2016 International Folk metalwork jewelry. His pieces are BOLIVIA filled with Haida imagery, inspired Art Market | Santa Fe by the totem poles he carved with Artist participant list Ayoreo traditional flat panels and his father. His recent work features accessories cropped bentwood box designs from Gladys Dosape, Ique Etacore de the Raven creation story and motifs Picanerai from Chilkat mythology. Cheque Oitedie Cooperative AFGHANISTAN Booth 162 (cooperative) Ique and Gladys are Ayoreo artists, Khamak CHILE making bags and accessories that Rangina Hamidi are necessary to the Ayoreo Kandahar Treasure Horsehair people’s life in the jungle. Women Booth 31 (cooperative) Miriam Concha, Sara Toro, harvest the plants, then sit and Emerson Basoalto Rangina represents Kandahar weave together, passing designs and Artesanias Chilenas Treasure, a cooperative of techniques to their daughters. Booth 76 embroiderers creating unique work Weaving connects new generations Emerson and Miriam, who are inspired by Islamic geometric to the past and helps the Ayoreo shapes, hand-embroidered on husband and wife, and Emerson’s maintain their identity. mother Sara hand dye and hand fabric. The cooperative has worked weave horsehair. Their brightly hard to revive this ancient art and the traditional designs that were colored and intricately woven nearly lost during decades of conflict BOTSWANA figures include flowers, butterflies and women holding parasols. This in Afghanistan. Palm tree coiled baskets with art has been passed from generation natural dyes to generation for 200 years and Sara Twavurirwe Marothi is considered a pioneer in the revival ALGERIA Tijna Nkando Crafts of the tradition. Booth 150 (cooperative) Enamel and inlay jewelry Twavurirwe and the 20 weavers of Mapuche silver jewelry Karim Oukid Ouksel Tijna Nkando Crafts create intricate Marco Remigio Paillamilla Ortiz Booth 127 baskets with palm tree fiber. The Booth 8 (2016 IFAA Living Traditions Award (UNESCO Award of Excellence recipient) finalist) baskets are for everyday use. Each basket is made by hand and is Marco’s jewelry designs are based Karim’s jewelry is filled with filigreed naturally dyed with the roots and on the world view of the Mapuche geometric forms, reflecting the barks of trees, creating the brown people. He works to recover the patterns found in Berber and black colors for which this work meaning of forgotten symbols and and the ceramics of his country. To is known. designs, which often relate to social Karim, these pieces are more than and religious standing, as well as decorative objects – they express geography. He believes that jewelry poems, histories, rivers and is a manifestation of pride and mountains, and the love of his CAMBODIA honor. motherland. Khmer-style Chantha Nguon Stung Tren Women’s Development BANGLADESH Centre (SWDC) Booth 9 Indigo and shibori (2016 IFAA Community Impact Award , scarves and covers finalist, UNESCO Award of Excellence CHINA Monju Bala Barmany, Mst Sakina recipient) Begum Chantha started SWDC to teach local Miao Silverware Supported by Living Blue / NCVI women the art of weaving Huang Guangwen Family workshop of Handmade Miao Booth 13 while developing skills to help break Silverware from Southwest China (2016 IFAA Community Impact Award the cycle of poverty and illiteracy. Booth 109 (cooperative) finalist) The Mekong Blue silk pieces are Monju is a master quilter, creating regarded as some of the finest silk Huang Guangwen learned the art of traditional Bengali pieces known as products in Cambodia. Miao silversmithing from his father kheta. She is known for making and traveled throughout southwest “indigo shibori” quilts, which tell China to master the techniques of stories of daily life through motifs the region. Working alongside his and patterns. These beautiful and CANADA brothers and son in their family detailed pieces take many months workshop, he produces elaborate, to complete. Living Blue has helped (Haida Gwaii) symbolic designs as well as motifs revive the use of indigo in that include birds, flowers and Bangladesh. Gold, silver and copper jewelry animals. Gwaai Edenshaw Booth 135 Minority People weavings, Gwaai is a Haida artist known for his embroideries and Pan Yuzhen, Zhang Mudan a Kankuamo slings a mochila over Southwest Minority Cooperative his shoulders, he is also supporting CUBA Booth 120 (cooperative) his community and its cultural Pan and Zhang are mother and legacy. Naïve paintings and drawings daughter, creating beautiful Cenia Gutiérrez Alfonso mochila bags weavings and embroideries. The Booth 153A Johana Mestre Izquierdo (Ati) designs embody their history, Cenia is known in her community as Supported by Artesanías de Colombia religion, mythology and customs, S.A. the “painter of guijes,” or fairies and serving as their written language. Booth 53B (new) mystical figures. Representing her Traditionally the work is done with community in her paintings through Johana’s bags, or mochilas, are natural dyes and silk thread, the their legends, popular beliefs, fiestas designed with meaningful symbols luster of which makes each piece and religions, she enjoys capturing and representations of animals, seem to shine. the lives of those around her on trees, and other objects of the . She hopes to show people Arhuaco cosmology. Mochilas are the beauty of Cuba. used in everyday life and are a CHINA () symbol of the Arhuaco identity. Her Oil and acrylic on canvas naïve mochilas are naturally dyed in earth paintings Tibetan Thangka Painting tones and woven from sheep’s wool. Julio Barbón Davis Kalsang Tashi Booth 153B (new) Supported by Dr. Andrew Wang Pre-Columbian gold-plated brass Booth 18 and silver jewelry Julio’s paintings portray Cuba’s Thangka painting is a Tibetan Patricia Trujillo native mythologies as well as African Buddhist art form that encourages L.A. Cano ancestral beliefs. Themes of nature personal journeys for spiritual Booth 95 (new) and aspects of Cuban society can be development. Through studies at Patricia and the artists of L.A. Cano found in each piece. The bright numerous monasteries, Kalsang has make jewelry using the techniques colors bring his work to life. He created his own style of bold and and methods of Pre-Columbian hopes his paintings will educate the precise, yet delicate, artwork. These goldsmiths. Each piece maintains the world about the roots of his national vibrant and colorful paintings spirit of these early artists, for whom identity. represent the sacred objects of working with gold was a way of Oil and acrylic on canvas naïve . reaching divinity. L.A. Cano promotes paintings the art and traditions of these ancient Luis Joaquin Rodriguez Arias, Luis civilizations. Joaquin Rodriguez Ricardo El Grupo Bayate Zenu hats and jewelry woven of Booth 154 Cana Flecha palm (2016 IFAA Community Impact Award Reinel Antonio Mendoza Montalvo finalist, cooperative) Cooperativa Divino Niño COLOMBIA El Grupo Bayate creates vibrant Booth 108 (cooperative) work that highlights the cultural Werregue fiber baskets, vases Reinel is a member of Divino Niño, traditions and daily life of the and trays an extended family of 40 artists community. The paintings show the Crucelina Chocho Opua working to preserve Zenu culture artists’ love for their cities, people Supported by Artesanías de Colombia through their art. They are known and landscapes. El Grupo Bayate S.A. for their hand-woven black and Booth 14 (new) features the work of Luis “El beige vueltiao sombreros, featuring Estudiante” Joaquin Rodriguez Crucelina’s werregue (palm fiber) geometric shapes and symbolic Ricardo, Luis Joaquin Rodriguez baskets are woven with a unique animals. The artists also make Arias, Roberto Torres Lameda, Angel spiral technique, with a central cord handbags, bracelets and jewelry. Llopiz Martinez and Luis Villalon serving as the soul. She uses the Rades. figures of animals, plants and spirits Bullring sculpture scenes to tell the story of the Wounaan Saúl Valero people. These colorful baskets are Supported by Artesanías de Colombia S.A. used to collect fruit and for special ECUADOR Booth 146 (new) occasions. Saúl’s brightly colored clay Handwoven paja toquilla (straw) mochila bags sculptures feature lively scenes of Panama hats Aura Rosa Montero traditional bullrings. Each figure is Valentin Alarcón Supported by Artesanías de Colombia hand formed with local clay and SomVal S.A. painted to show a unique Booth 65 (new) Booth 53A (new) personality. With romantic couples, Valentin makes the original Panama Aura Rosa’s naturally dyed bags, or musicians and partiers, the audience hat, hand woven of paja toquilla mochilas, are a fundamental represents the celebratory (straw), which has been worn for element of the Kankuamo people’s atmosphere of Colombia. He enjoys centuries by the people of Ecuador. tradition and a symbol of their using his imagination to create art. His fedoras, cachuchas and wide- cultural identity. Each bag brim sunhats are made with both represents Aura Rosa’s passions, ventilated and solid weaves and are dreams and ancestral history. When valued not only for their fashion Booth 166 appeal, but also for their excellent Ebenezer, “Cedi” to his family and sun protection. friends, creates beautiful glass beads Glazed earthenware