The San Carlos Foundation – Supporting Volunteers in the Field

Image Above: San Carlos Foundation founders and friends at the School of the Americas Watch protests.
From left to right, Father Bill O’Donnell, Dr. Davida Coady, Pete Seeger, Martin Sheen, Father Daniel Berrigan, Father John Dear.

by Deborah Chandler and Todd Jailer

Many WARP members have an idea of what the Peace Corps is about; in fact many WARP members have been Peace Corps Volunteers. At the moment the Peace Corps is on hold, all volunteers having been brought home due to the COVID Pandemic. While all PCVs have a strong desire to serve people internationally, not everyone wants to do their service connected to the US government. So what if you want to do that service but the Peace Corps won’t work for you? Are there alternatives? Yes, there are, and this story about the San Carlos Foundation describes one of them.

In 1984, most international volunteer-sending organizations were not placing people in Central America because of the ongoing wars in the region. To Dr. Davida Coady, who spent much of her career providing care in refugee camps on almost every continent, that made no sense: war zones, refugee camps, urban slums and remote rural villages are often the places where skills, support, and solidarity are needed the most! So together with Fr. Bill O’Donnell, a veteran of United Farm Workers organizing in California, and the actor and activist Martin Sheen, they founded the San Carlos Foundation, based in Berkeley, California. While San Carlos can’t compete with the Peace Corps in numbers of volunteers – they have funded about 150 volunteers in almost 40 years — they are a small organization with a large footprint.

On a trip to Guatemala in the 1980s, Martin Sheen, Fr. Bill O’Donnell, Dr. Davida Coady, and Guatemalan Fr. Andres Girón.

Their idea was to fund work by people that was otherwise “unfundable.” Over the years, volunteers have:

  • taught photography to children who live in the Guatemala City dump;
  • provided health care in conflict zones;
  • documented human rights abuses and trained human rights workers;
  • helped cooperatives develop accounting skills;
  • trained communicators in journalism and community radio;
  • and shared skills from welding to desktop publishing to latrine-building to small hydroelectric generation. (See a short report on the last of those at the end of this story.)

While San Carlos volunteers have helped various artisan groups develop marketing plans, so far they have had no weavers as volunteers!

Their website explains:

We provide health and educational assistance to refugees and other people living in extreme poverty in the developing world, particularly in Central America. We grant minimal living expenses—currently $6,000 a year—to doctors, nurses, lawyers, engineers, teachers and other professionals who volunteer their time, live in primitive conditions and train local people to continue their work when they leave.

Although San Carlos asks for a one-year minimum commitment, many volunteers stay much longer. Local language skills and previous third world experience are prerequisites, as are skills useful to the population with whom the volunteer intends to work. Unlike the Peace Corps, volunteers do not go in blind to a situation arranged for them; instead, volunteers need to know where they are going and why, and have a pre-arranged agreement.

Over the past few years the number of young people who have studied international development work at the university level and are now embarking on careers in the field has grown tremendously. It is very exciting, as it brings a whole new energy and mind-set to the work. No longer dedicated to one project for life, these young activists are dedicated to the concepts of fair trade, justice, supporting local efforts, and so much more, and finding myriad ways to go about it. Many WARP members are involved in such endeavors, and for those who are interested in working in the field and gaining valuable experience as well as providing real help, the San Carlos Foundation might be able to help them reach that goal. At the same time, for those who are passionate about the idea and the need but cannot go into the field themselves, supporting this foundation is an option. Well worth knowing about, their methods and goals are totally in alignment with WARP’s mission and goals.

You can find out more or contribute to the San Carlos Foundation on their website: or by writing to Todd Jailer, President and himself a former volunteer:


How to organize and install a micro-hydroelectric plant

from a report to the San Carlos Foundation from Rebecca Leaf and ATDER-BL
(Asociación de Trabajadores de Desarrollo Rural – Benjamín Linder)

These projects start with a rural community like this one, Valle Los Condegas:

After checking out a nearby stream, the first step is a series of community meetings to discuss the possible construction of a micro-hydroelectric system and to form the community committee for this project.

The second step is the preparation of the design and budget for the project (ATDER-BL does this work usually on a volunteer basis). Then the search for financing for construction begins. When funding is secured, so does the physical labor. Here a village volunteer work brigade starts building the water intake:

The water intake is a very small dam that diverts some water from the stream into a plastic pipe.

