Product Development Training Impact on Artisan

Total Page:16

File Type:pdf, Size:1020Kb

Product Development Training Impact on Artisan PRODUCT DEVELOPMENT TRAINING IMPACT ON ARTISAN CAPABILITIES AND SUSTAINABLE BUSINESS SUCCESS by Elizabeth Davelaar A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Science in Fashion and Apparel Studies Spring, 2017 © 2017 Elizabeth Davelaar All Rights Reserved PRODUCT DEVELOPMENT TRAINING IMPACT ON ARTISAN CAPABILITIES AND SUSTAINABLE BUSINESS SUCCESS by Elizabeth Davelaar Approved: __________________________________________________________ Marsha Dickson, Ph.D. Professor in charge of thesis on behalf of the Advisory Committee Approved: __________________________________________________________ Hye-Shin Kim, Ph.D. Chair of the Department of Fashion and Apparel Studies Approved: __________________________________________________________ George Watson, Ph.D. Dean of the College of Arts and Sciences Approved: __________________________________________________________ Ann L. Ardis, Ph.D. Senior Vice Provost for Graduate and Professional Education ACKNOWLEDGMENTS I am truly honored to be able to thank all the people who have taken me under their wings and made this thesis possible. First, to Dr. Marsha Dickson, I extend my most sincere thanks. From the very beginning, she encouraged me to follow my passions and helped me through all of the challenges that came with planning international research and travel. It was truly a joy to be able to learn from someone who has a great understanding and a passion for the same things I do. I cannot express how grateful I am for her mentorship and guidance through the process of writing my thesis. Secondly, I would like to thank Dr. Lu and Prof. Cobb for being on my thesis committee. Both have taught me so much about their perspective areas of focus and have always pushed me to be my best and to challenge myself. Next, I would like to thank the entire fashion department at the University of Delaware and to the professors of which I have had the opportunity to work for. They have all pushed me and have been very understanding through the whole writing process. A special thank you to Deborah Chandler for being our guide for the 10 days we explored Guatemala. Her expertise and knowledge of the industry are invaluable to this research. I would like to thank my family for their continuous support and for always believing that I can conquer the world. Their support has been irreplaceable through all of this and it would not be complete without them. Lastly, I would like to thank God for giving me a clear passion and dream that has led me to many crazy places. While the dream of helping people started 10 years ago, this is the first real output I have of it. For that I am extremely thankful. iii TABLE OF CONTENTS LIST OF TABLES ...................................................................................................... viii LIST OF FIGURES ....................................................................................................... ix ABSTRACT .................................................................................................................. xi Chapter 1 INTRODUCTION .............................................................................................. 1 1.1 Introduction ............................................................................................... 1 1.2 Literature Review Overview ..................................................................... 1 1.3 Proposed Theoretical Model ...................................................................... 5 1.4 Purpose and Research Questions ............................................................... 5 1.5 History of Guatemala and Guatemalan Craft ............................................ 6 1.6 Method ....................................................................................................... 9 1.7 Justification ................................................................................................ 9 1.8 Operational Definitions ........................................................................... 10 1.9 Assumptions and Limitations .................................................................. 11 2 REVIEW OF LITERATURE ........................................................................... 12 2.1 History of Artisans and Crafts ................................................................. 12 2.2 Artisan Business and Cultural Significance ............................................ 15 2.3 Crafts as a Development Tool and Chamber’s Web of Responsible Wellbeing ................................................................................................ 20 2.4 Durham and Littrell’s Model for Performance of Peace Corps Handicraft Enterprises ............................................................................. 28 2.5 Constraints within the Artisan/Informal Sector ....................................... 31 2.5.1 Technology and Facilities ............................................................ 32 2.5.2 Hyper-competition and Market Access ....................................... 32 2.5.3 Financial Access .......................................................................... 34 2.5.4 Formalization of the Sector ......................................................... 35 2.5.5 Education ..................................................................................... 36 2.5.6 Findings to Combat Constraints .................................................. 40 2.6 Product Development Training ............................................................... 41 2.6.1 Informal Sector Training Methods/Interventions. ....................... 