from recycled bottles. Glass beads Silver and gold filigree jewelry François Fresnais, Sylvie Fresnais play an important role in Krobo Andrea Tello Booth 57 Booth 90 culture, where they indicate wealth François applied his professional (UNESCO Award of Excellence recipient) and status. His necklaces and training in ceramics to the revival of bracelets feature bright colors. Cedi Andrea is a fourth-generation a centuries-old tradition of French has received numerous awards for filigree jeweler, working with silver, pottery making. This tradition, his work. gold and other metals. Inspired by through which potters transcribe the symbolic patterns found in the the daily life of the people, nearly clothing of Andean women, her disappeared after the Second World jewelry represents her history, War. François creates the forms and GUATEMALA culture and heritage. his wife, Sylvie, does the Maya K’ekchi weaving on 18K gold, silver filigree and decorations. backstrap loom repousse jewelry Provencal wickerwork basketry Amalia Gue Ixbalam’ke Cooperative Jorge Moscoso Blaise Cayol, Flavie Cayol Belle Jewelry Booth 102 (cooperative) Booth 157 Booth 114 Amalia represents Ixbalam’ke, a Blaise and Flavie gather different Jorge’s jewelry, containing cooperative of women dedicated to types of willow and other local semiprecious stones and freshwater the production of traditional textiles plants and then weave baskets for pearls, incorporates the traditional and the preservation of traditional daily use as well as for decoration. designs of the Andean Highlands weaving. The members of the Motivated by relatives and friends that have been passed down for cooperative maintain the intricate that remembered the beauty of generations. Made in the same technique of weaving and the baskets, they have revived manner as 400 years ago, it is use of coyuche, or natural brown renowned local basket-making painstaking and delicate work. cotton, practices that are rapidly traditions. disappearing. Saraguro woven glass seed bead jewelry Hooked rugs with Mayan and Laura Alejandrina Quizhpe GHANA alfombras designs Guaman Yessika Calgua Morales La Mega Cooperativa Artesanal de los Kinkahe grass baskets and Cooperativa de Alfombras de Mujeres Saraguros handbags Maya en Guatemala Booth 138 (cooperative) Ti-a Baskets Booth 151 (cooperative) Laura makes beautiful necklaces Booth 2 (new) Yessika’s hooked rugs are inspired without written instructions or The 452 weavers of Ti-a Baskets by designs and colors found in patterns, instead recalling how her create 10 styles of brightly colored traditional Mayan clothing. Symbols mother taught her and creating her baskets. They are made from and motifs represent Mayan own designs. La Mega Cooperativa Kinkahe grass, which is split, rolled, folklore, world view and nature. de Saraguro is a combination of five twisted and dyed before weaving. More than 60 women throughout artist cooperatives that combined to These baskets are part of everyday the Guatemalan highlands are part improve the quality of life for the life, storing food and gathering of this rug-hooking cooperative, artists and their families. harvest. Ti-a Baskets promotes each one using unique designs to African culture and empowers its represent their ancestry, heritage artists to gain financial and traditions. EGYPT independence. Canvas-backed appliqué and hand Handwoven and HAITI stitched wall hangings and cushion shawls covers Andrew Kwasi Asare Metalwork using recycled drums, Tarek Abouelenin, Hosam Dento Mills bowls and platters Mamoud Booth 16 (new) Josnel Bruno Tentmakers of Cairo Andrew’s Kente shawls are Booth 23 Booth 128 (new) handwoven, using designs from the Josnel transforms discarded oil Tarek and Hosam’s hand stitched Ashanti tradition. Kente cloth plays drums into remarkable artwork. His appliqué wall hangings feature bold an important role in Ghanaian hammered, chiseled and punched colors and intricate designs inspired society, where it is worn for special bowls and platters represent yet by tiles and those found on occasions. The designs of his work another innovation within the tents of the Empire. The are abstract but they often hold tradition that has come to define his technique is unique to the symbolic meanings. community in the world. Each piece Tentmakers of Cairo, a group of 23 Recycled glass bead jewelry pays tribute to his rich culture and shops on a single street, the only Nomoda Ebenezer Djaba religious beliefs. place in Egypt where this art is being Cedi Beads Industry practiced. Beaded, sequined and print designs for centuries. Each embroidered voudou flags INDIA piece has intricate and unique and banners motifs that make up larger symbolic Josiane Magloire Bandhani scarves and shawls patterns. Using wooden blocks to Art Matènwa Abdulaziz Alimamad Khatri stamp the designs, his work is Booth 64 (new, cooperative) Suleman Umarfaruq Khatri (new) colored by natural dyes from plants Josiane creates traditional Haitian Somaiya Kala Vida and minerals. Booth 6 flags with beaded and embroidered of Lucknow depictions of everyday life, Abdulaziz’s bandhani scarves are known for their intricate patterns clothing and home accessories traditional Vodou imagery and the Mamta Varma, Rama Singh flowers, fruit, animals and birds of and unique texture. His family has Bhairvis Chikan Haiti. Each bead and sequin is placed practiced the art for 10 generations. Booth 40 one at a time and hand stitched An expert in natural dyes, he knots onto the piece. Art Matènwa the fabric to create traditional Mamta represents a group of supports artistic and economic patterns as well as designs inspired women artists who make traditional development projects for the by nature. Chikan embroidery. This delicate often features white women of Matènwa. Suleman is a bandhani artist known thread on white cloth. The Chikan for his technique. Each piece Recycled oil drum sculptures motifs are transferred onto the cloth is hand-tied and hand-dyed, with Serge Jolimeau through wooden printing blocks, and evenly sized dots. Bandhani are Booth 142 the blocks are instrumental in worn on auspicious occasions, with preserving distinctive style and From recycled oil drums, Serge red as a popular color for weddings. design identity. brings to life beautiful mermaids and Somaiya Kala Vidya educates other shining suns. After flattening the artists so they can reach high-end Bandhani Textiles drums, he uses hammers and chisels markets outside India. Abduljabbar M. Khatri, Abdullah to mold the metal into fantastical M. Khatri designs incorporating Vodou embroidered clothing, Booth 60 shawls and home furnishings symbols and deities. He trains and (2016 IFAA Living Traditions Award mentors young artists in the art, SHE Foundation finalist, UNESCO Award of Excellence allowing them use of his shop. Booth 22 recipient) (2016 IFAA Community Impact Award The Khatri brothers experiment with Beaded vodou flags, drums finalist) new fabrics and international and accessories Self Help Enterprise (SHE) has over markets, merging traditional and Mireille Delismé 800 artists making kantha contemporary designs. From Booth 149 embroidery — a centuries-old naturally dyed cotton Bandhani Mireille’s uses designs technique of layers of old shawls in the traditional indigo to that represent traditional Vodou fabrics together. SHE reinvigorated Habuti silk dupattas (long, deities. They explain what is divine the art, which traditionally uses multipurpose scarfs), their work has and interpret the meaning of life. worn clothing and saris, by using won awards and international Her flags represent her spirituality contemporary colors and geometric acclaim. and are used for guidance, wisdom patterns. SHE’s kantha pieces also and healing. Mireille derives her feature classic designs of village Warli paintings artistic inspiration from her dreams. vignettes and images of gods and Anil Chaitya Vangad goddesses. Supported by Deccan Footprints Studio Inc. Booth 71 Terracotta painted pottery and Anil is a Warli painter who reflects HUNGARY animal figurines village life and the natural world in Hasam Umar Kumbhar, Amina Transylvanian-Hungarian painted his work. All the folktales, history Hasam Kumbhar and carved wooden boxes and and legends of his community are Booth 26 (new) home accessories passed down through this art form. Levente Lehel Sütő Hasam hand throws terracotta Deccan Footprints Studio Inc. is Booth 88 vessels, using locally sourced clay, as committed to empowering his family has made them for 4,000 A 14th-generation Transylvanian- indigenous artists from India by years. His wife Amina paints the Hungarian furniture maker, Levente preserving traditional art designs, which are centuries old, and creates vivid hand-painted Vargyas techniques. each shape of pot has a specific floral carvings for the home, function and history. The pots are Ajrakh hand block printed textiles including elaborate boxes and most often used to store water, as with natural dyes children’s furniture for baptisms. they cool it naturally. Juned Ismail Khatri, Sufiyan Ismail Using organic paints made by Khatri mashing minerals on stone plates to Block print and natural dyed Booth 72 create rich colors, Levente creates bedspreads, silk stoles and shawls (UNESCO