Weave a Real Peace Blog

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; […]

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Artisans in Argentina in Times of Pandemic

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

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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 […]

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Spinning and Weaving Week – October 5-11, 2020

NOTA: puede ver la historia en español abajo del inglés. This may seem a little too fluffy for WARP, but then again, maybe not. In fact, maybe it could be profoundly important for indigenous weaving communities everywhere. In 1981 the Weaving and Spinning Council sponsored the first National Spinning and Weaving Week. The idea was […]

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Plagiarism and the Power of Travel

NOTA: puede ver la historia en español abajo del inglés. by Stephanie Schneiderman (adapted from her blog) Cultural appropriation is a loaded and complex concept. Given the power of social media much discussion is generated, especially when a designer integrates elements deemed to be cultural patrimony into his/her designs.  Global influence on the world of […]

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Textile Creation and the Pace of Change in Northern Vietnam

Image Above: Maren, and to her left our translator, visit two Hmong embroiderers to learn about their art and their markets. By Joshua Hirschstein NOTA: puede ver la historia en español abajo del inglés. In a White Hmong village in Vietnam’s Lai Chau Province, a local woman explained that their village had stopped making hemp […]

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Argentinian Artisanry and Textiles

NOTA: puede ver la historia en español abajo del inglés. Exhibition “QR: Between the Ancestral and the Future” – A collective manner to unite worlds, where the past and the future, traditions and innovations, the isolated and the interconnected are joined together. Patricia Hakim is the author of this “techno-artisan” project, in her own words. […]

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Connecting the Social Fabric Part 2

Two WARP members add to the story of making connections, both local and global at the Textile Society of America Symposium in Canada…Judy Newland From Teena Jennings The opening plenary and keynote was given by Meghann O’Brien, who described her reconnection with her people and place through her personal discovery of traditional textile and basket […]

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Connecting with Young Members

Nicole Giacomantonio, our young WARP member from Nova Scotia, shares her experience at the annual meeting in Decorah, her reasons for embracing our group of textile enthusiasts and her hopes for the future…Judy Newland An Adventure in Iowa Iowa was beautiful, and Decorah was truthfully a place I never expected to find myself. I thought […]

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Sustaining Communities Through Museums

Museums have helped support cultural diversity in the US by collecting and preserving artifacts and documents from immigrants around the world. During the annual meeting June 7-10, we will visit the Vesterheim Museum in Decorah, which houses a collection of fine arts and folks arts made by Norwegian immigrants and their descendants. Preserved History The […]

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The Making of THREADS: Kantha Behind-the-Scenes in Bangladesh

This month I would like to share a blog I recently wrote for ClothRoads about the documentary film project our WARP member, Cathy Stevulak, produced in Bangladesh. Cathy has an article in the current newsletter. The film THREADS is a story of kantha cloth and women. Kantha is an ancient form of hand-stitch embroidery originating […]

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Spotlight on St. Louis ArtWorks by Kelsey Wiskirchen

St. Louis ArtWorks is a job-training program combining art and life-skills education to create opportunities for high school students through a vigorous program using the arts as a vehicle for gaining multiple skills. Teens are hired as apprentices, working closely with a teaching artist to become immersed in a specialized artistic discipline. I teach textiles, […]

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Tinkuy 2017: A Gathering of Textile Arts in Cusco

Tinkuy 2017, celebrated in Cusco, Peru from November 8 until November 11, began with the much anticipated parade from the Centro de Textiles Tradicionales del Cusco to the Convention Centre, where the meeting was to be held. The colorful display of tradition and exuberance was clearly felt far beyond those attending the meeting. Citizens of […]

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Welcoming our 2017 Scholarship Winners!

This year, due to generous donations, WARP selected three Alice Brown Memorial Scholarship winners. Alisa, Dakota and Nicole will be joining us for the conference in Oaxaca. Here is a preview of what we’ll learn about them in-person! ————- Alisa Ruzavina Alisa Ruzavina is a fashion/textiles designer and a Central Saint Martins student, specializing in Womenswear Design […]

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Creating Connected Textile Communities in the US

This month Kelsey Viola Wiskirchen  has written a guest blog about her work with textile communities in the US. The International Institute in St. Louis, Missouri, is a welcome center for new Americans. Serving immigrants and refugees from over 80 countries, the International Institute provides language classes, employment training, and a wide variety of community […]

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Traveling Textile Stories Can Weave A Real Peace

Do you ever wonder why we textile folks love to travel the world in search of the chance to meet other textile makers and lovers? What can be accomplished by passing on the techniques of creating cloth and sharing stories with new artisans we meet? Travel offers a bridge to understanding culture through textiles and […]

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Norma Schafer: Guide for the WARP Conference 2017 in Oaxaca Mexico