Then pipe is installed from the dam to the powerhouse. The powerhouse is the small red building (see photo on other side) that protects the turbine and generator. Next to the powerhouse, the first post of the electric grid is installed. Depending on the distance to be covered by the electric grid, a transformer may be needed on the first post.

We build these small water turbines at our metalworking shop in the town of El Cua. Bringing the turbine into the powerhouse is difficult, but anything is possible if you have enough people working together.

Then we connect the turbine to the water pipe that brings the water down from the dam. The pulleys and belts that transfer the water’s energy from the turbine to the small electric generator are installed. Then we put up the posts and string the cables of the electric grid.

Finally, we test the lights in the houses, school, hook up the refrigerators, public telephones, etc. With electricity, the community feels different both by day and by night. The people gather to celebrate with prayers and blessings, speeches and poems. The inauguration lasts all afternoon with music, dancing, lots of food, and piñatas for the children.

This small rural electrification project benefits 100 families.

It is difficult to express the depth of the gratitude I feel towards the San Carlos Foundation for the support you have provided me during the years of war, and continued during the years of peace. Without your support, none of this work would have been possible.

Artisans in Argentina in Times of Pandemic

NOTA: puede ver la historia en español abajo del inglés.

by Vanina Bujalter

Detail image of a weaving by Vanina Bujalter

As throughout the world, also in Argentina, the impact of the pandemic produced by COVID-19 and the measures taken in the context of the health emergency produced an abrupt interruption of fair events and permanent handicraft fairs, suspension of the services of shipping and logistics, and almost total paralysis of tourism, which put the subsistence of the artisan sector at risk. Taking into account this problem, finally in October 2020 the Ministry of Culture in Argentina announced an economic aid program for artisans from all over the country entitled MANTA, defining this word as “fabric that is used as a personal covering, and that is also used as a basis to show artisan production”.

According to the basis and conditions of the Call, the money is to be directed to the development of the country’s artisans, with the purpose of investing in production and promoting improvement in all aspects that increase the possibilities of the activity in a sustainable way.

Definitions of Craft and Craftsman/woman were established in order to specify to whom the Call was directed:

“CRAFTS are understood as those produced by artisans, either entirely by hand, or with the help of hand tools or mechanical means, provided that the direct manual contribution of the artisan remains the most important component of the finished product. For its production raw materials are used in their natural or processed state. The special nature of crafts is based on their distinctive characteristics, which can be utilitarian, aesthetic, artistic, creative, culturally linked, decorative, functional, traditional, and/or symbolic and meaningful religiously and socially. ”

Minister of Culture, Tristan Bauer, meeting with MANTA beneficiary craftsmen and craftswomen.

“CRAFTSMAN/WOMAN is any person who exercises their trade expressing their creativity through artisan production, representing a way of life and work.”

Based on these definitions, the artisans were able to apply online for this monetary incentive by completing a form that requested information regarding the activity carried out by the artisan and personal data.

Among the fields to complete were:

– Location

– Access to electronic connectivity

– Production history

– Marketing data

– Information on Indigenous Community, if applicable

– Data on the Intangible Cultural Heritage, if applicable

– Information on sustainability of the craft activity and years of experience

The applications were evaluated according to the following selection criteria:

  • Importance of handicrafts as a generator of the main income of the family economy, i.e. if the creation, production and marketing of handicrafts is a regular activity that decisively supports the family economy.
  • Federal impact according to the artisan population by districts: selection proportional to a federal distribution of resources considering the artisan population in each district
  • Trajectory of artisans: the presence of the craft in their biography and their main milestones.

In December 2020, 1,600 beneficiaries were announced, of which about 700 will receive an amount in Argentine pesos equivalent to about US $630. The other 900 will receive half of that amount. In January 2021, artisans from the interior of the country and the Capital began to receive this help.

Woven Jewelry by WARP Member, Vanina Bujalter

In accordance with the rules, in addition to the money, the authorities offered the selected artisans the opportunity to submit a proposal for a virtual training based on their knowledge.

In return for the grant received, the beneficiaries will be asked to add to their own publications on social media and other means of promoting their work logos provided by the Ministry and stories/publicity indicating that the support has been received. Finally, applicants are requested to permit the Ministry of Culture to use some images in eventual communication materials with the sole purpose of promoting the Ministry of Culture of the Argentine Nation, i.e. they will not use them for other purposes.

