Santa Fe International Folk Art Market Artists 2008

Summary

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AFGHANISTAN

CERAMIC POTTERY

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Santa Fe International Folk Art Market Artists 2008

Abdul Istalifi

And the community of Istalif

Supported by the Jindhag Foundation

BOOTH 109

The Afghan village of Istalif produces pottery using

methods virtually unchanged for more than 1,000

years. No modern technology is used as clay is

collected locally and thrown on a wheel and spun

by hand before drying in its natural state and being

glazed. Istalif pottery includes vases, flowerpots,

candlestick holders, ewers, plates, fish designs and

other animal figures. Most of these pieces boast

dazzling glazes of turquoise and green.

EMBROIDERED TEXTILES

Kandahar Treasure

Supported by Afghans for Civil Society

BOOTH 62

The traditional fine-needle embroidery called khamak

is a trademark of Kandahar women. It's traditionally

used to decorate clothing for male relatives and

children and for trousseaus. Khamak artists begin

learning as early as 5 years old, some mastering their

skills by ages 10 to 12. Their work is strictly owned and

passed down by women.

The Afghans for Civil Society was founded in

1998 by Baltimore businessman Qayum Karzai and

others working to assist the Afghan people in their

struggle for freedom.

EMBROIDERED TEXTILES

Rubia

BOOTH 82

Rubia, a nonprofit organization, was founded in

response to a critical need to create economic

opportunities for Afghan refugee women. It provides

an opportunity for self-support and helps preserve

embroidery skills practiced for generations. Rubia is

committed to working in the old ways with natural

fibers, plant dyes and designs rooted in Central Asia

that reflect diverse geographical and textile traditions

from the various regions.

WEAVING

Ghulamsakhi Rustamkhan

BOOTH 82

A native of the Hindu Kush Mountains, Ghulamsakhi

Rustamkhan learned to spin wool and weave at home.

During the civil war, he moved to Pakistan where

he helped found Rubia, an organization providing

education and employment for Afghan women and

promoting traditional embroidery.

Inspired by flowers, animals, village life and

religious themes, the folk art Rustamkhan brings is

specific to the region of Darrai Noor and its Pashaispeaking

people. It is distinctive in both materials and

patterns and includes wall murals, tablecloths, bed

coverings and pillowcases.

BHUTAN

WOVEN TEXTILES AND APPAREL

Leki Wangmo

BOOTH 101

Leki Wangmo's family business includes a weaving

school and a guesthouse and lodge for tourists. She

teaches the craft of weaving to village girls, usually

unwed mothers, providing them the means to

support their families.

The art of weaving is an important part of the

Bhutanese culture, as the pieces are used in daily

life and for special occasions. Specific patterns

commemorate births, promotions, housewarmings,

New Year celebrations and marriages.

BACKSTRAP WEAVING

Rinzin Wangmo

BOOTH 101

The Himalayan Mountain valleys of north-central

Bhutan hold many of this South Asian nation's most

historic and sacred shrines and spiritual centers. They

also are home to Rinzin Wangmo, who learned the

art of the backstrap loom from her mother, a weaver

to the royal family of Bhutan.

Using traditional techniques and geometric

designs, Wangmo creates Bhutanese dresses and

bed throws of cotton and silk. The material also is

used in purses and bags. The dyes come from forest

plants. Wangmo is proud to offer them to the world

on behalf of Bhutan.

BOLIVIA

FIBER BAGS

Ines Hinojosa

Organizacion Cheque Oitede

Supported by Earthbound Inc.

BOOTH 92

While many of us know the bromeliad for its luscious

red and magenta flowers, the Ayoreo tribe of Central

Bolivia knows the plant for its spiny leaves, which

yield a tough fiber the women weave into bags for

collecting and transporting food and other objects.

Artisan Ines Hinojosa of the cooperative

Organizacion Cheque Oitede is a steward of this

craft, which has been passed for generations between

mother and daughter. She led her community

in transplanting the bromeliads from savannahs

(which were being transformed into pastures) into

the artisan's own backyards. The fibers are colored

naturally and spun into threads of appropriate

thickness to be made into bags or hats.

SILVER JEWELRY

Mara Eugenia Gutierrez Villafan

Acantos-Joyas Bolivianas

Supported by the Crafts Center at CHF

International

BOOTH 54

Acantos-Joyas Bolivianos, a nonprofit organization

from La Paz, Bolivia, draws its design inspiration from

the traditional silver jewelry of the Bolivian chola,

the attire of the Andean native and indigenous

population. Combining the highest quality of silver

and the native gemstones of the region, silversmiths

such as Mara Eugenia Gutierrez Villafan create

traditionally inspired designs for both an indigenous

and urban clientele. A traditional Bolivian jewelry set

contains a brooch (or topo) to fasten a shawl, charm

necklace and earrings (or falucho) and is traditionally

worn in ceremonies, religious events and fold dances.

It is inspired by the syncretism of Spanish and

indigenous cultures that inform the chola style.

WEAVING WITH HANDSPUN WOOL

Damian Flores Var...

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