Award of Excellence recipient) harmoniously proportioned designs Abdulrauf Abdulrajak Khatri Juned and Sufiyan’s family has been carrying deep symbolism. Booth 35 (new) involved in the complex practice of Abdulrauf and his family have been Ajrakh printing for 10 generations. making textiles with hand-block Their Ajrakh textiles are distinguished by jewel-like colors Woven, block-printed and painted jewelry, including ceremonial items and complex geometrical and floral scarves, shawls and home that have been used for centuries. patterns. The cloth is made in a 14- accessories For hundreds of years, Yemenite step process and requires a high Asif Shaikh Jews have maintained a closely level of skill and concentration. Booth 145 guarded tradition of jewelry-making (2016 IFAA Living Traditions Award using precious metals. Gond paintings finalist, UNESCO Award of Excellence Durgabai Vyam, Manoj Tekam recipient) Supported by M/S Padmaja Srivastava Asif’s textiles are handwoven, block- Booth 92 (new) printed and painted before he ITALY Durgabai and Manoj turn religious embellishes them with different Gold and silver Sardinian filigree stories and folklore into paintings techniques of hand embroidery jewelry with brilliant colors. The Gonds using a scroll frame. His scarves, Andrea Usai believe that viewing a good image shawls and home accessories are KOKKU creates good luck. Once found on known for their elegance, with the Booth 164 walls and floors, this art is now on more intricate pieces being favored Andrea is known for the precision paper and canvas, still using detailed for special occasions. and intricacy found in his beautiful and colorful dots and lines. Sardinian filigree jewelry. In Kantha embroidered covers, Sardinia, filigree jewelry is often an story panels and accessories INDONESIA heirloom gift passed from mothers Bani Mondal to daughters on special occasions, Mukti Mahili Samity Collective Balinese and Hindu character and may be given as a token of love. Supported by Link Hands for Humanity painted wooden masks Booth 105 (cooperative) Ida Bagus Anom Suryawan Bani is a textile artist and member of Booth 25 (2016 IFAA Living Traditions Award a cooperative of domestic violence finalist) survivors who make Kantha quilts to support their independence and Ida’s brightly colored masks are their families. Using the remnants of made with light pule wood and used JAPAN old saris, the women take what in the topeng masked dance Tokyo style painted kites and fans would have been discarded and ceremony. They often feature as Mikio Toki transform it into something useful many as 40 layers of paint, which Booth 159 and beautiful. ensures their durability. He is grateful to share this tradition with Mikio creates beautiful kites that Madhubani/Mithila paintings on the world and performs topeng have a stained glass effect when paper, canvas and fabric dance for ritual occasions. flown. Working in a traditional Manisha Mishra Tokyo style that began many

Booth 118 centuries ago, he uses Washi paper Manisha is an award-winning Natural indigo batik jackets, and natural dyes Madhubani painter. Her festive scarves and shawls and ink to produce vibrant paintings paintings depict traditional motifs, Mayasari Sekarlaranti on the kites. personal experiences and Galeri Batik Jawa Indigo Co., Ltd. mythological features as well as Booth 85 (new) contemporary themes. This art is Mayasari’s batik clothing is made characterized by repetitive figures with natural indigo dye. The on borders, use of bright colors and patterns used date back centuries Kazakh silver jewelry, carved monochrome line work. Each piece and each has its own philosophy and wooden and metal boxes expresses her desires, dreams story. Since batik is worn for rituals Ilya Kazakov expectations and hopes. and ceremonial occasions, many of Booth 38 the patterns are symbolic. Galeri (UNESCO Award of Excellence recipient) Silk, wool and cotton shawls, Batik Jawa focuses on conserving Ilya’s jewelry and carved wooden scarves and stoles batik as part of Javanese heritage. boxes and combs carry Kazakh Dahyalal Atmaram Kudecha symbols of protection. Set with local Somaiya Kala Vidya stones, his jewelry represents a rich Booth 126 ISRAEL cultural heritage. He uses reclaimed Dahyalal follows in the tradition of woods from old furniture, window his family and village, weaving Yemenite jewelry and Judaica frames and pianos, along with traditional and contemporary formed from sterling silver filigree distinctive metal plating. designs for over 25 years. He uses Ben-Zion David Embroidered “tuskiyizder” wall hand-dyed to create carefully Yemenite Art carpets and accessories patterned pieces with traditional Booth 48 and symbolic meaning. Knowing Kulzhay Khusman Ben-Zion uses traditional tools to preferences for ceremonial fabrics, Booth 124A (new) shape sterling silver, semi-precious family histories and personal tastes, Kulzhay’s embroidered wall carpets stones, lava, coral and he is proud to clothe many and home accessories are filled with archaeological artifacts into filigree communities. her hopes, wishes and dreams. Each piece’s colors, pattern arrangements with older artists, she has revived the everyday lives of the Kyrgyz and design have important meaning techniques and forms of hat making, people for centuries. Altyn Oimok and help to tell a story. She is known while adding colors and textures to revives the Kyrgyz heritage of art for her large-scale works, especially appeal to younger generations. through workshops and outreach. tuskiyiz wall carpets, as well as biz keste embroidery pieces. “Kurak” and embroidered hats and home Felt clothing, accessories and home Kazakh designed silver jewelry with accessories gems Sairagul Sydykova furnishings Leonid Shklyayev South Tribe Aidai Asangulova, Booth 124B (new) Booth 51 (new) Nurzhamal Asangulova Art Studio Bukon Sairagul’s multilayered patchwork Leonid’s silver jewelry uses Booth 139 traditional symbols and gems of and embroidered hats and (UNESCO Award of Excellence recipient) accessories reflect the culture of the Kazakhstan to create a magical- Aidai runs her own studio and is the nomadic tribes of southern protective function. He is inspired by founder of a women’s art Kyrgyzstan. Historically, fabrics came many art forms of his country, cooperative in her village that has 30 from traders on the Silk Road and transforming patterns and designs members and operates as a small every piece of fabric was valued and from carpets into metal. The stones business. The women work together carefully reused, creating the in his work are often in irregular to create felted and silk textiles with patchwork art form. South Tribe shapes, reminiscent of jewelry from unique patterns and designs. past eras. preserves and revives handicraft techniques and spreads appreciation for Kyrgyz traditional arts. LAOS KENYA Hand woven carpets, bags, saddlebags and horsecloth Silver jewelry and purses featuring Beaded Maasai jewelry, clothing Askarbek Akbutaev the Dok Phikoun flower pattern and accessories Booth 87 (new) Darouny Thongdynalai Meeri Tuya, Loice Sanaipei Askarbek and his family hand weave Blanc De Noir & Co. Lolkinyiei, Salaton Ole Ntutu Booth 55 (new) Maji Moto Maasai Women’s Project bags and carpets from sheep wool, Darouny’s silver jewelry features a Booth 44 using designs passed down through (2016 IFAA Community Impact Award generations. These items are widely pattern based on the Dok Phikoun finalist, cooperative) used in everyday life because of flower, which is believed to bring Meeri is a mother and bead artist their long lifespan. Askarbek is health, prosperity and luck to those representing a village of Kenyan responsible for designing each piece, who wear it. The silver purses were widows who make a living through working with the female weavers of once made for kings and queens to the sales of their beadwork. These his family. wear during ceremonies. Each piece has a special meaning in Lao culture. artists use colorful beads, leather, Loom woven Merino wool seeds, wire and string, combining Gulmira Akmatova Indigo dyed and batik clothing and them to create a wide range of Mountain Cedar home accessories jewelry and accessories. Booth 115 (new) Seokham Keomanivong Gulimira grew up in a family of Saoban Handcrafts sheepherders, weaving since Booth 86 KYRGYZSTAN childhood. She prides herself on the Seokham’s designs represent warm and natural feel of her indigenous Lao culture and spiritual Felt dolls blankets. Handwoven textiles are a beliefs. Symbolic representations of Erkebu Djumagulova significant part of Kyrgyzstan animals and plant life are Booth 24 cultural heritage and play a major prominent. Saoban Handcrafts Erkebu is a master at capturing the role in marriage customs. Mountain features textiles produced by expressions and customs of the Cedar Woolens is committed to families in four distinct indigo dyeing villagers of her native Kyrgyzstan honoring the traditional techniques communities of Laos. Men produce through the intricately dressed dolls of handweaving. the looms and wheels and she makes from embroidered felt women do the dyeing, weaving and wool, silk and yarn. Her repertoire Shyrdak felted and “Terme” batik embellishment. Indigo dye also includes