It is expected that this is only the beginning of a series of future aid to be given to more artisans. The artisan sector in Argentina is very broad, rich in crafts, traditions, and quality, which makes it one of the most important and representative cultural expressions of the country.

Here are some related links: – How to apply – Announcement of the winners and some details of the award – a thank you from one of the winners, a woman natural dyer – a thank you from another winner, a man who makes equipment for horses

VANINA BUJALTER of Buenos Aires has a degree in Psychology, but she found her true calling and has been dedicated to Textile Arts and Crafts for more than 30 years. Initially learning from her mother, the textile artist Mimí Bujalter, she has studied, taught, and exhibited throughout Argentina and internationally. Her work has won many awards, and can be seen in both public and private collections in numerous countries.


Artesanes* en Argentina en Tiempos de Pandemia

de Vanina Bujalter

*Nota: el gobierno de Argentina está usando lenguaje inclusivo, entonces artesanes son de cualquier género.

Woven Jewelry by WARP Member, Vanina Bujalter

Como en todo el mundo, también en Argentina, el impacto de la pandemia producida por el COVID-19 y las medidas tomadas en el contexto de la emergencia sanitaria produjeron una interrupción abrupta de eventos feriales y ferias permanentes de artesanías, suspensión de los servicios de envío y logística, y paralización casi total del turismo, lo cual puso en riesgo la subsistencia del ámbito artesanal.

Teniendo en cuenta esta problemática, finalmente en Octubre 2020 el Ministerio de Cultura en Argentina anunció un programa de ayuda económica para artesanes de todo el país titulado MANTA, definiendo esta palabra como “tejido que se usa como abrigo, y que también es utilizado como base para mostrar la producción artesanal”.

De acuerdo a las bases y condiciones de la Convocatoria, el dinero se destina al desarrollo artesanal de los artesanos, artesanas, y artesanes del país, con el propósito de invertir en la producción y promover la mejora en todos aquellos aspectos que incrementen las posibilidades de la actividad de manera sustentable.

Se estableció una definición de Artesanía, y de Artesano/a/e, a efectos de especificar a quienes estaba dirigida la Convocatoria:

“Se entiende por ARTESANÍAS a las producidas por los/as artesanos/as/es, ya sea totalmente a mano, o con la ayuda de herramientas manuales o medios mecánicos, siempre que la contribución manual directa del artesano/a/e siga siendo el componente más importante del producto acabado. Para su producción se emplean materias primas en su estado natural o procesado. La naturaleza especial de las artesanías se basa en sus características distintivas, que pueden ser utilitarias, estéticas, artísticas, creativas, vinculadas a la cultura, decorativas, funcionales, tradicionales, simbólicas y significativas religiosa y socialmente.”

“ARTESANO o ARTESANA es toda persona que ejerce su oficio expresando su creatividad a través de la producción artesanal, representando una forma de vida y de trabajo.”

Sobre la base de estas definiciones, los artesanes pudieron aplicar vía on-line a este incentivo monetario completando un formulario que solicitó información respecto de la actividad desarrollada por el artesane y datos personales.

Woven Jewelry by WARP Member, Vanina Bujalter

Entre los campos a completar figuraron:

– Datos de localización

– Datos de conectividad electrónica

– Datos de producción

– Datos de comercialización

– Datos de pueblo originario, en caso de que corresponda

– Datos del Patrimonio Cultural Inmaterial, en caso de que corresponda

– Información sobre sostenibilidad de la actividad artesanal y años trayectoria

Las postulaciones fueron evaluadas de acuerdo a los siguientes criterios de selección:

  • Importancia de la artesanía como generador del ingreso principal de la economía familiar: si la creación, producción y comercialización de artesanías es una actividad regular que solventa de manera contundente la economía familiar.
  • Impacto federal de acuerdo a la población artesana por distritos: selección proporcional a una distribución federal de los recursos considerando la cantidad de población artesana en cada distrito
  • Trayectoria de los artesanos/as/es: la incidencia del oficio de los artesanos/as/es en su biografía y sus principales hitos.

