

Atalaya Elementary School Belizean Grove Breakthrough Santa Fe City of Santa Fe Parks, Parking, Police, & Fire Departments First Baptist Church Flying Star Cafe Good Water Company Immaculate Heart of Mary Retreat Center Museum of Indian Arts and Culture Museum of International Folk Art Museum of Spanish Colonial Arts Museum Hill Café New Deal Films, Inc. New Mexico Department of Transportation New Mexico Property Control Division Office of Senator Jeff Bingaman Office of Senator Tom Udall Peace Corps Association of America and New Mexico Rio Grande School Desert Academy Leos Santa Fe Railyard Community Corporation Santa Fe Trails Wheelwright Museum of the American Indian William Siegal Gallery CONTRACT/ SEASONAL STAFF Laurie Bloyer Nyira Gitana Staci Golar Peter Greene Clare Hertel Maureen Hill Helen Lyons David Moore Jeffrey Perren Bob Smith Emily Souder Victoria Spencer

SpecIal thankS to new MexIco’S congreSSIonal delegatIon, governor MartInez, new MexIco State legISlatorS, Mayor davId coSS, Mayor pro teM rebecca wurzburger, and the Santa Fe cIty councIl, and all theIr Invaluable StaFF. List as of June 1, 2011 every eFFort haS been Made to Include a coMplete and accurate lISt oF donorS, SponSorS, and volunteerS. pleaSe notIFy uS oF any oMISSIonS and we InvIte correctIonS.

2011 Santa Fe International FOLKART Market


SAnTA FE inTERnATiOnAL FOLk ART MARkET changing lives through folk art Did you know?
Artists take home 90% of their sales revenue Last year artists’ sales totaled just over $2 million In 2010, the average sales per Market booth were $15,000 90% of Market artists come from developing nations More than a third come from countries where the average income is less than $3 a day In 2011, artist cooperatives from 30 countries will represent 20,000 members and impact some 200,000 lives “From the earnings, many of us did a lot to improve on the families. Myself, I bought a piece of land and paid tuition for my 2 sons. Other artisans did different things like buying cows, goat, pigs, while others put electricity in their homes….”
—BArBArA MBABzI, GAhAyA LInks CooperAtIve, rwAndA

oFFICers & exeCutIve CoMMIttee Michael p. peters, Chair Jon patten, Vice Chair owen van essen, Treasurer Joni parman, Secretary Judith espinar, Creative Director Alexis Girard sarah Alley Manges edd stepp suzanne sugg dIreCtors tom Aageson polly Ahrendts Charmay Allred JoAnn Lynn Balzer Leigh Ann Brown donna Bruni Carnell Chosa Jill halverson hank Lee nance Lopez Linda Marcus Marisol navas sacasa sylvia seret steve wedeen eileen wells don wright AdvIsory dIreCtors Cynthia delgado peggy Gaustad Carol robertson Lopez ex oFFICIo dIreCtors veronica Gonzales Cabinet Secretary, New Mexico Department of Cultural Affairs Marsha C. Bol Director, Museum of International Folk Art John easley Executive Director, Museum of New Mexico Foundation MArket stAFF Charlene Cerny, Executive Director rich Moore Laura sullivan heather tanner ernesto torres sachiko umi kelly waller Ahdina zunkel

MARkET OpEning pARTy
BuyInG BeGIns
Shopping & Dancing Under the Stars Friday, July 8, 2011 6:30-9pm Milner plaza on Museum Hill
Festive international finger food Music by west African highlife Band Complimentary wine, beer, and soft drinks. Cash bar available for premium call drinks and margaritas $125 PER PERSON ($75 TAX DEDUCTIBLE)

Buy tickets now (Limited availability)
All Museum of New Mexico Shops Los Alamos National Banks National Hispanic Cultural Center, Albuquerque At the gate For tickets & additional information visit or call 888.670.3655 505-984-0799
Parking available off-site with shuttle service provided
6 2011 Santa Fe International FOLKART Market

F o L k A rt M A r k e t. o r G

404 kIvA Court • sAntA Fe, nM • 87505 • 505-992-7600

Megan Bowers Avina Ghida Saim Said Al Butaharah, Sultanate of Oman taken at the 2010 Santa Fe International Folk Art Market Deborah Villa


8 Downtown map 16 Where to park 30 Booth locator map

2 0 1 1 S A N TA F E I N T E R N AT I O N A L

P u b l i s h e d J u ly 6, 2 0 1 1

Robin Martin Ginny Sohn Rob Dean



Magazine editor Inez Russell 986-3093, Magazine art director Deborah Villa 986-3027, Director of photography Clyde Mueller Marketing and design department manager David Del Mauro Advertising layout Christine Huffman Designers Elspeth Hilbert, Scott Fowler, Dale Deforest, Bill Jacobi, Enrique Figueredo Michael Brendel, 995-3825 Gary Brouse, 995-3861 Cristina Iverson, 995-3830 Alex J. Martinez, 995-3841 Jan Montoya, 995-3838 Art Trujillo, 995-3820 Rick Wiegers, 995-3840 Jim Keyes, 995-3819 Belinda Hoschar, 995-3844

18 Events for International Folk Art Week 19 At the market: all the goings on

10 The excitement of market returns to Santa Fe. 15 Getting the most out of market. 21 Peace Corps celebrates 50 years with Railyard party. 27 Exhibits link market and folk art museum. 32 Indigo movie raises money, involves community. 36 Folk art’s long and complicated traditions 38 Meet the artists
2011 Santa Fe International FOLKART Market 7

Rob Newlin, 505-670-1315

Technology director Michael Campbell Operations director Al Waldron Assistant production director Tim Cramer Prepress manager Dan Gomez Press manager Larry Quintana Packaging manager Brian Schultz Digital development and projects manager Henry M. Lopez Office: 202 E. Marcy St. Hours: 8 a.m.-5 p.m. Monday-Friday Advertising information: 505-986-3082 Delivery: 505-984-0363, 800-873-3372 For copies, please call Reggie Perez, 428-7645, or email

Railyard The

Railyard Plaza

Railyard Park

1. Plaza 2. Loretto Chapel 3. San Miguel Chapel 4. Cathedral Basilica 5. Manhattan Project Office 6. Sena Plaza 7. Cross of the Martyrs 8. The Santa Fe New Mexican 9. Padre Gallegos House 10. U.S. Courthouse 11. Palace of the Governors 12. New Mexico History Museum 13. New Mexico Museum of Art 14. Lensic Performing Arts Center 15. Georgia O’Keeffe Museum 16. Santa Fe Community Convention Center 17. Post Office

18. Museum of Contemporary Native Arts 19. State Capitol 20. Bataan Memorial Museum 21. Santa Fe Children’s Museum 22. Center for Contemporary Arts 23. Museum of Spanish Colonial Art 24. Museum of Indian Arts and Culture 25. Milner Plaza 26. Museum of International Folk Art 27. Wheelwright Museum of the American Indian 28. El Museo Cultural de Santa Fe 29. Site Santa Fe 30. Santa Fe Farmers Market 31. Santa Fe Depot/Vistor Center 32.Warehouse 21 33. Canyon Road


2011 Santa Fe International FOLKART Market

on the plaza in santa fe


on museum hill in santa fe

FOLK ART OF THE ANDES 505.476.1200

2011 Santa Fe International FOLKART Market



It’s a bit like having the biggest circus in the world come to town. Even if you never buy a thing (which is unlikely!), the admission price to the Santa Fe International Folk Art Market is well worth the color, the excitement, the decorations, the entertainment, the sheer international flair — and, of course, the folk art masterpieces.
This year’s market begins with a new community celebration at the Santa Fe Railyard on Thursday (July 7), with a market opening party the following night, Friday (July 8) on Museum Hill. Then comes two days of market on Saturday and Sunday (July 9, 10), a feast for the senses, featuring the world’s best folk artists, all on Museum Hill. Considered the largest international folk art market in the world, more than 22,000 people attended the weekend event last year, along with 132 participating artists. This year, there are 180 artists — 60 percent of them new to the market — participating, representing 49 countries. There are four countries and a territory new to the market this year: Algeria, Cambodia, Cameroon, Madagascar and Puerto Rico. “And Cuba is back,” said Ernesto Torres, artist coordinator for the market. “And this year, we believe the artists themselves are coming.”





The world comes together on folk art weekend
The 2011 Santa Fe International Folk Art Market begins with a free community celebration from 5-9 p.m. Thursday (July 7) at the Santa Fe Railyard. From 6:30-9 p.m. Friday (July 8) the action moves to Milner Plaza on Museum Hill, with the market opening party with early shopping, dancing, international music, food and drink ($125 a person, $75 taxdeductible). There will be no public parking on Museum Hill this year. See parking and shuttle story for information on how to take a free shuttle to the party. Early Bird market runs from 7:30-9 a.m. Saturday (July 9), with tickets $50 (which includes all day). Regular market hours are 9 a.m.-5 p.m. ($15 advance; $20 at the gate). Sunday (July 10) is Family Day with tickets $5 in advance and $10 at the gate. Youth 16 and under are free both days. Market weekend events also are on Museum Hill.

Facing page, Republic of Peru Bertha Medina Aquino Booth 11




2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market



2011 Santa Fe International FOLKART Market

Swaziland Nurse Thembeni Mdluli



“As a cooperative, we buy school shoes for 12 orphans in our community and created a backyard garden for fresh vegetables. We also put windows to our soup kitchen, which is built for us by a Peace Corps volunteer in 2008. My mother has sugar diabetes and I cannot afford to take her to the hospital, so she was using traditional herbs. After Santa Fe, I took her to the hospital for a medical checkup for the first time in my life. I also bought one cow.”

Popular returning artists also include papier-mâché artists from Haiti, embroidery artists from India, jewelers from Niger, felters from Kyrgyzstan and rug weavers from Uzbekistan. Besides the art, marketgoers can enjoy live entertainment ranging from Latin rock to music and dance from Oman or Senegal. This year’s humanitarian booth will be called Shine on Pakistan, spearheaded by market board members JoAnn Balzer and Sylvia Seret. “Last year it was raising money for Haiti,” Seret said. “When the floods happened in Pakistan at the end of July last year, we decided we wanted to dedicate this booth to Pakistan.” Seret said the devastating floods have had minimal new coverage. “I can imagine people saying, ‘What is that disaster?’ And yet that disaster affected more people than Haiti and the earthquake in Japan combined.” At the cash-and-carry, Shine on Pakistan (booth 111), 100 percent of every sale will go directly to disaster relief. With the help of the Pakistan Embassy in Washington, D.C., the Pakistan Trade Authority and others donors, folk art — from textiles and lacquerware to jewelry, ceramics and more — will be available at the booth for affordable prices, starting at $5 and up, Balzer said. Market Executive Director Charlene Cerny said the market really does bring out the best in people, and not just through the unlikely coupling of cultures — Israelis and Pakistanis, Kyrgystani and Uzbeks, Tibetans and Chinese. “Since we started the market, it has been full of surprises,” Cerny said. “We didn’t expect, for example, that marketgoers would find so much meaning in their

encounters with the artists. Friendships develop and people’s lives are changed on both sides of the equation. We didn’t anticipate how much the market would give us hope for this troubled world we live in.” Last year’s market generated more than $2 million in sales, with 90 percent of that going home with the artists. That money brought huge consequences to the artists and their communities. The Lila Handicraft women’s collective in Pakistan, which brought traditional Ralli quilts to the market, used the money to build a new school. Kandahar Treasures, an embroidery group in Afghanistan, used the money to rescue women begging on the streets and teach them traditional needlework in order to earn a living. Folk artist Janet Nkubana used part of the money to support the cooperative she’s a part of in Rwanda that helps Hutus and Tutsi come together to weave “peace baskets.” The other part Nkubana used to start new community vegetable gardens and to buy mosquito nets to help fight malaria. The market is set up on Milner Plaza atop Museum Hill, just outside the doors of Santa Fe’s popular Museum of International Folk Art and the Museum of Indian Arts and Culture, and continues down the hill to include both market and food booths. And just like a three-ring circus, this extravaganza is serious business. It might be one of the few events that actually decreases the number of booths — not the artists — to make the shopping easier for the attendees. “This year we’re aiming for 135 artist booths,” Torres said. “Last year we were over 140 booths. We’re trying to lessen the ‘overwhelm.’”

Facing page clockwise from top left, Bhutan Karma Lotey, Republic of Peru Flora Callañaupa, Nilda Callañaupa, Niger Elhadji Koumama Oman Shagaila Ghali Al Senaidi (Al Najoom Dance Troupe)




2011 Santa Fe International FOLKART Market 13

Mexico Angel Ortiz Gabriel, José Angel Ortiz Arana

Mongolia Narantsetseg (Nara) Sambuu

South Africa Monkeybiz

The overwhelm maybe, but not the spectacle or surprise. “We tend to have 50 percent returning artists, and 50 percent new artists and new artwork,” Torres said. “But this year it’s 60 percent new artists and artwork.” That can be a tough call. People want to see their favorite artists again each year, after all. But continuing to be in the market each year is not a sure thing. “In order to really provide a different enough experience for people to come, we had to set this goal,” Torres said. “It’s a balancing act between sustaining and renewing.” The market continues to work on expanding its reach into the world. “There are a lot of folk artists who haven’t yet made their way to our market,” Torres said. But through finding various cooperatives, the market is increasing that reach. For example, artists from a weaving cooperative in Guatemala will be attending, as well as a cooperative from the East Flores island of Indonesia whose artists make a very distinctive ikat. “Their co-op has 789 members — 759 women and 30 men,” Torres said. “And we’re having a very isolated indigenous group from Russia this year,” Torres said. “They were brought to us through a professor from NMSU — the Yaoun Yakh, Iugan Kahnty Native Minority. It’s a Siberian minority group and they’re the reindeer culture.” The cooperative — 125 women, 100 men — makes such items as coiled split cedar root baskets, fur purses and boots, and birch bark boxes. One of the market standards is that the work be highly authentic to the culture, but the market staff also looks at marketability. “There’s a serious investment on their part and our part,” Torres said. “But you don’t know how people will respond, you don’t really know. Fur can be an issue for people, but this is really part of their lifestyle. They’re not doing something as a luxury item.” Market staffers, however, definitely have a handle on “old favorites” among the folk artists who are still showing. “There are artists who have been with us since near the beginning,” Torres said, including Ousmane Macina of Mali who lives in Santa Fe and makes three-dimensional traditional Mali jewelry in silver and brass. His cousin, Fatim Diallo, does Tuareg painted leatherwork often made into pillows and bags. Another group, MonkeyBiz of South Africa, which does popular beaded animals, didn’t make the cut for the 2010 event, but they are back this year. “When they didn’t

come last year, we heard about it,” Torres said. “Frankly, they didn’t present their best work in their application … it didn’t really show what they were doing very well.” And whether you’re redecorating the house or just buying an item or two, you’ll be doing it under a veritable canopy of what might be the most unique decorations the market has seen, according to market co-founder and creative director Judith Espinar. “Every year we get an idea and we work around that, but we reuse all the things we have bought over the years,” Espinar said, “so the theme becomes kind of an overlay and it ties it together.” This year’s theme? Expect to see an extravaganza of white paper doves everywhere you look and colorful giant paper flowers, some up to 4-feet wide. “The white dove symbolizes the 50th anniversary of the Peace Corps,” Espinar said. “This is being done because there are a lot of return Peace Corps volunteers in New Mexico and they have a very active group.” Espinar said there will be hundreds of white doves. “They’re all being made in the workshop of a very famous paper artist in Mexico, Pedro Ortego, outside Mexico City,” she said. “He is very involved with the traditional paper arts of Mexico.” The doves will include three-dimensional ones and two-dimensional ones, too. Marketgoers can purchase similar doves, ranging in price from $5 to $30. “We’re also using an overlay this year of paper flowers and they’re extraordinary,” Espinar said. The flowers are all made by a Mexico City artist who uses just one name, Sara, and also makes terracitas, crowns of flowers. “We bought as many flowers for the market ambiance booth as we bought to decorate because they’re so beautiful,” Espinar said. The flowers range in price from $5 to $12 for those 2-feet wide; a smaller number of the 4-foot-wide flowers will be available for sale. Espinar said when she first began going to markets in Mexico City nine years ago, many booths were dedicated to flowers and paper decorations. “When you go there now, the only paper things you see are those mass-produced expanding paper things like paper pineapples,” she said. “These flowers we’re going to have for sale are some of the most beautiful examples of paper work still being done in Mexico. It’s really a wonderful representation of this tradition.”





2011 Santa Fe International FOLKART Market

Booth will benefit flood victims of Pakistan
The floods in Pakistan, which began in July 2010 and ran a path of destruction from north to south, wiped out a huge segment of the country, and ultimately affected up to 20 million people. It is said by some to be a worse disaster than if you combined all the other disasters — Hurricane Katrina, tsunami, earthquakes, and volcanoes — together. Inspired by a booth last year, which dedicated 100 percent of its proceeds to helping the artisans of Haiti following their devastating earthquake, the Santa Fe International Folk Art Market organizers decided this year to lend a hand to people suffering in Pakistan. Shine on Pakistan, booth 111 (upper level near the Museum of International Folk Art), will dedicate 100 percent of its proceeds to humanitarian work in Pakistan following the floods, and specifically to the nonprofit group SHINE Humanity, which has been providing critical medical care for flood victims. The idea for the booth came after a lecture by SHINE Humanity doctor and Santa Fe resident Jenny Hartley, who last visited Pakistan in January. Exasperated by the lack of media coverage, Hartley and others held an event at the folk art museum to build awareness. In the audience were market board members JoAnn Balzer and Sylvia Seret. “We were both taken. One-fifth of the country was inundated by water, 20 million people affected and 1.2 million houses damaged, and no one was really paying the kind of attention that should be paid to it. It was of such a magnitude that I felt there should be something,” Balzer said. “I thought the folk art would be a good vehicle to help, and also to put a face on Pakistan through the crafts.” Balzer and co-chair Seret worked hard to bring together a representative sample Lila Handicrafts, Ralli Quilts of crafts from the country, including $10,000 worth of items donated from the Pakistan Embassy and Pakistan Trade Authority. Most of the handicrafts, including jewelry, cotton cot covers, hand-woven textiles, beaded bags and ceramics, have been priced low enough for anyone and everyone to enjoy. Hartley explains that the most difficult aspect of Pakistan’s recovery is that its baseline was already so low, and poverty so extreme. “Many of those affected were barely making it to begin with,” she said. “Then to be hit with flooding… It’s much harder for people to get back on their feet.” As for the organization, Hartley said she was taken by SHINE Humanity’s on-the-ground capacity, and its ability to spend “next to nothing on overhead.” In addition, because of its small size, it is able to successfully partner with other groups in the area, which requires constant monitoring and relationship building. “They say it’s a little organization doing the work of a big organization, and it’s true,” she said. “It’s really all about helping people in a way I’ve never seen in any other organization.”

Get the most out of market
With some basic tips, you can be well-prepared for shopping this year’s Santa Fe International Folk Art Market. The goal? Limit the number of surprises so that your visit to market is an experience to remember. • Chapstick, sunscreen and water. That’s the advice from Kate Wall Ganz, a textile enthusiast and collector who’s been attending every year since the market’s first year in 2003. Take the heat seriously, and if you’re especially fair, wear a hat. The market offers water refills courtesy of the Good Water Company, so make sure to bring a bottle from home. • Take the bus! See how on page 16. • Here’s the schedule for shuttles. On Friday (July 8) for the market opening party, buses depart both locations, beginning at 6 p.m.; the last bus departs Museum Hill to return to the parking areas at 9:15 p.m. There is no public parking on Museum Hill. On Saturday (July 9) buses leave both shuttle locations at about 7 a.m. for the Early Bird Market. Regular market-goers can begin boarding buses at about 8 a.m. On Sunday (July 10) buses depart both locations at 8 a.m. and run throughout the day. On both Saturday and Sunday, the last buses leave the two shuttle locations at 4 p.m.; the last buses from the market to the shuttle locations leave at 5:15 p.m. • Ride your bike! Bike Santa Fe is providing a free bike valet service, starting at 8 a.m. Saturday and 9 a.m. Sunday. Donations are happily accepted. If you ride your bike, though, you have to enter Camino Lejo from Camino Corrales for safety reasons. Camino Lejo is one-way (north) during the market to allow the quickest and safest travel for the public shuttles. • Buy your tickets ahead of time. Call the ticket coordinator at 1-888-670-3655 or 505-984-0799 or go online to There is a $1 processing and handling fee per ticket. Tickets may also be purchased at any of the five Museum of New Mexico shops in Santa Fe, the museum shop at the National Hispanic Cultural Center in Albuquerque, or at one of the five Los Alamos National Bank branch locations — three in Santa Fe, two in the Los Alamos/White Rock area. • Leave Fido at home. No pets are allowed on Milner Plaza by state ordinance. Assistance dogs are allowed, however. • Rain? The market is a rain-or-shine event. No ticket refunds. Most activities take place under cover in tents, anyway. • Don’t forget the museums. Market admission also includes admission to the two museums on site, Museum of International Folk Art and the Museum of Indian Arts and Culture. • Shopping. If you’re just looking, you don’t have to read this one. But our serious shopper, Wall Ganz, had this advice: “I would tell them to get the publication that comes out on Wednesday before market (that’s this one) that tells a little story about each artist and the country they’re from and the goods they’re selling. There’s also a map in there. I read through that and decide which booths I want to go to, and then I circle the numbers of the booths on my map and that’s where I go first. After that, I’ll meander around and see what I like.” Once you find the items you want to buy at the individual booths, you take them to a payment booth — also marked on the booth locator. This year there will be an additional payment tent, which should ease any bottlenecks: two on the lower level, where some twothirds of the folk art booths are located, and one on the upper level. Each tent has about 10 registers. • Getting it home: If you buy something so large it won’t fit on the bus, the market can help you get it home; stop by the information booth on the upper level. Pakmail is on site all weekend. • Finding food. There will be 16 international food vendors this year, and the Museum Hill Café is open during the market as well. Heed this advice from the market’s artist coordinator, Ernesto Torres: “High noon is not the best time to visit the food vendors, but that’s when everyone goes.” So try off hours if you want to get through the line faster.