traditional clothes and knitted wall hangings, carpets and products are made from Lao decorated household items. accessories indigenous plants and cotton, Zhanyl Baisheva, and silk . Felt embroidered hats Zhypara Zaiyrbekova, Tatiana Vorotnikova Ainura Bozgunchieva Art Studio Tatiana Vorotnikova Altyn Oimok Tai Kadai style woven scarves and Booth 28 (cooperative) Booth 122 (new, cooperative) home accessories Tatiana and the artists of Art Studio Zhypara, Zhanyl and Ainura create Veomanee Douanagdala Tatiana Vorotnikova create felt textiles using two distinct Ock Pop Tok embroidered hats that are a fixture techniques: Terme for knitted rugs Booth 111 (cooperative) of Kyrgyz national dress. Through and Shyrdak, a mosaic of felt Veomanee’s silk and cotton visits to local villages and meetings patterns. This work has been part of weavings are made with indigo and Bark cloth paintings, jackets and handspun cotton and natural indigo other natural dyes, giving them rich, wooden lutes, traditional Iban and mud dyes to create exquisite warm colors. The design and motifs basketry, warp-ikat, hand-woven textiles. His “Sublime Indigo” represent the Tai Kadai culture and cotton and silk textiles initiative teaches the techniques of have symbolic meaning in Buddhism Mathew Ngau Jau, Senia Jugi, textile production and stresses the and animist practices. She is known Nancy Anak Ngali importance of developing a textile for her traditional Lao skirts with Society Atelier Sarawak industry in West Africa based on geometric patterns. Booth 32 principles of sustainable (UNESCO-WCC Award of Excellence development and respect for the recipient) environment. Mathew’s bark cloth pieces are MACEDONIA decorated with paint and Silver filigree jewelry with embellished with shells, beads and MEXICO semiprecious stones embroidery. Traditional designs Katarina Doda show status and offer protection Backstrap loom-woven and Booth 73 and the motifs are based on old embroidered huipiles patterns of the Tree of Life, the Katarina creates award-winning Odilon Merino Morales hornbill bird and the rainforests. silver filigree jewelry, paying close Booth 1 attention to detail and shape. The Senia creates traditional baskets of Odilon and his family are keeping most intricate pieces are traditional the Iban people using rattan, the rare tradition of Amuzgo wedding gifts to brides, with simpler arrowroot and bamboo. She also “huipiles” alive. Hand-woven on a patterns worn in daily life. Jewelry makes Iban hats called “topi backstrap loom, these colorful has been made by generations of tunjang” or “sky pointers,” because pieces are made with local her family and each piece requires they resemble a crown pointing and feature expressive designs. much precision and numerous tools. toward the sky. These designs are often of local Nancy’s “Pua Kumbu” weaving is plants and geometric shapes that individually tied, hand-dyed with have symbolic significance or MADAGASCAR natural colors and woven, with personal meaning to the weaver. patterns inspired by her dreams.

Vetiver and recycled woven Textiles are made for ritual use in carpets and home accessories rites of passage and feature symbols Back strap and pedal loom woven Marie Alexandrine of fertility and protection. and embroidered clothing and Rasoanantenaina Society Atelier Sarwak was founded home accessories Tahiana Creation to preserve knowledge of Sarawak Ana Rosa González de la Cruz Booth 42 culture and arts. Supported by El Camino de los Altos Marie combines traditional Booth 3 (new) weaving techniques with modern Ana’s richly colored handwoven aesthetics to create baskets, rugs textiles feature traditional Mayan and other household items for daily designs and symbols representing use. After much research and the earth and sky, the fertile earth, experimentation, she can create flowers and trickster monkeys. nearly 40 bold colors from natural MALI Each piece is made with natural dyes resources such as plants and and Ana also adds embroidery and stones. Weaving and basketry is Tuareg sterling silver jewelry and details by hand. the foundation of her daily life and leather boxes culture. Mohamed El Maouloud Ag Hamid El Camino de los Altos aims to Association Timidwa improve the lives of its 130 weavers Booth 30 (cooperative) and preserve the tradition of this ancestral art. Woven silk and cotton scarves, Mohamed learned the art of metalworking from his father, who accessories and home furnishings Burnished clay figurines, plates and learned from his father before him. Rado Herivonona Ambinintsoa vases His traditional Tuareg jewelry and LANDYFIA Nicolás Fabián Fermín knives are engraved and detailed Booth 147 (new cooperative) Booth 7 with symbols and intricate designs. Rado and the artists of LANDYFIA Nicolás created a unique method of weave raw silk and cotton scarves He is the president of Association Timidwa, which has 70 artists imbedding designs in clay. He begins that are worn daily by men and by burnishing the slipped surface, women. They are involved in each representing Mali’s many ethnic groups. sketching nature-inspired designs step of the process, spinning, and then scraping away the interior dyeing and weaving the materials. Indigo and mud-dyed woven areas to leave a matte pattern. His LANDYFIA aims to improve the lives clothing, accessories and home designs feature flowers, fruit and of its artists and educate the next furnishings fish, and are often displayed during generation about silk weaving. Aboubakar Fofana religious ceremonies of his village. Aboubakar Fofana Textiles Booth 39 Hand embroidered and crocheted clothing MALAYSIA Aboubakar utilizes organic Miriam Leticia Campos Cornelio pieces are smooth, while others Black pottery sculptures of women Cornelio Sanchez Family boast a texture similar to a dressed in regional costume Supported by Museo Textil de Oaxaca pineapple. Ignacio and his sons work Magdalena Pedro Martínez Booth 27A (new) together using one sheet of metal to Booth 61A Miriam’s embroidery designs are fashion the desired shape. Magdalena uses the distinctive black inspired by the fields, landscapes clay indigenous to her town to form and nature of the valley of Oaxaca. her sculptures of women dressed in The women of her family use Backstrap woven and natural dyed regional dress. Her sculptures are multiple techniques for their shawls known for their carefully engraved garments, including openwork, Arturo Hernández Quero details and for their lifelike quality. knotting threads, and Bia Beguug The regional costumes are carved in pleated fabric. The combination of Booth 43A minute detail. techniques and materials results in Arturo’s handwoven wool shawls Oaxacan hand carved and painted each garment having a special with macramé edges are a design. figures traditional item of clothing in his Agustín Cruz Prudencio, Agustín community. The designs are Cruz Tinoco symbolic and represent the Booth 67 Indigo and cochineal woven cotton importance of life. His use of natural Father and son Agustín Cruz shawls, scarves, shirts and blouses dye creates unique pieces that Prudencio and Cruz Tinoco are Fernando Gutiérrez Vásquez embody ancestral knowledge and Familia Gutiérrez traditions of Zapotec culture. skilled woodcarvers. Their wooden Supported by Museo Textil de Oaxaca figures begin as pine, cedar or Booth 27B (new) Hand woven and natural dyed silk mahogany. The brightly painted and Fernando and his family produce shawls, scarves and huipiles intricately detailed jaguar boxes, shawls and clothing woven with Moisés Martínez Velasco religious figures and nativity scenes cotton thread dyed with indigo, Familia Martínez reflect the local traditions and hold a cochineal and tree bark. The ends of Booth 43B significant place in the lives of the the shawls and scarves are finished Moisés and his family create silk people of Oaxaca. with a macramé fringe. The shirts textiles. They breed the silkworms to Burnished clay pottery from and blouses are embroidered with make thread and use natural dyes to Tonalá, Jalisco patterns inspired by the color the fibers, which are woven Angel Ortiz Gabriel, Jose Angel environment and landscape of his into garments on a backstrap loom. Ortiz Arana Their shawls and dresses are worn village. Booth 79 for special occasions and the edges Angel creates handmade narrative Huichol - Wixarika yarn paintings are finished with a fine macramé Mariano Valadez Navarro, Rafael technique. pottery such as decorated plates, Cilau Valadez, J. Ruben Lopez Cruz vases, nahuales, bowls and Booth 29 Retablo collages with cut paper traditional Tonalá masks. His unique Mariano is a world-renowned Pedro Ortega Lozano style is easily recognizable. He is Huichol yarn painter who, with his Booth 49 dedicated to reviving pottery styles son Rafael, creates vivacious and Pedro’s collages are created with from the 1920s that include elaborate yarn paintings that multiple types of paper and colors of traditional country designs called incorporate spiritual themes. ink, watercolors and . “Fantasia” (fantasy) and polychrome Mentored by Mariano and Rafael, J. Historically used for religious floral designs. Ruben joins them in representing ceremonies, they are now used for Silver and gold-plated jewelry their work, expressing