2016 IFAM artist list

16 Pages·2016·0.26 MB·English

2016
 International
 Folk
  BOLIVIA
  metalwork
 jewelry.
 His
 pieces
 are

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.

AFGHANISTAN
  Cheque
 Oitedie
 Cooperative

Booth
 162
 (cooperative)

CHILE

Ique
 and
 Gladys
 are
 Ayoreo
 artists,

Khamak
 embroideries

making
 bags
 and
 accessories
 that

Rangina
 Hamidi

are
 necessary
 to
 the
 Ayoreo
  Horsehair
 weaving

Kandahar
 Treasure

Booth
 31
 (cooperative)
  people’s
 life
 in
 the
 jungle.
 Women
  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
  husband
 and
 wife,
 and
 Emerson’s

shapes,
 hand-­‐embroidered
 on

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
  BOTSWANA
  colored
 and
 intricately
 woven

figures
 include
 flowers,
 butterflies

nearly
 lost
 during
 decades
 of
 conflict

and
 women
 holding
 parasols.
 This

in
 Afghanistan.

Palm
 tree
 fiber
 coiled
 baskets
 with
  art
 has
 been
 passed
 from
 generation

natural
 dyes
  to
 generation
 for
 200
 years
 and
 Sara

ALGERIA
  Twavurirwe
 Marothi
  is
 considered
 a
 pioneer
 in
 the
 revival

Tijna
 Nkando
 Crafts
  of
 the
 tradition.

Booth
 150
 (cooperative)

Enamel
 and
 inlay
 jewelry
  Mapuche
 silver
 jewelry

Twavurirwe
 and
 the
 20
 weavers
 of

Karim
 Oukid
 Ouksel
  Marco
 Remigio
 Paillamilla
 Ortiz

Tijna
 Nkando
 Crafts
 create
 intricate

Booth
 127
  Booth
 8

baskets
 with
 palm
 tree
 fiber.
 The

(2016
 IFAA
 Living
 Traditions
 Award
  (UNESCO
 Award
 of
 Excellence
 recipient)

baskets
 are
 for
 everyday
 use.
 Each

finalist)

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
 tapestries
  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
  CAMBODIA
  is
 a
 manifestation
 of
 pride
 and

mountains,
 and
 the
 love
 of
 his
  honor.

motherland.

Khmer-­‐style
 weavings

Chantha
 Nguon

BANGLADESH
  Stung
 Tren
 Women’s
 Development

Centre
 (SWDC)

Booth
 9

Indigo
 and
 Khadi
 cotton
 shibori
  (2016
 IFAA
 Community
 Impact
 Award
  CHINA

quilts,
 scarves
 and
 cushion
 covers
  finalist,
 UNESCO
 Award
 of
 Excellence

Monju
 Bala
 Barmany,
 Mst
 Sakina
  recipient)

Begum
  Chantha
 started
 SWDC
 to
 teach
 local
  Miao
 Silverware

Supported
 by
 Living
 Blue
 /
 NCVI
  women
 the
 art
 of
 ikat
 silk
 weaving
  Huang
 Guangwen

Booth
 13
  while
 developing
 skills
 to
 help
 break
  Family
 workshop
 of
 Handmade
 Miao

(2016
 IFAA
 Community
 Impact
 Award
  the
 cycle
 of
 poverty
 and
 illiteracy.
  Silverware
 from
 Southwest
 China

finalist)

  Booth
 109
 (cooperative)

The
 Mekong
 Blue
 silk
 pieces
 are

Monju
 is
 a
 master
 quilter,
 creating
  Huang
 Guangwen
 learned
 the
 art
 of

regarded
 as
 some
 of
 the
 finest
 silk

traditional
 Bengali
 pieces
 known
 as
  Miao
 silversmithing
 from
 his
 father

products
 in
 Cambodia.