As we approach the 2017 WARP annual meeting in Oaxaca, I wanted to feature Norma Schafer on the blog. Norma is a cultural navigator who lives and works in Oaxaca. She has close relationships with indigenous artisans in her community and develops travel programs that are focused around textile traditions. And she is WARP’s cultural navigator […]

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Textile Education in Public Schools

In November, my fellow CSU student, Joe, and I delivered an interdisciplinary textile education workshop to the Colorado Art Educators Association in Breckenridge.   Joe is about to complete his degree in Chemistry education, and I am half-way through my MFA in Fibers. We combined our interests in chemistry and textiles to create a lesson […]

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Textiles and Economic Development in Ghana

This month Jackie Abrams is our guest blogger. She writes about her work with textiles and economic development in Ghana and how it has impacted her basketry.   My earliest recollection of being intrigued with Africa was in 3rd or 4th grade. I built an African village as a class project. I remember one of the […]

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Catharine Ellis at Growing Color-Natural Dyes Symposium

WARP member, Catharine Ellis, will speak at the event Growing Color- Natural Dyes From Plants Symposium in North Carolina.   The Growing Color Event This event will be hosted by the North Carolina Arboretum. Here’s how to get involved if you are near Asheville! Where: The North Carolina Arboretum, 100 Frederick Law Olmsted Way, Asheville, NC 28806-9315 When: November 5, 2016 Timing: 9:00 am – 4:00 […]

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Regina Mazahua lives and weaves in Central Mexico.

Traditions of Slow Clothing in Central Mexico

This is a guest post on slow clothing by author and textile collector Sheri Brautigam. The concept of slow clothing – hand-made artisan clothing – has been a reality for most of the world until very recently. Commercial goods either weren’t available or too expensive for people in developing countries to buy, so making your […]

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Profiles: 3 WARP Members Helping Artisans Reach IFAM

by Mary Anne Wise  The occasion of the WARP annual meeting at the International Folk Art Market is an opportunity to examine the organization’s mission in action. This blog introduces you to 3 WARP members who help IFAM artisans access opportunities. If you work with global artisans and have wondered about participating in the IFAM, […]

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Seeds for Fiber and Food: Keeping them in the hands of the People

By Gail Ryser At this year’s WARP Annual Meeting Kathleen Vitale’s presentation Challenges of Documenting the Maya Textile Tradition sparked a lively discussion on the effects of Monsanto’s seed policies for growers of indigenous brown cotton. This is in response to that discussion. I am a seed saver and have been doing so for most […]

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Now Accepting Scholarship Applications – Deadline March 31

Each year WARP awards Alice Brown Memorial Scholarships to attend our annual meeting. Alice Brown was a generous WARP member who had the foresight to donate the funds to establish the scholarship. Now, other members are helping to make the fund both sustainable and greater in scope. Those of you who have attended meetings since […]

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Weaving, Like Friendship, Lasts A Lifetime!

Some life lessons come in colorful packages.  For years, Mayan Hands has successfully used the consignment model to sell their products. The Friendship Bracelet program is a creative way to harness some of the teen (13-19 years old) and tween (9-12 years old) discresionary spending power for good. The bracelets (shown at right) are available […]

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Tajikistan Bound Part Two: The Program

This is part two of a post by Cindy Lair’s, Chair of the WARP board, efforts to get a loom to Tajikistan. In the previous post, Cindy talked about helping to get a donated (nonfunctioning) loom to Tajikistan. The loom was destined to assist a group of rural women who weave incredible mohair blanks. Before […]

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The Road from Guatemala to Santa Fe

Recently the Cooperativa de Alfombras de Mujeres Maya en Guatemala (Maya Women’s Rug Hooking Cooperative of Guatemala) was accepted into the 2014 International Folk Art Market, July 11 – 14. We spoke to one of their delegates to this year’s market. Reyna Pretzantzin is thirty-one years old and attends Rafael Landivar University studying for her bachelor’s degree in Business […]

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The Value of a WARP Membership

When Jackie Abrams stumbled upon the WARP booth at Convergence, the biannual conference of the Handweaver’s Guild of America, she knew she had found her tribe. She joined WARP right away. A contemporary basket weaver, Jackie appreciated the value of working with your hands. “My first trip to Ghana, Africa, was with a Cross Cultural […]

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A Conversation with Renee Bowers of the Fair Trade Federation

October is Fair Trade Month. We asked Renee Bowers, Executive Director of the Fair Trade Federation (FTF) and a WARP member to answer a few questions about fair trade, textiles, and the best way to make a difference.  WARP: How would you describe the FTF in five words?  Renee Bowers: Strengthen fully fair trade businesses. […]

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Sunday Seminars – Connecting Around the World

Image Above: Winnie Nelon has a large collection of batik and ikat textiles she has accumulated through her travels in Asia.  She will discuss textiles from Borneo in her presentation in May. 