the holidays and popular events. Each Soledad Eustolia Garcia Garcia, Elia mythology, iconography and collage is hand painted on paper Catalina Gutierrez Garcia religious narratives of the Huichol that he cuts with a jackknife. El Principe of Monte Alban culture. Through vibrant colors and Backstrap woven “coyuche” Booth 81 (cooperative) unique details, the artists are huipiles, clothing and home Soledad’s traditional Oaxacan storytellers, sharing their culture’s accessories jewelry has intricate details and is traditions and beliefs with the Margarita Garcia de Jesús, Antonia made using multiple techniques world. Brigida Guerrero Santa Ana including filigree, lost wax and Tarascan silver and copper La Flor de Xochistlahuaca casting. Using gold, silver or copper, decorative bowls and vases Booth 58 her work is decorated with pearls, Jose German Punzo Nuñez, Ignacio (2016 IFAA Living Traditions Award coral, turquoise and other stones recipient, cooperative) Punzo Angel, Jose Rosaldo Punzo and gems. Her family workshop Nuñez, Ignacio Gabriel Punzo Margarita and Antonia weave focuses on preserving this 1,000- Nuñez, Maria Angelica Nuñez traditional clothing made from year-old tradition. natural dyes and harvested cotton. Pureco Cotton and silk blend shawls Booth 36 The colorful and symbolic designs represent elements in nature and the (rebozos) Using techniques passed down for universe. Margarita says that weaving Hermilo López Izquierdo generations, Ignacio shares the is like the sunset; it happens each day Rebozos Tenancingo metalwork of silver and copper with and she cannot live without it. Booth 91 (new) his Michoacán family. Some of his Hermilo is carrying on his family’s Hilario also uses yellows and blues quality and expression in his own tradition of weaving rebozos, the for his pots, candelabras and punch work. classic Mexican women’s shawl. bowls, which are highly sought by These are produced with a variety of collectors. different ikat patterns, created with MOROCCO a resist dye technique. The ends of Backstrap loom woven clothing and accessories embroidered with each shawl are finished with a fine Flatweave and or knotted rugs, Mayan designs macramé fringe. covers and capes Pedro Meza Kebira Aglaou Sna Jolobil Terracotta figurines and animals Association Timnay pour Developpement Booth 136 (cooperative) José García Antonio and Family Booth 112 (new, cooperative) Booth 106 Pedro’s traditional designs Kbira’s flatweave and knotted rugs date back to the year 600 and have José uses clay from the soil of his are an essential part of life in her been featured in ceremonial dress village to create life-sized sculptures village of N’Kob. The designs have since the Classica Maya era. He of Zapotec women, as well as been passed down from one weaves using a backstrap loom and smaller figurines. After problems generation of women to the next for finishes each piece with colorful with his sight for 50 years, José is centuries. now nearly blind but continues to embroidery. Sna Jolobil aims to work daily. His wife and family assist preserve traditional design and Association Timnay pour in the details of the technique through study of Developpement is a cooperative of sculptures. historical and ancient textiles. women weavers who are improving the lives of their families through Hand-woven Zapotec wool rugs Trays, urns, water pitchers, sales of their art. and shawls lebrillos, plates, crosses and Juan Isaac Vásquez Garcia, ornaments Djellaba button jewelry Jerónimo Vásquez Gutiérrez, Isabelle Collins Latifa Harchaou, Rachida Ousbigh Artisant des Femmes de Khenifra Guadalupe Vásquez Arte Ventosa Booth 143 (cooperative) Booth 107 Booth 144 (new) Rachida represents a cooperative of Juan and his children use Zapotec Isabelle’s majolica tin-glazed pottery women who make traditional design elements and patterns from is created using a process that djellaba buttons and created a new pre-Hispanic buildings in their originated in the 16th century, using art form by turning them into unique and beautiful weavings. He the tiles and murals of nearby jewelry. The buttons are made with was instrumental in reviving the use homes as inspiration. She considers dyed silk threads and sewn with of natural dyes for Zapotec weavings her work as useable art; each piece great detail. The color choice and and has passed down his techniques has both a decorative and functional style reflect the personality, to his children and grandchildren. purpose. background and identity of the Lead-free clay bowls, vases, artist. cookware and decorative items Silver and gold filigree jewelry with Jovita Cardozo Castillo/Taller turquoise, coral and pearl Ketzia, Macrina Mateo Arturo Faustino Rodriguez Ruiz, MOZAMBIQUE Martinez/Las Mujeres del Barro Federico Jimenez Rojo Museo Belber Jimenez Psikelekedana softwood carvings Innovando la Tradición AC Booth 156 Camurdino Mustafa Jetha Booth 129 (cooperative) Arturo works with gold and silver, as Booth 125 These families create elegant pots well as with turquoise, coral and Dino makes Psikelekedana, a type of that are known for their unique red pearls in his delicate and intricate softwood carving made from the polish. The shapes are inspired by filigree jewelry. The earrings, wood of the cashew tree. He creates the beauty and balance of nature. It necklaces, pendants, rings and scenes of daily life and traditional is said that pottery is the heart of bracelets made using this technique ceremonies. The scenes help to every home. Innovando la Tradición are traditionally worn during educate the viewer about customs is a nonprofit focused on supporting Oaxacan festivals and weddings, but and serve to express the history of the potters and pottery traditions of many people have begun to wear the community and the culture it Oaxaca, Mexico. them daily. embodies. Molded and appliqued glazed clay Woven wool, alpaca and cotton pineapple pots, candelabras, bowls wall hangings, ponchos and rugs and figures Erasto Mendoza Ruiz MYANMAR Hilario Alejos Madrigal Booth 163 Woven clothing, shawls, wall Booth 133 Erasto’s weavings are naturally dyed hangings and home accessories Hilario’s traditional ornamental and feature traditional designs Mai Nilar Win pineapple pots are decorated using representing Zapotec culture. Once Sone-Tu techniques of appliqué and used as blankets, they are now Booth 83 (new) openwork. The colorful pineapple- featured in homes as rugs and wall Mai’s weavings tell the history and shaped pots are a symbol of hangings. He is inspired by vintage story of the Chin people through hospitality and goodwill. Working weavings and strives to preserve their symbolic patterns and designs. not only in a green glossy glaze, Weaving traditions are presevered Traditional Weavers Cooperative over 200 people from their and passed down orally; master was founded to preserve the unique community. Most pieces are weavers have memorized complex weaving traditions of the Yangma geometric in shape and have a patterns so precisely that they can peoples. special symbolic and cultural still recall and teach them, even if meaning. they have not woven that design in Silver, brass and gold-plated decades. Sone-Tu’s aim is to jewelry preserve and revive the art of Ramesh Rijal, Anmol Shakya, NIGERIA traditional Chin weaving and create Punya Raj Shakya, Sapta Shakya Kaligarh employment opportunities for Drums and musical instruments Booth 66 (new) women artists. Akeem Ayanniyi Ramesh, Anmol, Punya and Sapta Booth 33 Loom-woven scarves, accessories, make jewelry inspired by the Akeem makes traditional West home furnishings and beaded traditional designs and motifs of necklaces Nepal. Each piece is associated with African drums that figure in Khun Shwe a community, festival or stage of ceremonial occasions and religious functions. These instruments are Yoyamay Ethnographic Textile Gallery life. Earring backs and clasps are Booth 158 shaped like thunderbolts, an handmade with local materials, Khun creates textiles in the Chin important symbol in Himalayan carved from mahogany or teak, style of weaving, one of the most cultures. Kaligarh pays tribute to the topped with cowhide and laced with intricate and unusual of weaving art and artists of the Himalayan strings. The shape creates the traditions in Myanmar. The textiles region. style and sound of the drum. are made on backstrap looms. Her Hausa hand embroidered clothing, work includes simple everyday accessories and home furnishings tunics, beaded tunics for special NIGER Hassana Yusuf occasions and textiles that become Queen Amina Embroidery part of a dowry. Silver and ebony Tuareg jewelry Booth 75 (new, cooperative) and accessories Hassana and her fellow cooperative Moussa Albaka members hand embroider patterned NAMIBIA Booth 119A robes, and home furnishings Moussa designs jewelry using that have long been associated with Ostrich eggshell, PVC jewelry, sterling silver, Tuareg silver and the Northern Nigerian identity. Their beaded and embroidered art cloths semi-precious stones. His distinct and historic stitches and Belinda Thanises techniques include engraving patterns are determined for the Omba Arts Trust intricate geometric designs, using function of each piece. Queen Amina Booth 152 decorative inlay and a lost