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
  CANADA
  the
 region.
 Working
 alongside
 his

and
 patterns.
 These
 beautiful
 and
  brothers
 and
 son
 in
 their
 family

detailed
 pieces
 take
 many
 months
  (Haida
 Gwaii)
  workshop,
 he
 produces
 elaborate,

to
 complete.
 Living
 Blue
 has
 helped
  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,

embroideries
 and
 batik
 textiles

Gwaai
 is
 a
 Haida
 artist
 known
 for
 his
Pan
 Yuzhen,
 Zhang
 Mudan
  a
 Kankuamo
 slings
 a
 mochila
 over
  CUBA

Southwest
 Minority
 Textile
 Cooperative
  his
 shoulders,
 he
 is
 also
 supporting

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

weavings
 and
 embroideries.
 The
  Wool
 mochila
 bags
  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,
  the
 “painter
 of
 guijes,”
 or
 fairies
 and

S.A.

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

canvas.
 She
 hopes
 to
 show
 people

Arhuaco
 cosmology.
 Mochilas
 are

the
 beauty
 of
 Cuba.

CHINA
 (TIBET)
  used
 in
 everyday
 life
 and
 are
 a

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

found
 in
 each
 piece.
 The
 bright

development.
 Through
 studies
 at
  Patricia
 and
 the
 artists
 of
 L.A.
 Cano

colors
 bring
 his
 work
 to
 life.
 He

numerous
 monasteries,
 Kalsang
 has
  make
 jewelry
 using
 the
 techniques

hopes
 his
 paintings
 will
 educate
 the

created
 his
 own
 style
 of
 bold
 and
  and
 methods
 of
 Pre-­‐Columbian

world
 about
 the
 roots
 of
 his
 national

precise,
 yet
 delicate,
 artwork.
 These
  goldsmiths.
 Each
 piece
 maintains
 the

identity.

vibrant
 and
 colorful
 paintings
  spirit
 of
 these
 early
 artists,
 for
 whom

represent
 the
 sacred
 objects
 of
  working
 with
 gold
 was
 a
 way
 of
  Oil
 and
 acrylic
 on
 canvas
 naïve

Buddhism.
  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

COLOMBIA
  Reinel
 Antonio
 Mendoza
 Montalvo
  finalist,
 cooperative)

Cooperativa
 Divino
 Niño

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

figures
 of
 animals,
 plants
 and
 spirits
  Bullring
 sculpture
 scenes
  Rades.

to
 tell
 the
 story
 of
 the
 Wounaan
  Saúl
 Valero

people.
 These
 colorful
 baskets
 are
  Supported
 by
 Artesanías
 de
 Colombia
  ECUADOR

S.A.

used
 to
 collect
 fruit
 and
 for
 special

Booth
 146
 (new)

occasions.

Saúl’s
 brightly
 colored
 clay
  Handwoven
 paja
 toquilla
 (straw)

Sisal
 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
  FRANCE
  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

culture,
 where
 they
 indicate
 wealth

Booth
 90

François
 applied
 his
 professional
  and
 status.
 His
 necklaces
 and

(UNESCO
 Award
 of
 Excellence
 recipient)

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
  GUATEMALA

disappeared
 after
 the
 Second
 World

jewelry
 represents
 her
 history,

War.
 François
 creates
 the
 forms
 and

culture
 and
 heritage.

his
 wife,
 Sylvie,
 does
 the
  Maya
 K’ekchi
 weaving
 on

18K
 gold,
 silver
 filigree
 and
  decorations.

  backstrap
 loom

repousse
 jewelry
  Amalia
 Gue

Provencal
 wickerwork
 basketry

Jorge
 Moscoso
  Ixbalam’ke
 Cooperative

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
 gauze
 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

GHANA

Laura
 Alejandrina
 Quizhpe
  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

EGYPT
  artists
 to
 gain
 financial
  and
 traditions.

independence.

HAITI

Canvas-­‐backed
 appliqué
 and
 hand
  Handwoven
 Kente
 cloth
 and

stitched
 wall
 hangings
 and
 cushion
  shawls

covers
  Andrew
 Kwasi
 Asare
  Metalwork
 using
 recycled
 drums,

Tarek
 Abouelenin,
 Hosam
  Dento
 Mills
  bowls
 and
 platters

Booth
 16
 (new)

Mamoud
  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
 mosque
 tiles
 and
 those
 found
 on
  occasions.
 The
 designs
 of
 his
 work
  another
 innovation
 within
 the

tents
 of
 the
 Ottoman
 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
  INDIA
  print
 designs
 for
 centuries.
 Each

embroidered
 voudou
 flags

  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

Chikan
 embroidery
 of
 Lucknow

depictions
 of
 everyday
 life,
  Abdulaziz’s
 bandhani
 scarves
 are

clothing
 and
 home
 accessories

traditional
 Vodou
 imagery
 and
 the
  known
 for
 their
 intricate
 patterns

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.