Prince George Fiber Arts Guild

Prince George, British Columbia, Canada

Christina Petty is a researcher of Viking textiles and weaves on a warp weighted loom. She will talk about Viking textiles in her presentation in October.

 

Reading through the website of the PG Fiber Arts Guild is enough to make a fiber artist want to move to Prince George. The range of activities they have had for more than 40 years seems to cover every need anyone might have: classes, exhibits, conferences, newsletters, meetings, movie nights, resource referrals, and equipment buying, selling, and renting, all covering the range from serious to light-hearted. And now, with so many activities on hold, they have filled in the gap with COVID Fibre Projects and Sunday Seminars – which is what this post is about.

When guild member Laura Fry started thinking about services the guild could offer while everyone was staying at home, like the rest of the world her mind started Zooming. The more she thought, the further afield her ideas went, until she finally realized that it did not matter where her speakers were, if they were connecting electronically they could be anywhere! And suddenly the guild speakers were coming from all over the world!

In addition to Canada and the US, the list includes speakers from and/or talking about Peru, Guatemala, the Shetland Islands, Borneo, Sweden, Turkey, and more, as well as both current and historic textiles. Or if you are more attracted by luminaries, the list of those yet-to-come includes: Deb Robson, Winnie Nelon, Stefan Moberg, Janet Dawson, Robyn Spady, Diana Twiss, and Christina Petty. It’s like a walk through a living textile museum. The cost is just Can$15 plus tax for non-members, $10 for members, and videos of the programs may be viewed for 30 days after the program is over. Pretty good deal in these non-traveling times, with even more details than one would usually get from a personal visit.

We who work in developing countries are intensely aware of the difference between weaving production for economic survival vs. the luxury of weaving for fun, learning, exploration, and the heART of it. The two are worlds apart, and equally important. Supporting indigenous textile cultures and production is an active goal of WARP, and learning something about the cultures those art forms grow out of is a useful first step. So go to the Prince George Fiber Arts Guild’s website and check it out. You just might want to join!

 

 

 

The Fleece and Fiber Source Book by Deborah Robson and Carol Ekarius takes a deep look at the various sheep breeds and the quality of fiber they produce.  Deborah will talk about Shetland fibers and the isles for her presentation in April

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: www.sancarlosfoundation.org or by writing to Todd Jailer, President and himself a former volunteer: sancarlosfoundation18@gmail.com.

 


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:

https://www.cultura.gob.ar/media/uploads/manta_pasoapaso.pdf – How to apply

https://www.cultura.gob.ar/manta-1600-artesanos-y-artesanas-de-todo-el-pais-beneficiados-en-la-pr-9926/ – Announcement of the winners and some details of the award

https://www.facebook.com/MATRIACulturaNacion/videos/225867389083623 – a thank you from one of the winners, a woman natural dyer

https://www.facebook.com/MATRIACulturaNacion/videos/440001500742317 – 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:

https://www.cultura.gob.ar/media/uploads/manta_pasoapaso.pdf

https://www.cultura.gob.ar/manta-1600-artesanos-y-artesanas-de-todo-el-pais-beneficiados-en-la-pr-9926/

https://www.facebook.com/MATRIACulturaNacion/videos/225867389083623

https://www.facebook.com/MATRIACulturaNacion/videos/440001500742317

 

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.

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: https://www.bbc.com/news/world-middle-east-53668493

For more information about my studio: www.espacefann.com

 

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: https://www.bbc.com/news/world-middle-east-53668493

Para más información de mi taller: www.espacefann.com

 

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.

May

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.

June

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.

August

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.)

September

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!

November

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: https://weavearealpeace.wildapricot.org/events/

December

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.

 

Thanks

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 – sweltwoman@gmail.com

Vice President – Kate Colwell – kcolwell53@gmail.com

Secretary – Sara Lamb – lambspin@gmail.com

Treasurer – Mary Joan Ferrara-Marsland – maryjferrara@gmail.com

At large members – Maren Beck – maren@hilltribeart.com

Philis Alvic – philisalvic@philisalvic.info

Sara Borchert – sara@camphillhudson.org

Administrative Coordinator Extraordinaire – Kelsey Wiskirchen – info@weavearealpeace.org

Newsletter Editor and Sage – Linda Temple – lgtempleok@gmail.com


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.

Mayo

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.

Junio

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.

Agosto

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.)

Septiembre

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!

Diciembre

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.