En Diciembre 2020 se dieron a conocer 1.600 beneficiarios, de ellos unos 700 recibirán un monto en pesos argentinos equivalente a unos US$630, los otros 900 la mitad de esa cifra. En Enero 2021, ya comenzaron a percibir la ayuda artesanes del interior del país y de la Capital.

De acuerdo a las bases,  a modo de contraprestación, las autoridades solicitarán a los artesanos, artesanas, y artesanes seleccionados someter una propuesta de capacitación virtual en base a sus saberes.

Minister of Culture, Tristan Bauer, meeting with MANTA beneficiary craftsmen and craftswomen.

También se pedirá a los beneficiarios que agreguen a sus publicaciones en redes sociales y otros medios de promoción de su trabajo, logotipos provistos por el Ministerio y leyendas indicando que se ha obtenido el apoyo. Finalmente se solicita que los postulantes cedan sus derechos de imagen al Ministerio de Cultura para ser utilizada y difundida exclusivamente en eventuales materiales de comunicación con el único fin de la promoción y difusión del Ministerio de Cultura de la Nación Argentina.

Woven Jewelry by WARP Member, Vanina Bujalter

Se espera que este sea sólo el comienzo de una serie de futuras ayudas a más cantidad de artesanes, ya que el sector artesanal en Argentina es muy amplio, rico en oficios, tradiciones y calidad; lo que hace de sus artesanías una de las expresiones culturales más importantes y representativas del país.

Aquí algunos links relacionados:


VANINA BUJALTER de Buenos Aires es Licenciada en Psicología, pero halló su vocación de verdad y se ha dedicado al Arte y Artesanía Textil por más de 30 años. Iniciándose en el taller de su madre la artista textil Mimí Bujalter, desde 1982 ha estudiado, dictado clases y seminarios, y participado en exhibiciones y concursos en Buenos Aires, en el interior del país y en el exterior. Sus piezas integran colecciones públicas y privadas en Argentina y el exterior.

Amano Marketplace

Amano Marketplace
2129 19th St. N
Arlington, VA 22201

(202) 873-4497

Contact person: Elena Laswick

Grounded in honesty, fairness and collaboration, Amano Marketplace is a platform where Latin American artisans can share their designs and stories and where you can learn more about traditional art forms and find unique, handmade items from over 20 small-scale operations who collectively represent over 1,000 Latin American artisans. Amano aspires to foster a space that contributes to the continuation of artisanal heritage and promotes mutual exchange, connection & learning. In addition to products from Latin America, we also offer live and pre-recorded virtual classes with artisans from Peru and Guatemala.

Ixil Collective

Ixil Collective
2129 19th St. N
Arlington, VA 22201

(202) 873-4497

Contact person: Elena Laswick

Ixil [ee-sheel] Collective is a collaboration between Maya Ixil weavers and an American designer. Because the Ixil region of Guatemala is far off the beaten tourist path, there is very little direct access to a market for artisans. Ixil Collective was created to help these remote artisans earn a more substantial market share. All designs are based on traditional Ixil dress and motifs and are made by Ixil artisans living in the towns of Chajul, Cotzal and Nebaj in the Quiché region of Guatemala.

Ixil Collective

Ixil Collective
2129 19th St. N
Arlington, VA 22201

(202) 873-4497

Contact person: Elena Laswick

Ixil [ee-sheel] Collective is a collaboration between Maya Ixil weavers and an American designer. Because the Ixil region of Guatemala is far off the beaten tourist path, there is very little direct access to a market for artisans. Ixil Collective was created to help these remote artisans earn a more substantial market share. All designs are based on traditional Ixil dress and motifs and are made by Ixil artisans living in the towns of Chajul, Cotzal and Nebaj in the Quiché region of Guatemala.

Ixil Collective

Ixil Collective
2129 19th St. N
Arlington, VA 22201

(202) 873-4497

Contact person: Elena Laswick

Ixil [ee-sheel] Collective is a collaboration between Maya Ixil weavers and an American designer. Because the Ixil region of Guatemala is far off the beaten tourist path, there is very little direct access to a market for artisans. Ixil Collective was created to help these remote artisans earn a more substantial market share. All designs are based on traditional Ixil dress and motifs and are made by Ixil artisans living in the towns of Chajul, Cotzal and Nebaj in the Quiché region of Guatemala.