2011 Santa Fe International FOLKART Market





Republic of Peru


Parking maps
S. C apit o


State Capitol Parking





PERA Building





No parking is available on Museum Hill during the market, including the Friday evening opening party. There are two locations for parking to catch free shuttle buses to the market: 1) PERA/Lamy Building parking lots, just north of the corner of Paseo de Peralta and Old Santa Fe Trail. New this year is overflow parking in the State Capitol Parking Deck, corner of West Manhattan Avenue and Galisteo Street; from there, it’s about two blocks to the PERA/Lamy Building. 2) Park in the lots around the Runnels Buildings of the South Capitol Complex and the Department of Transportation buildings. These lots are between St. Francis Drive, Cordova Road, Cerrillos Road and Alta Vista Street. (If you’re taking the Rail Runner, get off at the South Capitol Station). Bus times: Friday 6–9:15 p.m. (for Market Opening Party) Saturday 7 a.m. (for Early Bird Market) Saturday 8 a.m. (for Saturday Market ticket holders) until 5:15 p.m. Sunday 8 a.m. until 5:15 p.m.

Take the bus!


2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market


International Folk Arts Week Schedule
Check for updates and information on each event. The Arts of Survival: Folk Expression in the Face of Natural Disaster, Gallery of Conscience, Museum of International Folk Art, Museum Hill. Story, page 27. Museum of New Mexico Foundation Shops Sale for International Folk Art Market ticket buyers, through July 10. Buy a ticket at a foundation shop, get one item 15 percent off. Ann Lawrence Collection, 927 Baca St., 11 a.m.-5 p.m. through July 11, an Indigo event honoring folk artists and featuring textiles and clothing from around the world. Pachamama Window Display at La Fonda on the Plaza, Indigo Treasures from Around the World: A Go Indigo! Window Display. Pachamama is at 223 Canyon Road. Seret and Sons, 224 Galisteo St., A Visual Feast of Indigo-Dyed Treasures: A Go Indigo! Window Display Shiprock Santa Fe, 53 Old Santa Fe Trail (upstairs on the Plaza) Indigo Dye in Navajo Weaving: A Go Indigo! Gallery Display Spirit Clothing Store, 109 W. San Francisco St., Japanese Folk Indigo: A Go Indigo! Window Display Touching Stone Gallery, 539 Old Santa Fe Trail, Yoshitaka Hasu Pottery Exhibit, wood-fired pottery Traveler’s Market, DeVargas Center, 1538 Paseo de Peralta, Silver, Silk and Indigo: A Go Indigo! Gallery Display William Siegal Gallery, 540 S. Guadalupe St., Display of Indigo Weavings: A Go Indigo! Gallery Display, 10 a.m.-5 p.m. through Friday (July 8)


Wednesday (July 6) GO INDIGO! Wednesday
All day at participating locations. A city-wide celebration of Indigo to celebrate the U.S. opening of Blue Alchemy: Stories of Indigo. Participating storefronts will be featuring indigo-dyed clothing and art, including galleries listed in ongoing and those below. The Arts of Survival: Breakfast with the Curators, Collection Tour, 8:30-10 a.m. Museum of International Folk Art, $20 Museum of New Mexico Foundation members, $25 Non-members. Call 4761207 for reservations. Felicia Katz-Harris, Curator of Asian and Middle Eastern Collections and Asian artists. Bellas Artes, 653 Canyon Road, Shihoko Fukumoto: MOONLIGHT: A Go Indigo! Gallery Display, 11 a..m-5 p.m. John Ruddy Textiles and Ethnographic Art & Taylor A. Dale Fine Tribal Art, 129 W. San Francisco St. (Second Floor), Indigo Blues/A Selection of Fine Textiles: A Go Indigo! Gallery Display, opening noon-5:30 p.m. Indigo Workshop for Children will Folk Art Market Artist Gasali Adeyemo: A Go Indigo! event, Santa Fe Children’s Museum, 1-3 p.m. 1050 Old Pecos Trail, 505-989-8359 The Arts of Survival: Folk Expression in the Face of Natural Disaster Gallery of Conscience, 1-4 p.m. Museum of International Folk Art, (by admission). Artist demonstrations and hands-on projects, narrative scrolls and shadow puppets. Blue Alchemy: Stories of Indigo, A Go Indigo! Special Event, 7 p.m. Lensic Performing Arts Center. Tickets, 988-1234. Story, page 32. Santa Fe Weaving Gallery, 124-1/2 Galisteo St., Things Indigo! Exhibit of Indigo Textiles: A Go Indigo! Window Display and Talk, Talk by master weaver Irvin Trujillo, 4 p.m. Free

Benefit for Partners in Education Foundation and Santa Fe Arts Commission Artist Exhibit/ Education Program, 6 p.m. Santa Fe Cooking School, 116 W. San Francisco St. Tickets: $250 per person. Reservations: 983-4511 or 474-0240

each sale during then will be donated to the market. How Things Are Made: Korean Paper Making Demonstration Art Santa Fe and Park Fine Art (through Sunday, July 10) at the Santa Fe Convention Center, 201 W. Marcy St. Five artists from South Korea will be demonstrating the traditional art of making Korean paper, known as Hanji. TAI Gallery, 1601B Paseo de Peralta, Nagakura Kenichi Exhibit through July 22, showing a new body of bamboo sculpture. 5 p.m. Friday (July 8), artist reception. Market Opening Party, A Global Gathering Under the Stars, 6:30-9 p.m. Museum Hill

The Arts of Survival: Breakfast with the Curators, Collection Tour, 8:30-10 a.m. Museum of International Folk Art, $20 Museum of New Mexico Foundation members, $25 Non-members. Call 476-1207 for reservations. Dr. Bobbie Sumberg, curator of textiles and costume and representatives from Pakistan Quilt. Casa Nova Gallery, 530 S. Guadalupe St., WWW: The Wonder of Warp and Weft, A Go Indigo! Gallery Exhibit Traditional Spanish Market Artist SelfGuided Tour, 10 a.m.-4 p.m. Find tour information by hitting the purple “link”on the Folk Art Weeks online schedule ( That takes you to the Spanish Colonial Arts site, (, and from there, hit the calendar link and scroll down. Or, call 982-2226 for information. Community Celebration: 50th Anniversary Peace Corps Commemoration and Artist Procession, 5-7:30 p.m. Railyard Park. The event is free and open to the public. From 7:30-9 p.m. West African Highlife Band and Meet & Greet market artists. Story, page 21.

Thursday (July 7)

Saturday, (July 9)
Santa Fe International Folk Art Market, 7:30 a.m.-5 p.m., Museum Hill. Gallery Talk noon, 2 p.m. with exhibit artists, Museum of International Folk Art Brilliant Soil, 4 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338, documentary film screening. Followed by Q&A. 5 p.m. Travel Bug, 839 Paseo de Peralta, Nigerian Indigo and Oshogbo Art: A Go Indigo! Talk. Slide show and talk by Victoria Scott.

Sunday (July 10)

Circo, at The Screen, 1600 St. Michael’s Drive at the Santa Fe College of Art and Design, Call 505-473-6494 for show times. Patina Gallery Breakfast Reception, 10 a.m., 131 W. Palace Ave. Join Patina Gallery owner and international folk artist Ivan Barnett for an intimate conversation about his relationship with the worldrenowned collector Alexander Girard. Tom Maguire, former director of Arts and Cultural Tourism for the City of Santa Fe, will also give a brief talk. Ten percent of

Friday (July 8)

Santa Fe International Folk Art Market Family Day, 9 a.m.-5 p.m., Museum Hill Gallery Talk 11 a.m., 2 p.m. with exhibit artists, Museum of International Folk Art Book reading 11 a.m. My Sisters Made of Light, Travel Bug, 839 Paseo de Peralta, Jacqueline St. Joan will be discussing her novel. Brilliant Soil 8 p.m. Center for Contemporary Arts, 1050 Old Pecos Trail, 982-1338.





2011 Santa Fe International FOLKART Market

International Folk Arts Market Entertainment Schedule
Saturday (July 9)
7-9 a.m. Mario Reynolds, Andean Flute 9-9:20 a.m. Monks of the Drepung Loseling Monastery, opening blessing and chanting from Tibet 9:30-10 a.m. Michiko Pierce, Japanese Shigin chant 10:15 -10:45 a.m. Monks of the Drepung Loseling Monastery, Tibetan dances 11:15 a.m.-noon Los Jaraneros del Valle, Son Jarocho folk music from Mexico 12:30-1:40 p.m. West African Highlife Band, music from Nigeria 2-2:45 p.m. Al Najoom Troupe, dance from Oman 3:15-4:30 p.m. Savor, Cuban street music Odigba Adama, African diaspora dance and drums

Sunday (July 10)
10-10:15 a.m. Monks of the Drepung Loseling Monastery, opening blessing 10:30-11:15 a.m. Saudade, music from Brazil and Cape Verde 11:30 a.m.-12:15 p.m. Al Najoom Troupe, dance from Oman 12:30-1:15 p.m. Los Niños de Santa Fe, dance from Mexico 1:15-1:45 p.m. Quang Minh Buddhist Youth Lion Dance Team from Vietnam 1:45 - 2 p.m. Peace Corps presentation from Mayor Coss 2:15-3 p.m. Goddess of Arno, Balkan folk music 3:30-4:30 p.m. Odigba Adama, African diaspora dance and drums

Other activities Saturday (July 9)
11 a.m.-noon Dance and Music Workshop with the West African Highlife Band. Highlife-style songs and rhythms from Nigeria. Auditorium, Museum of International Folk Art Market Noon, 2 p.m. Gallery talk and tour with curator Dr. Suzanne Seriff and exhibition artists — Gallery of Conscience, The Arts of Survival: Folk Expression in the Face of Natural Disaster 3 p.m. Traditional Music and Dance with Al Najoom Troupe from the Ja'alan Bani Bu Ali region of from the Sultanate of Oman. Auditorium, Museum of International Folk Art Market

What to eat
Agapao Coffee Anasazi Roasted Corn Angel Fire Gourmet Nut Co. Annapurna’s Bernie’s Quick Dog Cleopatra Café Cowgirl Hall of Fame Ethopian Kitchen Jambo Café Molly's Crepe Nath’s Khmer Cuisine Pizza Van Go Platero Fry Bread Posa’s Reid’s Concessions Roque’s Carnitas Taos Cow

Sunday (July 10)
9 a.m.-4 p.m. Passports for Kids! Follow the yellow footprints to travel the world! After receiving a passport, children collect flag stickers from each of 49 countries they. This program strives to awaken children’s (and their parents!) awareness about the many countries and cultures at market. 11 a.m., 2 p.m. Gallery talk and tour with curator Dr. Suzanne Seriff and exhibition artists — Gallery of Conscience, The Arts of Survival: Folk Expression in the Face of Natural Disaster





2011 Santa Fe International FOLKART Market






Opening Thursday July 7 11am-5pm

July 5th thru August 13th Chief Oloruntoba tapestries



The Design Center 418 Cerrillos Road between Cerrillos & Sandoval, 1 block East of the Train Depot 11am-5pm Tuesday- Saturday • 505-955-1984 • www.drogerscollection


2011 Santa Fe International FOLKART Market

From left, Amber Gray, Peace Corps volunteer in Guatamala from 1985-1987, shares her experiences at a 50th anniversary celebration earlier this year in Santa Fe.


Returned volunteer Judith Espinar, a co-founder of the Santa Fe International Folk Art Market


BY ZÉLIE POLLON When the National Peace Corps office set out to organize its 50th anniversary celebration, its vision included a handful of cities, each with an auditorium, 200 chairs and a podium for speakers, said New Mexico Peace Corps coordinator Alan Burrus. “I said, ‘No, no, that’s not the way we do it in New Mexico!’” Instead, Burrus’ vision of the Peace Corps celebration was right away linked with Santa Fe’s International Folk Art Market, a favorite among returned Peace Corps volunteers. Since the market began, Returned Peace Corps Volunteers, or RPCV, have volunteered at the market in various capacities, connecting with people from the countries where they served, putting rare language skills to use and bringing their dedication to service back home to New Mexico.
The festivities in New Mexico will be the final of nine Around the World Expos celebrating the Peace Corps’ 50 years in service, and could draw volunteers from around the region. It promises to be a raucous, four-day celebration, directly integrated into the market’s festivities. It will include an opening day procession at the Railyard with folk artists from around the world in traditional garb (arriving by train!), out on a lawn with ethnic food vendors, live music, followed by formal dinners with distinguished speakers. “A commemoration sounds like a wake, so we’re calling it a commemoration celebration event. We’re hitting it multiple ways, multiple days and with multiple events,” Burrus said. “You can see how this isn’t fitting their model of a room, a podium and 200 seats!”

Railyard event honors Peace Corps volunteers, celebrates market
María Balvina Contento Ambuludi, La Mega Cooperativa de Saraguro, Ecuador; Linda Belote, Peace Corps volunteer in Ecuador with the Saraguro who has been instrumental in helping form La Mega Cooperativa de Saraguro Rkia Ait El Hasan and Khadija Ighilnassef, Jamaiate Tifawin (Association of Light), Morocco; Peace Corps member, Catherine M. LaBore Jaakhankhuu (Janna) Grisha, Gerelkhuu Ganbold, Tuul Sanjdorj and Narantsetseg (Nara) Sambuu, Hovsgol Park Cooperative; Peace Corps member (retired), Melinne Owen and family, particularly, her sister Claudia Rector Marie Prisca Virgini Ramanaliniaina, Association SAHALANDY, Madagascar; Peace Corps member, Natalie Mundy Amina Yabis, Women’s Button Cooperative of Sefrou, Morocco; Peace Corps member (retired), Gregg Johnson By merging the “commemoration celebration” with the market, the event also embodies the overarching goal of the Peace Corps, which is “the timeless work of making it a peaceful and prosperous world,” said National Peace Corps Association President Kevin Quigley, who will be one of the distinguished guests joining the event in Santa Fe. The market is similarly based on a more global vision of community, and on principles of economic and cultural
2011 Santa Fe International FOLKART Market 21

Community celebration
Free community celebration 5-9 p.m. Thursday (July 7) at the Railyard Park in the Santa Fe Railyard. 5 p.m. Peace Corps Around-theWorld Expo 6:10 p.m. Kevin Quigley, president, National Peace Corps Association 6:40 p.m. International Folk Art Market Artists Procession 7:30-9 p.m. West African Highlife Band. Meet and Greet market artists.

Remember, there is no such thing as a “former”Peace Corps Volunteer. “We’re returned, and part of our goal is to continue the service developed during our time away, and bring it back into our communities. Part of that is through our work with the folk art market.”

Alan Burrus, who worked for the Peace Corps in the Tonga Islands from 1967-1970, looks back at photos of his time there.


sustainability for communities around the world. It is not by chance that returned volunteers see the market as a perfect extension of their Peace Corps work. Remember, there is no such thing as a “former” Peace Corps Volunteer. “We’re returned,” Burrus said, “and part of our goal is to continue the service developed during our time away, and bring it back into our communities. Part of that is through our work with the folk art market.” Take John Vavruska who volunteered in Nepal from 1983 to 1985, working in water sanitation and supply. Twenty years later Vavruska, a chemical engineer and water consultant for two decades, visited his former Peace Corps home and learned the system he had put in place was in dire need of repair. Back in Santa Fe he was able to raise the funds needed — about $2,300 through private donors and an organization called Waterlines. Two years later the system was mostly repaired and extra funds were put into building latrines for schools in the nearby village. He says he’s typical of Peace Corps volunteers, who not only bring their service home, but often stay connected with the site of their service. It’s the love of the people, place and language that drew Vavruska and his wife to the folk art market where, for the past two years, he has volunteered at the booth of a Nepali women’s cooperative. “These women were painting on the sides of their houses,” he said. “A woman volunteering in the area got them to start painting on paper, simple scenes of fields, elephants, daily life …Now these women are making some decent money, and they have gained more status in their community because they are income generators.” Vavruska says it’s his respect for the country and incredible rapport with the artist that keeps him coming back to volunteer, a service he’ll perform “as long as they’ll have us,” he says. President John F. Kennedy first presented his idea for a corps of volunteers during a speech to students at the University of Michigan in 1960. He challenged students to promote peace and American good will by serving their country abroad, and the following year he signed an executive order making the Peace Corps an official arm of the federal government. Since then, more than 200,000 volunteers have served in 139 countries to work in areas from AIDS education, to literacy, agriculture, technological and business development. Today’s volunteers are as likely to work in remote villages with no running water as they might be to dress in a suit and enter a 24-story office building to work in computer technology, said Quigley. The average age of volunteers is 28, with 7 percent over the age of 50, and more than 90 percent of them single. The Peace Corps hit its height in the late 1960s drawing up to 16,000 volunteers who wanted to work abroad. That number dropped to around 6,000 by the 1970s, and the corps has been trying to rebuild those figures ever since. The current number of volunteers is 8,655 — a “high water mark” – serving in 77 countries, but Quigley fears that number might be unsustainable with current federal budget cuts, which this past November reduced the Peace Corps budget by $26 million. “The Peace Corps budget for fifty years has been a total of $7.8 billion dollars, the same amount the Defense Budget burned through in about five days! It says something about the priority our country spends on peaceful engagement as opposed
22 2011 Santa Fe International FOLKART Market

to supporting the military establishment,” Quigley said. Either the number of countries or the number of volunteers will most likely have to be reduced. “We’re in a horn of a dilemma,” he said. Fluctuating Peace Corps numbers have often been a factor of the organization president of the time, and the president of the United States, to whom the Peace Corps head directly reports. For example, numbers of volunteers plummeted during the Nixon era. Yet, despite vocal support by President Obama — during his campaign he pledged to double the Peace Corps to 16,000 by its 50th anniversary and push Congress to fully fund this expansion, especially in Latin America and the Caribbean — it seems numbers could still fall because of budget cuts. The impact of the Peace Corps cannot often be measured. Burrus said he returned to Tonga for an anniversary celebration many years after he completed his service from 1967-1970. An official in charge of the program thanked the volunteers for the buildings they built and the schools they helped create, then went on to describe what he felt was the real benefit of the Peace Corps volunteers: “In Tonga we appreciated all the skills, but the thing we appreciated the most, was that you were the first people who came and lived like us and spoke our language. What you gave us was respect and respect for ourselves,” Burrus recounted. Current budget cuts not withstanding, it seems that as long as there is a Peace Corps, there will be volunteers wanting to participate. Debbie Higgs might be typical of current volunteers: young people who have never ventured out of the United States, and who would like a structured program to help them explore the world. Higgs, 20, originally from New Jersey, both graduated from St. John’s College in Santa Fe and received her official Peace Corps nomination in May. She’ll be heading to Sub-Saharan Africa, where she guesses she’ll work in community service and AIDS-HIV prevention. “It’s pretty amazing that their mission statement is to promote world peace and friendship,” she said. “That’s a good thing to get involved with.” The Folk Art Market and the Peace Corps may be forever intertwined as it was a Returned Peace Corps Volunteer, inspired by the folk art she saw during her 20s in Mexico and fed by her service in Peru, who helped launch the market years ago. Current market creative director Judith Espinar encourages and is honored by the participation of other returned volunteers who contribute to the successful experiences of the market artists. “It is particularly gratifying that many individuals associated with the Peace Corps look at the market’s work as a premier example of the Third Goal, ‘Bring it Home,’” she said. “The market shares this honor with Returned Peace Corps Volunteers everywhere who believe in the power of the individual to make this a better world.”

Parking at the Railyard

2011 Santa Fe International FOLKART Market



2011 Santa Fe International FOLKART Market

s p e c i a l e v e n t s at t h e F O l K a R t m a R K e t

Lilybead & the Lake Atitlan Weavers Lilybead is an organization which designs and creates beautiful beaded jewelry on the shores of one of the most stunning lakes in the world. Developing a means of support for the indigenous Mayan women that live around the lake, Lily gets more and more women involved in creating these colorful beaded bracelets using the ancient weaving traditions that the Mayans believe connect us all!!! A large selection of bracelets, earrings and necklaces from this group will be available at a special show at the Museum of International Folk Art Gift shop during the International Folk Art Market. Shop Friday, Saturday and Sunday 10:00am – 5:00pm.

Global Girlfriends Stacy Edgar, author of Global Girlfriends will be signing her book at the International Folk Art Museum Book Store from 2:00–3:30pm on Saturday, July 9th during the market. Stacey Edgar started Global Girlfriend in 2003 as a way to provide economic security for women in need by creating a sustainable market for their products. Stacey has been honored by the Microsoft Corporation as a recipient of the company’s “Start Something Amazing” awards, and is a sought-after speaker on the topics of women in the global economy, fair trade, sex trafficking, market and enterprise development, cause marketing, entrepreneurship, and parlaying your passion into your career. She lives in Colorado with her family. Huichol Artwork Huichol artists Rosy Valadez, Cilau Valadez, Susana Valadez will be demonstrating and presenting their artwork at the Colleen Cloney Duncan Shop at the Museum of Indian Art & Culture Saturday, July 9 and Sunday, July 10 during the shop hours.

