Zipiajo: Two Model Artisan Collectives

What is an artisan collective?

Colectivo Cuanari, Zipiajo, Mexico

Weaving, pottery, basketry and other indigenous crafts have been around for hundreds or thousands of years. However, there is little today that cannot be made faster and cheaper than these crafts made by hand. From a logical, profit-and-loss point of view, most crafts would be turned out in a plastics factory somewhere in the lowest-wage countries. 

There is something, though, about things made with natural materials, by hand, using the craftsmanship, designs and symbols that have been handed down for untold generations. A huipil, woven on a backstrap loom, hand embroidered with spun-cotton thread, dyed with the gently and hand-gathered milk of an endangered sea snail, is not the same as a garment churned out in a factory in China, even if they look similar. 

Artisan in Zipiajo, Mexico

However, competition between the worlds of handcrafted arts and factory produced decorations is fierce. To stand out from the world of machine-produced plastics, artisans have to continuously upgrade their skills, improve their designs, and learn how to sell their goods to the world. For the women or men living in remote villages in Mexico, trying to subsist by producing the rugs, pots, blankets, wood or leather goods that have been produced in their villages for as long as anyone remembers, can be overwhelming.

Thus was born the idea of working together, sharing work, materials, ideas, identity and money. In Mexico and other countries where indigenous people still make crafts in time-honored ways, village artisans have been joining together to improve their arts and their income. Some artisans report that, before joining a collective, they were making only a few pesos an hour. With the help of the collective, their products are better, in more demand and their income, while still extremely low, has doubled. 

Zipiajo: Two collectives working together

President Maria Elvia Bartolo at the Feria

Terry Baumgart, Feria artist co-ordinator for Michoácan has worked extensively with two  collectives from Zipiajo: Collective Cuanari (Morning Stars), an all women textile group, and Zirati (the name of the tallest mountain near Zipiajo), a ceramics group of both men and women. Both groups will be part of Feria 2018.  

Terry has great admiration for the work of these collectives, not only because of the lovely cross stitch blouses and shirts and their primitive clay pots and figures, but also because of their methods of handling their collective work and income.

Terry states, "Maria Elvia Bartolo is the president of the Zipiajo collective. They are my all time favorite collective at the moment. I know of no other group like them in Mexico. For decades they have had the understanding among their members that if someone wins a prize, all the artisans that submitted work to try to win a prize get to share the prize money. The prize winner keeps 50% of the money and the other 50% goes to their fellow artisans in their group. I think this is a fabulous idea as it keeps the interest and enthusiasm up to keep doing their work with the intention of improving their quality. 

“Because their village is remote, it is expensive to make the long journey to purchase material, thread and other supplies. It would be prohibitively expensive for each artisan to make the trip individually, so the groups have a few representatives who make the trip to Pátzcuaro a few times a year to purchase their materials.

“Zipiajo is a tiny village, but its artisans are well known and have won numerous prizes at the state and local level. They are highly respected by Fonart, which has provided advice and funds to professionalize some of their efforts. For instance, for the textiles, each woman creates her own design, oftentimes inspired by nature such as a flower, and then Fonart has put lovely books together that have each artisan's design, name and information.”

(Fonart: 44 years of promoting the artisanal activity of the country and the human, social and economic development of artisans.)

Fonart produced books featuring Zipiajo artisans

Why the Feria encourages collectives 

Encouraging collectives and their participation at the Feria has long been a support of the Feria Maestros del Arte organization. In order to continue the traditions of Mexican folk art, the artisans need to be able to support themselves and their families. Collectives that share ideas, processes and money tend to be more successful, not only in creating quality products, but also in providing financial support for their families. 

Feria artisans keep all the money from their sales

When artisans show at the Feria, they pay no booth fee, no commission and their travel expenses are covered. Part of our mission is to ensure the survival of the traditions of folk art by making sure every cent from the sales of the artisans' work goes directly to the artisan.