Gracias

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 – sweltwoman@gmail.com

Vice President – Kate Colwell – kcolwell53@gmail.com

Secretary – Sara Lamb – lambspin@gmail.com

Treasurer – Mary Joan Ferrara-Marsland – maryjferrara@gmail.com

At large members – Philis Alvic – philisalvic@philisalvic.info

Maren Beck – maren@hilltribeart.com

Sara Borchert – sara@camphillhudson.org

Administrative Coordinator Extraordinaire – Kelsey Wiskirchen – info@weavearealpeace.org

Newsletter Editor and Sage – Linda Temple – lgtempleok@gmail.com

 

 

 

 

Spinning and Weaving Week – October 5-11, 2020

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

This may seem a little too fluffy for WARP, but then again, maybe not. In fact, maybe it could be profoundly important for indigenous weaving communities everywhere.

In 1981 the Weaving and Spinning Council sponsored the first National Spinning and Weaving Week. The idea was to promote the crafts among a broader community. The sponsorship migrated, and Spinning and Weaving Week is now a project of the Handweavers Guild of America, promoted by weaving and spinning related businesses and guilds all over North America. The ways in which it is celebrated are as diverse as the local groups doing the celebrating, with all designed to make spinning and weaving more visible. Check out these links to see some of what is planned this year: HGASchacht Spindle Company. Do an electronic search and you will find a lot more.

Spinzilla was for some years another effort designed to support spinners everywhere, creating an international competition for teams of spinners that was both fun and productive on many levels. Dorinda Dutcher brought Spinzilla to her spinners in Bolivia, and you can read about their adventures in their blog: Paza – Weaving Past and Present for a Brighter Future. This is just one of many chapters, plus there is a video documentary about the group on this page.

So other than the fact that many WARP members are spinners or weavers themselves, why is this interesting to us? Dorinda’s experience in animating the artisans is one answer. Another is that while on a very different level, one of the major problems for textile communities in need is that the majority of people, even those who live in close proximity to important textile-producing cultures, still don’t know beans about spinning or weaving, and for that reason they are not even supportive, much less active customers. It would be so much more sustainable if artisans could support themselves in their own worlds, not have to rely on export sales, but very few can. Would it help to have another “excuse” to recognize, celebrate, honor, and in every way make enough noise about the value and importance of textiles to unknowing populations nearby? We know that people are fascinated by looms and spinning wheels, and a weaver in a non-weaving setting almost always attracts a lot of attention. So maybe one key is to get the weavers and their looms, the spinners and their spindles and wheels, to a place where by their very uniqueness they would attract attention, and maybe some new customers. WARP members who are working with textile artisans might be able to do that, and who knows what would percolate from the idea of giving them their own special week? Acorns to oaks?

 


La Semana de Hilar y Tejer – 5 – 11 de octubre, 2020

 

Esto podría parecer no muy importante para WARP – o tal vez podría ser muy importante para comunidades de tejedores indígenas en todos lados.

En 1981, el Consejo de Tejidos e Hilados en los Estados Unidos estableció la primera Semana Nacional de Tejer e Hilar. La idea era promover las artes de tejidos a una comunidad más amplia. Los promotores principales cambiaron sobre los años, y ahora La Semana de Tejer e Hilar es un proyecto de la Gremial de Tejedores de América (HGA), promovido por negocios y gremiales locales en toda América del Norte. Las maneras en la que está celebrada son tan diversas como los grupos locales celebrando, con todos diseñados para hacer el arte de tejidos hecho a mano más visible. Puede chequear estos links para ver un poco de lo que está planificado, y si hace una búsqueda electrónica para Spinning and Weaving Week va a encontrar más: HGASchacht Spindle Company

Spinzilla era otro proyecto diseñado para apoyar hiladores en todo el mundo, creando una competencia de equipos internacionales que era divertida y productiva en muchos niveles. Dorinda Dutcher trajo Spinzilla a sus hiladoras en Bolivia, y se puede leer (en inglés) todo sobre sus aventuras en su blog: Paza – Weaving Past and Present for a Brighter Future. Este link va a una historia de muchas, y también hay un video documental sobre el grupo en la misma página.