Coleen Cloney Duncan Shop at the Museum of Indian Arts & Culture Museum of International Folk Art Gift Shop

2011 Santa Fe International FOLKART Market



American Painting and the Photograph
217 Johnson Street, Santa Fe 5O5.946.1OOO

Open Daily 1O AM–5 PM Open Until 7 PM, Thursday – Saturday
FREE 5–7 PM First Friday of Each Month

Cindy Sherman is here.
Norman Rockwell is here.

Georgia O’Keeffe is here.
Alfred Stieglitz is here.

Andy Warhol is here.
Chuck Close is here.


2011 Santa Fe International FOLKART Market

Cindy Sherman, Untitled (#213), 1989. Color photograph, 41 ½ x 33 in. Courtesy of the Artist and Metro Pictures.

Shared Intelligence:

Portable altars Ralli quilters from relief camps in Hyderabad, Pakistan

Admission to the Museum of International Folk Art, on Museum Hill, is free with your ticket to the Santa Fe International Folk Art Market. Otherwise, the museum is open daily from 10 a.m.-5 p.m., 5-8 p.m. (free) on Fridays through Sept. 2, except for Friday (July 8). Admission is $6 for New Mexico residents, $9 for non-residents. Youth under 16 are free and students with ID receive a $1 discount. Wednesdays are free for New Mexico seniors with ID, and Sundays are free for New Mexico residents with ID.

BY ZÉLIE POLLON The world is certainly experiencing its share of natural disasters these days. Tsunamis, earthquakes, wildfires and record tornadoes are the most dramatic of the events we’ve seen in recent months. Other climate change events, including changing rain patterns or prolonged drought show up in more incremental ways, thus with less media coverage.
Yet throughout, meaning before the sun rises and after it sets, whether it rains or the wind blows, people who make art will continue to do so. They make art as a means of survival, as a means of cultural preservation, and as a means of maintaining hope. This month, the Museum of International Folk Art’s Gallery of Conscience will open The Arts of Survival: Folk Expression in the Face of Natural Disaster exploring how folk artists help their communities overcome natural disasters. It will be the gallery’s second such exhibition, following last year’s Empowering Women: Artisan Cooperatives That Transform Communities. Using the four elements — earth, water, wind and fire — as guideposts, curators chose to feature arts that emerged from the earthquake in Haiti; the floods in Pakistan; America’s Hurricane Katrina, and the volcanic eruption of Mount Merapi in Indonesia. “The challenge is that we want to work with these disasters while they’re still meaningful in everyone’s mind. At the same time, there has to be some distance for the artist to have a chance to recover and to cope,” said Marsha Bol, director of the Museum of International Folk Art. “So the challenge was to select a disaster where we could actually make contact with artists or people working with them. It is sad to say, we had so many disasters to choose from.” Indeed it is difficult to keep up with the disasters occurring around the world. Since the choices were made, an earthquake and tsunami devastated

Art from on high
At the Museum of International Folk Art, across from the survival exhibition, is yet another amazing display of folk art. The Folk Art of the Andes exhibition, curated by Barbara Mauldin, was five years in the making, and includes a range of artwork from the countries along the north and western coast of South America, including Argentina, Colombia, Peru, Bolivia, Chile, Venezuela and Ecuador. Displayed are clothing, home objects, metal work, and toys; a room on religious folk art includes portable altars, sculptures and amulets. A wonderful collection of festival wear, including videos, masks and an interactive spot where visitors can make personal appeals using magnetic milagros add charm to the exhibit. Folk Art of the Andes, which opened in April, will run through early October 2012.

Folk Art of the Andes, by Barbara Mauldin (Museum of New Mexico Press) is a comprehensive look at the artistic legacy of the highland region of South America. With more than 400 color photographs, the book is a significant contribution to understanding the art and artists of the Andes. Photography is by Blair Clark. It’s a wonderful keepsake of the landmark exhibition now showing at the Museum of International Folk Art.

2011 Santa Fe International FOLKART Market


Walk into aWorld of Style
The Beat Goes On cool consignment
333 Montezuma at Guadalupe (near the Rail Runner) Santa Fe, NM 505.982.7877 clothes accessories books and more • art to wear...

Japan, and devastating tornados blew through Southern states in the United States. Regardless of the disaster featured, the response is what has been captured, showing examples of how folk art has helped rebuild, establish hope and remember each catastrophe. “What I’m interested in is the way in which traditional artists survive and help each other,” said exhibition curator Suzanne Seriff, also chair of the selection committee for the Santa Fe International Folk Art Market. “(After disasters,) many are left without jobs and homes. Traditional artists pick up what they have traditionally done and use their art and creativity to try to sell their art and use their money for economic recovery, but also to provide warmth and comfort, to reestablish a kind of identity, to memorialize, and in countries where they pray to spirits, it becomes an offering, a way to pray.” In Indonesia, for example, the more recent explosion of Mount Merapi, the iconic natural treasure and island backdrop, was integrated into local art forms such as puppetry, an Indonesian tradition. Shadow puppets are ornately carved from thin pieces of leather or cloth and are used to tell stories behind lit backdrops, with performances sometimes lasting through the night. The people and their cultural and natural artifacts are so connected, that during the eruption, people looked at the clouds. They noticed the cloud resembled a popular shadow puppet figure named Petruk with a great big nose, Seriff said. They named the 2010 eruption Hot Petruk Cloud. Tens of thousands of people were displaced by the Hot Petruk Cloud, many moving into government camps. In the camps, master puppeteer Ki Enthus Susmono would bring his puppets, incorporating positive messages of hope into his performances. “He would tell people to rise up, to not let this get you down, keep going,” Seriff said. Similarly, after Hurricane Katrina in 2005, images of nature’s force became integrated into carnival masks, quilts, scrolls and paintings. The disaster was memorialized in documentaries and in photographs, and it has stained the resolve of all who lived through it. Hurricane Katrina also was chosen for the exhibit so as not to “exoticize” natural disasters by placing them far from home, Seriff said. Haiti’s earthquake in early January 2010 killed an estimated 316,000, injured 300,000 more, and left up to a million residents homeless. Last year the folk art market dedicated a booth specifically to raising funds for survivors of the earthquake, some of whom also were market artists. When Seriff began organizing the exhibit, she initially considered an exhibition solely about Haiti. But how to focus on just one catastrophic event when so many were pounding communities around the globe? In fact, 2010 was noted as having the most and most deadly natural disasters on record. And that was before the natural disasters of 2011 began. Another event caught Seriff ’s attention, as perhaps the greatest tragedy of the disasters cited. Beginning in late July 2010, floodwaters began to rise in northwest Pakistan. The water moved slowly — at least slowly for a 24-hour news cycle — but didn’t stop rising until it had affected some 20 million people. The waters spread over croplands, ending any possibility for a planting cycle in the agricultural region, and forcing people, already living in dire poverty, to carry whatever belongings they could and head to drier land. “We learned that when people fled from their homes, what they saw as most important and what they took with them, were these ralli quilts,” Bol said. “They use them as bedcovers, for warmth, for wrapping up their goods. In one of the camps, women started making ralli quilt tops out of clothes that had been donated to them, perhaps clothes that weren’t going to be appropriate for them. They were making quilts to sell to make some money and to try to recover.” The ralli quilts are beautiful pieces, often with geometric patterns of triangles and squares. For many who might never return home, these quilts now are their only means of income and possibly of warmth. “Twenty percent of the country was wiped out, including farmland and crops, so people missed their planting season. Very few people have had the resources to rebuild and great swaths of the country are still camping out because their homes have been destroyed,” Seriff said. Besides the exhibit, a special booth at this year’s market will be dedicated to raising awareness and funds for Pakistan’s unprecedented and ongoing disaster. The Arts of Survival opened Sunday and will run through May 6, 2012. Many of the artists will be coming for the opening of the show and then staying on to conduct demonstrations and workshops during the week, and also participate in the market itself.


2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market



Laboratory of Anthropology
Water kiosk & drinks Santa Fe New Mexican

2 0 1 1 S A N TA F E I N T E R N AT I O N A L

Portable Restrooms

1 Janet Nkubana, Muteteri Michelline, Kankindi Pricilla, Muteteli Michelline Rwanda 2 Rkia Ait El Hasan and Khadija Ighilnassef Morocco 3 Erkebu Djumagulova Kyrgyzstan 4 Agustín Cruz Prudencio and Agustín Cruz Tinoco Mexico 5 Elizabeth Balindile Lindeni Bhengu South Africa 6 Tavus Khaidova Turkmenistan 7 Pompeyo Berrocal Evanán Peru 8 Tatiana Mikhailovna Kelmina and Yegor Pavelovich Kelmin Russia 9 Matluba Bazarova Uzbekistan 10 Agnes Keripa Papatiti Kenya 11 Bertha Medina Aquino Peru 13 Amalia Gue / Ixbalamke Cooperative Guatemala 14 Matron Mwembe Zimbabwe 15 Javlon Khoshimov Uzbekistan 16 Amina Yabis Morocco 18 Rustam Usmanov and Damir Usmanov Uzbekistan 19 Firdose Ahmad Jan and Bashir Ahmad Jan India 20 Maigualida Edith Martínez Nuñez, Evelyn Martínez Medewa Cooperative Venezuela 21 Shohel Abdulsattar Khatri India 22 Nargis Bekmuhamedova Uzbekistan 23,24 Raúl Ayala Carrasquillo, Felix Martínez and Jaime Zayas Medina Puerto Rico 25 Angel Ortiz Gabriel and Jose Angel Ortiz Arana Mexico 26 Somporn Intaraprayong and Ampornpun Tongchai Thailand 27 Orijyn/Saoban Lao PDR 28 Bernardo Pedro González Paucar Peru 29 Ique Etacore de Picanerai Bolivia 30 Shokir Kamalov and Shavkidin Kamolov Uzbekistan 31 Mathapelo Ngaka South Africa 32 Teofila Servín Barriga Mexico 33 Mamur Rakhmanov Uzbekistan 34 Mariano Valadez Navarro Mexico 35 Chamanlal Premji Siju India 36 Inocencia Hernández Ramírez Mexico 37 Gasali O Adeyemo Nigeria 38 François Fresnais and Sylvie Fresnais France 39 Haiger Sana and Khadra Elsaneh Israel 40 Muhammad Yousaf Pakistan 41 Bibi Shaista Pakistan 42 Mireille Delismé Haiti 43 Mehmet Cetinkaya Gallery Turkey 44 Ousmane Papa Macina and Fatim Diallo / Mali Artist’s Cooperative Mali 45 Ida Bagus Anom Suryawan Indonesia 46 Toyin Jelili Folorunso Nigeria 47 Ikhtiyor Kendjaev Uzbekistan 48 Lesia Pona Ukraine 49 Serge Jolimeau Haiti 50 Ngang Ignatius Fru Cameroon 51 Moussa Albaka and Houa Albaka Niger 52 Ana Vargas de Espinoza and Patricio Mamani Franciscano Bolivia 53 Asatulla Yuldashev Uzbekistan 54 Ramu Devraj Harijan India 55 Akeem Ayanniyi Nigeria 56 Pastora Asuncion Gutiérrez Reyes and Violeta Vásquez Gutiérrez Mexico 57 Alba Rosa Sepúlveda Tapia and Wilfredo Alejandro Arriagada Sepúlveda Chile 58 Macedonio Eduardo Palomino Torres and Luzmila Huarancca Gutiérrez Peru 59 Angeline Bonisiwe Masuku South Africa 60 Gui Wu China 61 Yuzhen Pan China 62 Rebecca Lolosoli Kenya 63 Cecilia Bautista Caballero Mexico 64 Tri Suwarno Indonesia 65 Mairam Omurzakova Kyrgyzstan 66 Octaviano Chamarra Membora and Alina Itucama Negria Panama 67 Julián Pariona C., Teófilo Araujo Choque, Vidál Gutiérrez Cordero, Mabilón Jiménez Quispe and Eleudora Jiménez Quispe Peru 68 Jasur Allanazarov Uzbekistan 70 Alisher Muzafarovich Khaydarov, Mansur Muzafarovich Khaydarov Uzbekistan 71 Gurupada Chitrakar and Rupban Chitrakar India 72 Naina w/o Sadhumal Surendar Valasai Pakistan 73 Bhutan Karma Collective Bhutan 74 Abdul Rahim Khatri India 75 Fatullo Kendjaev Uzbekistan 76 Rasuljon Mirzaahmedov Uzbekistan 79 Marina Valera Rojas Peru 80 Tadeusz Kacalak and Magdalena Hniedziewicz Poland 81 Luis Méndez López/Craftsmen’s Luis Méndez Spain 82 Marie Prisca Virgini Ramanaliniaina Madagascar 83 Guadalupe Hermosillo Escobar Mexico 84 Haider Ali (or Ejaz Moghul) Pakistan 85 Stephanie Valentin and Suzette Jean-Baptiste Haiti 86 Art Aids Art South Africa 87 Sayfullo Majidov and Murod Sharapov Uzbekistan 88 Ebenezer Djaba Nomoda Ghana 89 Oksana Kononova Kyrgyzstan 90 Bobir Djumaev Uzbekistan 91 Mara Britz and Kristina Shitoka Ndimbi Namibia 92 Jaakhankhuu (Janna) Grisha, Gerelkhuu Ganbold, Tuul Sanjdorj, Narantsetseg (Nara) Sambuu, Amangul Karimbyek Mongolia 93 Nurse Thembeni Mdluli Swaziland 94 Hilario Alejos Madrigal Mexico 95 Leyli Khaidova Turkmenistan 96 Sita Devi Karna Nepal 97 Marie Bernard Pascale Faublas and Robert Volel Haiti 98 Asif Shaikh India 99 Yusufjon Sabirov Uzbekistan 100 Aboubakar Fofana Mali 103, 104 Remigio Mestas Revilla, Nicolasa Pascual Martínez, Luisa Jiménez Cubas Mexico 105 Serzhan Bashirov Kazakhstan 106 Mario Alfredo Calderón Velásquez Venezuela 107, 108 Fatima Mohamed Al Musheiki, Zaina Shaaban Al Noobi, Houda Salim Mohammed Al Hashmi, Sagheira Maqmash Al Wahaibi, Ali Abdullah Mohammed Al Kindy Sultanate of Oman 109, 110 Carlos Alberto Cáceres Valladares, Cenia Gutiérrez Alfonso, Roberto Domingo Gil Esteban Cuba 111 Shine-On Pakistan Pakistan 112 Jabulile Nala and Thembile Judicious Nala South Africa 113 Alfonsa Horeng and Marlina Ida Merisi Indonesia 114 Hadiza Mahe Niger 115 Claudio Jiménez Quispe and Vicenta Flores Autaucusi Peru 116 María Balvina Contento Ambuludi Ecuador 117 Self Help Enterprise (SHE) India 118 Jorge Moscoso Pesantez Ecuador 119 UNESCO Award of Excellence Program Southeast Asia 120 UNESCO Award of Excellence Program South Asia 122 ARZU Studio Hope (ARZU, Inc.) Afghanistan 123 Michée Ramil Remy Haiti 124 Kakuben Babubhai Ahir, Deviben Khodabhai Rabari, Dhanuba Jadeja India 125 Karim Oukid Ouksel Algeria 126 Nilda Callañaupa Álvarez and Juana Pumayalli Peru 127 Yangsom Lobsang / Shangrila Association of Cultural Preservation China (Yunnan Tibetan Plateau) 128 Rangina Hamidi, Fareba Durrani Afghanistan 129 Hamdi Natsheh Palestinian Territories 130 Ben-Zion David Israel 131 Rong Xiang Lu China 132 Ignacio Punzo Angel, Jose German Punzo Nuñez, Ignacio Gabriel Punzo Nuñez, Jose Rosaldo Punzo Nuñez Mexico 133 Bongukufa Alfred Ntuli and Zenzomuhle Zobakuphi Mbhele / Amangwe Beaded Bergville Dolls Project South Africa 134 Kadyrkul Sharshembieva and Farzana Sharshenbieva Kyrgyzstan 135 Bernardina Rivera, Herlinda Morales and Marcelo, German Montoya Mexico 136 Elhadji Mohamed Niger 137 Phaeng Mai Gallery Lao PDR 138 Abdullo Narzullaev Uzbekistan 139 Sibusiso Zenzele Gumede South Africa 140 Chantha Nguon Cambodia 141 Beauty Ngxongo South Africa

Volunteer check-in/ hospitality International food bazaar

141 140 139 138 137 136 Ice cream, roasted nuts 135 134 133 132 131 130 129 128 127 126 125 124
PAK Mail

New York Times

Rest area UNESCO Award of excellence 120 119 Payment area 118 117 116 115 114 109 110 111 112 113

Entertainment stage

123 122 Ambiance Sales
Information Peace Corps Best of the Best

Museum of International Folk Art
Drinks Hands-on workshops

103 104 105 106 107 108
Water Kiosk



Museum of Indian Arts and Culture Elevator


Fruit drinks & soft drinks & water

PASSPORT program (Sunday only)


Museum Hill Café


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92 91 90 89 88 87 86 85 84 93 94 95 96 97 98 99 100 VIP/press check in Admissions Portable restrooms

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Payment area
The New Mexican


Bike Santa Fe Bike Valet



2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market


Film features global indigo rebirth

Above photos, Mali Aboubakar Fofana
32 2011 Santa Fe International FOLKART Market

There are amazing things about indigo, the dye, the plant and the tradition, that I never knew. Big, important things, such as the fact that indigo production underpinned the slave trade in the American South before the Revolution; or that the color, in hues of deep blue, imbues health and well-being; that the Indigo Revolution was about farmers in India refusing to cultivate the plant when so many were lacking rice; or that in different corners of the world, people create the natural dye with varying technique and tradition, but all with the same love and attention one would give to attending a child. These details and more are the subject of a new documentary by New Mexico resident Mary Lance that will show during International Folk Arts Week as a benefit for the Santa Fe International Folk Art Market. Blue Alchemy; Stories of Indigo, traces the history and production of indigo dye, from cultivating the plant, varying Aboubakar Sidik Fofama, Mali, Booth 100 processes of creating the dye itself, and Samporn Intaraprayong and the importance of indigo in history, its Ampornpun Tongchai, Thailand, Booth 26 disappearance and now, re-emergence. Lance follows the renewal of an indigo Gasali O Adeyemo, Nigeria, Booth 37 movement, with people still wed Remigio Mestas, Mexico, Booth 103,104 to the notion of natural products, Amalia Gue, Guatemala, Booth 13 tradition, and the spiritual importance of this special color blue. Some of the practitioners are lyrical in their descriptions of their work, as reverent and humble as the religious following God. Take Hiroaki Murai of Japan, who wants nothing more than the compost he produces to create a beautiful color. “That is my dream. I still don’t have a lot of experience with my job, so I wonder if I am doing good work. I worry that because of my lack of technique, the cloth dyed with this compost might fade in 50 or 100 or 200 years. I think of that often. Perhaps I can’t make a good enough color in my lifetime. But I believe that something cared for with this much affection and love will live forever.” Lance was first inspired by indigo in the late 1980s after hearing a lecture on textiles. The multiple-step process, the different traditions and the passion of those who worked with the dye finally came together in her “labor-of-love” film, which she began working on in 2005. “It’s a beautiful color that has attracted people for thousands of years. The popularity of blue jeans demonstrates that it still attracts us,” she said. While some of its history is dark, Lance said that recent projects are being used to improve the environment and provide paying work for people in developing countries. The renewal of the indigo tradition is visible throughout this year’s market in art displayed in booths from Thailand, Nigeria, Mali or Mexico. In fact, Nigerian artist Gasali O Adeyemo, who lives in Santa Fe, joined Lance filming in Nigeria and brings his beautiful blue fabrics to the market. For Adeyemo, indigo blue is not just a color but a power, a power to heal illness and to send away bad spirits. “Sometimes people tell me that the blue from the fabric has run on my skin, I tell them, ‘Yes! It’s good for you because the dye will send sicknesses or allergies away. If there is something you don’t want near your body, or on your skin, or in your spirit, it will keep it away,” Adeyemo said, adding that the color is also used to paint on houses as a way to keep unwanted spirits at bay. Thousands of miles away in Thailand, artists share a similar spiritual belief in the dye. “It has magical powers to heal,” said Vichai Chinalai, who works with a women’s collective in northern Thailand. The head of the cooperative in Sakonnakorn, Thailand, tells him that since she has been working with indigo both morning and afternoon, “her mind and her behavior have become more calm and peaceful,” he said. “She says it’s like her children, because she has to look at them every day and see what they need. It’s alive. You have to keep feeding it, and notice what it needs to keep it alive.”