wax Embroidery is a group of 20 women Belinda represents her fellow artists process. Many of his pieces show artists who are teaching their of Omba Arts Trust, an organization the repoussé style, creating a raised daughters to embroider and provide that supports sustainable design on the front by hammering a an income and outlet for their artistic livelihoods through the shape on the reverse side. work. development and marketing of quality Namibian art. Omba Tuareg leather bags and Batik and fabric and clothing specializes in ostrich eggshell accessories Gasali Adeyemo jewelry, beaded and embroidered Haoua Albaka Booth 104 art cloths and bracelets made from Tawre Gasali creates fabric and clothing PVC pipe. The artists come from 20 Booth 119B (cooperative) using batik designs and the different cultural groups and Haoua represents the members of traditional adire technique. He uses communities. La Cooperative Tawre, an extended broom stalks, chicken feathers and family of traditional Niger artists. cassava paste to make each piece. Their leather products are made of He specializes in the use of indigo NEPAL goat leather with cutout designs. All dyes because of their importance to natural dyes are used to create the his people and each textile has Tibetan woven carpets and wool distinctive burgundy and turquoise traditional Yoruba designs. blankets color palette. These items are used Soni Gurung in the everyday life of the Tuareg Yangma Traditional Weavers people. PAKISTAN Cooperative Fine silver Tuareg jewelry Sponsored by Tibet Aid Wind Horse Embroidered clothing, accessories Elhadji Koumama, Ismail Elhadji Project Tuareg Jewelry and household goods of the Khyber Booth 12 (cooperative) Booth 148 (cooperative) Pakhtunkhwa province Soni’s traditional carpets and Syeda M. Bibi, Begum Bibi Elhadji and his son Ismael represent blankets are filled with symbolic Supported by Poetic Threads of Pakistan the Tuareg Jewelry cooperative. designs. Six motifs are connected to – PTOP (NGO) Over 50 silversmiths continue a the Buddhist belief system and she Booth 132 tradition of artistry that spans more specializes in portraying snow lions, Begum and Maimoona’s hand than 25 generations and benefits peacocks and phoenixes. Yangma embroidery has geometric motifs of flowers and nature. Swat Valley is representations of birds, butterflies Painted maguey wooden known for its textiles and designs and flowers decorate their baskets. sculptures of crosses, masks, that have protective and talismanic altarpieces and figures symbolism. PTOP is engaged in Bernardo Pedro González Paucar, efforts to revive the traditional PERU Marcelino Javier Gonzales Paucar of Swat by instilling Booth 20 awareness and pride in the region’s Retablos Ayacuchanos, crosses, (UNESCO Award of Excellence recipient) artistic heritage. masks and Andean dolls Bernardo and Marcelino come from Alfredo Lopez Morales a long tradition of “imaginería” Booth 5 (new) makers. Imaginería – the making of PALESTINIAN Alfredo is a fifth-generation retablo crosses, retablos and mixed figures – maker, creating scenes inspired by has roots in the Huancayo region of TERRITORIES historical events, religious the Peruvian central highlands since celebrations and daily life in Andean the mid-16th century. Their work Hebron glass society. Each retablo requires focuses on saints and other imagery Hamdi Natsheh, Hamzeh Natsheh, multiple techniques to create — important to the people of Emad Natsheh from carpentry to build the wooden Huancayo. Hebron Glass box, clay to form the figures and Silver jewelry with Inca and Booth 10 detailed colorful paintings to bring Spanish Colonial designs The hand-blown glass pieces Hamdi the piece to life. Hilda Valeriana Cachi Yupanqui, creates are made using techniques Cusqueña style oil paintings on Sonia Cachi Yupanqui characteristic of the region over canvas and wood Booth 17 hundreds of years and feature Justo Jesus Cuba Flores (UNESCO Award of Excellence recipient) distinct shapes and patterns. A Booth 84 Hilda is one of seven sisters who are centuries-old part of Palestinian Justo’s oil paintings reflect the preserving silver-working traditions heritage, hand-blown glass adorns passed on to them by their father, both homes and religious sites and is customs of his hometown of Cusco. He uses Andean divinities and Gregorio. Her work, which fuses shaped into adornments worn at modernity with tradition, is celebrations. symbolism, as well as Catholic religious icons and themes. This represented in the Smithsonian Embroidered scarves, shawls, style of art, Escuela Cusqueña, has Institution’s collection. dresses been passed down through Handspun, natural-dyed Alpaca Najah Ayash generations and uses multiple and wool textiles Supported by Asala-Palestine techniques and ornamental details, Nilda Callañaupa Álvarez, Eulogia Booth 96 (new) including polychrome, gold leaf and Quispe Huaman Najah’s hand embroidered scarves, brocade. Centro de Textiles Tradicionales del shawls and dresses feature motifs Cusco of her surroundings: cypress trees, Handwoven and embroidered Booth 137 flowers and tents, as well as manta shawls, bags, and wall (UNESCO Award of Excellence recipient) hangings symbols of protection. Traditionally, Founder and director of CTTC, Nilda Ruraq Maki the various colors and patterns began spinning wool from sheep and Booth 61B (new) reflected a woman’s social standing, alpaca at the age of six, and was marital status and wealth. Asala- The artists of Ruraq Maki make weaving her first patterns by age Palestine provides income- mantas, a handwoven shawl or seven. CTTC weavers, such as Nilda generating opportunities for carrying-cloth that features a large and Eulogia, are remarkable in the Palestinian women as well as aiming embroidered stripe down the quality of the textiles that they to strengthen their self-confidence middle, with floral, animal and bird produce as well as their emphasis on through the creation and sales of motifs. These mantas are made traditional designs and techniques. embroidery. exclusively by incarcerated men and women; Ruraq Maki works to improve the lives of these low- PHILIPPINES PANAMA income artists by helping them earn a sustainable income. Bamboo and rattan baskets, Wounaan rainforest baskets Carved ‘mates’ gourds clothing, accessories, home Edilsa Hitucama Negria Bertha Medina furnishings and woven tapestries Micro - Empresas de Artistas Wounaan Booth 165 CustomMade Crafts Center, Inc. Booth 78 Booth 19 Bertha’s gourds tell a story of daily Edilsa and the artists of Micro - life in the Peruvian Andes. The Bamboo basketry with Mangyan Empresas de Artistas Wounaan gourds are collected from the coast designs weave baskets from palm fiber for of Peru and painstakingly carved. Selma B. Ayim (new artist) functional and decorative purposes. Details are hand-painted and other Selma makes baskets of the As part of the Wounaan heritage shading effects are created using Mangyan tribe, woven by hand using and cultural identity, weaving burning cords or small twigs to mark materials indigenous to her area. In techniques and designs are passed the gourd’s surface. various sizes and shapes, these from mother to daughter. Colorful baskets are used in important rituals geometric designs and as well as for everyday life. CMCC a customary part of Zulu weddings, addresses the emerging needs of RWANDA births, marriages and burials – forest-dependent communities symbolize hospitality and within the context of sustainable Handwoven sisal baskets, wall communality. forest management. hangings and accessories Joy Ndungutse, Pricila Kankindi Wood-fired Red Clay, Zulu Pottery Gahaya Links Cooperatives Thembile Nala Booth 113 (cooperative) Supported by Department of Trade Backstrap loom woven Kalinga and Industry, South Africa Joy and Pricila represent Gahaya clothing, accessories and home Booth 121B furnishings Links Cooperatives. After the Rwandan Genocide, cooperatives Thembile’s clay pots are used for Kalinga tribe ceremonial purposes, celebrations Kalinga weavers of Northern Luzon were founded, turning Rwanda’s basket-weaving tradition into a and to store food and drink. Zulu use backstrap looms to weave women often create designs in their intricate designs that reflect their source of livelihood for women. Baskets are an important part of pots that express love messages and culture and natural environment. romantic feelings to the recipient. These textiles are adorned with Rwandan culture, used for wedding ceremonies, gifts and storage. Wall- Pottery techniques are passed from shells and mother-of-pearl platelets generation to generation and that represent symbols of wealth hanging designs carry cultural meanings and messages and were Thembile is teaching the art at local and prestige in a land-locked region. schools. CMCC promotes diverse and unique once part of palace decorations. cultures of indigenous people Zulu ilala palm baskets through training and skill Angeline Bonisiwe Masuku development. SOUTH AFRICA Supported by Department of Trade and Industry, South Africa Rattan “tingkep” baskets Bead and wire sculptures Booth 123 Pala’wan tribe Lulama Patience Sihlabeni Angeline weaves traditional ilala The Pala’wan tribe of Southern eKhaya eKasi Art and Education