The 2019 International Folk Art Market in Santa Fe, New Mexico, has come to an end. The three-day extravaganza is a chaotic mix of tribal, ethnic, indigenous creativity from around the world. It brings together many talented artisans who have no other paths to reach international markets.
Santa Fe is a destination for many reasons. This is where friends from all over the country converge to volunteer, too. A group of us planned a reunion around being here. We coordinated our volunteer time. We stayed at the same, small, old Route 66 motel that has been in service since the 1950’s. I imagine my dad may have stayed there as he pulled a trailer with all our family household belongings behind our 1953 Plymouth station wagon on the journey west from Detroit to resettle in Los Angeles.
The market officially begins on Friday night with a special opening night preview at $250 per person admission. I always volunteer, so I get to watch the passing parade of Texas and Oklahoma oil and gas heiresses and collectors dressed in their finest attire. It’s a cocktail party that goes from 5:30 to 10:00 p.m. The ticket gives one first pick. I volunteered with Santa Fe de Laguna, Patzcuaro, potter Nicolas Fabian Fermin, and I packed up lots of beautiful pots that night.
The frenzy continued on Saturday morning when the Early Birders got in at 7:30 a.m. After the late night on Friday of bubble-wrapping ceramics, I just couldn’t get going to get there before 10 a.m. when the event opened to general admission. With hundreds of artisans and thousands of people, it was a crush to get through the aisles to see all that was offered at this huge bazaar.
That didn’t give me much time to cover more than a fraction of the aisles, since I was meeting friends Jennifer and Mark Brinitzer, Ann Brinitzer and Katie and Don Laughland for an early lunch in the cafe. The women came with me on our 2019 Chiapas Textile Study Tour (a few places open for 2020) and we became fast friends.
It was thrilling and heartfelt to see so many artisans I know from Oaxaca represented at this outstanding exposition. It takes years of making highest quality work to gain this level of recognition, plus it takes entrepreneurship and some luck to gain entry to this juried show.
It’s very expensive for artisans to participate, too. They must cover their own shipping, travel, lodging and food expenses and they give 20% of their sales to the IFAM organization for the opportunity to sell.
If they are part of a cooperative with many makers, the profits must be divided. As with the case of Dreamweavers Cooperative from Pinotepa de Don Luis, there were three representatives at the Folk Art Market — Amada, Teofila and Patrice. Patrice did a fundraiser and collected over $4,000 USD to cover some of the expenses. And, they had excellent sales. However, the net gets divided among 30 weavers and dyers, so each person might earn only a few hundred dollars.
For individual artisans and families, the profits are much better but ONLY IF there are sales. If it is a slow year, there is an opportunity to sell at a discount (the artisan names the percentage) on Sunday afternoon, the last day of the show. Brisk sales one year does not guarantee success for the next. The risk is entirely on the shoulders of the artisan.
Odilon Merino Morales from San Pedro Amuzgo on the Costa Chica of Oaxaca, Mexico, consigns what he doesn’t sell with Sheri Brautigam who runs the online Etsy shop, Living Textiles of Mexico. If you didn’t get to the show and want one of these incredible textiles, please contact Sheri. She also has pieces from Pinotepa de Don Luis’ Dreamweavers Cooperative.
The benefit of doing this is that the artisans do not need to pay the return shipping for unsold goods and it leaves the beautiful pieces in the USA for better access to those of you who missed the show and want to make a purchase.
I volunteered on Saturday afternoon from noon to 6:00 p.m. with the Dreamweavers Cooperative. I know these women well since I lead study tours to their remote village on Oaxaca’s Costa Chica.
The IFAM show is a destination and an adventure. Since I know many of the artisans, it is a special and heart-throbbing experience to meet them outside their humble homes and villages in the world of commerce. For some, this is their first visit to the USA. Their first flight on an airplane. Their first success at getting a visa to enter the USA and overcome the fears of border crossing and disrespect.
This is the moment to applaud what Oaxaca artisans have accomplished. There are so many more talented people whose work goes unrecognized and unrewarded. For those of us who love Mexico and appreciate the talent, history, culture and art, the process of bringing accomplished artisans to the world marketplace is an on-going effort.
Thanks to all who support and applaud what they do.
In the vast New Mexico landscape, one can disappear, rediscover Georgia O’Keefe, experience Nuevo Mexico, land of enchantment, understand the history and artisanry of nearby Native Americans who live along the Rio Grand River. It is hot, dry, high desert with the kind of beauty that brings the romance of the Old West into one’s spirit.
Look at the rain over purple hills, fields of sage and lavender, the dry withered look of dehydration — plants and people, wrinkles in the earth and on weathered faces. I imagine what it would be like to be an indigenous person here, too. I know the Oaxaca story well. There are many similarities — both experienced the Conquest, the attempt at culture annihilation, and the resurgence of identity amidst the face of adversity and hardship.
Again, let’s applaud the talent of our First Peoples.
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