Indigo at market

From the top, Thailand Somporn Intaraprayong, Nigeria Gasali Adeyam, Mexico Remigio Mestas Revilla

2011 Santa Fe International FOLKART Market


The anthropomorphic nature of indigo echoes through Lance’s film, as if it is only through its critical, attentive care that it will draw breath and come to life. According to indigo historian Jenny Balfour-Paul, the word indigo derives from Greek indikon, or the Latinized indicum, meaning a substance from India. From there the dye spread across the globe eastwards to Southeast Asia, westwards to the Middle East, then to Africa, Europe and Latin America. It is a hue found somewhere on the spectrum between blue and violet, and has been called by names Nil, Ai Zome and Aro. The dye is derived from the indigo plant, which grows in hot, humid climates, and can also be extracted from related species such as Woad, commonly used for the blue dyes in Europe. The process is painstaking, involving numerous steps, immense time and strength. There is mixing and stewing, chopping and brewing, plus the additives that make cultures unique. In Mexico, a woman puts in a cloth talisman of a baby; in Japan, a maker adds a half bottle of Sake. Japanese methods entail creating a kind of compost, which is then soaked. In India, it is a huge vat of water, oxygenated and then drained, the sediment on the bottom of the pool ultimately congealing into bright cubes of blue hue. In Nigeria, women cover balls of crushed indigo plant with wood ash and let it sit for seven days. The variations from culture to culture are amazing, but the devotion is exact from country to country. The demand for indigo increased considerably during the industrial revolution and the popularity of Levi Strauss blue jeans, which originally used natural indigo dye. By the turn of the century a synthetic companion was created. Demand for the natural dye plummeted. It is in part the deep relationship between creator and product that has led to a revival of the craft, alongside a demand for a less toxic method of production. The revival has started small, but in as many locations as its previous life. Lance says the ripples are spreading and the use of indigo and other natural dyes is gaining popularity. Her film closes with producers in Venezuela wanting to bring back a former life and culture. The return is just as much about creating new markets — such as for those whose work now appears in Santa Fe — as it is about stressing the ways that tradition binds communities. “If you’re giving people the option that they can stay in their village and celebrate their own tradition and make a sustainable livelihood, it’s seismic what happens,” said Nancy Benkof, coordinator for International Folk Arts Week. “You’re creating something that comes from your own family history. You’re putting money into people’s hands and often you’re putting coins and dollars into the hands of a mother or grandmother and that translates spectacularly into the children. The girls go off to school, instead of being sold or sent to the fields to work, and the boys go off to school. It creates stability in the family unit and what is a village but a group of family units.” For indigo production, that seismic shift is surely about helping to enhance communities and cultures, but for some it’s the belief that the power of this natural dye can play an even greater role. As Pakistani artist Noorjehan Bilgrili says near the end of Lance’s film, “If anything can bind and connect the world, it would probably be indigo.” Blue Alchemy: Stories of Indigo will be shown at 7 p.m. Wednesday (July 6) at the Lensic Performing Arts Center as part of Go Indigo! Wednesday. All proceeds will benefit the Santa Fe International Folk Art Market. The film will open with a live performance by acclaimed Japanese flautist, Kojiro Umezaki, a member Yo Yo Ma’s Silk Road Ensemble. Kojiro will perform the shakuhachi solo, Kogarashi, a piece composed by Nakao Tozan following the Great Kanto Earthquake of 1923. It will be played to commemorate the lives lost in the 2011 Japanese earthquake and tsunami. Everyone will be asked to wear their best blues. Tickets are now on sale at the Lensic, 505-988-1234, or online at Tickets range from $15 to $75 with a special $10 ticket for students. The $75 ticket includes an invitation to a pre-screening party at the Coyote Cantina, as well as preferred seating at the Lensic. The showing is part of International Folk Arts Week, an extended list of events at theater, in galleries, clubs and restaurants, all meant to bring everyone into the spirit of the Santa Fe International Folk Art Market.
34 2011 Santa Fe International FOLKART Market

From Zimbabwe to Santa Fe: Rough draft first screening at Tipton Hall (earlier this week) Circo: The Screen (Opens July 8) Tierra Brillante (Brilliant Soil): CCA: Saturday (4 p.m.) and Sunday (8 p.m.) Blue Alchemy: Stories of Indigo Lensic, July 6, 7 p.m. Pre-screening party at Coyote Cantina with $75 ticket. Events schedule for International Folk Arts Week:

2011 Santa Fe International FOLKART Market


Karim Oukid Ouksel (below) is bringing Kabyl berber jewelry from his home in Algeria to market. The style of jewelry, he explains in the application, dates back to the 12th century.

BY ZÉLIE POLLON Ask a dozen people for a definition of folk art and invariably you will get a dozen different answers. Folk art is said to be a means of cultural expression and preservation; indigenous art; poor people’s art; rough-hewn and coarse; utilitarian and decorative; naïve or traditional. Many describe it as self-taught or primitive.
There is no wrong answer to the question, but no one description can cover the immense array and variety of folk art the world over. And few terms come close to conveying the intricacy and detail of some pieces, to describing the time and effort they take, to capturing the professionalism and fame of the artists. Rare, too, is the term that expresses the importance that art serves for cultural and economic survival of communities in both remote and highly populated corners of the world. The issues that arise from these varied definitions include the need to teach people what goes into the making of folk art and its value to cultural preservation. Only then, can we understand folk art’s true value. The Santa Fe International Folk Art market serves to broaden our understanding of what constitutes folk art, and allows viewers to see how wide the plain and deep the sea of arts is across the world. From Cambodia to India, Afghanistan to Guatemala, viewers can experience the similarities and immense differences of what people create, how and then why, and how important the craft is to each and every artist. In terms of its cultural significance, market organizers are quite specific in their intent that by promoting folk art, they are helping to preserve cultures and traditions, offering incentives away from commercially produced products that might save time but ultimately eat quality. For example, the market gives people the financial incentive to continue using traditional dyes instead of chemicals or to encourage production by hand instead of by machine. It also hopes to honor the hours, days, weeks or even months it can take to complete just one item. This is not just the case with Santa Fe’s market. Indeed, craft markets everywhere are essential for encouraging selfemployment and rural development, say market organizers. These markets support and empower women, children and families, sustain livelihoods and assure the preservation of endangered cultural traditions. Supporting a goal of economic sustainability is certainly value enough. Then there is the mastery of the work. Many artists who come to Santa Fe are the tops in their trade, commanding international recognition and often higher prices. Higher prices also depend on the materials used, such as gold, silver or silk, or simply because one is getting the best of its kind, made by the best in the world. Period. An artist is recognized as a master through publications, awards and exhibitions. Because these recognitions mean so much in the art world, “even a basket maker who uses humble materials can be recognized as a master and command high prices,” said Charlene Cerny, executive director of the market. Among the best-known masters at this year’s market are Ignacio Punzo Angel and family, a metalworker from Michoacan, Mexico; Francois and Sylvie Fresnais, ceramists from France; Fatullo Kendjaev, a rug weaver from Uzbekistan, and winner of the UNESCO Award of Excellence; or Jorgé Moscoso, a traditional jeweler from Ecuador, designated by the Minister of Education as a Master of the Taller in the Art of Jewelry.
36 2011 Santa Fe International FOLKART Market

The process is complex — from drawing the design, to shaping the filigree, to cleaning the piece in acid, to painting the enamels and finishing with a final polish. It’s an example of the complexity of folk art and the importance of tradition in making that art.

That said, lesser-known names are not necessarily reflective of a drop in quality, but perhaps only a measure of the artists’ lack of opportunity and exposure. The market is trying to change that as well. Ernesto Torres, artist coordinator for the market, said that each year the market provides an incentive for more than 20 first-time artists. The incentive includes financial assistance that includes airfare, hotel, shuttles and hosting. “Many firsttimers are rightfully worried about how their work will fare … so this opportunity gives them a chance to participate by lessening that anxiety and the risk factor,” he said. These artists aren’t always easy to find. High-quality artisans are sought and cultivated from the farthest reaches of any country. In a brief email for this article, one market volunteer wrote that he was about to head into the desert in Oman to track down a Bedouin weaver. Hameeda Hamed Al Musalmi lives in the town of Ibra, one of the string of oasis towns that fringe the Wahiba Sands desert, a large expanse of sand desert named after the Wahiba tribes who live there, and who are primarily Bedouin. The spinning and weaving by the women of the Wahiba Sands is considered the finest in all of the Gulf States. Their work is sought after by camel-owners in the Emirates, Bahrain, Saudi Arabia, writes Neil Richardson. For the first time this year Hameeda will bring these goods to Santa Fe. The production of these weavings, not to mention a vast number of fabrics or textiles at the market, is dependent not only on the work put into the eventual creation, but the availability of original products, themselves dependent on the strength of the farming season and the health of a crop. Consider the women of the Hill Tribes in Thailand who create fine embroidery using hand-woven and naturally dyed, rare and unusual fabric. “The work that you put into


it to make just one piece is tremendous,” said artist sponsor Vichai Chinalai. “For instance, if you want to have a good natural dye, it doesn’t mean you can do it immediately. It depends on the season. Then you have to have a good plant to use for dye. If it’s not a good season, then you have to wait another year. It’s not like chemical dyes that you can use whenever you want for as long as you want. The same with the cotton, everything depends on the season. If it’s a good season then it’s a good product.” Yet folk art is often designated a much lower monetary value. People haven’t adjusted to the fact that master folk artists, because of their reputation as well as the time they spend, can command a lot for their work, just as a master artist can, such as Jasper Johns, said Marsha Bol, director of the Museum of International Folk Art. “It’s funny, because we never really are surprised when a European painting sells for millions of dollars, but we don’t think folk art should sell for a good amount of money,” she said. “So maybe it’s time for people to start respecting this work more and assigning a higher value.” This is not to say that works at Santa Fe’s International Folk Art Market are priced high — in fact, the market gives people the opportunity to access beautiful, world-class artwork from around the globe for a fraction of prices elsewhere. But it serves viewers well to consider the time and effort that goes into the work that they see. Paying fair prices is the least we can do to honor those who have made their way here as representatives of their culture and their craft, some traveling out of their village for the first time ever. Of course, appreciation does not just benefit the ones who bring their art to market; those of us given the opportunity to view and even to purchase these beautiful pieces of art are perhaps the greatest beneficiaries of all.
2011 Santa Fe International FOLKART Market 37

Poland France Spain Santa Fe Mexico Guatemala Panama Ecuador Peru Bolivia Ghana Nigeria Cameroon Namibia South Africa Cuba Haiti Puerto Rico Venezuela Algeria Morocco Mali Niger

Turkmenistan Uzbekistan Russia Kazakhstan Afghanistan Ukraine Kyrgyzstan Turkey Mongolia Tibetan Yunnan China Plateau Nepal India Pakistan Sultanate of Oman Kenya Rwanda

Israel Palestinian Territories


Bhutan Thailand

Lao PDR Cambodia Indonesia

Zimbabwe Madagascar Swaziland


Booth 122

Booth 125


Karim Oukid Ouksel

Enamel and Inlay Jewelry

ARZU STUDIO HOPE rugs are woven on looms in the homes of weavers in rural Afghanistan. Woven with a cotton or wool foundation, the wool used is hand-dyed by master dyers. Many ARZU dyes are derived from natural materials including madder root for red, walnut husks for brown, and pomegranate for yellow. The handspun wool absorbs dye unevenly to produce variegated color – known as abrash. This charming irregularity creates rugs that are individual and full of character.

Karim is from a small village in the Kabylia region in northern Algeria, an area with a long and rich tradition of Berber jewelry production. He began learning the art of jewelry-making to continue the tradition and promote the rich culture of his community. The filigreed geometric forms in Kabylian jewelry reflect the patterns found in Berber tapestries and ceramics of the region. To Karim, these pieces are more than decorative objects – they express poems, histories, rivers and mountains, and the love of his motherland.

blue pine, juniper, rhododendron, burl and cypress, and then painted with colorful organic dyes. Intricate carvings are also used to decorate parts of the home and shrines. Items such as offering bowls, butter lamps and dress clasps (Koma) are made from a range of metals, including silver, copper, brass and cast iron. These are carved on using chisels and special knives.

Weaving Ique Etacore de Picanerai
Booth 29
Organización Cheque Oitede Cooperative

bands and scarves. Ana has served as President of the Association of Andean Artisans, a cooperative of four weaving centers in Bolivia. Weaving is traditionally done by women (girls begin around age 12). Ana learned the craft from her mother and now conducts workshops to ensure traditional techniques are preserved. At age 8 Patricio left for school in the city of Cochabamba, three hours away from his 60-family village of Chuñu Chuñuni. At 16 he returned home. He is a farmer, literacy teacher and weaver, and oversees the distribution of wool and the natural dyeing process for the Association.

oon and throughout Africa. He is a weaver and embroiderer, and makes handbags, slippers, caps and purses for men and women. The fine clothing used for special occasions is decorated by drawing designs on the cloth with a piece of chalk or soap, then hand-embroidered.

Horsehair Weaving Alba Rosa Sepúlveda Tapia
Booth 57
El Arte del Crin UNESCO Award of Excellence Winner

Kandahar Treasure

Rangina Hamidi Fareba Durrani

Khamak Embroidery

Parzo (Woodcarving), Troezo (Metal carving) and Weaving Bhutan Karma Collection
Weaving (tharzo), woodcarving (parzo) and carving on metal (troezo) are three of the traditional arts and crafts of Bhutan. Ornate textiles are handwoven on backstrap or pedal looms that are often passed down through generations. Mothers teach daughters, beginning with girls as young as six. Eastern regions of Bhutan weave cotton and silk kira (the threepaneled national dress for women), gho (the male national dress) and ceremonial textiles. Central and northern regions of the country use sheep and yak wools to weave blankets and even tents. Wood and metalcarving are typically done by men and learned through two-to-three year apprenticeships. Ceremonial masks of mythical animals and Buddhist deities are carved from

The fine needle embroidery called “khamak”is a trademark of Kandahar women and is traditionally used to decorate clothing for male relatives and children and for trousseaus. Each artist utilizes a unique stitch to create traditional geometric designs inspired by the Islamic art of geographical and mathematical shapes. Khamak artists begin learning as early as five years old, some mastering their skills by age 10-12. Their work is strictly owned and passed down by women only. Kandahar Treasure, a women’s artisan cooperative in southern Afghanistan founded by Rangina, promotes this unique and traditional art form to create income sources for women. Fareba is one of numerous co-op members who have found this art form to be an outlet for self-expression, for dialogue, and a vehicle to develop a sense of ownership over their work and lives.

Booth 128

Booth 73

Ique is an Ayoreo Indian from the Bolivian savannah, an arid and somewhat desolate landscape. Ayoreo hunter-gatherers once used net bags to collect native herbs and roots and for hundreds of years these bags have been made of a special grass gathered by the women. In the last few decades, as the Ayoreos became more settled, the sale of these stunning bags was their only source of cash income and the grass was overharvested. A Bolivian ethnobotanist and MacArthur Fellow, Inés Hinojosa Ossio, helped the Ayoreos organize to replant the grass species to provide a resource for their bags.

Silk Woven in Traditional Khmer Style Chantha Nguon
Booth 140
StungTrengWomen’s Development Centre - Mekong Blue UNESCO Award of Excellence Winner

Weaving Ana Vargas de Espinoza and Patricio Mamani Franciscano
Asociación de Artesanos Andinos

Chantha started the Stung Treng Women’s Development Centre in 2002 with a $3,000 grant from Partner in Progress in a small house with two traditional wooden weaving looms and a big dream. The project focuses on teaching and mentoring local women in the art of ikat silk weaving while developing life skills that assist in breaking the cycle of poverty and illiteracy.

Alba began hand weaving delicate miniature sculptures and designs out of horse hair at the age of 7, and has been developing her craft for over 50 years. Born into a family of artisans from the renowned horsehair weaving town of Rari, Alba is today one of the foremost weavers in Chile, with a long list of awards and recognitions on an international scale. She has developed a cooperative called El Arte del Crin that is made up of 42 artisans from her hometown of Rari. Their weaving technique is very particular to the region and town of Rari where the weavers utilize a local agave fiber called ixtle along with the horsehair. They create whimsical and vibrant designs drawn from nature and from folklore.

Weaving and Embroidery Ngang Ignatius Fru
Booth 50
Ngang comes from a village in the Northwest Region of Cameroon known as Mankon, where he learned weaving from his grandfather. The village’s tradition of weaving cloth is very rich, highly respected and well-recognized in Camer-

El Arte del Crin

Horsehair Weaving Wilfredo Alejandro Arriagada Sepúlveda

In the highlands of Bolivia, the Quechua and Aymara peoples have been weaving textiles since pre-colonial times. To this day, sheep and alpaca wool is prepared and dyed with cochineal insects, eucalyptus and native herbs and plants. Animal and geometric designs are woven into aguayos (carry-alls), wide belts, hat

Booth 52

Wilfredo works with his mother, Alba, as awardwinning weavers from El Arte del Crin, a unique handwork cooperative originating in the small town of Rari, Chile, where Alba was born. The collective focuses on a very specialized art form which utilizes hand-dyed and hand-loomed horsehair to make intricately-woven miniature

Booth 57

2011 Santa Fe International FOLKART Market

Afghanistan Arzu Studio Hope

Algeria Karim Oukid Ouksel

Bhutan Karma Lotey

Bolivia Ana Vargas de Espinoza and Patricio Mamani Franciscano

baskets, flowers and figurines in the shape of mythologized characters. According to popular legend, this craft began more than 200 years ago when two young girls of Rari began to weave different shapes from poplar roots found along a stream and sell them to raise money for their families. Over time, the poplar root was depleted and the community began using horsehair imported from Mexico.

region’s master artists, Rong. She still lives in the remote village where she was born and where she learned to make her communities’textiles from her mother at an early age. Both the men and women of this region still wear the traditional robes and jackets for festival occasions.

Cenia Gutiérrez Alfonso
Cenia began painting as a small child and continues today to create folk paintings and ink drawings in Cienfuegos, Cuba. She is self-taught and represents her community in her paintings through their legends, popular beliefs, fiestas and religions. She is particularly known in her community as the “painter of guijes”(fairies and mystical figures).


Glazed Earthware François and Sylvie Fresnais
François has applied his professional training in ceramics to the revival of a centuries-old tradition of pottery making in France. This tradition, through which potters have long worked to transcribe the daily life of the people, nearly disappeared after the Second World War. Having studied these ancient shapes and patterns, he set up a workshop in the region of Burgundy, which has a strong tradition in pottery. Working in partnership, François creates the forms and his wife, Sylvie, executes the decorations.

Booth 42

Booths 109, 110

Booth 38

Vodou Flags Mireille Delismé

Booth 127

Jewelry Gui Wu
China Southwest Minority People Silversmith Cooperative

Nixi Black Pottery Yunnan Mountain Heritage Foundation

Silver jewelry represents social status in southwest China, and traditionally, all ethnic minority families might work for years to make a whole set of sterling silver accessories for their daughters to wear on special occasions such as weddings or festivals. Gui is a national award-winner and cooperative member from the Miao minority in Guizhou Province. Gui’s intricately designed earrings, bracelets, necklaces, hair pins and ornaments have been collected by major national museums in Japan, India and England.

Booth 60

Nixi Black Pottery, which is made by numerous families in a mountain village in Yunnan’s Tibetan Plateau, is made by hand through an intricate process that can take up to one month to create each piece. This tradition passes from father to son and dates back to 850 B.C. The Nixi Black Pottery comes in unique vessel shapes that are adorned with Tibetan cultural symbols, such as white porcelain shards, which represent good luck and long life.

Roberto Domingo Gil Esteban
Using bright colors and depicting scenes from everyday life, Roberto creates what he calls naïve art. He remembers being a small child and painting images depicting all of his daily experiences, and he has carried that passion and excitement into his more recent artwork.


Booths 109, 110

Recycled Glass Beads Ebenezer Djaba Nomoda
Nicknamed by his grandmother after the Ghanaian currency, Cedi has been making beads from recycled glass since he was 7 years old when he would sneak away from dinner to fill glass molds. Glass beads play an important role in Cedi’s eastern Ghanaian Krobo culture where they illustrate wealth and status. Young girls wear strings of colorful beads during the traditional dipo coming-of-age ceremony. No longer needing to sneak away, Cedi makes beads in his workshop. He uses a mortar and pestle to crush bottles and then fills molds with the glass. The glass is fired in clay kilns at temperatures ranging from 1500-1800˚F to shape the glass into beads. The beads are smoothed and strung.

Mireille embroiders sequined Vodou flags or drapo. She learned to make the flags from her cousin after the factory where she worked making wedding gowns closed. With her earnings as an artist, Mireille can afford to send her daughters to school and help support her sisters, aunts, brother, mother and friends. The flags she makes are created to honor and invoke deities in the vodou religion, widely practiced throughout Haiti. Her brother, who inherited the tradition of vodun priesthood, often uses her sequin flags in rituals and ceremonies.

Booth 49

Recycled Oil Drum Sculpture Serge Jolimeau

La Mega Cooperativa de Saraguro

Booth 88

Weaving, Embroidery and Batik Yuzhen Pan
Booth 61

Shangri La Association of Cultural Preservation Supported by Yunnan Mountain Heritage Foundation

Yangsom Lobsang
Booth 127

Thanka Painting

Seed Bead Jewelry María Balvina Contento Ambuludi

China Southwest Minority People Textile Cooperative

A number of different minority groups, Miao, Yi, Dong and Bai, live in Guizhou Province and each group is identified by its different traditional techniques of intricate and colorful embroidery. The Miao women produce a variety of embroidered pieces executed in silk floss embroidery thread which is split to make a very fine strand, often on a ground of home-woven indigo-dyed cloth. These are then sewn onto garments or other items such as baby carriers. Batik is sometimes used with the embroidery. Yuzhen’s family continues to farm in Guizhou while she lives parttime in Beijing working in an embroidery workshop and selling Miao textile items at an open air market.

Tibetan thankas, or scroll paintings, are an invaluable and sacred part of Tibetan Buddhist culture, and serve the purposes of healing the sick, the environment and enlightening those who encounter them. Yangsom, a former yak herder, is proud to be one of the few women involved with this art form.