41 2.6.2 Need for Training in Small/Medium Size Apparel Production Enterprises ................................................................................... 49 2.6.3 Innovations, Interventions, and Examples of Product Development ................................................................................ 50 iv 2.6.4 Understanding Tastes and Preferences for Artisans and Consumers ................................................................................... 57 2.7 Theoretical Model ................................................................................... 60 3 METHOD ......................................................................................................... 64 3.1 Research Questions ................................................................................. 64 3.2 Research Approach .................................................................................. 65 3.3 Interview Schedules ................................................................................. 66 3.4 Field Research ......................................................................................... 67 3.4.1 Recruitment of Participants ......................................................... 67 3.4.2 Data Collection ............................................................................ 68 3.5 Data Analysis ........................................................................................... 72 4 RESULTS ......................................................................................................... 75 4.1 Introduction ............................................................................................. 75 4.2 Case Study #1: Building Baskets, Building Opportunity ........................ 75 4.2.1 Products Created .......................................................................... 78 4.2.2 Product Development Training ................................................... 79 4.2.3 Capabilities .................................................................................. 82 4.2.4 Internal Constraints ..................................................................... 83 4.2.5 Business Success ......................................................................... 84 4.2.6 Sustainability Awareness ............................................................. 86 4.2.7 External Constraints .................................................................... 86 4.3 Case Study #2: ‘Compassion’ Training ................................................... 88 4.3.1 Product Development Training ................................................... 93 4.3.2 Capabilities .................................................................................. 95 4.3.3 Internal Constraints ..................................................................... 96 4.3.4 Business Success ......................................................................... 98 4.3.5 Sustainability Awareness ............................................................. 99 4.3.6 External Constraints .................................................................... 99 4.4 Case Study #3: Weaving Opportunity ................................................... 100 4.4.1 Products Created ........................................................................ 101 4.4.2 Product Development Training ................................................. 102 4.4.3 Capabilities ................................................................................ 105 v 4.4.4 Internal Constraints ................................................................... 108 4.4.5 Business Success ....................................................................... 109 4.4.6 Sustainability Awareness ........................................................... 110 4.4.7 External Constraints .................................................................
Recommended publications
  • Sew Any Fabric Provides Practical, Clear Information for Novices and Inspiration for More Experienced Sewers Who Are Looking for New Ideas and Techniques
    SAFBCOV.qxd 10/23/03 3:34 PM Page 1 S Fabric Basics at Your Fingertips EW A ave you ever wished you could call an expert and ask for a five-minute explanation on the particulars of a fabric you are sewing? Claire Shaeffer provides this key information for 88 of today’s most NY SEW ANY popular fabrics. In this handy, easy-to-follow reference, she guides you through all the basics while providing hints, tips, and suggestions based on her 20-plus years as a college instructor, pattern F designer, and author. ABRIC H In each concise chapter, Claire shares fabric facts, design ideas, workroom secrets, and her sewing checklist, as well as her sewability classification to advise you on the difficulty of sewing each ABRIC fabric. Color photographs offer further ideas. The succeeding sections offer sewing techniques and ForewordForeword byby advice on needles, threads, stabilizers, and interfacings. Claire’s unique fabric/fiber dictionary cross- NancyNancy ZiemanZieman references over 600 additional fabrics. An invaluable reference for anyone who F sews, Sew Any Fabric provides practical, clear information for novices and inspiration for more experienced sewers who are looking for new ideas and techniques. About the Author Shaeffer Claire Shaeffer is a well-known and well- respected designer, teacher, and author of 15 books, including Claire Shaeffer’s Fabric Sewing Guide. She has traveled the world over sharing her sewing secrets with novice, experienced, and professional sewers alike. Claire was recently awarded the prestigious Lifetime Achievement Award by the Professional Association of Custom Clothiers (PACC). Claire and her husband reside in Palm Springs, California.