Stories from the Field

NOTA: puede ver la historia en español abajo del inglés.

by Yasmine Dabbous


WARP members work in cities and villages all over the world, and it is safe to say that the work is always challenging. WARP offers a community of peers, others experiencing the frustrations and joys of community development work, of helping provide opportunities for people to improve their own lives. This is just one story, more harrowing than most but also revealing the rewards, the “Why do it?” Good job, Yasmine, and thanks. And for all readers, please remember that Giving Tuesday is December 1, and WARP would welcome your support so it can continue to support members like Yasmine.


“Your heart saved our lives,” my student, Bettina, told me.

Weaving By Rajaa Dabbous

And she’s quite right. On the fatal evening of August 4, 2020, I was supposed to hold a weaving class at my studio, four blocks away from Beirut’s seaport. I cancelled the session a few hours earlier because I suffered an arrhythmia attack.

At 6:08 p.m. Beirut time, a massive explosion rocked the Lebanese capital, creating scenes of horror and havoc. According to the BBC, the blast was “one of the biggest non-nuclear explosions in history.” In a split second, 190 died, over 6,000 were severely injured, and more than 300,000 lost their homes.

Since then, a cloud of sadness has hovered above Beirut. Most of the city–away from the explosion’s epicenter–-is already rebuilt, but our sense of normalcy is gone, and so are our joys and our dreams. It did not help, of course, that the blast came amid the coronavirus outbreak and a severe economic meltdown, akin to 1929 US.

But four weeks later, we were already back to our weaving class (took a lot of energy, but we did it!). Two students dropped because they lost their homes, and had to focus on rebuilding, and two stayed. Invariably, their projects addressed the explosion. Rajaa expressed her anger, her fear, and the lingering, violent reflection of shattered glass.

Bettina, on the other hand, went for an out-of-the-box brooch that expressed her gratitude for all the love and support she felt after the explosion.

Embroidery project where a student comments on the library of books she lost when she had to leave.

In the embroidery course, Hoda said that she wanted “to embroider in order to forget.” She said she needed to “escape Beirut.” By the end of the first session after the blast, the tense, agitated woman was calmly smiling. “I love this,” she said. “I cannot get enough of it. It feels like I traveled to a different world.”

I do understand Hoda. After the explosion, I remained in a state of hypervigilance and disarray for weeks. Any loud noise sent me below the table or behind the door. The sight of glass made me nauseous. But, when I embroidered, I was in my own zone, tucked behind the tactility of my fabric. I created colorful things, which made me feel that the world was still beautiful. And I thought of many projects to express my hopes and my sorrows through fiber art.

Stitching, at once easy and fulfilling, also provided us with a sense of resilient normalcy. Maha, my embroidery student, was sitting at home on her favorite couch when the blast occurred. She sustained severe injuries in her legs and her eyes. A few days later, she left the country but made sure to stop by her broken apartment and take her embroidery kit with her. Forty days and several visits to the ophthalmologist later, she sent me a WhatsApp message of her work: “I’m back,” she wrote with a sense of determination. “I’m still damaged, but I am lucky to be alive. And I have to finish my piece.”

For more information about the Beirut blast:

For more information about my studio:


Yasmine Dabbous, PhD, is a visual culture artist and researcher. Formerly an assistant professor of journalism and cultural studies at the Lebanese American University, Dabbous left her position to pursue a degree in jewelry and textile design at the Fashion Institute of Technology in New York. She is the founder of Kinship Stories, a line of tribal art jewelry displayed at galleries and selective boutiques in new Beirut, New York City, and Washington, DC.

Colorful, Feel Good Embroidery By Yasmine Dabbous


Historias del Campo

de Yasmine Dabbous

Los miembros de WARP trabajan en ciudades y aldeas en todo el mundo, y se puede decir con certeza que el trabajo siempre es un desafío. WARP ofrece una comunidad de gente igual, otras viviendo las frustraciones y alegrías del trabajo de desarrollo, comunitario o personal, ayudando proveer oportunidades con que la gente puede mejorar sus propias vidas. Abajo es una sola historia, tal vez con más intensidad y temor que la mayoría, pero también muestra las recompensas, la razón de “¿Por qué lo hace?” Bien hecho, Yasmine, y gracias. Y para todos los lectores, por favor recuerden que El Martes de Dar viene pronto, 1 de diciembre, y WARP le da una bienvenida a su apoyo con el fin de apoyar miembros como Yasmine.