The indigenous Saraguro people in Ecuador, particularly the women, make brightly colored and intricately shaded necklaces, collars, earrings, rings and bracelets using glass beads. The designs are patterned after motifs from nature and from geometric shapes. These beaded jewelry pieces are an essential part of the Saraguro people’s daily dress.

Booth 116

Serge was inspired as a child by the blacksmiths in his neighborhood. He learned metal work from the LouisJuste brothers in Croix des Bouquets where Georges Liautaud created cemetery crosses made from iron bars and recycled metal. With the discovery of these crosses, a new and original art form was born that has resulted in thousands of new jobs in Haiti. Serge opened his own shop by the time he was 20. His work has been shown at the Brooklyn Museum and at LACITA in Biarritz, France.

Stephanie Valentin Suzette Jean-Baptiste
Booth 85

Richelieu Style Embroidery
Femmes en Démocratie, representing“Les Dix Doigts de La Vallée,” Richelieu Embroidery

Painting Carlos Alberto Cáceres Valladares
Carlos began painting as a child in elementary school and, today, is a nationally recognized artist in Cuba. His paintings touch on the themes of the Yoruba religion, the Orishas, and the customs carried on by the Guajiros. His technique of applying acrylic paint with used toothpaste tubes makes for a vibrant and unique style. These paintings on hand-stretched canvas illustrate the religious traditions and rich culture of the Cuban countryside.

Booths 109, 110

Booth 118

Supported by Belle Jewelry

18 Karat Gold and Sterling Silver Jewelry Jorgé Moscoso Pesantez

Weaving on Backstrap Loom Amalia Gue
Amalia represents Ixbalamke, a cooperative of women dedicated to the production of traditional textiles and preservation of traditional weaving. They live in the community of Samac de Cobán in Alta Verpaz and are inspired by the landscape and beautiful views of the region. The members of the cooperative maintain the intricate technique of gauze weaving and the use of coyuche, or natural brown cotton-practices that are rapidly disappearing.
Ixbalamke Cooperative

Weaving, Resist Dyed Cloth, Appliqué and Embroidery Rong Xiang Lu
Booth 131
Supported by Dr. Andrew Wang and Lily Wang

The jewelry of Jorgé Moscoso comes to Santa Fe through local gallery Belle Jewelry. It is the traditional Andean Highland earrings, pendants, chains and necklaces that one might have seen on the streets of Ecuador years ago, but which have been lost to hard economic times. Jorgé, who has been designated by the Minister of Education and Culture as a Master of the Taller in the Art of Jewelry, founded the Fundacion Artesanal de Cuenca, dedicated to the preservation of indigenous crafts.

Booth 13

These beautiful skirts, jackets and bags of the Luo Ethnic Group of southwest China are all hand dyed, appliquéd and embroidered by one of the

Les Dix Doigts de La Vallée is an association of approximately 100 women artisans in a rural area of Haiti. More than 100 years ago, they were taught by a group of nuns how to make Richelieu embroidery, or cutwork, which the nuns felt would provide the community with another source of income. While it has been difficult for these artisans to consistently access the necessary raw materials and find safe spaces for storage, particularly in the face of Haiti’s recent earthquake, they are tremendously invested in this art form, and in finding ways to sustain their families and alleviate their community’s profound poverty through the sale of their exquisite cutwork.

2011 Santa Fe International FOLKART Market


People’s Republic of China (Yunnan Tibetan Plateau) Yangsom Lobsang

Cuba Cenia Gutiérrez Alfonso, Carlos Alberto Cáceres Valladares, Roberto Domingo Gil Esteban

Haiti Mireille Delisme

Papier-mâché Marie Bernard Pascale Faublas
Booth 97

Association pour le Developpement de L’Artisanat du Sud’est (ADASE)

These papier-mâché masks, figurines, bowls and ornaments are made from paper cement, wheat paste and cardboard, and used both for daily tasks and for ceremonial purposes in Haiti. The masks may be used to celebrate Carnival or may represent ancient heroes. The artist, Marie Bernard Pascale Faublas, began learning this craft at age 13. She later organized a cooperative to spread the production of this spectacularly colorful folk art.

region, Bashir painstakingly creates large shawls, embroidering the fine pashmina wool with delicate patterns in silk thread known as sozni needlecraft. These shawls often are used in marriage parties and are known as the “fabric of royals.”Bashir is the winner of the UNESCO crafts prize and the national award of India’s Ministry of Textiles. He taught his son, Firdose, the centuries-old Kashmiri art form, which involves cleaning and transforming raw pashmina goat wool into fine thread, weaving the thread with a handloom and embroidering floral motifs with silk, metal or pashmina. In Kashmir, where they live, pashminas are part of the national identity.

products and improved his skills.

Scroll Painting of Bengal Gurupada Chitrakar, Rupban Chitrakar
Gurupada is part of a community of scroll painters in his rural village in West Bengal. Together they forage for roots and leaves to extract color, or utilize the plants that they grow in their plots of land. They then work together in their central courtyard to create the scrolls that tell mythological tales as well as current events in the international news. Gurupada also composes the lyrics to all of the songs that accompany the scrolls he paints. He sings the stories depicted on the scrolls as he unfurls them. He was not formally trained in this art form, but learned how to paint from his family and older community members. Rupban has dedicated her life to the involved art of scroll painting, despite the challenge of being a woman whose primary responsibility has been to tend to household needs. She is from a village called Naya in West Bengal and, at age 8, was taught by her father to paint with natural dyes from local plants.

early as the 5th-century AD. He also works with Kamandi, an elaborate embroidery technique that utilizes tiny wires worked into motifs such as sprays of flower and leaves.

Embroidery Dhanuba Jadeja
Booth 124

SEWA Trade Facilitation Center (STFC)

Booth 71

Embroidery (Kantha) Self-Help Enterprise
Booth 117
Self-Help Enterprise (SHE) trains rural women from West Bengal to use nakshi kantha – a centuries-old, simple technique for sewing layers of old fabrics together. SHE also provides these women access to national and international markets for textiles based on nakshi kantha. Traditionally, women from poor and middle-class homes would overlay and rework bits of cloth from worn clothing, using a simple running stitch to create mats, baby wraps and blankets. The practice lagged as printed materials were introduced, but SHE has reinvigorated the art both by providing training and using contemporary colors, geometric patterns and luxury textiles.

Papier-mâché Robert Volel
Booth 97

ADASE (Association pour le Developpement de L’Artisanat du Sud’est)

In Jacmel, Haitian artisans have been practicing the art of papier-mâché, which they call Savoir Faire, for many years. They utilize mud molds, cement, wheat paste, paint and cardboard to create masks and other figures depicting animals, ancient heroes and vodou spirits — particularly for the masks used for carnival. Robert is one of 52 members of the cooperative, Association pour le Developpement de L’Artisanat du Sud’est.

Though he received a B.S. in chemistry and, at one time, thought of pursuing an MBA abroad, Shohel felt that his true calling was in the inheritance and preservation of his community’s traditional tye and dye fabric artistry. Despite widespread trends of simplification and modernization, Shohel adheres to traditional designs and techniques that carry with them extremely detailed social and religious significance. Each piece of fabric is tied with millions of tiny knots arranged into patterns and dyed one or more times, leaving only the knotted areas untouched by the new layers of color.

Booth 21

Shohel Abdulsattar Khatri

Bandhani Tie Dye

In the Indian communities of Patan and Kutch, detailed embroidery is used to decorate nearly everything from clothes to items for ceremonies, houses and cattle. The color palates, stitches and designs are passed down by women from generation to generation and distinctive to their particular community. In the 1980s, the Self-Employed Women’s Association began organizing poor women workers in the informal sector to provide them with a sustainable income and help them move towards self-reliance. Dhanuba, from Gangaonpura, Kutch, is one of SEWA’s nearly 500 members who now use their skills to support themselves and their community.

Masks Ida Bagus Anom Suryawan
Born in Mas village in Bali, Ida makes masks from light pule wood for use in the topeng masked dance ceremony. The brightly colored masks feature as many as 40 layers of acrylic paint, ensuring their durability. Ida learned mask making from his great-uncle Ida Bagus Tilem, an uncle, and an older brother, all wellknown wood carvers and mask makers.

Embroidery Kakuben Babubhai Ahir
Booth 124

Booth 45

SEWA Trade Facilitation Center (STFC)

Hand Block Printed Textiles Abdul Rahim Khatri
When the Khatri community came to Kachch, India from Sindh, Pakistan, they brought along with them the ancient art of Ajrakh hand block printing that has long served as a defining practice for their people. Printers carefully prepare and decorate lengths of fabric using a specific design language in a stylized geometrical form. Their natural dyes are made from such products as jaggery and gram flour for black, alum and tamarind for red. Abdul began learning the craft at age 15 from his father and has since gained international recognition for his work.

Booth 74

Recycled Oil Drum Sculpture Michée Ramil Remy
The blacksmiths of Croix-des-Bouquets, Haiti, first shaped cast-off steel drums into crosses for the local cemeteries. Michée is part of a new generation of metal sculpture artists following in the footstep of such recognized artists such as Serge Jolimeau and George Bien-Aime, Michée’s stepfather. These established artists have trained many young men in this folk art form that has become internationally recognized and brings important income into the community.

Booth 123

Chamanlal Premji Siju
Chamanlal comes from the Vankar weaver community of Kutch, Gujarat. At 16 years old, he started working as a weaver to supplement his family’s income. Using natural dyes, his family is considered some of the best yarn dyers in the region. They use fine wool and silk threads in their weavings, and continue this tradition in the Handloom Design Center, the free residential school they founded.

Handloom Weaving

Booth 35

Like many women in the Northern Indian region of Gujarat, Kakuben began learning the elaborate embroidery traditions of her local community from her mother at a very young age. But she never thought that these skills could provide her with a livelihood until a period of extreme economic hardship forced her and her family to leave their homes, migrating constantly in search of work. Eventually she was connected with SEWA Trade Facilitation Center, which helped her provide a home and a living for her family.

Tri Suwarno
Booth 64

Wayang Kulit Leather Shadow Puppets
Tri grew up in a family of puppet makers. Although the family is trained in all aspects of puppet making, they specialize in painting and decorating puppets. It is not unusual for many artists to be involved in making a puppet, each with a special skill. Shadow puppet theater has been performed in Indonesia for hundreds of years and is the epitome of cultural expression in Java.

Embroidery Deviben Khodabhai Rabari
Booth 124

Embroidery and Weaving Bashir Ahmad Jan
Firdose Ahmad Jan
Booth 19
UNESCO Award of Excellence Winner

Embroidery and Quilt Work Ramu Devraj Harijan
Booth 54
Ramu is a Meghwal born in the Banni region of Kutch where quilt making and embroidery are integral to the culture. Men source and sew the cloth while women are skilled in embroidery and mirror work. At 12, Ramu made his first quilt for his mother to embroider. Later, traveling to government-sponsored craft fairs, Ramu joined a company in Bhuj where he learned new

Chikankari, Kamdani and Fardi Ka Kam Embroidery Asif Shaikh
Booth 98
Asif, a formally trained interior designer from the Indian city of Ahmedabad, has, in recent years, begun a project of reviving India’s rich and varied embroidery traditions through dedicated study of traditional motifs and techniques. He specializes in Chikankari, a delicate and minutely-detailed art of white on white embroidery that originated as a court craft as

SEWA Trade Facilitation Center (STFC)

Bashir has achieved worldwide recognition for his needlecraft embroidery on pashmina wool. Inspired by the natural beauty of his

Deviben is a second-generation member of SEWA Trade Facilitation center. Years ago, SEWA helped her mother escape the need to migrate for casual labor and provided their family with a stable income, as well as schooling for Deviben and her siblings. Following in her mother’s footsteps, Deviben has begun to participate in publicity and design efforts to bring SEWA into international markets.

Flores Island Ikat Alfonsa Horeng and Marlina Ida Merisi
Booth 113

Women’s Weaver Cooperative and AlfonsaWeaving School

Alfonsa is from East Flores, an area of Indonesia renowned for its textiles. She represents the Women’s Weaver Cooperative of “Lepo Lorun” which means “House of Weaving”in the Sikka language. With seed money from the Indonesian government, the Cooperative was

2011 Santa Fe International FOLKART Market

India Rupban Chitrakar

India Ramu Devraj Harijan

Indonesia Alfonsa Horeng

Indonesia Ida Bagus Anom Suryawan

Israel Haiger Sana and Khadra Elsaneh

able to purchase sewing machines and start their new venture. They produce bags, scarves, garments and table runners from cloth woven on a simple loom, made of spun yarn dyed with tropical plants.

Seal of Excellence for three consecutive years. Kazakh jewelry is made by hand from silver using traditional tools and methods. It marks the different stages of a person’s life.

Haiger Sana and Khadra Elsaneh

Supported by Anthony J. Foltman, Terese M. Lyons and Friends

villagers of her native Kyrgyzstan and Central Asia through her intricately dressed dolls. Drawn to the traditional Kyrgyz felt arts since childhood, Erkebu followed her dreams all the way to professional art college where she carefully researched and learned the intricate arts of felt making from local folk artists around the country.

Bedouin Weaving
Booth 39

Bead Work Agnes Keripa Papatiti
Booth 10

Altyn Kol

Felt Work Mairam Omurzakova
Booth 65

tradition of making ala-kiyiz – Kyrgyz felt rugs, as well as making scarves that combine silk and felt and traditional jackets. These beautiful and delicate crafts are made with local raw materials, including natural dyes, sheep’s wool and handmade yarn from sheep. Her family even began to utilize the remnants from felt carpets by creatively transforming them into other necessary domestic goods and toys.

Association SAHALANDY

Weaving Marie Prisca Virgini Ramanaliniaina

Haiger is 58 years old, a mother of nine children, and part of Sidreh, a nonprofit organization established in 1998 to empower, represent and improve the socio-economic situation of Bedouin women living in Israel. Sidreh works with some of the most underprivileged in Israel, among whom education levels are also alarmingly low. The aim of the Weaving Project is to preserve this beautiful tradition, while promoting employment and small business development.

Agnes practices traditional glass bead work in the Kajiado District, a lightly populated section of the Rift Valley just south of Nairobi, Kenya, where the Maasai are the dominant population. She grew up in a traditional home made of mud and dung, surrounded by thorn bushes to protect their cattle from predators. Her husband, Patrick, is a leader of Maasai warriors.

Bead Work Rebecca Lolosoli
Booth 62

Yemenite Jewelry and Judaica formed from Silver Filigree Ben-Zion David
For hundreds of years, Yemenite Jews have maintained a closely guarded tradition of jewelry making using precious metals. Their tools and techniques have been passed down as family secrets from one generation to the next, protecting a heritage and a livelihood that has constituted a special role for Yemenite Jews in spite of their social standing historically. In his workshop and gallery in Old Jaffa, Ben-Zion is seeking to revive this disappearing art form which he learned from his father and grandfather. Ben-Zion uses traditional tools to shape sterling silver, semi-precious stones, lava, coral and archaeological artifacts into filigree jewelry of all sorts, including ceremonial items that have been used for centuries by Yemenite Jews.

Umoja Uaso Women’s Group

Mairam is director and co-founder of Altyn Kol, a women’s handicraft cooperative with 200 members. Altyn Kol, founded in 1995, was formed after the collapse of the Soviet Union as an initiative against the economic hardship that followed. In 2005, Mairam was awarded the prize for Women’s Creativity in Rural Life by the Women’s World Summit Foundation for her work. Mairam is an expert shyrdak-maker. She learned felt art from her mother, and has now passed on her knowledge, of technique and the art of designing patterns, to her daughters.

Jewelry featuring the Dok Phikoun Flower Pattern Orijyn/Saoban
Working on a bench with a blow torch and hand tools, silversmiths in Vientiane, Laos labor over silver ingots to create intricately crafted cuffs, bracelets and necklaces. The silversmiths are members of a cooperative called Saoban that is part of a nonprofit school that preserves traditional arts while improving education and healthcare through revenue development for artisans. Although silversmithing is typically passed down through families, the cooperative is working to introduce more young people to the art in order to keep the tradition alive. The style of silversmithing employed by members of Saoban is particular to the Lao Loum group in Laos. The Dok Phikoun flower is incorporated into many designs and is believed by the followers of Lao Buddhism to bring health, well-being and prosperity.

Marie is part of the Association Sahalandy, located in the central highlands of Madagascar. The association is made up of seven weaving cooperatives representing 80 weavers in the area. Its objectives are to empower women by increasing non-subsistence income, finding sustainable markets abroad, building a cultural heritage center, and continuing to teach the weaving tradition to future generations.

Booth 82

Booth 27

Jewelry Ousmane Papa Macina
For at least 10 generations the Macina family has made gold and silver jewelry in the subSaharan country of Mali, which is known for its gold mines in Timbuktu. There, metalworking is passed down from father to son and among brothers and uncles. (Women’s creative skills are directed to pottery and basketmaking.) Following in the family tradition, Ousmane began formally learning the craft from his father. Utilizing the symbols of the great Fulani empire, Ousmane creates graceful designs of twisted gold and silver wire filigree and granulation. He uses the hand-made tools such as the Fulani tonde (anvil) and the fulah (hammer) to create his work.

Booth 44

Booth 130

The semi-nomadic, pastoral Samburu people of northern Kenya were named by a neighboring tribe because of their striking jewelry and face paint reminiscent of colorful butterflies. Samburu women make vibrant beaded jewelry that is worn by all members of the community. Different designs denote a person’s age and the jewelry is an important part of Samburu culture. Rebecca is a prominent activist and artist within her Samburu community. In addition to making the traditional hand-strung, colorful beaded necklaces and bracelets, Rebecca founded the women’s organization Umoja to help combat the marginalization and abuse of Samburu women. Umoja offers human rights training for local women on issues such as HIV/AIDS, forced female genital mutilation and combating domestic violence.

Felt Work and Embroidery Oksana Kononova

With Kyrgyzstan’s independence in the 1990s, the country’s economic infrastructure was destroyed. For Oksana, who then had two small children, it was difficult to find work amid high unemployment. She and four other young women artisans formed a group to produce felt headwear. The group now consists of 11 Kyrgyz women and four men who aim to revive, preserve and develop folk art that originated from sheep-breeding and their culture’s previously nomadic way of life.

Booth 89

Weaving Phaeng Mai Gallery
Booth 137

UNESCO Award of Excellence Winner

Fatim Diallo
Booth 44

Leather Work

Jewelry Serzhan Bashirov
Booth 105
UNESCO Award of Excellence Winner

UNESCO Award of Excellence Winner

Felt Work Erkebu Djumagulova
Booth 3

Booth 134

UNESCO Award of Excellence Winners

Felt Work, also incorporating silk Kadyrkul Sharshembieva, Farzana Sharshenbieva

At a young age, Serzhan took an interest in making handmade jewelry after learning about metal work and the meaning of ornaments from his father and grandmother. His excellent craftsmanship has earned him the UNESCO

Almost every culture around the world tells the stories of its people through handmade dolls elaborately clothed in the traditional dress of the region. Erkebu is a textile artist from the capital city of Bishtek, Kyrgyzstan, who is a master at capturing the expressions and customs of the

Ala-kiyiz is a traditional felting technique from Kyrgyzstan that has been passed down since the 17th century. It comes from nomadic cultures that utilize the wool of sheep that graze in the mountainous terrain of Kyrgyzstan. Kadyrkul’s family has been involved with this craft in multiple capacities for numerous years. She remembers learning this art form along with the unique history and value of the ornaments depicted in Ala-kiyiz, illustrative of nomadic life. Farzana has taken on the honored family

Lao textiles are hand-woven using silk and cotton. They are embellished utilizing tapestry, weft weaving and ikat techniques. These traditions are passed down generationally between women and, customarily, when a young woman begins weaving cloth for her dowry she signals her readiness for marriage. The textiles are used for numerous purposes and on a daily basis. Fortunately, for the artisans of the Phaeng Mai Gallery, textiles have also become a way to support themselves economically and to preserve the well-being of their communities.

Mali Artist’s Cooperative

Fatim is from Fururu, a small village in the desert near the border of Mauritania. At the age of 7 her grandmother began to teach her the tradition craft of leatherwork. The stunning geometric patterns Fatim inscribes and paints on her leather bags and pillows are shared by nomadic peoples like her people, the Fulani, but also the Tuareg and Berber. Such bags are used to decorate newlyweds’homes and also to carry foods such as couscous and dried camel meat.

2011 Santa Fe International FOLKART Market


Kenya Agnes Keripa Papatiti

Kyrgyzstan Erkebu Djumagulova

Lao PDR Phaeng Mai Gallery

Aboubakar utilizes organic hand-spun cotton and natural indigo and mud dyes to create exquisite textiles spun on a traditional West African loom and hand-stitched to create the finished products. He came to learn about traditional West African textiles by traveling around West African countries and speaking to his elders. From these experiences he began to feel an urgency to preserve the use of indigo and to revive the growth of biological indigo and organic cotton in West Africa, and Mali.

Booth 100

Indigo-Dyed Weaving Aboubakar Fofana

handmade brushes. The pottery most often depicts ancient myths, symbolism that relates to nationalism or pre-hispanic history, and animal and plant life.

Zapotec Weaving Pastora Asuncion Gutiérrez Reyes and Violeta Vásquez Gutiérrez
Pastora and Violeta represent Vida Nueva, a cooperative of Zapotec women from Teotitlan del Valle, an indigenous Mexican community with centuries of weaving history. Their patterns and techniques have been passed down for generations and express their unique culture. Members pool their resources to provide economic opportunity as well as serve their community through projects related to health, hunger and preservation of their Zapotec heritage.