Entonces, otra del hecho de que muchos miembros de WARP son hiladoras y tejedoras, ¿por qué nos interés esta semana? La experiencia de Dorinda animando a las artesanas es una respuesta. Otra es que mientras el contexto es muy diferente, uno de los problemas más fuertes para las comunidades de textileros con necesidades económicas es que la mayoría de gente, incluyendo aquellos que viven a la par de las culturas textiles importantes, no saben nada de tejer o hilar, y por eso no sólo no les dan apoyo, tampoco son clientes. Sería bastante más sostenible si los artesanos podrían vender suficiente en sus propios mundos, sin la necesidad de exportar para sobrevivir. Pero casi ninguno puede. ¿Hay una posibilidad que ayudaría para reconocer, celebrar, honrar, y en todas las maneras hacer mucha bulla sobre el valor y la importancia de textiles a una población cerca de personas sin conocimiento o consciencia? Ya sabemos que un telar o una rueca o torno de hilar fascina a casi todos, y una tejedora en un lugar sin tejedoras casi siempre atrae atención. Entonces, tal vez una cosa clave es para poner los tejedores y sus telares, los hiladores y sus ruecas o tornos o malacates o husos, en un lugar donde van a atraer atención, y clientes, solamente porque son tan únicos. Tal vez miembros de WARP trabajando con artesanos de textiles podrían hacer algo así, y ¿quién sabe lo que podría filtrarse de la idea de dar a ellos su propia semana? ¿Bellotas a encinos?

 

 

¡¡SUBASTA!! ¡¡AUCTION!!

We want to tell you about one of those events that can be seen as either A CHANCE TO HAVE FUN while doing good, or A CHANCE TO DO SOME GOOD and have fun too. Which you choose may depend on what you need more in this time of covid laying low. Either way, do join us. Opportunity awaits!

Every year at the Annual Meeting we have an auction of very special textiles donated by members. It is mostly silent but also includes a section that is quite rowdy. The proceeds go to WARP’s general operating fund, which can include supporting WARP programs like Assistantships and Scholarships, among others. In line with previous years, we are hoping to raise at least $5,000.

So what’s in it for you? A chance to go shopping for pretty unique pieces all from the comfort of home – like you’ve been doing for months anyway but cooler stuff! So far we have more than 80 items from at least 17 countries: Mexico, Guatemala, the Navajo Nation, the USA, Tobago, Peru, Bolivia, Thailand, Laos, Indonesia, Japan, India, Bangladesh, China, Uzbekistan, Afghanistan, and Norway for starters. While the majority of the items are textiles, there are also books, documentaries, a custom weaving of the buyer’s choice, two medical consultations for musculoskeletal pain, two looms, a hand-knit sculpture, masks (traditional indigenous and covid), and more. There are pieces both new and previously loved, ranging in value from $20 to $400. The auction program will have photographs of all, and pieces will be shipped from the donors at no cost to the buyers.

The big plus this year is that because the auction will be online, everyone is invited to participate. That means members who would have gone to the meeting in Bozeman last May or will go to Bozeman next summer, other WARP members, and everyone else in the world! So please invite your friends and family, as we are hoping for a great turnout. As this is WARP’s biggest fundraiser of the year, we NEED a great turnout, so at the very least take a look and give us feedback. The auction will be live from September 17 – 20, just four days, but you can start previewing and plotting your strategy on September 10. As with any auction, some items go to the first bidder, others generate a lot of interest and the bidding is lively.

To view the auction preview starting on September 10, and to participate in bidding go to WARP Auction.  (Please note: no items will be viewable on the auction site until September 10. This article provides our first preview of items which will be for sale!) If you have questions, contact Mary Joan Ferrara-Marsland, WARP treasurer, at maryjferrara@gmail.com.

Gloria Davis Memorial Assistantships

Our Assistantships offer financial assistance to allow “simple living” members to attend WARP’s Annual Meeting. There is no age requirement to qualify for this award. In exchange for financial assistance, “Assistants” help at the Meeting or on a committee. What has become the “Gloria Davis Memorial Assistantship Fund” began in 2018 thanks to WARP member Susan Davis’s donation of the Gloria Davis Textile Collection. Susan’s friend, Gloria Davis was an anthropologist who collected the Indonesian textiles over her lifetime of doing field work. Gloria’s textiles are available for sale at WARP’s Annual Meetings, and proceeds from the sale of these textiles benefit the Assistantship fund.

 

Alice Brown Memorial Scholarships

The Alice Brown Memorial Scholarships assist applicants ages 35 and under to attend the WARP Annual Meeting. Preference is given to students or recent graduates, but those pursuing non-traditional career paths related to WARP’s mission are also encouraged to apply. This is a great opportunity for early career individuals to be impacted by what WARP has to offer. In addition to connecting with our members, recipients give a presentation about their work and receive a two-year WARP membership. The scholarship will cover the full registration and housing costs of attending our meeting. Travel costs are the responsibility of the recipient.


¡¡SUBASTA!!  ¡¡AUCTION!!

Queremos contarles sobre un evento que podría ver como UNA OPORTUNIDAD DE DIVERTIRSE y hacer algo bueno, o UNA OPORTUNIDAD DE HACER ALGO BUENO y divertirse al mismo tiempo. Cuál escoge depende en lo que necesita más en este tiempo de QuedateEnCasa. En cualquier manera, por favor ¡únase! ¡La oportunidad espera!