one
 at
 a
 time
 and
 hand
 stitched
  An
 expert
 in
 natural
 dyes,
 he
 knots
  Booth
 40

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

needlework
 often
 features
 white

women
 of
 Matènwa.
  Suleman
 is
 a
 bandhani
 artist
 known

thread
 on
 white
 cloth.
 The
 Chikan

for
 his
 dyeing
 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

From
 recycled
 oil
 drums,
 Serge
  red
 as
 a
 popular
 color
 for
 weddings.
  preserving
 distinctive
 style
 and

brings
 to
 life
 beautiful
 mermaids
 and
  Somaiya
 Kala
 Vidya
 educates
 other
  design
 identity.

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
  Kantha
 embroidered
 clothing,

Booth
 60

symbols
 and
 deities.
 He
 trains
 and
  shawls
 and
 home
 furnishings

(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
 beadwork
 uses
 designs
  technique
 of
 sewing
 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

HUNGARY
  Terracotta
 painted
 pottery
 and

Anil
 is
 a
 Warli
 painter
 who
 reflects

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-­‐ ITALY

Booth
 92
 (new)

printed
 and
 painted
 before
 he

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
 bed
 covers,
  INDONESIA
  Sardinia,
 filigree
 jewelry
 is
 often
 an

story
 panels
 and
 accessories
  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

Booth
 25

Bani
 is
 a
 textile
 artist
 and
 member
 of

(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
  JAPAN

made
 with
 light
 pule
 wood
 and
 used

their
 families.
 Using
 the
 remnants
 of

in
 the
 topeng
 masked
 dance

old
 saris,
 the
 women
 take
 what

ceremony.
 They
 often
 feature
 as
  Tokyo
 style
 painted
 kites
 and
 fans

would
 have
 been
 discarded
 and

many
 as
 40
 layers
 of
 paint,
 which
  Mikio
 Toki

transform
 it
 into
 something
 useful

ensures
 their
 durability.
 He
 is
  Booth
 159

and
 beautiful.

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)

KAZAKHSTAN

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

hand-­‐dyed
 yarn
 to
 create
 carefully
  Embroidered
 “tuskiyizder”
 wall

Yemenite
 Art

patterned
 pieces
 with
 traditional
  Booth
 48
  carpets
 and
 accessories

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
 felt
 art

for
 her
 large-­‐scale
 works,
 especially
  appeal
 to
 younger
 generations.

  through
 workshops
 and
 outreach.

tuskiyiz
 wall
 carpets,
 as
 well
 as
 biz

“Kurak”
 patchwork
 and

keste
 embroidery
 pieces.

embroidered
 hats
 and
 home

Felt
 clothing,
 accessories
 and
 home

Kazakh
 designed
 silver
 jewelry
 with
  accessories

furnishings

gems
  Sairagul
 Sydykova

Aidai
 Asangulova,

Leonid
 Shklyayev
  South
 Tribe

Booth
 124B
 (new)
  Booth
 51
 (new)
  Nurzhamal
 Asangulova

Art
 Studio
 Bukon

Leonid’s
 silver
 jewelry
 uses
  Sairagul’s
 multilayered
 patchwork
  Booth
 139

traditional
 symbols
 and
 gems
 of
  and
 embroidered
 hats
 and
  (UNESCO
 Award
 of
 Excellence
 recipient)

Kazakhstan
 to
 create
 a
 magical-­‐ accessories
 reflect
 the
 culture
 of
 the