Hand-Carved and Painted Figures Agustín Cruz Prudencio Agustín Cruz Tinoco
For hundreds of years since, woodcarvings of nativity scenes, virgins, saints and other religious images have held a significant role in daily spiritual life. The centuries-old tradition began before the arrival of the Spanish with a custom of giving a baby a small carving of their spirit protector or ‘nahual.’The hand-carved, wooden figures created by Augustín Cruz Tinoco and his son, Agustín Cruz Prudencio, begin as blank pieces of pine, bursera, cedar or mahogany wood. Through their carving they seek to understand and exploit the natural forms and qualities of the wood. Both artists have won multiple awards in their home state of Oaxaca and nationally.

Teofila is a storyteller. She uses backstitches, single and double cross-stitches and chain stitches to depict tales of the Purépecha people. Using cotton and yarn she embroiders brightly colored scenes of cooking and fishing around Lake Patzuaro in Michoacán, Mexico. She began embroidering at age 10 and, although she sells her crafts from a small stand, she has won more than 22 local, state, national and international awards and leads a women’s collective of embroiderers.

Booth 32

Embroiderers Vasco de Quiroga

Embroidery Teofila Servín Barriga

Booth 56

Vida Nueva

in the clay work but in the dual firings required. Working not only in the familiar green glossy glaze, Hilario often uses yellows and blues for his pots, candelabras, and punchbowls.

dyes used derive from organic sources such as coconut, pomegranate, indigo and mangrove. Luisa’s weavings range from subtle to bold in color and design.

Fomento Cultural BANAMEX, A.C.

Booth 4

Yarn Painting Mariano Valadez Navarro
Huichol yarn painting has been a part of Mariano’s heritage for as long as he can remember. His family often made them for sacred places and ceremonies in their indigenous community. He now makes these vibrant and elaborate yarn paintings professionally to support his family, but has continued to incorporate spiritual and mythological themes, as he often depicts scenes from peyote visions, ceremonial life and Huichol cosmology in his work. Mariano not only identifies as a Huichol yarn painter, but also as a storyteller who is translating his culture’s rich traditions and beliefs into an art form that he hopes anyone can connect to and appreciate.

Booth 34

Cecilia is from the village of Ahurian, a place known for the woven rebozo – a traditional women’s shawl. She wove her first shawl at age 10 and has passed the skill on to her four daughters, who in turn have taught their daughters. The colorful, striped rebozos are woven with alternating stripes, finished with feathery fringe edges, and sometimes include flowers, arrows and geometric patterns.

Booth 63

Cecilia Bautista Caballero

Rebozo and Ratón

Fomento Cultural BANAMEX, A.C. was formed in 1996 in order to preserve and to promote the values of the Mexican culture from its roots to very diverse cultured and popular expressions. Initially, through a two year process of research and artists selection from all regions of Mexico, a collection of traditional arts was assembled from 150 master craftsmen. Since 2005, the collection has been expanded to include 250 specialties from 300 artists. The organization is also dedicated to improving work conditions and expanding production opportunities for folk art and craft producers. The BANAMEX booths feature the artists that follow:

Weaving Remigio Mestas Revilla
Booths 103, 104

Supported by Fomento Cultural BANAMEX A.C.

Forged Metal Guadalupe Hermosillo Escobar
Guadalupe was born in the southern town of Tapachula, Chiapas, where he learned how to forge iron from a master forger. He married his teacher’s daughter and now passes on the art of forged iron to their son. Iron-forged crosses were originally placed on Catholic homes to protect inhabitants from evil. Those same crosses, simple and ornate, continue to adorn rooftops as well as hearths in Mexico. The tradition has grown, incorporating symbols of the life and passion of Christ, love of family, and good and evil.

Booth 83

Remigio works with weavers from 11 indigenous groups to encourage a return to natural dyes, traditional designs and old weaving techniques, particularly the backstrap loom. The clothing types are typical of this region, which has one of the most diverse and elaborate costume traditions in the country. His shop in Oaxaca, Los Baules de Juana Cata, is one that many tourists consider a destination.

The metal work of this Michoacan family begs to be touched. Some of the pieces are smooth, others boast a texture similar to a pineapple. The similarity is in the fact that all the pieces, which are either silver or copper, are fired in an open pit in pine charcoal ash and special stones. Once the work has been fired, it then is picked up by a pair of traditional tongs and hand-hammered to give the vessel or figure its specific form. Ignacio and his sons, all of whom live in Santa Clara del Cobre, work together using one sheet of metal to fashion the desired shape. It is a technique Ignacio learned from his father, who learned from his father, and later passed it down to his own sons. But the threat of violence from the nearby drug cartel weighs heavily on the minds of the artisans. Ignacio said that not only has it cut into tourism, but it now is threatening the very existence of the ability of Ignacio and his family to create the art itself.

Booth 132

Ignacio Punzo Angel, José German Punzo Nuñez, Ignacio Gabriel Punzo Nuñez and Jose Rosaldo Punzo Nuñez

Metal Work

Lead-free Pottery Bernardina Rivera
Booth 135

Supported by Barro Sin Plomo USA

Angel grew up with his artisan grandparents and mother in Tonala, a town known for its distinctive narrative pottery. Since childhood, he has created handmade pottery such as decorated plates, vases, nahuales, bowls and traditional Tonala masks. He is currently dedicating himself to reviving pottery styles from the 1920s that include traditional country designs called “Fantasia”(fantasy) and polychrome floral designs. At age 10, José began to learn to create traditional Tonala pottery from his father, Angel. They currently work together in his father’s studio and hand build each piece using press molds and then paint them with thin, delicate

Booth 25

Angel Ortiz Gabriel José Angel Ortiz Arana

Burnished Clay from Tonala, Jalisco

Weaving Nicolasa Pascual Martínez
Booths 103, 104

Supported by Fomento Cultural BANAMEX A.C.

Ofebre Filigree Jewelry Inocencia Hernández Ramírez
Supported by Museo Belber Jimenez

Inocencia Hernández Ramírez began making delicate and intricate filigree at age 12, in Oaxaca, a Mexican state known for its tremendous filigree traditions. She currently has her own store and works with gold and silver, as well as with turquoise, coral and pearls. Filigree is a tradition that was brought to Mexico in the 16th century from Spain. The earrings, necklaces, pendants, rings and bracelets made from this technique are traditionally worn during Oaxacan festivals and weddings, but many people have begun to wear them daily.

Booth 36

Glazed Clay, Molded and Appliquéd Hilario Alejos Madrigal
One of Mexico’s most recognized folk potters, Hilario from San José de Gracia, Michoacan, is the recipient of numerous awards, including the Premio Fomento Cultural Banamex. His highly traditional ornamental pineapple pots, elaborated with techniques of appliqué and openwork, require exceptional mastery not only

Booth 94

Supported by Quaucalli - Santa Fe

Nicolasa is a master weaver from San Bartolo Yautepec, a small community in the Sierra Sur region of Oaxaca. Nicolasa weaves on a backstrap loom using a cotton warp and weft. An expert in the plain weave plus supplementary weft weave technique, Nicolasa’s weavings achieve an embroidered effect. However, her designs are interwoven using a heddle rod – they are not embroidered.

Pottery is an ancient and traditional craft in Michoacan. In the town of Huancito, artisans make burnished vases and towers of cantaro pots. Burnished pottery is a naturally lead-free technique because it does not require leaded glazes. Bernardina works with her family to create her lead-free pottery. Her husband is charged with transforming powder into wellkneaded and rested clay. Bernardina creates the vases with clay molds, decorating them with liquid clay and detailed paintings.

Weaving Luisa Jiménez Cubas
Booths 103, 104

Lead-free Pottery Herlinda Morales
Booth 135

Supported by Barro Sin Plomo USA

Supported by Fomento Cultural BANAMEX A.C.

Luisa is a master of backstrap loom weaving. She works with a range of natural fibers, including cotton, silk and wool. Many of the

Herlinda creates lead-free, black candleholders that combine Catholic symbols with imagery from her native Purépecha culture. She works with her parents, Guadalupe and Gilberto, in their workshop in Santa Fe de La Laguna in

2011 Santa Fe International FOLKART Market

Mali Aboubakar Fofana

Mexico José German Punzo Nuñez

Mexico Mariano Valadez Navarro

Mexico Guadalupe Hermosillo Escobar

Mexico Violeta Vásquez Gutiérrez

the Mexican state of Michoacán. From mining the clay, to preparing and molding it, and decorating it with delicate figures, the family is involved in the entire process of production. The candleholders, whether single stands or elaborate eleven-candle candelabras, have a deep black sheen once removed from the kiln. They are an important component of Day of the Dead and Holy Week celebrations. Through her involvement with the Purépecha women’s organization Uarhi, Herlinda learned about the health benefits of creating lead-free pottery. She and her father convinced her skeptical mother to transition to lead-free production.

style called “Mongolian Zurag”since he was a young boy. He paints images of folk tales and various nomadic tribes, has developed a passion for painting detailed and expressive images related to migration.

and was so named to express their optimism for success, as well as the figurative light of the carpets’bright colors and cheerful designs.

Hovsgol Park Cooperative

Containers made of Horn, Felt Work and Wood Carvings Narantsetseg (Nara) Sambuu

Button Work and Weaving Amina Yabis
Booth 16

Women’s Button Cooperative of Sefrou

Supported by Barro Sin Plomo USA

Marcelo and German Montoya (Montoya Family)
Booth 135
Like their father, Othón, the seven sons create ceramics for the kitchen and home. Among the items are large green platters, with flower motifs, and cazuelas (casseroles). Specialties of the Montoya family include Othón’s cross-hatch terracotta casserole, lidded casseroles and snack trays, and son German’s highly decorative pieces created using black and white engobes. Othón Montoya works with two of his sons full-time; the other five help out on weekends. His wife, Braulia Julia Vazquez works with him as the primary painter.

Lead-free Pottery

Narantsetseg (Nara) comes from a family of traditional nomadic herders and learned her felt making skills from her family. In 2000, Nara was instrumental in establishing the Hovsgol Park Cooperative through funding from United States Aid for International Development (USAID).

Booth 92

Clothing Tuul Sanjdorj
Booth 92

Amina was a typical Moroccan housewife and mother of four boys whose husband was a school teacher. With the support of her husband and family, she decided to break out of the narrow role defined for her by Moroccan society and help women play a part in the economic and political life of her community. She formed a women’s craft association called Golden Buttons to market the hand-woven buttons and weavings that women had been making in their homes for generations.

Supported by Omba Arts Trust Booth 91 The Bushmen of Southern Africa have been creating and trading glass beads for centuries. Mara and other artisans in her community have begun to use these colorful and delicate glass beads to create elaborate designs on fabrics. With the beads and embroidery, they depict different aspects of Bushmen culture, such as animals and medicinal plants that are an important part of their daily life. Since many of the Bushmen are nomads and their culture is constantly changing, they have found it important to capture their cultural traditions through these vibrant and elaborate fabrics.

Ju/’Hoansi Bushmen Beaded Pictures Mara Britz

Houa Albaka
Booth 51

Leather Work

Houa comes from a family of traditional Niger craftsmen. She started learning leather craft at a young age from her mother. Traditional leather products from the region are made of goat leather dyed with natural dyes, with cut out designs and the addition long fringe, sometime braided with tassels. These distinctive items continue to be used in everyday life of the Tuareg people and are unique to their culture.

Bogolan Hadiza Mahe
Booth 114

Supported by Sahara Trading Company

Painting on Handmade Paper Sita Devi Karna
Booth 96
Janakpur Women’s Development Center (JWDC)

Hovsgol Park Cooperative

Basket weaving (Gihiriku and Sambiyu/Kavango Region), (Khoe Bushmen, Caprivi Region), Jewelry (Ju’Hoansi Bushmen), (Gihiriku and Sambiyu) Kristina Shitoka Ndimbi
Supported by Omba Arts Trust

The Hovsgol Park Cooperative specializes in making clothing, felt boots and purses, as well as toy animals for children made from felt scraps. However, the cooperative supports a wide range of traditional arts, including painting and carving. Tuul’s specialty is the beautiful clothing typical of nomadic Mongolians.

Embroidery Amangul Karimbyek
Altai Craft

Secular Paintings (Mongolian Zurag) Jaakhankhuu (Janna) Grisha Gerelkhuu Ganbold
Hovsgol Park Cooperative works to train local people to make traditional crafts and clothing in order to create employment opportunities, stimulate the local economy and preserve cultural traditions. Jaakhankhuu (Janna) specializes in traditional painting that often depicts scenes from the daily lives of nomadic herders. Before fellow artist Narantsetseg (Nara) Sambuu established Hovsgol Park Cooperative in 2000 with funding from US Aid for International Development, Janna, like many others, worked individually in her home and sought out markets on her own. Forming artisans into small groups enabled all to help each other improve production systems and access additional markets. Fellow coop member, Gerelkhuu, has been painting in the traditional

Booth 92

Hovsgol Park Cooperative

Altai Craft, a women’s cooperative, was created in 2003 with the mission of alleviating poverty in the Kazakh villages of western Mongolia. Amangul, a member, hand embroiders using the traditional Kazakh chain stitch, learned as a young girl from her mother. The stitch is done with a tambour hook which is often made from a recycled bicycle spoke. This vibrant embroidery style began around 3000 B.C. and has traditionally been used to decorate the interior of tents and to make traditional hats and clothing for special occasions.

Booth 92

Amazigh (Berber) Weaving Rkia Ait El Hasan and Khadija Ighilnassef
Booth 2
Jamaiate Tifawin (Association of Light)

Kavango Region and Caprivi Region baskets are made from the fronds of the hyphaene petersiana palm.The fronds are left in their natural color or dyed using different plant materials such as the leaves, roots and bark of a variety of shrubs and trees. Kavango baskets are made with the coil method; Caprivi baskets, warp and weft. Baskets in the Kavango Region are used for harvesting pearl millet, as well as for winnowing, storage and transport. Khoe Bushmen baskets were for gathering, but are no longer used this way. The ostrich eggshell jewelry is made from individually-shaped beads using eggshell from commercial farms. These adornments are exchanged as gifts or worn during cultural dances and festivals. The Gihiriku and Sambiyu bracelets are made from PVC etched with traditional designs by men from the Kavango Region. Originally, bracelets were made from bone or ivory as body adornment for the seminomadic Himba people.

Booth 91

Sita is one of 41 women who have benefited from working collectively at the Janakpur Women’s Development Center. Together, they make unique and vibrant paintings on lokta, handmade paper, depicting religious icons and traditional images that represent prosperity and wealth, specifically for newly married couples. For many generations, the women of this region created similar paintings on the walls of their homes. This collective of women has been able to transfer these paintings onto paper to sell in order to sustain themselves and their families.

Bogolan are West African handmade mud cloths, cotton fabric dyed naturally with fermented mud. Hadiza learned this stunning technique when she moved to Mali and the Bambara people taught it to her. Bogolan represent West African identity and culture, and have been used for generations for daily tasks and to decorate people’s homes and offices.

Jewelry Elhadji Koumama
Booth 136

Koumama Family Cooperative Supported by

Jewelry Moussa Albaka
Moussa designs gorgeous jewelry using sterling silver, Tuareg silver and semi-precious stones. His techniques include engraving intricate geometric designs, using decorative inlay, and a lost wax process. Many of his pieces show the repoussé style by which Moussa hammers a shape on the reverse side which creates a raised design on the front. The repoussé style is a slow process, but it maximizes the touch, feel, and visual beauty of the bracelet or necklace and amulet.

Booth 51

Nomadic Tuaregs typically owned few material possessions, but they cherish beauty, so jewelry has been an important (and portable) art form in their culture. Most pieces are geometric in shape and have a special significance including crosses given from fathers to sons, triangular pieces given from mothers to girls, diamonds given by men to their brides, and amulets, square pendants encasing a selection from the Koran, worn by all ages to protect against evil spirits. The Koumama family works in several small groups of two to 15 men with boys beginning their apprenticeship at age seven. The pieces are made by the lost wax method, then engraved and hammered, and adorned with stones.

Batik, Adire and Tie Dye Gasali O Adeyemo
The graceful, geometric Batik designs are laid out by using a coating of either paraffin or beeswax which is then carefully removed after the

Booth 37

Rkia and Khadija are part of Jamaiate Tifawin, the Association of Light. This women’s group produces traditional amazigh (Berber) weaving

2011 Santa Fe International FOLKART Market


Mongolia Gerelkhuu Ganbold

Morocco Amina Yabis

Nepal Sita Devi Karna

Niger Hadiza Mahe

Niger Moussa Albaka

fiber is dyed. Adire is a second method. It uses the traditional tools of a broom stalk, a chicken feather, and cassava paste. Sometimes in the Adire method a stencil design is the overlay, and at other times the artist creates the patterns by hand. In some creations a tie dye technique called stitch resist is used by stitching the raffia into the fabric. The other technique is done by hand using the raffia to create the design. Gasali specializes in using indigo dyes because of its importance to his people. The indigo dye allows for delightful contrasting shades of blue.

Coiled Leather and Desert Palm Baskets Fatima Mohammed Al Musheiki

Embroidery and Costume Houda Salim Mohammed Al Hashmi

Moghul Kundan Jewelry (22K Vermeil) Muhammad Yousaf
Booth 40

Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman

Truck Art Haider Ali
Booth 84

Supported by Tribal Truck Art UNESCO Award of Excellence Winner

Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman

Booths 107, 108

Toyin Jelili Folorunso
Booth 46

Aluminum Low-Relief Panel)

Supported by Rafiu Mustapha

Toyin, through the blacksmith’s art, creates the most intricate images on aluminum panels. He uses a repoussé method, which is the process of ornamenting aluminum surfaces with designs in relief by hammering out from the back. Sometimes it can be done by pressing the reverse side. Literally the French meaning for repoussé is “to push forward”. He uses local blacksmithing tools such as the chisel hammer, knife, punches, and hot coals for forging. This folk art is hung on palace walls and around village houses as decorations that tell local folkloric stories and of local ceremonial events. Toyin was born into a family of traditional artists in Oshogbo, Nigeria, which is known as the broad middle belt of Nigeria.

Fatima lives in the small settlement of Mishaylah in the southern region of Dhofar, a remote and arid area, sparsely populated by semi-nomadic Bedouin communities. As an artisan, she makes use of raw materials found in the desert environment. Among the most of important of these is the wild desert palm, known locally as qadaf, that grows in wadis (dried river beds) and provides frond material for coiled basketry. This type of basketry produces durable, lightweight containers for both liquids and dry goods. Fatima is one of a new generation of basketmakers in Mishaylah. She learned from an aunt who was one of only six artisans still making traditional coiled baskets.

The coastal town of Sur, in the Sharqiyah region of Oman, is one of Oman’s great historic entrepots and played an important role in Oman’s emergence as a seafaring nation. In addition to India, East Africa and Southeast Asia, Omani merchants sailed all the way to Canton in China. The crafts of Sur and the surrounding region are reflective of the importance of trade to the local community. Houda is a member of the Al Hashmi tribe. She is particularly known for heavily encrusted bands of silver embroidery that are used to adorn the cuffs of women’s trousers and their dishdashah.

Booths 107, 108

Supported by Poetic Threads of Pakistan (PTOP)

Muhammad, a goldsmith from Mardan, has handcrafted intricate and delicate jewelry for many years and comes from generations of male jewelers. The style of his work is called Kundan and utilizes gold, 22k vermeil plating, silver and varied, natural semi-precious and precious stones. Muhammad also utilizes lac, the secretion from a bug native to India, as glue compound to hold the jewels in place – also a Kundan tradition. This is a jewelry crafting tradition dating back to the Mughal Empire and Dynasty, between 1526 and 1858.

When the seaport was built in Pakistan, truckers began decorating their trucks with brightly colored, richly detailed designs and embellishments depicting their aspirations and dreams. Haider grew up watching his father and uncles do this in his village in Southern Punjab and learned quickly. In addition to decorating trucks, he now makes miniature decorated trucks as well as traditional items used by truck drivers such as bowls, plates and kettles.

Handblown Hebron Glass Hamdi Natsheh
At the age of 7, Hamdi began learning glass blowing from his father. Now 60 years old, he continues to blow glass alongside his family for their store, Hebron Glass. The pieces created by Hamdi and his family are made using techniques characteristic of the region over hundreds of years. The works embody the old stories of Palestine and represent unique shapes and patterns. A centuries-old part of Palestinian heritage, handblown glass adorns both homes and religious sites, and is shaped into adornments worn at celebrations.

Rugs, Bags and Camel Trappings Hameeda Hamed Al Musalami

Musandam and Dhofari Incense Burners and Dhofari Pottery Zeina Sha’aban Salim Al Noobi
Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman

Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman

Embroidery Bibi Shaista
Booth 41

Booth 129

Supported by Poetic Threads of Pakistan (PTOP)

Drum Making Akeem Ayanniyi
The gorgeous West African drums and the hypnotic, dynamic rhythms of Agalu African music are the two folk art traditions brought to us by Akeem. These instruments are all hand crafted with local materials; carved from mahogany or teak, topped with cow hide, and laced with rope strings. The shape creates the type and sound of the drum: conical is Ashiko, inverse conical is bata, mushroom is djembe, and cylindrical shape is the famous Yoruba talking drum. The pitch can be raised or lowered by squeezing the drum’s strings, and the artistry of playing is in the adjustment of the strings. These West African drums are among some the oldest village to village communication instruments. Akeem is from a highly respected family of drummers and drum makers and he can proudly trace this folk art in his family through nine generations.