Zipiajo artisans at work 

These photos are from Florence Leyret, a remarkable photographer from France who has been living in Pátzcuaro for several years and shared these photos of the ancient traditional technique of firing in the earth rather than in kilns, honoring a promise Zipiajo President Maria Elvia Bartolo made to the elders to honor and maintain the ancient traditions.

  
More photos of Zipiajo artisans and their work:

Michoacán Artisan Support Team

Terry Baumgart, the artist co-ordinator for Michoacán, raves about the team that supports local artists and makes the Michoacán presence at the Feria a reality. In this article, she introduces readers to Alice Garcia, Lupe Garcia Rios and Teo Servin Barriga.

Alice Garcia, a volunteer photographer from California, helps with local projects and with the Feria and captures the beauty of the artists and their work. (Photo not available ... photographers are always behind the camera.)

Lupe and  one of her pieces of work.

Guadalupe (Lupe) Garcia Rios, in addition to assisting in the co-ordination of Feria artisans from Michoacán has been making pottery for over 24 years. Her specialty is high-fire ceramics, which is lead-free and fired at about 1,250 degrees centigrade. 

Guadalupe has been teaching her craft to her three daughters and one son and they are all now highly accomplished ceramicists as well. Lupe and one of her daughters will be showing pottery made by the family at Feria 2018. Lupe has won national awards and she and her children have won numerous State awards as well.  

Lupe creates extremely complex three-dimensional work that includes pre-hispanic symbols and legends of the past as well as modern day depictions of traditions and customs of their community. This work is crafted on both non-electric and electric wheels which are then fired in a gas kiln. Her more modern, but extremely time-consuming approach differs markedly from the old-style approach of other ceramicists.

International buyers come to the Feria to purchase her concurso (judged shows) level pieces. Recently, a film maker honored Lupe for her work by creating a short documentary film that includes the long trek up the mountain to obtain her clay to the actual producing of her work. Lupe will present this video along with a workshop this year at the Feria. A version with English subtitles is being produced, but you can view the Spanish version here.

Lupe at work.

What is apparent when one talks with Lupe is her spiritual connection with her work and mother earth. In addition to Lupe's commitment to sharing her knowledge and expertise with her children, Lupe has taken courses at the Escuela Nacional de Ceramica (National Ceramic School) in Jalisco and has then shared her new gained knowledge not only with her family, but with fellow artisans in her community. In addition, thanks to the coordination by Brigitte Ordoquy Plummer, the Feria coordinator for Chiapas, Lupe and her family recently went to Chiapas as volunteers and shared some of their knowledge regarding high fire ceramics, glazes, and so on with many artisans of Chiapas. 

Lupe believes that teaching the younger generation is her way of ensuring that her craft will endure.

Lupe's work.

Lupe lives in the village of Tzintzuntzan near Lake Pátzcuaro, one of many Michoacán towns continuing the living tradition of alfarería (pottery making). Clay is abundant in the hills and many Purépecha dedicate their lives to creating both utilitarian and artistic pottery.  

Her designs are inspired not only by pre-Hispanic symbols but also from the countryside and nature. The land around her with its high volcanic peaks, lakes, wildlife and other environmental elements figure prominently in her creations. Using local clay to create each piece, Lupe feels that she is giving back to the earth that which makes her art possible.

Lupe's work.

Lupe with a large work.

Lupe and her daughters in their studio.

Teófila (Teo) Servin Barriga also helps support the artisans attending the Feria from Michoacán. Teo is generous with her knowledge and expertise and has presented workshops locally, nationally and internationally. In addition, she provides advice and orientation to new invitees to the Feria.

Teo and award-winning rebozo

Teo started  embroidering when she was twelve, learning her craft from her mother and has taught many younger family members in order to ensure that the craft continues. Her specialty is colorful hand embroidery work on manta (a traditional hand-woven cotton) or other cotton cloth. Her unique, whimsical, and original designs tell of life in the lakeside communities: farming, fishing, fiestas, including depiction of the traditional old men dances, marriages, trees of life and other themes and events. 