Aidai
 runs
 her
 own
 studio
 and
 is
 the

protective
 function.
 He
 is
 inspired
 by
  nomadic
 tribes
 of
 southern

founder
 of
 a
 women’s
 art

many
 art
 forms
 of
 his
 country,
  Kyrgyzstan.
 Historically,
 fabrics
 came

cooperative
 in
 her
 village
 that
 has
 30

transforming
 patterns
 and
 designs
  from
 traders
 on
 the
 Silk
 Road
 and

members
 and
 operates
 as
 a
 small

from
 carpets
 into
 metal.
 The
 stones
  every
 piece
 of
 fabric
 was
 valued
 and

business.
 The
 women
 work
 together

in
 his
 work
 are
 often
 in
 irregular
  carefully
 reused,
 creating
 the

to
 create
 felted
 and
 silk
 textiles
 with

shapes,
 reminiscent
 of
 jewelry
 from
  patchwork
 art
 form.
 South
 Tribe

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)

bags
 and
 carpets
 from
 sheep
 wool,

Maji
 Moto
 Maasai
 Women’s
 Project

Booth
 44
  using
 designs
 passed
 down
 through
  Darouny’s
 silver
 jewelry
 features
 a

(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
 blankets

seeds,
 wire
 and
 string,
 combining
  Gulmira
 Akmatova
  Indigo
 dyed
 and
 batik
 clothing
 and

them
 to
 create
 a
 wide
 range
 of
  Mountain
 Cedar
 Woolens
  home
 accessories

jewelry
 and
 accessories.
  Booth
 115
 (new)
  Seokham
 Keomanivong

Gulimira
 grew
 up
 in
 a
 family
 of
  Saoban
 Handcrafts

Booth
 86

KYRGYZSTAN
  sheepherders,
 weaving
 since

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
 spinning
 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,
 hemp

Zhanyl
 Baisheva,

  and
 silk
 fibers.

Felt
 embroidered
 hats
  Zhypara
 Zaiyrbekova,

Tatiana
 Vorotnikova
  Ainura
 Bozgunchieva

Art
 Studio
 Tatiana
 Vorotnikova
  Altyn
 Oimok

Booth
 28
 (cooperative)
  Booth
 122
 (new,
 cooperative)
  Tai
 Kadai
 style
 woven
 scarves
 and

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.

MACEDONIA

Mathew’s
 bark
 cloth
 pieces
 are

decorated
 with
 paint
 and

MEXICO

Silver
 filigree
 jewelry
 with
  embellished
 with
 shells,
 beads
 and

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

Katarina
 creates
 award-­‐winning
  patterns
 of
 the
 Tree
 of
 Life,
 the
  Odilon
 Merino
 Morales

silver
 filigree
 jewelry,
 paying
 close
  hornbill
 bird
 and
 the
 rainforests.
  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
 cottons

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
 denim
 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
  MALI
  flowers
 and
 trickster
 monkeys.

nearly
 40
 bold
 colors
 from
 natural

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

Woven
 silk
 and
 cotton
 scarves,
  Mohamed
 learned
 the
 art
 of
  ancestral
 art.

accessories
 and
 home
 furnishings
  metalworking
 from
 his
 father,
 who
  Burnished
 clay
 figurines,
 plates
 and

Rado
 Herivonona
 Ambinintsoa
  learned
 from
 his
 father
 before
 him.
  vases

LANDYFIA
  His
 traditional
 Tuareg
 jewelry
 and
  Nicolás
 Fabián
 Fermín

Booth
 147
 (new
 cooperative)
  knives
 are
 engraved
 and
 detailed
  Booth
 7

with
 symbols
 and
 intricate
 designs.

Rado
 and
 the
 artists
 of
 LANDYFIA
  Nicolás
 created
 a
 unique
 method
 of

He
 is
 the
 president
 of
 Association

weave
 raw
 silk
 and
 cotton
 scarves
  imbedding
 designs
 in
 clay.
 He
 begins

Timidwa,
 which
 has
 70
 artists

that
 are
 worn
 daily
 by
 men
 and
  by
 burnishing
 the
 slipped
 surface,

representing
 Mali’s
 many
 ethnic

women.
 They
 are
 involved
 in
 each
  sketching
 nature-­‐inspired
 designs

groups.