    [Show full text]
  • Author Index: First Twenty-Five Years 1979–2004
    AUTHOR INDEX: FIRST TWENTY-FIVE YEARS 1979–2004 ABBOT, AMY. “Stars & Stripes: Inkle errata Mr82: p. 87. __. “More Dots.” MJ95: pp. 80–82. __. “Swatch Collection #12: Classic Band Pins.” MA02: pp. 74–75. __. “Designing Men: Jim Ahrens: __. “My New Multishaft Loom Is Fabrics for City Fashions.” ADAMS, BRUCIE. “Boiled Wool.” 1906–2000.” MA01: pp. 12–13. Here, Now What?” MJ98: ND85: pp. 48–49, IS: 9–11. Su84: p. 85. __. “Designing Upholstery Fabric.” pp. 80–81, 87–88. __. “Swatch Collection #13.” MJ86: __. “Devices to Aid In Wool ND94: pp. 48–49, 91–92. __. “Offset Twill Tie.” SO86: pp. 65, pp. 28–29, IS: 4–5. Processing.” Se82: pp. 69–70. __. “Designing Stripes.” MJ96: IS: 16. __. “Swatch Collection #14.” SO86: __. “A Handspun, Handwoven Cocoon pp. 36–39. __. “One Good Turn Deserves pp. 24–26, IS: 4–5; errata JF90: Jacket.” MA84: pp. 88–89. __. “Door Curtain.” ND90: Another.” SO98: pp. 48–49, p. 87. __. “Handspun Yarn for a Pulled pp. 52–53, 74–75. 81–82. __. “Swatch Collection #15.” MA87: Warp Vest.” JF86: pp. 78–79. __. “Dornick Twill Blue Plaid Lap __. “Out of a Flower Garden.” pp. 38–41, IS: 4–6; errata SO87: __. “Linsey-Woolsey Using Handspun Robe.” JF99: pp. 58, 76–77. ND88: pp. 54–55, 83. IS: 3. Yarns.” ND82: pp. 59–60. __. “Double the Pleasure, Double __. “Plaid Silk Noils Shirt.” JF86: __. “Swatch Collection #16: Fabrics __. “Pencil Roving and the Navajo the Fun.” MJ92: pp. 48–49.
    [Show full text]
  • Weber MS June.Indd
    Spartan Times Carrie Palmer Weber Middle School, Port Washington, New York www.portnet.k12.ny.us/weber/clubs/spartantimes 1st Place Winner of the Newsday In Education Journalism Award 2012 Vol. 11, Issue 2 Simply The Best June 2014 Meet Mrs. Hall, Weber’s New Nurse Good News From The Cradle of Aviation by Sara B. by Mr. Shampanier On Thursday, May 8, I had the opportunity to Weber 8th grade students meet and interview our new school nurse, Mrs. competed in the Long Is- Hall, on her fi rst day of work in our Medical Offi ce. land Technology & Engi- Here are interesting facts about her: neering Association's an- • Mrs. Hall previously worked at Long nual dragster competition Beach Hospital, which closed after Hurricane at the Cradle of Aviation Sandy. Museum. They had a • She used to work at Schreiber High great and successful time. School, helping with school physicals. Everyone competed in • She lives in Port Washington, and her two categories: design and children attended Port schools. speed. We are very fortunate to have such an ex- (continued on page 4) perienced professional in our Medical Offi ce. Mrs. Hall is very ex- photo courtesy: Mr. Shampanier cited to work at Weber. She thought it would be a smaller school, so imagine her surprise when she found out we have over 1100 stu- dents.Stop by the Medical Offi ce to introduce yourself to Mrs. Hall. photo courtesy Mrs. McAuliffe Summer Reading Lists What are students required to read this summer? Check out the Summer Required In This Reading lists link on page 2.