Teo's rich imagination enlivens her charming tapestries (see below for photos of some of the detail in her work). In addition, when a researcher arrived in her community many years ago, she learned more about the prehispanic symbols of the Purepechan people. Thus, some of her designs include these ancient symbols. The result of Teo's work includes a variety of clothing for both men and women, purses, shoes, dolls, pillows and more!

Teo working

Teófila is a very prolific worker and she has won many prizes at concursos (judged shows). She is considered a "maestra sinidal" or expert by the Instituto Del Artesano Michoacano (IAM) and is called upon by the State organization to be a judge in other communities in Michoacan at their judged shows. A book has been written about her called "Bordados para ser Contados."

Teo and her work.

Detail of Teo's work.

More detail of Teo's work.

Marta Turok: Dedicated Supporter of Mexican Folk Art to be Featured Speaker at 2018 Feria

by Marianne Carlson

Feria Maestros del Arte 2018 is delighted to announce that Marta Turok will be one of our featured speakers at this year’s Feria. Marta is a Mexican applied anthropologist focusing on socio-economic development. Through research, government work, education and advocacy, she has worked to raise the prestige of Mexican handcrafts and folk art and to help artisans improve their economic status. Her work has been recognized with awards from various governmental and non-governmental agencies. Watch our newsletter for more information on the topics Marta will be speaking on during Feria 2018.

Turok at the Museo de Arte Popular in Mexico (Wikipedia)

Much of Marta’s work over the years parallels the Feria mission: to promote and assist Mexican folk artisans in achieving a sustainable lifestyle and to educate the public as to the danger of losing some of these folk art traditions.

After WW II, Turok's American parents decided to move to Mexico City where they started a postcard business, thus growing up bicultural and bilingual.

Marta attended Tufts University for her undergraduate degree. The university allowed undergraduates to design their own course of study, which she took advantage of as they did not yet have an anthropology program. Her comprehensive senior thesis was research in Chiapas on the history and possible meanings of traditional design elements in Mayan handwoven cloth. This concept was completely new at the time, and subsequent research proved the concept correct, that the elements did indeed have meanings at one time, but most have been lost. During this time, she learned to speak Tzotzil and weave on a back-strap loom. Turok graduated in 1974, with a degree in anthropology and socioeconomics. Later, she studied ethnology at the National Autonomous University of Mexico, graduating in 1978, and in 1996, received a certificate in marketing from the UC Berkeley.

Instead of using her research in Chiapas to start an academic career, she opted to follow a more pragmatic path, helping artisans improve their economic situation, promoting the cultural value of handcrafts and folk art, training artisans in marketing and working with collectors, museum curators and the general public.

Photo: http://www.eitmedia.mx

Turok worked for a number of government agencies and taught classes on traditional Mexican textile design.  Her government work focused on public policy to raise the status of handcrafts. She has worked with the National Indigenous Institute, and the Fondo Nacional para el Fomento de las Artesanías (FONART) and created the policy guideline to distinguish handcrafts with artistic and cultural value.

In 1988, she was the executive director of the Dirección General de Culturas Populares (Popular Cultures Bureau), the youngest women named to a senior post in the Ministry of Education. During her time there, it grew from 300 to 800 employees, with 17 regional offices. She established the Mexican Sport Confederation as a national entity; with supports the preservation of pre-Hispanic sports and games. The agency also included the publishing of books related to folk art and popular culture, with topics such as purpura, a dye made from the milk of a female sea snail, organ grinders and charro (Mexican cowboy) music from northern Mexico. She also developed a project to preserve weaving and sewing traditions in numerous indigenous communities, providing fabric, embroidery thread and sewing needles.

Photo: Friends of Oaxacan Folk Art

In 1989, Turok decided to transition from government work to that in the non-profit sector. She founded the Asociacíon Mexicana de Arte y Cultura Popular (AMACUP) or Mexican Association of Popular Art and Culture, which focuses on developing contemporary products using traditional techniques. It also works to ensure that this handcraft production is both economically and environmentally sustainable. It has brought goods to new markets, especially international specialty stores and museum gift catalogs, as well as the major Mexican tourist centers of Cancún, Los Cabos, Cozumel and Puerto Vallarta. 