Cada año, en nuestra Reunión Anual, tenemos una subasta de textiles muy especiales, donados por miembros de WARP. La mayoría de la subasta es silenciosa, pero también hay una parte que está muy ruidosa. Los ingresos van a gastos de operación de WARP, lo que puede incluir apoyando los programas de becas para asistir la reunión. Nuestra meta este año es atraer por lo menos $5,000.

Entonces, ¿cuál es la ganancia para usted? La oportunidad de ir de compras para piezas únicas desde el confort de su casa – como ha hecho por meses ahora, pero para cosas muy interesantes. Por el momento tenemos más de 80 artículos de por lo menos 17 países: México, Guatemala, Perú, Bolivia, la Nación Navajo, Los Estados Unidos, Tobago, Tailandia, Laos, Indonesia, Japón, India, Bangladesh, China, Uzbekistán, Afganistán, y Noruega para empezar. Mientras la mayoría de los artículos son textiles, también hay libros, documentales, un tejido hecho a la medida del comprador, dos consultas medicas por Zoom sobre dolores musculo esquelético en inglés o español, dos telares, una escultura tejida con dos agujas, mascaras (tradicional indígena y de covid), y más. Hay piezas nuevas y previamente amadas, con un valor desde $20 hasta $400. La plataforma de la subasta va a tener muchas fotografías de todo, y las piezas van a ser mandadas por los donantes, sin costo para los compradores.

El beneficio más grande este año es que por ser en línea, todos están invitados a participar: los miembros quienes iban ir a Bozeman en mayo o van a ir a Bozeman el año entrante, los miembros que no pueden ir a la reunión, y ¡todo el mundo afuera de WARP! Entonces, por favor invite a sus familiares y amigos porque queremos que mucha gente participe. Por ser la recaudación de fondos la más grande del año, necesitamos muchos participantes, entonces por lo menos por favor mire todo y nos da retroalimentación. La subasta es en vivo desde 17 hasta 20 de septiembre, cuatro días, pero puede tener una prevista y hacer su estrategia empezando el 10 de septiembre. Como con cualquier subasta, unas cosas se venden al primer postor, otras generan mucho interés y la postura es muy animada.

Para ver la Prevista empezando el 10 de septiembre, y inscribirse para participar, toque WARP Auction. Si tiene preguntas, contacte a Mary Joan Ferrara-Marsland, tesorera de WARP: maryjferrara@gmail.com.

 

Photo of 2013 Scholarship Student, Selina Petschek.

Gloria Davis Memorial Assistantships

Nuestras becas ofrecen ayuda financiera que permite miembros de la categoría “vivir sencilla” asistir a la Reunión Anual. Esta beca no tiene requisitos de edad. En cambio por la beca, los asistentes ayudan con la Reunión o en un comité. Este fondo empezó en 2018 gracias a una donación de Susan Davis de la Colección Textil de Gloria Davis. Una amiga de Susan, Gloria Davis era una antropóloga que adquirió textiles de Indonesia durante su vida trabajando en el campo. Estos textiles están en venta en cada Reunión Anual de WARP, y los ingresos de sus ventas van hacia este fondo para becas para asistir.

 

Alice Brown Becas Memoriales

Estas becas ayudan a los solicitantes de 35 años o menos a asistir a la Reunión Anual. Hay preferencia para estudiantes o recién graduados, pero los que están en carreras no-tradicionales que son relacionadas con la misión de WARP también los alentamos para solicitar. Esta es una oportunidad buena para individuos temprano en sus carreras para experimentar el impacto de lo que WARP puede ofrecer. Además que conocer los miembros de WARP, cada recipiente da una presentación sobre su trabajo, y recibe membresía de WARP para dos años. La beca paga su inscripción y costo de hospedaje. El costo de viajar es responsabilidad del recipiente.

Plagiarism and the Power of Travel

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

by Stephanie Schneiderman (adapted from her blog)

Cultural appropriation is a loaded and complex concept. Given the power of social media much discussion is generated, especially when a designer integrates elements deemed to be cultural patrimony into his/her designs.  Global influence on the world of fashion is not new, and should come as no surprise given the beauty and depth of material culture in dress and textiles from many countries. Cuisine, too, has been adopted in cultures they don’t come from. For this, we are enriched and are lucky! Because Wikipedia has done such a good job of discussing cultural appropriation, I am going to borrow from their contribution to the conversation. This is edited, so for more go straight to the source: Wikipedia on Cultural Appropriation

Anthropologie Otomi Printed Fabric Dress

“Cultural appropriation is a concept dealing with the adoption of the elements of a minority culture by members of the dominant culture. It is distinguished from equal cultural exchange due to the presence of a colonial element and imbalance of power. Particularly in the 21st century, cultural appropriation is often portrayed as harmful and is claimed to be a violation of the collective intellectual property rights of the originating, minority cultures, notably indigenous cultures and those who are or were under colonial rule. Often unavoidable when multiple cultures come together, cultural appropriation can include using other cultures’ cultural and religious traditions, fashion, symbols, language, songs, and more.