    [Show full text]
  • KRUS Final Report: Enhancing Local Value Chains in Norway
    SIFO REPORT NO 8-19 CONSUMPTION RESEARCH NORWAY KRUS final report: Enhancing local value chains in Norway Ingun Grimstad Klepp, Tone Skårdal Tobiasson, Vilde Haugrønning, Gunnar Vittersø, Lise Grøva, Torhild Kvingedal, Ingvild Espelien and Elin Kubberød Report no. 8 - 2019 Title Antall sider Dato KRUS final report: Enhancing 145 09.10.2019 local value chains in Norway Tittel ISBN ISSN KRUS sluttrapport: Grønn 978-82-7063-494-1 vekst i hvitt gull gjennom lokalt forankrede verdikjeder Authors Prosjektnummer Faglig ansvarlig sign. Ingun Grimstad Klepp, Tone 416013 Skårdal Tobiasson, Vilde Haugrønning, Gunnar Vittersø Lise Grøva, Torhild Kvingedal Ingvild Espelien og Elin Kubberød Client Norges Forskningsråd Sammendrag Fra prosjektet startet i 2015 og frem til slutten i 2019 har KRUS hatt to mål: å forbedre markedet for og verdien av norsk ull og kartlegge mulighetene for lokal produksjon som et skritt mot bærekraft i klesindustrien. KRUS har sett på hvordan vi kan gjenopprette en forståelse av sammenhengen mellom råvaren og det ferdige produktet innen industrien og blant forbrukerne. Det er viktig å forstå denne sammenhengen, både for å sikre kvalitetsprodukter og for å nå markedspotensialet for norsk ull. Å gjenopprette forståelsen av "hvor klær kommer fra" er også kjernen i utfordringene innen tekstil. Forbruk og produksjon av klær vil møte store utfordringer og endringer de neste 10 årene. I dag er industrien preget av lite regulering, kontroll og kunnskap, men store volumer, miljøpåvirkning, og belastninger på dyr og mennesker. KRUS har bidratt i debatten om bærekraft og klær ved å fokusere på lokale verdikjeder og lokalt produserte klær, verdi, levetid, kvalitet og hjemmeproduksjon.
    [Show full text]
  • Patricia Cox Crews
    1 PATRICIA COX CREWS The University of Nebraska-Lincoln Department of Textiles, Merchandising & Fashion Design Lincoln, Nebraska 68583-0802 Office: (402) 472-6342 Home: (402) 488-8371 EDUCATION Degree Programs 1971 B.S., Virginia Tech, Fashion Design and Merchandising. 1973 M.S., Florida State University, Textile Science. 1984 Ph.D., Kansas State University, Textile Science and Conservation. Other Education 1982 Organic Chemistry for Conservation, Smithsonian Institute Certificate of Training (40 hours). 1985 Historic Dyes Identification Workshop, Smithsonian Conservation Analytical Lab, Washington, D.C. 1990 Colorimetry Seminar, Hunter Associates, Kansas City, MO. 1994 Applied Polarized Light Microscopy, McCrone Research Institute, Chicago, IL. 2007 Museum Leadership Institute, Getty Foundation, Los Angeles, CA. PROFESSIONAL EXPERIENCE 1984- University of Nebraska-Lincoln, Willa Cather Professor of Textiles, 2003-present; Founding Director Emeritus, International Quilt Study Center & Museum, 1997- 2013; Professor, 1996-present; Acting Chair, Dept. of Textiles, Clothing & Design, 2000; Chair, Interdisciplinary Museum Studies Program, 1995-1997; Associate Professor, 1989-1996; Assistant Professor, 1984-89. Courses taught: Textile History, Care and Conservation of Textile Collections, Artifact Analysis, Textile Dyeing, and Advanced Textiles. 1982 Summer Internship. Smithsonian Institution, National Museum of American History-Division of Textiles. 1977-84 Kansas State University, Manhattan, Kansas, Instructor of Textiles. 1976-77 Bluefield State College, Bluefield, West Virginia, Instructor of Textiles and Weaving. 1975 Virginia Western Community College, Roanoke, Virginia, Instructor of Textiles and Weaving. 1973-74 Oregon State University, Corvallis, Oregon, Instructor of Textiles. HONORS AND AWARDS 2013 Reappointed to Willa Cather Professorship in recognition of distinguished scholarship. 2009 University of Nebraska, College of Education & Human Sciences Faculty Mentoring Award.