Add caption

Today, Marta is the head of CENIDEART, the Research Center at the Escuela de Artesanías (School of Handcrafts) of the National Institute of Fine Arts and is the curator for the Ruth D. Lechuga folk art collection at the Franz Mayer Museum. With the Escuela de Artesanías, she works with accrediting handcraft traditions for the Secretariat of Public Education, as well as does research. With the Franz Mayer Museum she had curated exhibits such as Traditions, Mexican Popular Arts, Lacas Mexicanas, El Juguete en México, Cerámica de Mata Ortiz, El Sarape de Saltillo, 1001 Rostros de México: Máscaras de la Colección de Ruth D. Lechuga and El Arte Popular de Hidalgo: rituales, usos y creaciones.

Turok is still active academically; giving conferences on topics related to Mexican handcrafts and folk art and has taught seminars and courses. In 2016, Turok and Margarita de Orellana became the co-executors of the collection of more than 20,000 artifacts, books and personal items donated by Ruth D. Lechuga to the Franz Mayer Museum.

Her work has earned her various recognitions: First Place National Contest Award in Marketable Products, First Place Mexico City Export Prize for Crafts Export Enterprises, the Miguel Covarrubias Prize, the Música por la Tierra Prize, AMACUP Marketable Crafts Award, UNESCO de Facto Award for Innovation in Crafts for Mexico and Latin America, and the Van Deren Coke Award of Los Amigos del Arte Popular.

Marta has written several books including:

Sarapes, Fiestas Mexicanas, El Caracol Purpura: Una Tradicion Milenaria en Oaxaca, Como Acercarse a La Artesania

She has also acted as a contributor to several books including:

Self-Portrait in a Velvet Dress: Frida's Wardrobe Fashion from the Museo Frida Kahlo, Ceramic Trees of Life: Popular Art from Mexico, Living Traditions: Mexican Popular Arts-1992

Terry Baumgart ... blame it on the dolls!

Terry Baungart with dolls, shirt from
Zipiajo, a collective that will be at the Feria this year.

Forty years ago Terry Baumgart bought three simple cloth dolls in Pátzcuaro. It wasn’t an unusual purchase. She was always decorating her California home with Mexican pottery, textiles, or toys purchased on her many explorations of Mexico, which started primarily after graduate school with two years of informal studying of Spanish and culture throughout Mexico.

Her Mexico experiences prompted a desire to retire in Mexico, which she and her husband did about ten years ago. They wound up in the village of Zirahuén, near Pátzcuaro on a stunning lake which is often called "the mirror of the Gods.” A local legend says that the lake was formed by the tears of a kidnapped maiden, but Terry has shed few tears during her years in Michoacán.

"I remember being worried about being bored in my retirement,” Terry says. 

“An interesting thing happened soon after I moved to Mexico. I have three simple cloth dolls that I thought were from Pátzcuaro. Fast forward to nine years ago when I moved to Zirahuén, and was introduced to the president of the local artisans’ group. She came to my house and I showed her the dolls. She immediately told me who had made them so many years ago and that they were from Zirahuén!”

That synchronicity accelerated Terry’s interest in Mexican folk art and about eight years ago, she celebrated her birthday by attending the Feria Maestros del Arte. Her husband told her to buy herself a gift. 

"Well, I certainly bought more than one gift! I was so excited by the incredible arts offered at the Feria that I introduced myself to Marianne Carlson, the Feria founder. And, again the next year  As I learned more about the Feria and how incredibly respectful it treats the artisans, I just knew I had to be part of it. I offered to help out and was eventually offered the volunteer position of Michoacán coordinator. My life has been so exciting and fulfilled ever since! I never have to worry about being bored with all the Feria offers me.

Hi-fired ceramics by Guadalupe Garcia Rios

"My volunteer work for the Feria has provided me with the satisfaction of seeing artisans' lives changed for the better right before my eyes! My first "aha" moment was early on when a young artisan from Michoacán told me on a Sunday after the Feria that he had never had so much money in his pocket in his life!
  