Some writers on the topic note that the concept is often misunderstood and that charges of “cultural appropriation” are at times misapplied to situations that don’t accurately fit, such as eating food from a variety of cultures or learning about different cultures. Commentators who criticize the concept say that the act of cultural appropriation does not meaningfully constitute a social harm, and that the term lacks conceptual coherence. Some maintain the use of the term appropriated is unnecessarily loaded, and that the term unfairly demonizes well-meaning people who have been labelled as “cultural appropriators”.

Cultural appropriation can involve the use of ideas, symbols, artifacts, or other aspects of human-made visual or non-visual culture. Anthropologists study the various processes of cultural borrowing as part of cultural evolution and contact between different cultures.

We can see that the concept of Cultural Appropriation is complex. Cultures and societies have traded, been influenced by, evolved, borrowed and adopted, since the beginning of time. Each case needs to be considered for intent, power relationships, economics, respect, among many other facets. This leads to a less ambiguous and more tangible concept: plagiarism.

From: Plagiarism.org

Pottery Barn Otomi Copy

“Many people think of plagiarism as copying another’s work or borrowing someone else’s original ideas. But terms like “copying” and “borrowing” can disguise the seriousness of the offense.

According to the Merriam-Webster online dictionary, to “plagiarize” means:

  • to steal and pass off (the ideas or words of another) as one’s own
  • to use (another’s production) without crediting the source
  • to commit literary theft
  • to present as new and original an idea or product derived from an existing source

In other words, plagiarism is an act of fraud. It involves both stealing someone else’s work and lying about it afterward.”

Why it matters

Once we recognize plagiarism, we can ask, Why does it matter? Who gets hurt, who benefits, who loses, why is it wrong and why is it a problem? There are numerous reasons why plagiarism matters and why it is a good idea to be able to recognize it. Recognition can help inform our actions, decisions, purchases, denouncing of rip-offs, and showing respect for a people and culture. If we recognize that a community or ethnic group is being copied by a large corporation, designer, etc., we can choose to not purchase these items, even though they look very appealing and beautiful. These looks do not exist in a vacuum or come from no-where. They are informed by world cultures. This is where “influence” vs. “copying” become relevant and important. In the case of Mexico, a culture that is steeped in creative expression, rich in cultural and ethnographic iconography, designs are often copied. There are well-known cases, a few presented here.

Tlahui Copy: Ororadio.com.mx

The Case of Tlahuitoltepec, Oaxaca

A very public and flagrant case, brought to light by singer-now- Oaxacan Senator Susana Harp, was the copy of the Santa Maria Tlahuitoltepec (Tlahui) blouse design and style by a French designer. Harp, on a visit to Texas, entered a high-end department store and was shocked to see what looked just like the “Tlahui” blusa on the racks. She recognized it because she’s from Oaxaca. She posted it to social media, it went viral, and became the “case” for blatant plagiarism of specific cultural expressions by the fashion world. As the Mixe people were not mentioned, recognized, or remunerated from the “ripped-off” design, there was an outcry and a series of legal actions initiated by the community to protect their design.

 

The Case of San Juan Bautista Tlacoatzintepec, Oaxaca

Clothing Brand Intropia: ViveOaxaca.org
The Chinantec women from San Juan Bautista Tlacoatzintepec: Photos by Stephanie Schneiderman, personal visit to community.

The Case of Anthropologie and Pottery Barn (and MANY others), copying traditional Otomi Designs

Perhaps no design of Mexico has been more plagiarized than the Otomi designs from the Sierra Oriental of Hidalgo, known as “Tenangos”. These designs are well known for their beautiful embroidery of flowers, people and animals, believed to be inspired by the shaman (curanderos) from the communities. Given the charm of these drawings and embroideries, they are ideal targets for imitation. Printed dresses from Anthropologie (a big and habitual offender), and “Made in China” pillows in “Otomi Designs” were being sold in Pottery Barn. (Given public pressure, they were taken off the shelves). These designs are seen printed on plates, dishes, table cloths, and on and on and on.