Centre palm baskets that are used for daily Palawan province weave traditional Supported by Department of Trade and life as well as for decoration. She Industry, South Africa rattan baskets known as “tingkep,” designs her baskets to incorporate Booth 4 made out of bamboo, palm and imagery of her immediate rattan. The baskets are both Lulama represents the eKhaya eKasi environment, as well as the practical and spiritual, with designs Art & Education Centre. The artists geometric designs from Zulu that reflect the forest trees and of the center make beadwork and beadwork. Her baskets come in a animals. CMCC promotes diverse wire art. The beaded sculptures variety of traditional shapes. and unique cultures of indigenous range in subject from animals to people through training and skill automobiles, and wall hangings are development. often busts of big game such as hippos and rhinos. SOUTH KOREA Handwoven abaca textile “hinabol” decorative tapestries Zulu beaded necklaces Celadon, white porcelain, Jeramie L. Timbangan (new) Cabangani Komo Buncheong, temmoku, and Jeramie’s hinabol weavings reflect Bright Idea Projects 310 crystalline glazed ceramics her personality, feelings and moods, Supported by Department of Trade Daeyoung Lee, Bongtae Kim, making each piece unique and an and Industry, South Africa Jongyoung Kim, Panki Kim, extension of her personality. Booth 21 (new) Heansook Choi Hinabol is an integral part of Cabangani’s Zulu beaded necklaces Icheon Ceramics Cooperative traditional Higaonon culture and have striking color combinations and Booth 68 (cooperative) daily life for generations. CMCC geometric patterns. Once worn only Lee Dae Young and the addresses the emerging needs of for traditional weddings and cooperative’s other members create forest-dependent communities ceremonies, beaded jewelry is now ceramics in several important within the context of sustainable a part of everyday fashion. traditional styles: Celadon, dating forest management. Cabangani is now teaching the art to from the 10th century, distinguished orphans in hopes that it will change by the pale green-blue color and a Abaca fiber T’nalak tapestries their lives as it changed hers. clear glaze; Bunchung, from the 15th T’boli tribe century, characterized by a white T’nalak ikat tapestries are Wood-fired Red Clay, Zulu Pottery glaze; and Joseon white porcelain, handwoven from fibers of wild Jabulile Nala also from the 15th century, marked Okuhlekodua Trading and Projects banana plants. They are often by the simple designs. described as “woven dreams.” Supported by Department of Trade and Industry, South Africa T’nalak patterns are complex and Korean natural dyed patchwork- Booth 121A mathematically precise, but are screens, scarves and garments symbols taken from nature and daily Descending from a famous line of Sunghee Kim-Dyetree life. CMCC promotes diverse and potters, Jabulile is known for Booth 37 unique cultures of indigenous infusing her work with a Sunghee is known for traditional people through training and skill contemporary spirit, creating larger Korean free-form geometric development. and more elaborate forms in the patchwork screens made out of traditional manner. Zulu beer pots – leftover pieces of fabric. She also creates naturally dyed silk and The art began in the 9th century, as cotton textiles. The colors expressed SWAZILAND artists were inspired by porcelain by the dyer not only represent the coming along the Silk Road and conventions of the time, but also Swazi woven sisal baskets began to create their own pieces. secret recipes and experiences, Thembi Dlamini passed down through generations. Tintsaba Master Weavers Caucasian silk embroidery wall Booth 74 (cooperative) hangings, hats, scarves and Thembi is a master weaver who will accessories SOUTH SUDAN bring her own baskets as well as Mehmet Cetinkaya Gallery represent the work of Tintsaba’s Booth 56 South Sudan beaded jewelry and other basket weavers. She is known The artists of the Mehmet Cetinkaya beaded clothing for her baskets’ unique patterns and Gallery create silk embroideries in a Mary Padar Khujuok Athac and symmetry. Natural dyes are used to tradition dating back over 300 years. others — ROOTS Project create bright colors, and patterns The patterns range from geometric Supported by ROOTS of South Sudan reflect nature and Swazi symbols. motifs to floral designs and all Booth 52 materials are naturally dyed. Silk (2016 IFAA Community Impact Award items are believed to bring good recipient) THAILAND fortune to families and are a symbol The Roots Project promotes peace- of status. building and teaches traditional arts Hand woven clothing and in South Sudan. The 60 women accessories artists are from 16 different tribal Somporn Intaraprayong, TURKMENISTA groups and are known for their Ampornpun Tongchai beaded jewelry and clothing. The Booth 160 N colors, patterns and styles of each Somporn and Ampornpun are piece are tribally specific. weavers and dyers creating hand- Turkmen wool felt rugs sewn clothing and accessories using Tavus Khaidova traditional stitching and natural Germech Cooperative SPAIN dyes. Weavings are used to show Booth 141 community, unity, identity and Tavus and the artists of Germech “Charra” filigree gold and silver status and are worn for ceremonies Cooperative use sheep’s wool to jewelry, Salamanca charro buttons and special occasions. The process create their felted rugs. The motifs Luis Méndez of weaving and dyeing is often done are centuries-old and often include Luis Mendez Artesanos S.L. collectively. ram’s horns for protection. Large Booth 103 rugs are made by groups of women Luis is a third generation goldsmith working together. Germech who is regarded for his gold and TURKEY Cooperative is focused on renewing silver filigree jewelry. Working natural colors and historic alongside his brothers, they create Scarves, shawls, and jewelry with ornaments and keeping the art alive. pieces of jewelry that are truly Oya Turkish lacework works of art, each with a delicate Soma Artisans combination of traditional and Anatolian Artisans, Inc. UGANDA contemporary facets. Luis is known Booth 134 (new) for the incredible detail in his work Soma Artisans creates scarves, Coiled raffia woven baskets and for his dedication to the art shawls and jewelry with oya, a Lillian Semigga, Shafique Muyanja form. traditional Turkish lacework. Oya Uganda Crafts 2000 LTD serves as a means of expression and Booth 62 communication for Turkish women, Lillian represents Uganda Crafts SYRIA with symbolic colors and motifs. Red 2000 LTD. Basket weavers make up is for excitement and love; blue for the majority of the over 300 artists Hand blown recycled glass comfort and happiness; green, who contribute work to Uganda lanterns, vases, and home hopes and wishes. Oyas are highly Crafts 2000 LTD. Since 1983, Uganda accessories valued and recycled over and over Crafts has been providing income to Salaheddin again. some of the most disadvantaged Booth 140 (new) Ugandans: the disabled, widows and The glass blowers of Salaheddin use Cini Pottery from Lake Iznik people living with HIV/AIDS. molds from the 1920s and recycled Lake Collective glass to create beautiful lanterns Tribal Home Sponsored by Museum of New Mexico and vases. Recycled glass is divided Foundation by color and broken into little pieces Booth 161 and then melted in a traditional clay Cini ceramics are highly decorated furnace and mouth-blown. pieces, using styles, colors and Salaheddin creates new UKRAINE designs that date back centuries and opportunities for master artists of Syria. passed down through generations Embroidered clothing, hand-woven with a strict adherence to tradition. home accessories, “Pysankas” wax- resist decorated eggs, and icon Workshop & Museum of History of Booth 54 paintings on wood Blacksmith Craft Otabek is a recognized musical Booth 41 Lesia Pona, Olga Pona, Oleg Pona, instrument maker. Each of his pieces (UNESCO Award of Excellence recipient) Nataliya Tereshchak, Katerina is created solely by hand and Tereshchak, Valentina Zamulinska Shavkiddin’s bird-shaped embellished with carving and inlay Pokuttya Folk Art represent storks, a symbol of his city work. Taking many different forms Booth 131 (cooperative) of . He learned the art from and sounds, they reflect the diverse Lesia Pona, Olga Pona, Nataliya his father at an early age and today influences that shaped . Tereshchak, Katerina Tereshchak they work together creating hand- Otabek’s instruments are fully and Valentina Zamulinska represent forged metal items just as their functional and he treats them as Pokuttya Folk Art. The artists of this family has done for hundreds of works of art. cooperative are known for their years. He is a 6th generation weavings and embroidery, as well as blacksmith and metal worker. for their wax-resist decorated eggs. Embroidery – Tapestries and Gold and silver jewelry Their icon paintings, highly stylized Pillows Oybek Khamraev images of religious figures or events, Zarina Kendjaeva Booth 59 (new) are placed in houses for protection. Carpet Weaving, Embroidery & Natural Oybek’s jewelry is made in the Dyeing School by UNESCO classic Bukhara style. His work is Booth 45 based on designs from the 16th and (UNESCO Award of Excellence