    [Show full text]
  • SPRING 2008 Situations Problems, G.I.C.H
    THE UNIVERSITY OF GEORGIA COLLEGE OF FAMILY AND CONSUMER SCIENCES SPRING 2008 Situations Problems, G.I.C.H. G.I.C.H. Common Unique Letter from the Dean Simply Amazing... s dean, I am frequently asked to share, “just a few words,” about our college. “Simply Amazing” is a powerful two-word response that sums up my assessment of the people, programs Aand spirit of the College of Family and Consumer Sciences. In early March, we celebrated the college and seven simply amazing award winners at our 31st Annual Alumni Awards Luncheon. Our alumni award winners, Judy Bland, Dot Williams, Judy Hibbs and Cynthia Levatte, as well as, faculty Charlie Wallinga and FACS friend Jeff Whalen were recognized for their accomplishments and dedication to the college. A highlight was the induction of Marian Chesnut McCullers into the FACS Honor Hall of Recognition. Marian blazed a trail for FACS in the business world and especially for women during her career with Atlanta Gas Light. I know you will enjoy learning about our award winners as you read about their accomplishments in this issue. We set a record for attendance and for our silent auction proceeds. It was a great day and I enjoyed meeting and talking with many of you. On March 31, we exceeded the goal set for our 100 Legacies in the Making planned giving campaign. A special thank you to Katrina Bowers, our director of development, Janet Jones Kendall, our development officer, and the campaign steering committee for their leadership as well as the 100+ FACS legacies for their generous support.
    [Show full text]
  • Medieval Textile Study Group Coordinator: Nancy M Mckenna 507 Singer Ave
    Complex Weavers’ Issue 25 Sept. 2000 Medieval Textile Study Group Coordinator: Nancy M McKenna 507 Singer Ave. Lemont, Illinois 60439 e-mail: [email protected] ISSN: 1530-762X In this issue: Sample Update p.1 They specialize in heritage and ancient fruit varieties, Medlar of Nottingham p.1 many dating from the Medieval Period. One such fruit is ISSN Number p.2 the Medlar of Nottingham. I am including this non- Aztec Textiles p.2 weavng information as many of you are interested in more Women In Weaving Guilds p.3 than Medieval clothes and I thought that the knowledge Woolen Medieval Cloth p.4 that Medieval fruits were still available would be of Errata p.4 interest. This is reprinted with permission. If you request 2/1 Twills: Rippenkoper p.4 a catalog from them, or purchase any fruit trees from Upcoming Events p.6 them, please let them know where you found their address. Sample Update: ************ Samples Due mid-November drafts due by October so “The MEDLAR, which stands out, unique, independent of that I’ll have the calendars ready when the samples comparison to any other tree fruit. It is an ancient treasure arrive. Current count: 25 samples 3” x 3”. You need for the 3rd millennium. not use handspun singles. You may use whatever yarn you have on hand. It is preferable that the yarn be Described by the Greek botanist Theophrastrus, over 2000 close to the grist of the origional if possible, however. years ago, it was once widely cultivated in Tudor, En- gland. Nancy M McKenna twill, s,z twist interaction (Handspun singles @ 3600ypp) Parkinson in 1627 spoke “of the pleasant sweetness of the & Broken Twill (in Harrisville Shetland yarns) fruit when mellow”.