“Su corazón salvo nuestras vidas,” me dijo mi estudiante Bettina.

Weaving By Bettina Mahfoud

Y es correcta. La noche fatal de 4 de agosto, 2020, iba tener una clase de tejer en mi estudio, a cuatro cuadras del puerto de Beirut. Cancelé la clase unas pocas horas antes porque sufrí un ataque de arritmia.

A las 6:08 pm en Beirut, una explosión masiva sacudió la capital de Líbano, creando escenarios de horror y caos. La BBC dice que la sacudida era “una de la más grande no-nuclear explosiones en la historia.” En un segundo 190 se murieron, más que 6,000 estuvieron heridos severamente, y más que 300,000 perdieron sus hogares.

Desde entonces, una nube de tristeza ha colgado sobre Beirut. La mayoría de la ciudad – lejos del epicentro de la explosión – ya está reconstruida, pero nuestro sentido de normalidad se fue, y también nuestras alegrías y sueños. No ayudó, por supuesto, que la sacudida pasó en el medio del Coronavirus y un desastre económico como el de EEUU en 1929.

Pero cuatro semanas después, estamos en clase otra vez. Tomó bastante energía, pero ¡lo hicimos! Dos estudiantes dejaron el curso porque perdieron sus hogares y necesitan enfocarse en reconstruir, y dos siguieron. Invariablemente sus proyectos enfrentan la explosión. Rajaa expresó su enojo, su miedo, y la reflexión larga y violenta de vidrio hecho pedazos.

Embroidery project by student Elias where he comments on job shifts

Por otro lado, Bettina creó un broche afuera-de-la-caja el cual expresa su gratitud por todo el amor y apoyo que sintió después la explosión.

En el curso de bordado, Hoda dijo que ella quiso “bordar para olvidar”. Ella dijo necesitó “escapar Beirut”. Al fin de la primer sesión después de la sacudida, esta mujer tensa y agitada estuvo sonriendo con calma. “Me encanta esta,” dijo. No puedo hacer suficiente de esto. Se siente como si viajó a un mundo diferente.

Yo entiendo Hoda. Después de la explosión, quedé en un estado de híper-vigilancia y desorden por semanas. Cualquier sonido fuerte me envió debajo de la mesa o atrás de la puerta. Sólo para ver vidrio me dio nausea. Pero cuando bordé estuve en mi propia zona, escondida atrás del toque de mi tela. Creé cosas muy coloridas, lo que me hizo sentir que el mundo todavía es hermoso. Y pensé de muchos proyectos para expresar mis esperanzas y tristezas a través del arte textil.

Embroidery exercise deconstructing stitches

Hacer puntos, lo que es fácil y enriquecedor al mismo tiempo, también nos proporcionó un sentido de normalidad elástica. Maha, mi estudiante de bordado, estuvo en su casa sentada en su sofá favorito cuando la sacudida ocurrió. Recibió heridas severas en sus piernas y sus ojos. Unos pocos días después salió del país, pero primero pasó a su apartamento roto para recoger su kit de bordado y llevarlo con ella. Cuarenta días y varias visitas al oftalmólogo después me mandó un mensaje en WhatsApp de su trabajo. “Ya regresé,” escribió con determinación. “Todavía estoy dañada, pero tengo suerte de estar viva. Y tengo que terminar mi pieza.”

Para más información del sacudido de Beirut:

Para más información de mi taller:


Dr. Yasmine Dabbous es una artista e investigadora de cultura visual. Previamente una asistente profesora de periodismo y estudios culturales de la Universidad Líbano-Americano, Dabbous dejó su posición para estudiar joyería y diseño textil en el Instituto de Moda de Tecnología (FIT) en Nueva York. Fundó Kinship Stories (Historias de Parentesco), una línea de joyería de arte tribal mostrado en galerías y boutiques selectivas en Beirut, Nueva York, y Washington, DC.

Embroidery project by student about “the wall”

WARP in the Age of Zoom

By Deborah Chandler

NOTA: puede ver la historia en español abajo del inglés.

For WARP the conversion from face-to-face to online connection is nearly complete. Painfully but realistically, the board has made the decision to again cancel the Annual Meeting that was scheduled for Bozeman next summer, opting to have an online meeting/conference instead. One advantage is that members who live around the globe can now more easily attend, good for WARP and good for them.