recipient) UZBEKISTAN 19th centuries and motifs passed Zarina’s designs are based on 18th down from his grandfather. He often Woven silk and adras ikat clothing, and 19th century museum pieces. uses antique books and museum accessories, and home furnishings Suzani is used for decorative wall catalogs for inspiration. A third- Rasuljon Mirzaakhmedov hangings, curtains and bedcovers, as generation jeweler, he works with Crafts Development Center Idat.Uz well as small functional household Booth 11 his brother and says that this art is items. They are made from finely his life. (UNESCO Award of Excellence recipient) hand woven cottons or silk material Rasuljon is at the vanguard in a and often the embroidery covered Bukharan carpets and tribal rugs revival of the rare and complicated the entire cloth. Ikbol Sokhibov technique of ikat weaving in Booth 63 hand woven wool rugs. which white silk threads are dyed Ikbol comes from a family of tribal Silk and wool carpets with natural and placed on a narrow loom. The carpet weavers. He studied tribal dyes beautiful colors and complex designs rugs and ancient Bukhara carpets Firuza Khamraeva, Fatillo of his ikat fabrics make them from the 15th and 16th centuries, Kendajaev, Saidjon Mukhlisov, unique. reviving their intricate designs. Fotima Fozilova, Salima Ikbol’s carpets are woven by hand Medieval manuscript miniature Koshmurodova, Zarina Kendjaeva paintings and illustrations Carpet Weaving, Embroidery & Natural from natural dyed wool, cotton and Omonov Komil Kozim o’g’li Dyeing School by UNESCO silk in his family’s workshop. Booth 46 Booth 15 Suzani embroidered home (UNESCO Award of Excellence recipient) Omonov creates miniature paintings accessories and wall hangings and illustrations of medieval Fatillo and his wife, Firuza, are Shukhrat Pulatov manuscripts using the same style master weavers and dyers, creating Booth 77 (new) silk carpets with designs from and technique of the 15th century Shukhrat’s Suzani home accessories centuries ago. With traditional artists that came before him. He and wall furnishings are made using weaving methods and natural dyes, prides his work on its harmony of two techniques of embroidery: the their carpets are both unique and an color and line. Incredibly detailed stich and the chain . echo to ancient times. The floral with rich colors, each painting brings Working alongside his family, his patterns and geometric designs are a story to life. pieces are made with designs passed based on styles seen in antique down from his grandmother as well Gijduvan ceramic pottery paintings. Alisher Narzullaev as traditional Bukhara motifs. Traditional Gijduvan Pottery Kilim hand woven wool rugs Through symbolic embroidery, Booth 34 Zafar Sattarov artists can express their dreams, Alisher uses more than 200 different Booth 50 (new) wishes and hidden thoughts. traditional symbols and decorative Zafar’s kilim handwoven rugs, are Suzani embroidered wall hangings patterns in his work, some dating made with sheep’s wool and natural and home furnishings back 1,000 years. His plates, dishes, dyes of red, black and brown. Madina Kasimbaeva bowls and vases are used in Geometric motifs of kilim are often Booth 89 (new) everyday life. Gijduvan ceramic symbolic and are used to convey Madina’s embroidered home pottery is renowned for its distinct ideas. Kilim holds a special accessories and wall hangings are floral patterns in green, brown and significance in Uzbek culture and is widely used in daily life. blue tones. often placed at the center of the Palak embroidery is known for its room. Forged steel knives and decorative distinct center roundel, which is a scissors Traditional musical instruments symbol of power and fertility. These Shavkiddin Kamalov Otabek Mukimov center images often contain six dots with a seventh in the middle, Uzbekistan’s countryside. Gulnora jewelry representing the seven layers of the established a school of embroidery Ly Ta May, Ly Lo May, Phan Dao sky. and has taught hundreds of women Vang Suzani techniques. Booth 70 Lacquer painted chess sets, tables, Ta May embroiders textiles on dyed and boxes Women’s and children’s ikat Radjab Khayotov clothing and accessories cloth. The choice and distribution of the designs is a manifestation of her Booth 110 Muhayo Aliyeva (UNESCO Award of Excellence recipient) Bibi Hanum talents and personality. Some of the intricately embroidered pieces can Radjab is a woodworking master Booth 155 take up to a year to complete. Made recognized for his wonderfully Muhayo revives forgotten Uzbek completely by hand, her textiles carved and intricate lacquer-painted ikat patterns in traditional clothes include tunics, bags, ceremonial chess sets, tables and boxes. He made with local and natural scarves and embroidered necklaces. learned the tradition from his father, materials. Her work is incredibly a master of making traditional colorful and bold, while still cradles and painted dowry boxes in maintaining classic elegance. Her silk Bukhara. The lacquer painting often dresses have unique and specialized ZIMBABWE depicts local people, traditional embroidery and her scarves feature floral patterns and birds. historical patterns. Ilala palm baskets Evah Mudenda Booth 93 (new) Evah’s ilala palm baskets are used Rishtan decorative plates, bowls, for serving fruit and gathering eggs, vases, and tiles as well as for decorative purposes. Rustam Usmanov, Damir Usmanov They are given as a traditional Booth 116 (UNESCO Award of Excellence recipient) VENEZUELA wedding gift because of their fine beauty and household uses. The Rustam and Damir combine Ye’Kwana baskets naturally dyed designs date back to the period of traditional forms and designs with and decorated with mythical the Great Zimbabwe, where the original shapes and motifs to create figures Nambya tribe originated. the blue ceramics of Rishtan. Made Aurora Rodriguez Caura, Maria from local clay, this style of pottery Alejandra Martinex Nunex has been famous for centuries. They Medewa and Kanwasumi Basket draw inspiration from natural Cooperatives “Best” selections of the shapes, flowers and calligraphy, and Booth 82 (cooperative) International Folk Art Market | Santa Fe are known for the richness and Aurora and the 53 weavers of “Best of the Best” precision of their patterns. Kanwasumi Artisan Cooperative Supported by all market participants individually hand weave wuwa Suzani embroidered and adras Booth 47 home furnishings and silk carpets baskets, women’s burden baskets, and jojos, round storage baskets. The Best of the Best booth is made Madrim Matkarimov Sadullaevich possible through the generous Traditional men’s baskets are highly Khiva Silk Workshops contributions of all Folk Art Market Booth 117 (new) decorated winnowing baskets. No tools are used except a machete to participants. Each piece is selected Madrim and the artists of the Khiva by the Best of the Best Folk Art help cut the vine from which the Silk Workshops use natural dyes and Expert Shoppers. All proceeds baskets are made. ancient designs to create silk carpets benefit the International Folk Art and Suzani home furnishings. Painted wooden decorative toys Alliance’s support of the artists. Madrim studied 15th-century and circus scenes illuminated manuscripts to recreate Mario Calderón Wood, clay and paper figures, Timurid carpet designs and visits Juguetes de Mario Calderon sarapes, plant fiber nativity scenes palaces and in search of Booth 94 and spheres beautiful designs within the tiled (UNESCO Award of Excellence recipient) Fomento Cultural Banamex A.C walls and carved doors. Khiva Silk Mario’s wooden toys are not simply Booth 97 Workshops employs 24 artists, most made to be played with, they aim to Out of concern for the survival of of them women, giving them evoke and transport adults back to traditional art forms, BANAMEX financial independence and security. their childhood. His brightly colored developed the Program in Support and detailed work is made with love of Folk Art in 1996. This year’s Suzani embroidered clothing, and a sense of nostalgia. He hopes Fomento Cultural BANAMEX AC accessories and home furnishings they will bring to mind a simpler and booth will represent the following Gulnora Odilova more peaceful time. artists: Dámaso Ayala Jiménez & Booth 130 Gabriel Isidro Pérez Rajón, Gulnora follows her family in the Gumercindo España Olivares, tradition of creating Shakhrisabz Mauricio Hernández Colmenero, embroidery. She has revived this VIETNAM Pablo Dolores Regino, Román unique style, learning once- Red Dao embroidered ceremonial Gutiérrez, Sara Márquez, Zenaida forgotten patterns and rare colors clothing, accessories, home Rafael and designs, many inspired by furnishings, silver and brass UNESCO - WCC Award of Excellence handicrafts

UNESCO - WCC, South Asia Booth 98 UNESCO - WCC, Southeast Asia Booth 99 UNESCO - WCC, Latin America Booth 100 UNESCO - WCC, Booth 101 The Award of Excellence is the UNESCO – World Crafts Council flagship program for handicrafts. The Award of Excellence objectives are to provide market opportunities to ensure sustainability of handicraft industries, to establish rigorous standards of excellence for handicrafts, to encourage innovativeness and to offer training and support services.