    [Show full text]
  • Chhit Chhat Newsletter of the Contemporary Handweavers of Houston
    CHHit CHHat Newsletter of the Contemporary Handweavers of Houston Vol. 69 No. 5 December 2017 President's Message During the last two Guild meetings, Tracy asked for help with equipment. She got not just one, but two volunteers. Diane needed helpers for her Girl Scouts. Up went the hands. The sign up sheet for the Christmas party filled up. At every meeting, members scurry about setting up and taking down and make the effort to show up. If you can’t show up, you are making an effort to sign up. The board members work to keep everyone educated, informed, entertained, and out of trouble with the landlord. The subject of volunteering crops up often in my monthly notes: volunteering for community outreach, for the sale, for continuing education. A special nod from me this holiday season to all of you (and often your families) who keep CHH alive and running. - Susan Antrican Sunday, Dec. 10, 2017 2-5pm All members (and one guest) are invited to the Annual Christmas/Holiday CHH Member Party, to be held at our Guild House home 2327 Commerce St. Suite 106 Houston, Tx 77002 Sunday, Dec 10, 2-5 pm. Meat and drinks are provided. Please bring a dish to share. Thank you to those who have signed up at the last two meetings. If you have not signed up, please email me at [email protected]. Let me know you are coming and what dish you plan to bring. You may bring an appetizer, side dish, or dessert. We could use a couple of breads/doz rolls as well.
    [Show full text]
  • Climate Crisis & Fashion Leaders
    University of Rhode Island DigitalCommons@URI Research Papers by Undergraduate Students Textiles, Fashion Merchandising and Design 8-15-2021 Climate Crisis & Fashion Leaders: A Patagonia Case Study Gianna Ferrara Follow this and additional works at: https://digitalcommons.uri.edu/tmd-research-undergrad Climate Crisis & Fashion Leaders: A Patagonia Case Study By Gianna Ferrara TMD402, Spring 2021 By the year 2030, the damage we have caused to our planet from carbon emissions and poor waste management will be irreversible (United Nations, 2015). Carbon emissions have increased by 90% in the past 30 years significantly contributing to climate change (EPA, 2021). 10% of these emissions are due to the textile industry alone, that is more than international flights and maritime shipping combined (Sustain Your Style, 2020). With the fast-paced nature of the fashion industry it is inevitable that it would fall into this cycle, but leaders of the industry are finding new and innovative ways to break this trend. Fast fashion, cheap labor, destructive chemicals, and insufficient waste management and trade regulations have been leeching off not only the earth but the artistic integrity of the fashion industry. Many brands have worked to slow this down and use more sustainable practices, but Patagonia by far has become a model for a sustainable, stylish, and successful business within the fashion industry. Patagonia offers sustainable solutions to the climate change issue the fashion industry has been ignoring. With a constantly moving industry it was only expected that it would begin to move too rapidly. Fast fashion has become one of the leading causes of climate change; the constant consumption combined with poor manufacturing and waste management practices have proven to be incredibly toxic to our environment.
    [Show full text]
  • ALWAYS FREE Lighthouse Peddler
    ALWAYS FREE Lighthouse March 2019 Peddler The Guide To Music, Events, Theater, Film, Art, Poetry, and Life on the Mendocino Coast Shawn Holt and the Teardrops. Te Blues. March 9. Arena Teater! One of the more signifcant bits of pure Slim (Morris Holt), Shawn Holt has the blues enthusiasm for the landmark that we know as in his genes. He started playing the blues at age Arena Teater can be found by looking back on 17 when he went on the road with his father and the creation of the Blues On Te Coast Series. Te Teardrops, and he’s been watching, learn- Since its inception more than a decade ago, ing and playing the blues ever since. Magic Slim the series has brought us legends of the genre, passed away in the spring of 2013 but the high and future legends. Tis month they’ve chosen energy, hard-driving sound of Te Teardrops is someone who is both: Shawn Holt. Holt has still alive and well with Shawn Holt, a chip of established himself as a blues force to be reck- the old block, now fronting his dad’s band. oned with as we’ll see when he hits the Arena Shawn Holt’s booming vocals are more Teater stage as Shawn Holt and the Teardrops. than a litle reminiscent of his dad’s, and his Tis opens the 2019 “Blues on the Coast” series guitar playing while similar to Slim’s, exhibits a at Arena Teater, Saturday, March 9, at 7:30pm. broader mix of classic and contemporary infu- Doors open at 7:00pm.