The board is made up of seven people who live all over the US. They now meet monthly by Zoom, and sub-groups meet even more often. This is a huge improvement over the days of individual letters and/or phone calls and one face-to-face meeting a year. Everyone is both more informed and more able to contribute. For the membership as a whole, great activities have already taken place and more are scheduled.


The Welcoming Circle that historically has begun each annual meeting moved to Zoom. Every member of WARP was invited, and more than 60 people spent a couple of minutes each introducing themselves and their connections to WARP. Old friends, new friends, a good chance to see and hear who is most like-minded and someone to seek out.


132 people answered the member survey that included our legally-required approval of last year’s meeting minutes and a vote on new board members. There were also questions about what people want from WARP so the board can take all wishes under advisement.


Last year, with initial support from WARP, Deb Brandon and Schiffer Books published Deb’s spectacular book Threads Around the World from Arabian Weaving to Batik in Zimbabwe. An outgrowth of the column Deb wrote for the WARP newsletter for many years, this is a good read for anyone who uses cloth in their lives – which means everyone. Deb loves doing book presentations and signings, but such luxuries are not options this year, so the board did the next best thing – a Zoom presentation during which 60 people got to ask questions and tell Deb how much they enjoyed the book. You can still buy copies from WARP. (Many WARP members have written books, and it is easy to imagine more presentations like this one taking place in the future. Watch the next newsletter for book reviews and let the board know which authors you would like to Zoom along with.)


The annual auction also moved online, and that allowed us to open it up to not only all WARP members but the whole online world as well. By the end over 100 people bid on 68 items, bringing just over $6,000 into WARP’s coffers for general expenses, scholarships, and assistantships. That is by far the most we have ever gained from the auction, so a big thank you to everyone who donated auction items – and bought them!


We are excited to announce the next Zoom event, Peru: Continuing Textile Tradition, a panel discussion including three WARP members with long experience of working with textile groups in Peru. Hedy Hollyfield of Anyi will be presenting her experiences of marketing tapestries from the Ayacucho region. Catherine Joslyn traveled to Peru as an academic and developed a continuing relationship with Nilda Callañaupa Alvarez and the Center for Traditional Textiles of Cusco. Gloria Miller has represented her order the Sisters of Mercy in their work with knitters of finger puppets from the Lake Titicaca region. The panel will be moderated by WARP member Judi Jetson, who has significant experience in promoting crafts, particularly textiles. There will be ample opportunity for questions from those attending the panel. This free event will take place on Saturday November 21st from 1:00-2:00, EST, and everyone (WARP members and non-members, too) is welcome to attend. Please register at:


The next planned fundraiser event is Giving Tuesday, an international day for on- and off-line giving to NGOs (non-governmental organizations) everywhere. Given the new world we live in, the board is thinking about ways to provide a platform for members to help each other even more, the original intention of WARP. One focus would be giving groups from every continent the opportunity to present their stories to the membership. Another would be to provide useful information and contacts for members whose groups need a specific kind of help. If you have ideas, or needs, please contact any board member, as this is still in the planning stages. And everyone else, get ready! Giving Tuesday is December 1.



Most of us would agree that meeting face-to-face is more fun and satisfying than watching each other in small squares on a computer screen. But since that is not an option at present, I want to congratulate – and thank – the board for rising to the occasion and making WARP even more accessible than it was. Now their task is to determine how to meet the networking needs of the membership, decide what kinds of programs to have online. For that your ideas are needed. What would you enjoy or benefit from that can be done online? Please, do tell.


WARP Board

President – Susan Weltman –

Vice President – Kate Colwell –

Secretary – Sara Lamb –

Treasurer – Mary Joan Ferrara-Marsland –

At large members – Maren Beck –

Philis Alvic –

Sara Borchert –

Administrative Coordinator Extraordinaire – Kelsey Wiskirchen –

Newsletter Editor and Sage – Linda Temple –

WARP en la Época de Zoom

de Deborah Chandler

Para WARP la conversión de reuniones en vivo a conexiones en-línea está casi completa. Es triste pero práctico que la junta otra vez ha decidido convertir la Reunión Anual que iba estar en Bozeman, Montana en el verano entrante a Zoom en vez de ser en vivo. Una ventaja es que los miembros quienes viven alrededor el planeta ahora pueden asistir más fácilmente, lo que es bueno para ellos y bueno para WARP.