Booth 55

Zeina is from the coastal town of Taqah in the southern region of Dhofar, the fabled land of frankincense – a resin once valued more highly than gold. It is customarily burned on hot coals in a clay censer known as a majmar, a folk art product that has come to symbolize the hospitality for which the Omani people are famous. The pottery of Dhofar, made by women who typically work in small cooperative groups, includes incense burners, milk pots, water bowls, clay camels for children, bread presses, pipes and cooking pots. Terracotta clay collected from the base of the mountains is used and the pottery is highly burnished and decorated with traditional iron oxide pigments. In the early 1990s, Dhofari pottery was in danger of dying out. Zeina is one of the master potters who helped to spearhead the revival of Dhofari pottery. She learned from an older artisan and was one of three women of her generation who took up this craft.

Booths 107, 108

Hameeda lives in the town of Ibra, one of a string of oasis towns that fringe the Wahiba Sands desert, an expanse of sand named after the Wahiba tribe – primarily Bedouin – who live there. Living in a small family settlement, Hameeda is one of five daughters who have all learned to spin and weave from their mother. They weave rugs and camel saddle bags using the natural colors of the wool as well as red dye from madder. They also make a range of traditional trappings – girth straps, saddle pads, halters – for use on camels. Traditionally these are made from wool, but weavers now also use cotton, silk and synthetic threads.

Booths 107, 108

Bibi is part of a cooperative that does traditional Jisti embroidery work. This embroidery technique is extremely detailed and utilizes precise geometric designs that are interpretations of flowers. Bibi and her cooperative embroider on handwoven cotton or linen. Traditionally, Hazara women would bring their embroidered linens to their husband’s home upon marriage. Recently, this embroidery work has become a means for many women and girls to support their families and encourage local economic development.

Wounaan Vegetable Ivory Sculpture (Tagua) Octaviano Chamarra Membora
Octaviano is part of the Wounaan National Congress Cooperative in the Darien- Choco region of Panama. The Wounaan artisans create clever and imaginative depictions of plants and animals utilizing Tagua, an ivory nut harvested from palms that grow from Panama to Bolivia. After shaping and polishing the Tagua, the artisans paint them with natural extracts of plant and earth. The techniques used have traditionally been used by the Wounaan Indians to craft wooden hunting weapons, canoes, paddles and ceremonial objects. This art form also encourages preserving local rainforests as it provides a sustainable source of income for local communities that does not cause deforestation.

Naina w/o Sadhumal Surendar Valasai
Booth 72
Supported by Lila Handicrafts - Ralli Quilts

Ralli Quilt Work

Supported by Sultan Qaboos Cultural Centre in cooperation with the PUBLIC AUTHORITY FOR CRAFT INDUSTRIES/Sultanate of Oman

Jewelry, Household Items and Ornamental Weaponry Ali Abdullah Mohammed Al Kindy

Nizwa, the capital of Oman’s interior region, is among the largest of the fortified towns that stand guard over the inland trade routes linking Muscat with the Gulf. Nizwa has a thriving souq (market) that caters to locals as well as villagers from the mountains and the Bedouin who travel from Oman’s desert region. Ali is a member of the Al Kindy tribe from Oman’s interior regions. He is from a family of silversmiths.

Booths 107, 108

Ralli quilts are made in the remote regions of Pakistan and India by women artisans, many of whom will not travel out of their own village without their husbands or another male. Patchwork ralli quilts are patterned textiles made of old cloth from discarded clothing and household fabrics that are sometimes hand dyed to give them a new appearance. The cloth is torn or cut into geometric shapes, then stitched together on a palm mat on the ground using a large needle and cotton thread. Three quilting methods are used: patchwork, appliqué and embroidery. Lila Handicrafts is a cooperative of women from a small village in the Thar Desert region of Pakistan, Tehsil Diplo.

Booth 66

Wounaan National Congress


2011 Santa Fe International FOLKART Market

That Lasts a Lifetime
Fast Facts:
• Integration of Technology, Science, Music, Art, Drama, PE, Experiential Education and Spanish • Promotion of community responsibility through the Buddy Program, Environmental Stewardship, and Service Learning • Development of multiple perspectives, creativity, and inquisitive minds • A focus on in-depth thematic studies
Rigorous Science and Math curricula

A Solid Foundation

Fast Facts:
• Rio Grande is the only elementary school in Santa Fe accredited by ISAS • State-of-the-Art Facilities on a 5-Acre campus • Student Teacher ratio is 9:1 in Grades K-6 • 74% of RGS Lead and Specialist Teachers have Masters Degrees
Environmental Stewardship is a goal

• Aftercare option available

715 Camino Cabra • Santa Fe, New Mexico 87505 E-mail: 3 Years Old through Grade 6 • Financial Aid available
Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.


2011 Santa Fe International FOLKART Market


Oman Ali Abdullah Mohammed Al Kindy

Palestinian Territories Hamdi Natsheh

Republic of Peru Macedonio Eduardo Palomino Torres and Luzmila Huarancca Gutiérrez

Republic of Peru Marina Valera Rojas

Alina, master Wounaan basket weaver represents the Wounaan culture of the Darién Rainforest in Panama’s Darién National Park. Wounaan women have been weaving Hösig Di utlitarian baskets for centuries, developing highly evolved skills that rank their baskets among the best in the world. Most Wounaan weavers pick up the sewing needle at an early age at their aunts’or mothers’knees. Only the most supple, emerging fronds from the top of the sacred black palm tree are harvested for this work. Designs are worked intuitively from the bottom up. During the last several decades, Hösig Di baskets have become increasingly complex with basketmakers integrating geometric, floral, and faunal designs inspired by the surrounding rainforest. Alina’s integration of a wide color ranges enables her to achieve delicate shading in her flower and butterfly motifs.

Booth 66

Wounaan National Congress

Basket Weaving Alina Itucama Negria

painstakingly hand-carved using a variety of knives, awls, and other tools. Details are then hand-painted onto the gourd, or other shading effects are created using burning cords or small twigs to mark the gourd’s surface.

Ornamental Tin Work Teófilo Araujo Choque
Booth 67

Supported by Patricia Arscott La Farge “Que Tenga Buena Mano”

Retablo-like Work Eleudora Jiménez Quispe
Booth 67

Supported by Patricia Arscott La Farge “Que Tenga Buena Mano”

Polychrome Sculpture Bernardo Pedro González Paucar
Booth 28
Bernardo Pedro comes from a long tradition of imaginería makers. Imaginería – the making of crosses, retablos and mixed figures – has had its roots in the Huancayo region of the Peruvian central highlands since the mid-16th century. Pedro’s father, uncles and grandfather were his teachers. By the age of 8, he was able to model, carve and use a brush. Pedro’s first experience involved making a hummingbird out of maguey. Maguey, a soft wood, is the primary material. Other materials include plaster and cloth as well as ochre and shade rust pigments.

Teófilo crafts utilitarian and decorative tin work used in homes as well as churches and other public buildings. Using a variety of hand tools, including shears, files and hammers, he shapes high quality tin, both purchased and recycled, into many shapes in preparation for painting. The results are richly colored and skillfully finished pieces such as frames repousséd with birds, flowered candlesticks, life-like roosters and angelic musicians. Teófilo, his wife María, and their 10 children work together to design, shape, solder and paint the tin work produced by the Araujo workshop.

Like her brother, Mabilón Jiménez Quispe, Eleudora’s work expresses a variation on the traditional form. In addition to retablos, Eleudora makes retablo-style mirror frames. The frames are large and decorated with Andean scenes depicting festivals, legends and religion, as well daily life. Her retablos are made in the classical tradition of a deeper box with two painted wood doors. They incorporate scenes typical of her father, Florentino Jiménez’s work, especially nativities. Eleudora began working as young girl in her father’s workshop, Retablos San Marcos.

of 6, and was weaving her first patterns by age 7. The CTTC now works with over 450 weavers and 250 children in nine communities. CTTC weavers, such as Nilda and Juana, are remarkable in the quality of the textiles that they produce as well as their emphasis on traditional designs and techniques. The work of the center is not just to preserve and to study Peruvian textiles, their symbolism and significance, but also to assist families to create a larger market for their textiles and a new economy for their communities.

Wood Sculpture Tadeusz Kacalak
Booth 80
Supported by Folk Arts of Poland

Pampa de Quinua Ceramic Vidál Gutiérrez Cordero
Booth 67
Supported by Patricia Arscott La Farge “Que Tenga Buena Mano”

Embroidered and Painted Textiles Marina Valera Rojas
Maroti Shobo

Supported by Museum of NM Shops / Museum of New Mexico Foundation

Weaving and Embroidery Macedonio Eduardo Palomino Torres and Luzmila Huarancca Gutiérrez
Artesanias WARI URPI

Pompeyo Berrocal Evanán

Tablas de Sarhua

Booth 58

Pompeyo is originally from Sarhua Ayacucho. Pompeyo remembers growing up with an incredible painted tabla de sarhua of his village and ancestors that was in his grandparents’home. Eventually, he migrated to Lima where his uncle taught him to create these elaborate and colorful tablas that he began selling at an artisan market. A tradition of Sarhua for over 100 years, the tablas represent the genealogical heritage of families from Pompeyo’s village as well as scenes of daily life in rural Andean villages.

Booth 7

The hand-embroidered textiles created by the members of Artesanias WARI-URPI embody traditional, brightly-colored representations of the flora and fauna of Peru. These have their origin in and still reflect the traditional embroidery of the WARI-URPI’s ancestors who can be traced back to the eighth century B.C. Worn daily by the WARI women of the Huanta-Ayacucho region, embroidered shawls called llicllac are often used to carry children, crops or wood.

The work of Vidál exemplifies the Andean tradition of Pampa de Quinua, located near Ayacucho. Vidál’s grandfather used local clays to create utilitarian bowls and ceremonial plates in colors of cream and black, and varied reds and browns – a tradition that Vidál continues. The pieces are thrown on a wheel and painted with rooster feathers using colors made from minerals found in the area. Works include small bulls and houses that are placed on the roofs of houses as blessings. Decorated plates are used in religious ceremonies, particularly in homage to Pachamama, the Andean Earth Mother.

Marina is part of Maroti Shobo, a women’s artisan group located in a small, jungle Shipibo community. She and others produce textiles for household and ceremonial use. When they were young, the mothers made a solution from the root of the Piri Piri plant and dropped this into their eyes during the new moon so they would be able to see the patterns they weave into the cloth.

Booth 79

Taduesz is a former barber who taught himself to carve while waiting for clients at his barber shop in Mazowsza, Poland. Kacalak’s handcarved wood sculptures represent a style of sculpture from the Lecynia region of central Poland. They depict religious and village scenes, and birds. Cured Linden wood is carved by hand with chisels and other hand tools and later painted with water colors. Taduesz also paints watercolors.

Retablo Claudio Jiménez Quispe and Vicenta Flores Autaucusi
Booth 115
Vicenta and her husband, Claudio, represent the world-famous Quispe family of Peru, widely known for their Peruvian retablos, or portable shrines. Such shrines have been traditionally used by Quechua-speaking indígenas to bring fecundity to their agricultural fields and to ask for the intervention of a Catholic saint or deity to give intervention for a successful crop. The Quispes have made their mark in part by introducing contemporary themes and representing scenes of Andean life that encompass religion, customs, tales and legends, and social life.

Reverse Painting on Glass Magdalena Hniedziewicz
Supported by Folk Arts of Poland

Booth 80

Weaving Julián Pariona C.
Booth 67

Supported by Patricia Arscott La Farge “Que Tenga Buena Mano”

Carving (Gourd) Bertha Medina Aquino
Bertha is from Cochas Chico Huancayo, a small village high in the Andes of Peru. Bertha learned the art of gourd carving at the age of five from her father, Evaristo Medina, who is also world-famous for his work. Gourd carving goes back generations in the Medina family. Each gourd is unique and tells a story of daily life in the Peruvian Andes. The gourds she carves are grown only on the coast of Peru, and she travels there to find the right gourd for each creation. Once collected, the gourds are

Booth 11

Julián is a weaver in the Ayacucho style of the Andes. He continues working in a tradition passed down over the centuries, generation to generation. The rugs, blankets, ponchos and shawls that he weaves on a foot loom are made from the wool of alpacas, llamas and sheep. The weavings are distinguished by their bold geometric and pictorial designs.

The youngest son of internationally-recognized retablo maker, Florentino Jiménez, Mabilón has developed a variation on this folk art form that is still rooted within the Andean traditions of Ayacucho. Mabilón’s retablos are flat and framed. Religious iconography – saints and diverse expressions of Mary – is colorfully portrayed on the framed wood panels. Each retablo speaks to the accomplishments and duties of the particular saint. In making his retablos, Mabilón follows the traditional retablo process, using fundamental materials such as ground humanaga stone, yucca paste and peach juice.

Booth 67

Supported by Patricia Arscott La Farge “Que Tenga Buena Mano”

Retablo-like Work Mabilón Jiménez Quispe

Reverse glass painting is an art form used since ancient times throughout different areas of the world including Europe. The work was primarily painted for church alters and the subject matter was usually religious scenes. Magdalena carries on this tradition by making wonderful naïve depictions of religious paintings as she paints onto the back of the glass which is then covered with gold leaf and finished off with a leather backing. Her frames are molded out of papiermâché and painted by hand.

Masks Raúl Ayala Carrasquillo
Booths 23, 24
Supported by Zulma Santiago Vega

Weaving on Backstrap Loom Nilda Callañaupa Álvarez and Juana Pumayalli
Booth 126

Centro de Textiles Tradicionales del Cusco (CTTC)

Founder and director of CTTC, Nilda was born in Chinchero Village near Cusco, Peru. She began spinning wool from sheep and alpaca at the age

During the third week of July, the people of Loiza, Puerto Rico, celebrate the Feast of St. James the Apostle with one of the island’s most colorful Carnivals. Brightly colored coconut

2011 Santa Fe International FOLKART Market


(Exhibit ongoing through July 31)

an exhibit & sale of jewelry, textiles & clothing of the region.
Special collections of clothing and weaving dyed in natural indigo will also be on display and for sale at Traveler’s Market throughout International Folk Arts Week, as part of the Go Indigo! citywide celebration.

A Talk, Carving and Performance of a sacred Temple Mask Dance by famous Carver, painter and performer from Mas Village, Bali.

Reception for Ida Bagus Anom

Saturday July 16, 5 - 7 pm

DeVargas Center, (Behind Office Depot) 153B PaSEO De Peralta, Santa Fe. NM. 87501 505-989-7667
35 Dealers of Fine Tribal Art & Jewelry, Books, Antiques, Folk Art & Furniture, Textiles, Judaica & Beads

Traveler’s Market

2011 Santa Fe International FOLKART Market


Republic of Peru Mabilón Jiménez Quispe

Republic of Peru Nilda Callañaupa Álvarez and Juana Pumayalli

Puerto Rico Felix Martínez

Rwanda Janet Nkubana

South Africa Angeline Bonisiwe Masuku

masks, part of the Carnival’s Vejigante de Loiza costume, are an important feature of the festivities. The mask makers of Loiza focus on four main types of mask: los vejigantes, representing the Moors; los viejos, elders; las locas, madwomen; and el caballero, representing the Spaniards. Carved from dried coconut husks, Raul has made these masks for more than 40 years, carrying on a tradition learned from his father, Don Castor Ayala, founder of the Ballet Folklórico Hermanos Ayala.

native minority Khanty people, and to preserve and develop their traditional culture, economy and way of life. Members of Yaoun Yakh make a variety of traditional arts that are used by Khanty families, including lidded baskets, decorated fur purses, Khanti boots, three-dimensional puzzles, dolls and birchbark baskets.

Bead Work Mathapelo Ngaka
Booth 31

Supported by MonkeyBiz

Ceramic Jabulile Nala
Descending from a famous line of potters, Jabulile was taught by her mother, renowned potter Nesta Nala, and her grandmother, Simphiwe. Zulu beer pots – a customary part of Zulu weddings, births, marriages and burials – symbolize hospitality and communality. In the traditional manner, Jabulile hand-digs clay near her home, and coils, burnishes, fires and rubs her pots with animal fat. Her family is also known for infusing their work with a contemporary spirit, creating the larger and more elaborate forms for which Jabulile is becoming nationally and internationally recognized.

Booth 112

Handwoven Baskets and Urusika Decorative Panels Janet Nkubana, Muteteri Michelline, Kankindi Pricilla and Muteteli Michelline
For centuries, Rwandan women have taken up basket weaving as part of their rite of passage into adulthood. The baskets, which are woven with a variety of organic reeds and grasses using traditional tools, carry designs with longstanding and particular cultural meanings. After the Rwandan Genocide, the Gahaya Links Cooperatives were founded as a way of turning Rwanda’s ancient basket weaving tradition into a source of livelihood for the rural women who found themselves without any means of support. The members receive 80 percent of revenues from the sale of their pieces, while the remaining 20 percent goes into a cooperative savings account. Among the baskets that the weavers specialize in making are the elegantly shaped, conical peace baskets that have earned these talented and entrepreneurial women international fame.

Santos-Carved Wood Saints Felix Martínez
Booths 23, 24
Supported by Zulma Santiago Vega

Felix is a santero in the tradition of José Rosado, one of Puerto Rico’s most celebrated santeros, from whom he learned to carve. Using soft native woods, cedar being his favorite, he sculpts and paints different kinds of figures. In addition to saints, these include The Three Kings, angels, the holy family and Mary. Originally made for personal use at home, over time the santero made images for neighbors and the community.

Booth 1

Gahaya Links Cooperatives and Ubumwe Cooperative

Mathapelo’s mother and other women in her village began creating beaded dolls and other contemporary interpretations of bead work traditional to the Zulu, Xhosa, Ndebele and Sotho tribes. Their creations inspired Barbara Jackson and ceramist Shirley Fintz to join with Mathapelo to establish the MonkeyBiz Bead Project, a nonprofit organization for the revival of traditional South African bead work and a source of economic support for women bead artists. The organization employs 410 women, supplying them with richly colored glass beads to use in creating exquisite one-of-a-kind bead work.

Zulu clans. Originally, these were created to be carried by women who were childless in the belief that the dolls would make them fertile. Now these dolls are designed so that their attire indicates age or marital status as well as the various stages of growth of girls, childhood and adolescence to womanhood.

Mpengede Wood Carving Sibusiso Zenzele Gumede
Sibusiso grew up in rural Manuza, watching the wood carvers in his neighborhood. Today, he works with a group of wood carvers continuing the art form. His whimsical animal sculptures, hand carved from indigenous Mpengede wood, are decorated with the Ukushisela technique of wood burned designs. His village has no electricity and carvings are made by hand in the traditional Zulu culture process.

Booth 139

Amaquthu Ilala Palm Baskets Angeline Bonisiwe Masuku
Angeline, from the rural outskirts of KwaZuluNatal, is the third of 10 siblings. At 8 years old, she learned to make grass floor mats at a school for vocational studies. Angeline soon mastered the art of ilala storage baskets and, by age 18, she was creating her own unique basket designs. She has since attended several basket-making workshops and won first prize at the 2006 FNB VITA Crafts Exhibition.

Booth 59

Papier-mâché – Vejigante Masks and Costumes from Ponce Carnival Jaime Zayas Medina
A fourth-generation papier-mâché mask maker, Jaime is from Barrio Belgica in Ponce, Puerto Rico, where this folk art has its roots. The Ponce Carnival is celebrated yearly and coincides with famous Mardis Gras such as Rio de Janeiro,Venice and New Orleans. For more than 100 years, papier-mâché masks have been an important part of the Ponce Carnival. The traditional mask has multiple horns, pointed teeth and a large snout. Multicolored, they complete the handmade costumes adorned with sequins, bells and ribbons.

Now an award-winning potter, Thembile began working with clay as a very young child, making her own toys. At age 12, Thembile started making “real pots.”She uses clay that she digs herself, mixing grey clay with red clay and water, and then building and shaping with a piece of calabash and a knife. Designs, geometric as well as plant-like, are incised with a sharp wire.

Booth 112

Thembile Judicious Nala


Supported by John Lee

Basket Weaving Beauty Ngxongo
Booth 141

Booths 23, 24

Supported by Zulma Santiago Vega

Supported by The BAT Shop

Telephone Wire Baskets and Sculpture Elizabeth Balindile Lindeni Bhengu

Booth 5

Coiled Split Cedar-root Baskets, Fur Purses and Boots, Puzzles, Dolls and Birchbark Boxes Tatiana Mikhailovna Kelmina and Yegor Pavelovich Kelmin

YAOUN YAKH, Iugan Khanty Native Minority Community Association

Elizabeth’s telephone wire basket and sculpture designs combine both figurative and geometric elements. She is especially inspired by traditional Zulu bead work patterns from the Eshowe area and African animals. As a young girl, her father took the family on outings to the local nature reserve to see wild animals in their natural habitat – solidifying her love of nature at a very early age.

Tatiana represents the native Khanty community association, Yaoun Yakh. The organization was created to defend the traditional milieu of the
48 2011 Santa Fe International FOLKART Market

Booth 8

Wire art is thought to have its beginning in toys homemade from castoffs. The added dimension of colorful glass bead work reflects the deep roots in bead work that has always had a prominent role in ritual adornment, daily wear and tribal identity. South African in origin, wire art is often practiced as part of the informal or street economy, especially in urban centers. In rural areas, it continues to thrive as a way to recycle materials creatively as toys. Constructed from wire of different gauges and metals, and glass beads of all sizes and colors, the resulting sculptures include safari animals, reptiles, birds, fish, insects, musical instruments, cars and more. Made by women artists, most of whom were unemployed mothers, sales of these sculptures provide both direct income for the artists and funding for programs at eKhaya eKasi, an arts and education center established by Art Aids Art in Khayelitsha, near Cape Town.