    [Show full text]
  • Exploring the New York Slow Fashion Value Chain
    EXPLORING THE NEW YORK SLOW FASHION VALUE CHAIN: LOCAL ANIMALS, FIBERS, AND KNITWEAR A Thesis Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Helen Xiomara Trejo August 2014 © HELEN XIOMARA TREJO 2014 ABSTRACT This study explores the prospective development of a Fibershed in the strong fiber community of New York. It draws inspiration from the Northern California Fibershed project. “Fibershed” is a reference to fiber farms, mills, and artisan studios that support regional clothing cultures and economies. The first part of this study explored the diversity of NY fiber farms, with a focus on current marketing strategies implemented by 67 fiber farmers. The second part of the study implemented fiber farmer’s marketing strategies into a consumer survey for locally produced wool, alpaca, and cashmere knitwear. Nine marketing conditions were developed that presented basic information, emphasized local production, and the individuality of the fiber animals. Findings from 250 NY women suggested that the marketing strategies do not influence product evaluation. However, other variables including product personality, user image congruence, and consumer ethnocentricity positively influenced product evaluation. Findings from the consumer survey highlight the difficulty marketing fiber products online, especially among a consumer market that prefers to touch fiber products before purchasing. BIOGRAPHICAL SKETCH Helen is a first generation Salvadoran-American. She was born in Los Angeles with her twin sister, Nidia, in 1990. Both grew up watching their mamita and mami sew clothes for them throughout their childhood. Her father’s creativity and expert skill in setting tile throughout many homes in Los Angeles contributed to Helen’s creativity.
    [Show full text]
  • Arianas %Riety;~
    -:~"'\'" 'f' .,';, " i \: , I arianas %riety;~ . ! . Micronesia's Leading Newspaper Since 1972 bM evvs OJ . By Rafael I. Santos fine of$l,000 on or beforeFebru- Van"ety News Staff ary 1, 1995 for the assault and FORMER public works director battery offense to which he has Nicolas C. Sablan left the Supe- pleaded no contest inSeptember. rior Court yesterday extremely He was also ordered by the court happy after a judge gave him a to pay $2,400 restitution to Lorete, suspended sentence for assault and 41. Lorete stopped working for battery. Sablan after-theJanuary 31, 1992 1 Sablan was sentenced to one incident in which he was beaten :( year injail, the maximum penalty by the defendant. for the misdemeanor offense of The restitution would cover his . assault and battery. However, lost wages and medical bills. Judge Marty Taylor, noting that Aside from.the restitution, 48 there has been improvements in hours of community workservice the behavior. of the defendant, must be performed by the former suspended the sentence. DPW chiefeach month during his. For a period ofone year, Sablan probation. He must also reimburse will be on probation. The court the Public Defender's Office for warned that the suspended sen- attorney's fees. tence would be revoked in caseof Sablan, although not an indi- ".0;.1;;\:,.< ' "'."" any violation of the terms and gent,· has been represented by ~., conditions ofhis probation. Assistant Public Defender Gre- ./'" Sablan was ordered to pay a Continued on page 61 RP-US task force 1/.' Former pUblic work~ director Nicolas C. Sebler; right,. flashe~ a big smile after receiving a suspended s~ntence yesterday In Supenor Court for assault and battery while HITA travel president Larry Cabrera gives sought vs abuses him a pat on the back.
    [Show full text]