La junta tiene siete personas quienes viven en todos lados del EEUU. Ahora ellos se reúnen cada mes por Zoom, y los sub-grupos tienen reuniones más frecuentemente. Esto es bastante mejor que antes, cuando hubieran cartas y llamadas individuales y una reunión juntos en vivo una sola vez cada año. Todas están mejor informadas y pueden contribuir mejor. Para la membresía en general, hemos tenido actividades diversas, y más están planificadas.


El Circulo de Bienvenida, que históricamente abrió cada Reunión Anual, se trasladó a Zoom. Todos los miembros de WARP eran invitados, y más de 60 personas dieron unos pocos minutos para auto-presentarse y sus conexiones a WARP. Eran amigos viejos, amigos nuevos, y una oportunidad buena para ver y oír quien tiene una historia o intereses similares.


132 personas contestaron una encuesta que incluyó los elementos legales anuales como aceptar los Actos de la Reunión Anual del año pasado y votar para las miembros nuevas de la junta. La encuesta también tenía preguntas sobre lo que quiere la gente de WARP así la junta sabe los deseos y necesidades de la membresía.


El año pasado, con apoyo inicial de WARP, Deb Brandon y Schiffer Books publicaron el libro espectacular de Deb, Hilos del Mundo, De Los Tejidos de Arabia a La Batik de Zimbabue. Una expansión de la columna que escribió Deb para el boletín de WARP por muchos años, este libro es una buena lectura para cualquier persona que usa tela – lo que es todas. A Deb le encanta hacer presentaciones y firmar libros, pero no es una opción este año, entonces la junta hizo la mejor alternativa – una presentación por Zoom en la que 60 personas tenían la oportunidad de escuchar, preguntar, y celebrar el libro. Todavía puede comprarlo de WARP. (Varios miembros de WARP han escrito libros, y es fácil imaginar que vamos a tener más presentaciones similares en el futuro. Mire el próximo boletín para más información de libros y diga a la junta qué autores quiere conocer por Zoom.)


La Subasta Anual también se realizó en-línea, lo que nos permitió abrirla a no solamente miembros de WARP pero a todo el mundo electrónico. En fin más de 100 personas hicieron ofertas en 68 objetos, ganando poco más de $6,000 para becas y gastos generales. Es lo más que hemos ganado, entonces mil gracias a todos quienes donaron algo para la subasta – y ¡a quienes los compraron también!


El próximo evento es Martes de Dar, un día internacional para hacer donaciones a ONGs (organizaciones no-gubernamentales) en todo el mundo. Considerando en el mundo donde vivimos hoy, la junta está pensando en plataformas con las que los miembros pueden ayudar entre ellos más, la intención original de WARP. Una posibilidad es dar a los grupos de cada continente la oportunidad de presentar sus historias a la membresía. Otro sería proveer información útil y contactos para miembros que trabajan con grupos que necesitan un tipo de ayuda particular. Si usted tiene ideas, o necesidades, por favor contacte a cualquier miembro de la junta, porque todo esto está en etapa de planificación. Y a todos – ¡prepárense! El Martes de Dar es el 1 de diciembre.


La mayoría de nosotros está de acuerdo que las reuniones en vivo son más divertidas, más interesantes, y nos dan más satisfacción que vernos en cuadros pequeños en una pantalla. Pero como esa no es una opción ahora, quiero felicitar – y dar gracias – a la junta por adaptarse a la situación por hacer WARP aún más accesible de lo que era. Ahora su tarea es determinar cómo enfrentar y lograr las necesidades de comunicación en red de la membresía, decidir cuál tipo de programas producir en línea. Entonces necesitan las ideas de ustedes. ¿Qué disfrutaría o de qué se beneficiaría de lo que puede hacer en línea? Por favor, nos cuenta.

WARP Board

President – Susan Weltman –

Vice President – Kate Colwell –

Secretary – Sara Lamb –

Treasurer – Mary Joan Ferrara-Marsland –

At large members – Philis Alvic –

Maren Beck –

Sara Borchert –

Administrative Coordinator Extraordinaire – Kelsey Wiskirchen –

Newsletter Editor and Sage – Linda Temple –