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

MALAYSIA

clothing

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,
 crochet
 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

each
 garment
 having
 a
 special
  Oaxacan
 hand
 carved
 and
 painted

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

shawls,
 scarves,
 shirts
 and
 blouses
  dye
 creates
 unique
 pieces
 that
  Father
 and
 son
 Agustín
 Cruz

Fernando
 Gutiérrez
 Vásquez
  embody
 ancestral
 knowledge
 and
  Prudencio
 and
 Cruz
 Tinoco
 are

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

shawls,
 scarves
 and
 huipiles
  intricately
 detailed
 jaguar
 boxes,

Fernando
 and
 his
 family
 produce

Moisés
 Martínez
 Velasco
  religious
 figures
 and
 nativity
 scenes

shawls
 and
 clothing
 woven
 with

Familia
 Martínez
  reflect
 the
 local
 traditions
 and
 hold
 a

cotton
 thread
 dyed
 with
 indigo,

Booth
 43B
  significant
 place
 in
 the
 lives
 of
 the

cochineal
 and
 tree
 bark.
 The
 ends
 of

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

village.

  Their
 shawls
 and
 dresses
 are
 worn
  Booth
 79

for
 special
 occasions
 and
 the
 edges

Huichol
 -­‐
 Wixarika
 yarn
 paintings
  are
 finished
 with
 a
 fine
 macramé
  Angel
 creates
 handmade
 narrative

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

Pedro
 Ortega
 Lozano
  style
 is
 easily
 recognizable.
 He
 is

Mariano
 is
 a
 world-­‐renowned

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
 lace.
  “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
  Booth
 81
 (cooperative)

Backstrap
 woven
 “coyuche”

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

Punzo
 Angel,
 Jose
 Rosaldo
 Punzo
  recipient,
 cooperative)
  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.

Pureco
  natural
 dyes
 and
 harvested
 cotton.

Cotton
 and
 silk
 blend
 shawls

The
 colorful
 and
 symbolic
 designs

Booth
 36
  (rebozos)

represent
 elements
 in
 nature
 and
 the

Using
 techniques
 passed
 down
 for
  Hermilo
 López
 Izquierdo

universe.
 Margarita
 says
 that
 weaving

generations,
 Ignacio
 shares
 the
  Rebozos
 Tenancingo

is
 like
 the
 sunset;
 it
 happens
 each
 day

metalwork
 of
 silver
 and
 copper
 with
  Booth
 91
 (new)

and
 she
 cannot
 live
 without
 it.

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.

MOROCCO

different
 ikat
 patterns,
 created
 with

Backstrap
 loom
 woven
 clothing

a
 resist
 dye
 technique.
 The
 ends
 of

and
 accessories
 embroidered
 with

each
 shawl
 are
 finished
 with
 a
 fine
  Flatweave
 and
 pile
 or
 knotted
 rugs,

Mayan
 designs

macramé
 fringe.

  pillow
 covers
 and
 capes

Pedro
 Meza

Kebira
 Aglaou

Terracotta
 figurines
 and
 animals
  Sna
 Jolobil

Association
 Timnay
 pour
 Developpement

José
 García
 Antonio
 and
 Family

  Booth
 136
 (cooperative)

Booth
 112
 (new,
 cooperative)

Booth
 106
  Pedro’s
 traditional
 brocade
 designs

Kbira’s
 flatweave
 and
 knotted
 rugs

José
 uses
 clay
 from
 the
 soil
 of
 his
  date
 back
 to
 the
 year
 600
 and
 have

are
 an
 essential
 part
 of
 life
 in
 her

village
 to
 create
 life-­‐sized
 sculptures
  been
 featured
 in
 ceremonial
 dress

village
 of
 N’Kob.
 The
 designs
 have

of
 Zapotec
 women,
 as
 well
 as
  since
 the
 Classica
 Maya
 era.
 He

been
 passed
 down
 from
 one

smaller
 figurines.
 After
 problems
  weaves
 using
 a
 backstrap
 loom
 and

generation
 of
 women
 to
 the
 next
 for

with
 his
 sight
 for
 50
 years,
 José
 is
  finishes
 each
 piece
 with
 colorful

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
 finishing
 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

Guadalupe
 Vásquez
  Arte
 Ventosa
  Artisant
 des
 Femmes
 de
 Khenifra

Booth
 107
  Booth
 144
 (new)
  Booth
 143
 (cooperative)