Booth 86

Wire Art with Beads Art Aids Art

Basket Weaving (Telephone Wire Pots) Bongukufa Alfred Ntuli
Born in 1953 in KwaZulu-Natal, Alfred was taught to weave by his next-door neighbor, master telephone wire weaver, Bheki Dlamini. Zulu telephone wire weaving evolved from traditional hand woven grass, beer pot covers (tzinkamba). In the 1950s, weavers innovated the disc-like shapes by making baskets from telephone wire instead of grass. Alfred creates containers whose form mimics traditional beer pots, embellishing his extraordinary wire vessels with designs and colors that reflect the traditional bead work of the Maphumulo area of KwaZulu-Natal.

Booth 133

Beauty lives in the Empembeni district of Hlabisa and is a Zulu master basket weaver. Her work is in all major South African museums, including the South African National Gallery, Cape Town, and has also been collected by the Metropolitan Museum of Art in New York and the Smithsonian. Beauty uses native grasses and palm leaves to make her baskets. Her dyes are derived from fruits, leaves, bark and roots. Color thread changes produce the designs which are derived from beading traditions. Beauty’s signature basket is the Isichumo, the water vessel.

Charra Filigree Jewelry Luis Méndez López
Craftmen’s Luis Méndez

Amangwe Beaded Bergville Dolls Project

Beaded Dolls Zenzomuhle Zobakuphi Mbhele
Booth 133

The Amangwe clan is situated in Bergville, a very rural community in the province of KwaZulu Natal. Zenzomuhle grew up making bead jewelry and beaded traditional clothing for herself and her community. The elaborately beaded dolls that she and other women of the Dolls Project make are a tradition common to

Luis began working at his father’s filigree jewelry workshop in Tamames, Salamanca, when he was 14. He and his brothers now represent the third generation of goldsmiths in their family. A traditional goldsmith technique introduced by Greek and Phoenician settlers in Spain and Portugal, filigree is similar to textile embroidery, employing gold and silver threads that are smoothed or twisted and, sometimes, worked over a metal sheet.

Booth 81

Thunderbird Jewelry of Santo Domingo Pueblo
May 15, 2011–April 15, 2012

505.216.0730 66 E San Francisco Street

Now exhibiting

Tom Suhler’s
fine art photography
704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 Monday–Saturday 10–5 Free admission
Open 7 days a week
on the plaza, in the Plaza Galeria

Photo: Addison Doty

Sunday 1–5

This project is made possible in part by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax; New Mexico Arts, a division of the Department of Cultural Affairs and the National Endowment for the Arts; the Thaw Charitable Trust; and many private donors.

2011 Santa Fe International FOLKART Market


South Africa Elizabeth Balindile Lindeni Bhengu

South Africa Thembile Judicious Nala

Spain Luis Méndez López

Swaziland Nurse Thembeni Mdluli

Thailand Somporn Intaraprayong

Phez’kwemkhono Bomake-Ncheka Cooperative

Nurse Thembeni Mdluli
Booth 93

Basket Weaving

has succeeded in empowering a large group of women to earn a sustainable income and re-energize a textile tradition.

dings, baptisms and first communions.

Cooperative Bogiafzal

Embroidery Nargis Bekmuhamedova
The clothing that Nargis makes in the Uzbek and Tajik traditions often requires collaboration because of the varied skills required. The arts of pattern making (naqqosh), embroidery (kashida) and quilting can all be involved in creating an item as basic as a chapan or quilted long coat. Transferred from generation to generation, all of this knowledge continues to connect to the cycle of life through the traditional clothing worn at important events such as birth, coming-of-age, marriage and death.

Booth 22

Carpets and Kilims Ikhtiyor Kendjaev
Ikhtiyor’s ancestors were carpet makers from Afghanistan and brought this skill with them when they moved to Uzbekistan long ago. The family’s skills were passed from generation to generation and Ikhtiyor learned carpet making from his grandfather and his father, who also taught him the art of natural dying. The designs used for their carpet making are from ancient Afghan designs.

Booth 47

Booth 6

Phez’kwemkhono is a Swazi call for women and translates to, “your hands, your brain, and your entire being are your wealth.”The cooperative is in the driest region in the country where farming is close to impossible and more than 80 percent of the population depends on food aid. The only source of potable water for this community is a borehole, and most have to walk for hours to get there.

Tavus Khaidova

Felted Rugs, and Wool and Silk Carpets

Suzani and Other Embroidery Matluba Bazarova

Weaving and Clothing Somporn Intaraprayong Ampornpun Tongchai
Booth 26

Learning from her elders, Tavus began making carpets of wool, silk and cotton at a very young age, and subsequently started a handicraft business. Her felt rugs are made in the traditional manner, only using the wool of Sarajin sheep. When making felt rugs, Turkmen women use their elbows and hands to roll and beat the wool as they pour boiling water on it.

Oksana Soyunmammedova
ANSI is an 18-member cooperative dedicated to preserving Turkmen folk art traditions, especially weaving and embroidery. Keteni, a silk fabric traditionally used by the Turkmen people as the cloth on which they embroider, provides a shimmering background for their complex designs. Jewel-tone colors further distinguish the array of items ANSI makes, including traditional clothing and accessories such as coats and bags, as well as bed covers, pillows and decorative panels. Red, the most popular color, was incorporated into clothing as a talisman against the evil eye.

Weaving and Embroidery

Supported by Chinalai Tribal Antiques, Ltd.

Booth 95

(represented by Leyli Khaidova) ANSI

Bogiafzal, the cooperative’s name, means“beautiful garden”and derives from poets comparing suzani embroidery to a“blossoming garden.”Cooperative Bogiafzal brings together women from Savrak, Shurobod, Talisafed and other villages of Shafirkan district in Bukhara province to create suzanis in the traditional way. Handwoven, dyed or natural cotton, silk and adras – silk combined with cotton – form the base for the embroidery work. Because the handwoven cloth can often be narrow, several panels are sewn together before a design is drawn on the cloth by an artist. The panels are then separated and distributed among the members to embroider a portion of the overall design.

Booth 9

Forged Metal with Decorative Natural Materials Shokir Kamalov Shavkidin Kamolov
Shokir represents the fifth generation in a family of blacksmiths. He produces the special scissors used in the gold embroidery for which Bukhara is noted. In addition, the family is known for their production of knives, sabers and other specialized blades. They do both hot and cold forging in their work, not only fashioning tools for their own work, but also making decorative items in silver, copper, brass and bronze, as well as bone, ram’s horn and deer antlers augmented with semi-precious stones. Shavkidin’s bird-shaped scissors embody the city of Bukhara as they represent storks, which are a symbol of the city. Shavkidin learned the craft from his father at an early age and today they work together creating hand forged metal items just as their forefathers have done for hundreds of years. He is a sixth generation blacksmith and metal worker born into a Bukhara family of blacksmiths.

Lacquer Miniature Painting Asatulla Yuldashev
Making, painting and lacquering papier-mâché boxes requires great patience, skill and a deep knowledge of this folk art tradition. The smallest box takes almost three days to complete. Some require up to a month or more, depending on the imagery to be drawn and painted. Materials used include natural pigments, tempera, gold leaf, egg yolk, old silk paper and lacquer. Asatulla first learned miniature painting at Madrassa Abul-Kassim in Tashkent. Because of his passion for this art, he continued his studies at the Faculty of Art and Traditional Painting, Nizami Tashkent Institute.

Booth 53

Booth 30

Born in Bangkok, Somporn has worked in a social services capacity with several Hill Tribe groups in Northern Thailand. An artist in her own right, she is helping to teach and organize women from remote villages to hand sew garments in an effort to preserve their traditionally-woven fabrics. Ampornpun works in northeastern Thailand in Sakonnakorn, where traditional weavers are known for the use of indigo and other natural dyes in their clothing. Ampompun is a farmer and weaver who has organized a cooperative of weavers in her village, encouraging use of home-grown silk and cotton and natural dyes.

Miniature Painting Javlon Khoshimov
The art of making papier-mâché decorative items painted with traditional Uzbek designs thrived in Samarkand at the turn of the fifteenth century. Javlon’s interest in continuing this tradition started at an early age when he started studying and practicing the complicated process involved in producing a professionally finished product.

Booth 15

Jasur Allanazarov
Using as many as 18 different tools, Jasur transforms the rough surface of Elm wood through the fluid and exquisite designs he carves into the wood that he shapes into items such as boxes, trays and chairs. His art work echoes the elaborately-carved architectural elements of mosques and madrassas, as well as the pillars used in the aivans or courtyards of homes.

Carving (Wood)

Booth 68

Lesia Pona
Booth 48

Caucasian Embroidery Mehmet Cetinkaya Gallery
The embroidery arts of Armenia have been passed down from mother to daughter through the generations for more than 300 years. Originally used to create dowry pieces that demonstrated the skill and aesthetic of the bride, each piece contains intricate geometric or floral designs that have remained virtually unchanged throughout the years. Several years ago, Mehmet, a renowned dealer of traditional weavings and textiles from Central Asia, began working with a group of Armenian women who still possessed the embroidery skills of their ancestors. Today, her embroidery project

Weaving and Embroidery

Booth 43

Geometrical forms, such as the diamond, rosette and variations of the cross, typify the embroidery motifs of the Ukraine’s Pokuttya region, the cultural context for Lesia’s weavings and embroidery. Even floral motifs have changed over time and become geometrically stylized. Lesia embroiders using several stitching techniques, including merezshka, a technique that creates a lace-effect, and nyzynka, done mostly on the fabric’s reverse side to produce the effect of tweed. Lesia first learned to embroider from her mother and went on to study with one of the Ukraine’s most renowned embroidery artists, a master of white-on-white embroidery. In the Ukraine, white-on-white embroidered clothing is worn for very special occasions such as wed-

The blue ceramics of the village of Rishtan, made from unique local clay, have been famous for centuries. Forms are made on a foot-kicked pottery wheel, then hand-painted and glazed with metal oxide. When the collapse of the Soviet Union closed the local factory in 1998, Rustam, who designed patterns there, continued production in his home workshop. While ceramics historically reflect intricate geometric forms and designs common in the region, Rustam and Damir combine traditional forms and designs with original shapes and motifs.

Booth 18

UNESCO Award of Excellence Winner (Rustam Usmanov)

Rishtan Pottery Rustam Usmanov and Damir Usmanov

Jewelry Mamur Rakhmanov
Uzbek women throughout the ages have adorned themselves with jewelry, not only for beautification and defining status, but also for protection from illness and the evil eye. Today, Mamur continues Uzbek traditions of producing finely made jewelry by incorporating designs of the past for decorative and ceremonial purposes. Mamur uses both gold and silver and incorporates semi-precious stones to add bold, rich accents. He is famous for using fine filigree in many of his pieces.

Booth 33

Jewelry Alisher Muzafarovich Khaydarov
UNESCO Award of Excellence Winner

Mansur Muzafarovich Khaydarov,
Jewelry making has held a prominent place in Uzbek arts since the 19th century. The Khaydarovs continue to contribute to this tradition that has been in their family for generations. The Khaydarov family reproduces classic old designs for both men and women using methods learned from Alisher and Mansur’s grandfather: wire drawing, engraving, granulation, filigree work, stamping and enameling. The addition of colorful stones such as emeralds, rubies and

Booth 70

2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market


Uzbekistan Alisher & Mansur Muzafarovich Khaydarov

Uzbekistan Shokir Kamalov

Uzbekistan Abdullo Narzullaev

Venezuela Maigualida Edith Martínez Nuñez

Zimbabwe Matron Mwembe

coral, combined with gold and silver, and made with the traditional techniques of filigree, granulation and enameling, offer a glimpse into a past era. Traditionally, most Uzbek women wore a “tumor”– a jeweled amulet case – that contained prayers and objects for protection, or even a magic spell.

Suzani Embroidery Sayfullo Majidov, Murod Sharapov
Sayfullo comes from Nurata, one of the main centers of traditional Uzbek embroidery where the culture of nomads mixed with the sedentary population and created a rich intermingling of traditions that remains very strong today. He was taught his skill by the women of his family and, by an early age, he was knowledgeable about the ancient designs and their symbolism, techniques and methods of natural dying, cloth making, and suzani production. Murod works collaboratively with suzani embroidery artist, Sayfullo. Murod is a master dyer whose knowledge, inherited from his mother, has expanded their use of natural dyes in the making of suzanis and clothing, by helping them achieve colors and tints unique to and used in the past. The strong colors that Murod produces, combined with Sayfullo’s mastery of the embroidery tradition, result in ornate, richly colored suzanis and clothing.

Gijduvan Ceramic Abdullo Narzullaev
Abdullo is a sixth-generation ceramic artist from the Bukhara region of Uzbekistan in Central Asia. The artist utilizes the traditions of the Gijduvan school of ceramics. In manufacturing the art, which has been used for several centuries, Abdullo uses traditional technology and local raw materials. He began learning the art when he was 6 from his father, Ibodullo Narzullaev, who was a noted ceramicist in the Uzbek tradition. This is why Abdullo considers ceramics a family business where each of the 25 separate steps of creating the plates and bowls is carried out in the family workshop. The artists use mechanical pottery wheels to produce the more than 50 traditional forms. The specialized brightly colored glazes are prepared in a mill that is driven by a donkey. Meanwhile, the kiln is fired using a variety of fuels such as wood, petroleum or natural gas.

Booth 87

Booth 138

Toys Mario Alfredo Calderón Velásquez
Even as a child growing up in the oldest part of Caracas, Mario loved to make things – carts, toy soldiers, models of heroic characters from folktales and comic books – from whatever materials he could find. Known for parades and, especially, clowns, the neighborhood of his childhood continues to influence his work. Mario brings to the Folk Art Market several series of painted, carved wood toys: a series representative of Venezuelan traditions, secular as well as religious; a circus series; and toys that Venezuelan children have played with for generations.

Booth 106

Shine on Pakistan Supported by JoAnn Balzer and Sylvia Seret, to benefit SHINE Humanity
This year’s humanitarian booth provides an opportunity to support victims of Pakistan’s devastating floods. One hundred percent of all booth sales will go directly for humanitarian relief and sustainable long-term primary health care for the flood victims, provided by the non-profit SHINE Humanity. Pakistan has a rich tradition of artistic expression and creativity in its handicrafts. The booth will feature a wide array of these handicrafts including jewelry, lacquerware, handwoven textiles, wooden crafts, ceramics, mirror embroidery, appliqué, bead work, metal work and basketry. The Pakistan Embassy in D.C., the Trade Authority in Pakistan, and local supporters have donated items specifically for sale in the booth.

Booth 111

Silk and Wool Carpets Fatullo Kendjaev
Booth 75

UNESCO Award of Excellence Winner

After graduating from the School of Art at Bukhara University, Fatullo was drawn to silk carpet designs from the Timurid Era (1370-1507), one of Islamic Art’s most brilliant periods. When he learned many old patterns had been lost, he copied carpet designs depicted in antique miniature paintings and recreated them with traditional weaving methods and natural dyes. With support from UNESCO, Fatullo founded and heads the Carpet Weaving Training School in Bukhara. His success was rewarded with UNESCO aid enabling him to open a second school in the historic town of Khiva and much of the money he makes selling the carpets goes back into his school teaching others their heritage and making strides in re-establishing the art of Uzbek carpet making. In 2005 the training school won the UNESCO Seal of Excellence.

Basket Weaving Matron Mwembe
Booth 14
Supported by Busungu Mbubupa Youth Group - Ntengwe for Community Development

Wuwa, Jojo and Wapa Baskets Maigualida Edith Martínez Nuñez and Evelyn Martínez
Medewa Cooperative Supported by Earth Bound, Inc.

Miniature Painting Bobir Djumaev
Bobir paints on handmade silk paper using techniques from the 15th and 16th centuries. He prepares the paper’s surface by polishing it with a piece of agate. Bobir then uses fine-point pens for sketching prior to painting with natural pigments, tempera and gold leaf. Traditionally, miniature painting has been used to illustrate books, including Kufic inscriptions from the Koran, and to portray poetic imagery and battle scenes.

Booth 90

Booth 76

UNESCO Award of Excellence Winner

Weaving (Ikat) Rasuljon Mirzaahmedov

The region of the Ferghana Valley (Margilan) is famous for its handmade silk ikat production. Rasuljon represents five generations of ikat weavers in Margilan City, the most famous place for silk production in Central Asia. His family is at the vanguard in a revival of velvet ikat weaving in which white silk threads are dyed and placed on a narrow loom, a technique that is highly complicated and practiced by very few. The process requires a month to produce just a few yards of fabric. Rasuljon has created ikat cloth for international designers to use in their yearly collections and in 2005 his work was awarded a Seal of Excellence by UNESCO.

Booth 99

Carved Tile Mosaic Yusufjon Sabirov

Yusufjon’s Samarkand-style mosaic tile work continues the tradition learned from master tile maker, Abduaziz Khakimov, with whom he apprenticed. First Yusufjon became skilled at painting tiles. Once he mastered painting, he went on to learn how to blend colors and make and fire tiles. Samarkand-style tiles are notable for the predominance of blue among colors used. According to Yusufjon, the city of Samarkand is often called“Blue City,”“Blue Samarkand”and the“City of the Blue Domes”because the city’s mosques, madrassas and mausoleums are faced with carved, blue mosaic tiles.

The only tool used to make the baskets is a knife for slicing and scraping the fibers of vines or palm leaves into perfectly even strips. These strips are dried and then dyed using a variety of leaves, roots and mud. Most baskets are made by women who weave the wuwa, an hourglass-shaped burden basket. There are also round storage baskets called jojos. Both types incorporate highly-decorative designs of geometric shapes and native animals. The painted wapa, woven by men, is specifically a ceremonial basket. Skills are passed from mother to daughter, father to son. Maigualida is the daughter of a renowned basket weaver of Santa María de Erebato, an indigenous Ye’kwana community of southern Venezuela. Like Maigualida, Evelyn learned to weave baskets by the time she was 8 years old.

Booth 20

Matron is a member of the Busungu Mbubupa basket weaving group, an income generation project of Ntengwe for Community Development. The group consists of 116 women of the Tonga tribe. The nsangwa baskets that they make are hand made from natural fibers and dyes, and utilize traditional designs. The baskets are used for everything from fruit collection to wedding gifts. Ntengwe for Community Development is an organization that teaches HIV/AIDS awareness and develops projects to improve the standard of living in the area.

UNESCO Award of Excellence Program Representing Award of Excellence Winners from South Asia and Southeast Asia
The Award of Excellence is the UNESCO flagship program for handicrafts. It is part of UNESCO’s Division of Cultural Expressions and Creative Industries. The Award of Excellence objectives are to provide market opportunities to ensure sustainability of handicraft industries, to establish rigorous standards of excellence for handicrafts, to encourage innovativeness, and to offer training and support services. The handicraft sector plays an increasingly significant role in local economic development and poverty eradication, as new opportunities help establish sustainable livelihoods. The award provides a credible quality control mechanism.

Booths 119, 120

Best of the Best
Booth 101

Santa Fe International Folk Art Market
Supported by All Market Participants

The Best of the Best booth is made possible through the generous contributions of all Market participants. Each piece is selected by the Best of the Best Folk Art Expert Shoppers. All proceeds benefit the Market’s support of artists.


2011 Santa Fe International FOLKART Market

The Corazón is Rising
The next BIG SHOW after Spanish Winter Market.
New Mexico Spanish Colonial Artists Auction and Market at St. John’s College
February 10-11, 2012 Friday – Reception & Silent Auction Saturday – Market

For details, call or email Deborah Spiegelman at, 984-6199.

Larry Jacquez

Ron Rodriguez

Marie Romero Cash

Gregory Lomayesva

antique puppet heads from China

Fine American Indian pawn jewelry and traditional pottery Original photographs, photogravures and goldtones by Edward Sheriff Curtis Collectible Hispanic & Native American folk art & fine crafts Since 1945
Mon-Sat 9-6 • Sun 10-5 107 East Palace Avenue • Santa Fe, NM 87501 • 505•982•8706 •

A small sample of the many unique folk art pieces at

antique Furniture, art and accessories
1 block west of the Georgia O’Keeffe Museum 310 Johnson Street Santa Fe 505-992-6846 Mon - Sat 10 to 5
2011 Santa Fe International FOLKART Market 53

asian adobe


2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market



2011 Santa Fe International FOLKART Market

2011 Santa Fe International FOLKART Market


Coming into focus - Summer, 2011



2011 Santa Fe International FOLKART Market

rts of Pola A lk nd o F

Booth #80

Four evangelists

Madonna of skepe

guardian angel protecting Family

st Francis of assisi

st. Francis

Wood Sculpture by tadeusz Kacalak • Reverse glass Painting by magdalena hniedziewicz

Real Baltic Sea amBeR • textileS • emBRoideRed clothing ceRamicS • decoRative eggS • ReveRSe glaSS PaintingS
collection of 1970’s poland folk art sculptures 19th century eastern european: Dowry Chests, CupboarDs, sCulptures, ICons, russIan laCquer boxes, paIntIngs

santa Fe store hours during Market weekend are 11-7
118 don Gaspar avenue • santa fe, nM 87501 • 505-984-9882 •


220 SHELBY ST. SANTA FE, NM 87501 505-983-3030 WWW.PINKOYOTE.COM


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