Then I saw how the contacts he made began to provide him with year-round work and I saw his humble lifestyle improve as he built a nice house with plumbing and on and on. That is only one example as there have been so many positive, transformative stories.

"I can't begin to express how much my work with the Feria 

provides me with a real sense of purpose in my life." 

Embroidery work by Teofila Servin Barriga 

"And, of course, the interaction with the artisans, the many friendships that have grown with them, is never-ending. I receive lots of "gracias" from them, but I don't really think they realize the extent of the reciprocity that is involved in our relationships. I receive so much more than I give. 

BTW, I don't want to leave out the three important people who help to ensure that the Michoacán Feria experience is a success every year. Two artisans, Guadalupe Garcia Rios and Teofila Servin Barriga, are volunteer artisans who assist me year round in accessing resources from our state artisan agency and provide me with the perspective and advice that only an artisan can provide. In addition, they help with phone calls, artisan meetings and whatever else is needed. (The work of both volunteers will be shown at the Feria this year.  More about these artisans here.)

"Alice Garcia, a California native who resides in Michoacán, is our volunteer photographer who also provides assistance before and during the Feria each year. In addition to providing many of the official photos of the invited artisans, she accompanies me on artisan search trips, annual trips to Uruapan during Easter week and comes on the bus with the artisans to the Feria. During the Feria, she provides translation, problem-solving and much more! Guadalupe, Teofila and Alice are a fabulous team! 

"In summary, it is an understatement to say that I feel blessed.  Our Michoacán team, the fabulous Feria volunteer staff in Jalisco and the awesome artisans of Mexico are the perfect recipe for a fulfilling and joyful retirement."

Boundaries of Folk Art: Manuel de la Peña

Hand-cut paper art by Manuel de la Peña

Every year the Feria artist selection committee grapples with the definition of folk art as it considers the artisans to be chosen. The broad criteria the selection committee has used for years include:

• First consideration is the merit/quality of the work as well as the artist's ability to continue producing it and to create a lifetime body of work.
• Art that has been in the same family for generations is of particular interest.
• Cooperatives that benefit more than one artist’s family are sought out and invited to participate.
• Folk art using natural materials and ancient traditions are prized.
• Pieces of modern design or intended for tourism will be avoided.

Catrina by Alvaro de la Cruz

Occasionally, however, folk art breaks through its boundaries of indigenous, utilitarian or decorative items of daily life. It has happened before. One example sprouted roots in the ground of the Aztec death goddess, Mictecacihuatl, and blossomed in the early 1900s, when a poor printmaker responded to the political times with an image that eventually launched a thousand faces of Catrina, possibly the most popular image in Mexico, other than that of the Virgen of Guadalupe herself. (More about Jose Guadalupe Posada and the story of Catrina here.)

Alebrije by
Enrique Fabián Ortega

Another more recent example is that of the alebrijes, reportedly evolving from a dream that changed Mexican art forever as these painted fantasy creatures became the most popular form of Mexican folk art. (For more about the story of Pedro Linares and his dream, click here.)

The commitment of the Feria is to bring together in one place, the best artisans of Mexican folk art. Part of the fun of that endeavor is finding exciting young artists who push the boundaries of folk art. 

Hand-cut paper art by Manuel de la Peña

One example of a young, innovative artist who is stretching the boundaries of folk art is Manuel de la Peña, whose intricate, hand cut paper art honors the traditions and imagery of Mexico.

Manuel also recreates a lost art form from the Aztecs: chaneques (masks) inspired by the legendary, sprite-like creatures and elemental forces and guardians of nature from Mexican folklore. These beings would attack intruders, frightening them so that their soul would abandon their body, which the chaneques enclosed in the depth of the land. If the victim did not recover their soul through a specific ritual, he or she would become ill and die soon after.

Manuel de la Peña chaneque (mask)

See more about Manuel and his art here.