Juan
 and
 his
 children
 use
 Zapotec
  Isabelle’s
 majolica
 tin-­‐glazed
 pottery
  Rachida
 represents
 a
 cooperative
 of

design
 elements
 and
 patterns
 from
  is
 created
 using
 a
 process
 that
  women
 who
 make
 traditional

pre-­‐Hispanic
 buildings
 in
 their
  originated
 in
 the
 16th
 century,
 using
  djellaba
 buttons
 and
 created
 a
 new

unique
 and
 beautiful
 weavings.
 He
  the
 tiles
 and
 murals
 of
 nearby
  art
 form
 by
 turning
 them
 into

was
 instrumental
 in
 reviving
 the
 use
  homes
 as
 inspiration.
 She
 considers
  jewelry.
 The
 buttons
 are
 made
 with

of
 natural
 dyes
 for
 Zapotec
 weavings
  her
 work
 as
 useable
 art;
 each
 piece
  dyed
 silk
 threads
 and
 sewn
 with

and
 has
 passed
 down
 his
 techniques
  has
 both
 a
 decorative
 and
 functional
  great
 detail.
 The
 color
 choice
 and

to
 his
 children
 and
 grandchildren.

  purpose.

  style
 reflect
 the
 personality,

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
  MOZAMBIQUE

Ketzia,
 Macrina
 Mateo

Arturo
 Faustino
 Rodriguez
 Ruiz,

Martinez/Las
 Mujeres
 del
 Barro

Federico
 Jimenez

Rojo
  Psikelekedana
 softwood
 carvings

Museo
 Belber
 Jimenez

Innovando
 la
 Tradición
 AC
  Booth
 156
  Camurdino
 Mustafa
 Jetha

Booth
 129
 (cooperative)
  Booth
 125

Arturo
 works
 with
 gold
 and
 silver,
 as

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
  MYANMAR

wall
 hangings,
 ponchos
 and
 rugs

and
 figures

Erasto
 Mendoza
 Ruiz

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.

Silver,
 brass
 and
 gold-­‐plated

they
 have
 not
 woven
 that
 design
 in

jewelry

decades.
 Sone-­‐Tu’s
 aim
 is
 to

Ramesh
 Rijal,
 Anmol
 Shakya,
  NIGERIA

preserve
 and
 revive
 the
 art
 of

Punya
 Raj
 Shakya,
 Sapta
 Shakya

traditional
 Chin
 weaving
 and
 create

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

African
 drums
 that
 figure
 in

necklaces
  Nepal.
 Each
 piece
 is
 associated
 with

ceremonial
 occasions
 and
 religious

Khun
 Shwe
  a
 community,
 festival
 or
 stage
 of

Yoyamay
 Ethnographic
 Textile
 Gallery
  life.
 Earring
 backs
 and
 clasps
 are
  functions.
 These
 instruments
 are

Booth
 158
  shaped
 like
 thunderbolts,
 an
  handmade
 with
 local
 materials,

carved
 from
 mahogany
 or
 teak,

Khun
 creates
 textiles
 in
 the
 Chin
  important
 symbol
 in
 Himalayan

topped
 with
 cowhide
 and
 laced
 with

style
 of
 weaving,
 one
 of
 the
 most
  cultures.
 Kaligarh
 pays
 tribute
 to
 the

rope
 strings.
 The
 shape
 creates
 the

intricate
 and
 unusual
 of
 weaving
  art
 and
 artists
 of
 the
 Himalayan

style
 and
 sound
 of
 the
 drum.

traditions
 in
 Myanmar.
 The
 textiles
  region.

are
 made
 on
 backstrap
 looms.
 Her
  Hausa
 hand
 embroidered
 clothing,

work
 includes
 simple
 everyday
  NIGER
  accessories
 and
 home
 furnishings

tunics,
 beaded
 tunics
 for
 special
  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

NAMIBIA
  Moussa
 Albaka
  members
 hand
 embroider
 patterned

Booth
 119A
  robes,
 pillows
 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
 Adire
 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
  PAKISTAN

Yangma
 Traditional
 Weavers
  people.

Cooperative

Fine
 silver
 Tuareg
 jewelry

Sponsored
 by
 Tibet
 Aid
 Wind
 Horse
  Embroidered
 clothing,
 accessories

Elhadji
 Koumama,
 Ismail
 Elhadji

Project
  and
 household
 goods
 of
 the
 Khyber

Tuareg
 Jewelry

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)

the
 Buddhist
 belief
 system
 and
 she
  Over
 50
 silversmiths
 continue
 a
  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