Travel Can Help

While we cannot and should not travel NOW, travel provides curious travelers the opportunity to visit first-hand, meet the weavers, embroiderers, and authors of the works, see the designs and traditional dress that are being copied. It offers the opportunity to experience and absorb the cultural and natural context of place and people. Following these intercultural visits, travelers have a greater ability to recognize original creations, their designs and iconography. Knowing the original helps contribute to recognizing the imitation. Furthermore, the original is always better than the fake. It looks better, feels better, and it means so much more having travelled to the cultural and natural environment, into the homes and workshops of the artisans. And of course, the most tangible and an important benefit, is that the money goes directly to the artisans. This money often represents the only or most of the household income. Why would anyone want a copy after having the opportunity to see, admire, learn about, and purchase the real thing?

Creating cultural understanding and deep admiration for the creative energy and artistic talent of people around the world, not to mention establishing real friendships, is a big part of cultural and sustainable travel.

For more information on the case of the Otomi designs of the famed “Tenangos” that has been and is SO flagrant and prolific, see my blog and also a shorter version of the story in the next WARP newsletter.

Stephanie Schneiderman lives in Ann Arbor, Michigan, but spends a lot of time in Mexico with her textile friends. Under the name Tia Stephanie (Aunt Stephanie) she has led many cultural tours in Mexico, Guatemala, and Colombia – and will again as soon as it is safe to travel.


El Plagio y el Poder de Viajar

Por Stephanie Schneiderman (adaptado de su blog)

Apropiación Cultural es un concepto muy complejo. Por el poder de los medios sociales hay bastante conversación generada, especialmente cuando un diseñador integra elementos considerados parte de patrimonio cultural en sus diseños. Influencia global en el mundo de la moda no es nueva, y no debería ser una sorpresa cuando toma en cuenta la belleza y profundidad de material cultural en traje y textiles de muchos países. Comidas, también, ha estado adoptada en culturas de las que no vienen. ¡Y qué suerte tenemos y enriquecidas somos! Por el buen trabajo de presentar la idea de apropiación cultural que ha hecho Wikipedia, voy a prestar información de su contribución a la conversación. Esta es una parte pequeña de lo que dice, entonces para más consulte: Apropiación Cultural en Wikipedia. (La versión en español no es exactamente igual a la en inglés, pero las ideas sí.)

Vestido impreso con diseño Otomi en Anthropologie

“Apropiación cultural es un concepto que habla de la adopción de los elementos de una cultura minoritaria por miembros de una cultura dominante. Se distingue de intercambio cultural debido a la presencia de un elemento colonial y desequilibrio de poder. Especialmente en el siglo 21, apropiación cultural frecuentemente es retratada como dañina y se reclama que es una violación de los derechos de la propiedad intelectual colectiva de los originarios, las culturas minoritarias, notablemente culturas indígenas y los que fueron o están debajo de imperio colonial. Frecuentemente inevitable cuando varias culturas se juntan, apropiación cultural puede incluir usando las tradiciones culturales y religiosas, de la moda, símbolos, lenguaje, canciones, y más de una cultura por la otra.

Algunos escritores notan que el concepto puede ser malentendido y que los cargos de apropiación cultural a veces están aplicados en una manera equivocada, a situaciones que no cabe precisamente, por ejemplo comer comida de una variedad de culturas o aprender de culturas diferentes. Comentadores quienes critican el concepto dicen que el acto de apropiación no daña a nadie en una manera importante, que el término carece de coherencia conceptual. Algunos dicen que el uso del término es sobrecargado innecesariamente, y que demoniza injustamente a las personas con buenas intenciones etiquetadas “apropiadores culturales”.

Apropiación cultural puede involucrar el uso de ideas, símbolos, artefactos, u otros aspectos de una cultura humana visual o no-visual. Los antropólogos estudian los varios procesos de prestaciones culturales como parte de la evolución cultural y contacto entre culturas diferentes.”

Entonces podemos ver que el concepto de Apropiación Cultural es complejo. Culturas y sociedades han intercambiado, evolucionado, prestado, adoptado, y sido influenciadas por otras desde el principio del tiempo. Cada caso necesita ser considerado por intención, poder en relaciones, la situación económica, y respeto, entre muchas otras facetas. Esto nos mueve hacia un concepto menos ambiguo y más tangible: el plagio.

Cojines Otomi “Hecho en China” de Pottery Barn

De: Plagiarism.org (sólo inglés)

Muchas personas piensan en el plagio como copiar el trabajo de alguien otro o prestar ideas originales de alguien. Pero términos como “copiar” y “prestar” puede disfrazar cuán seria es la ofensa.

De acuerdo al diccionario en línea de Merriam-Webster, la palabra plagio significa:

  • Robar y pretender que las ideas o palabras de alguien otro son de uno mismo
  • Usar la producción de alguien otro sin dar crédito a la fuente original
  • Cometer un robo literario
  • Presentar como nuevo y original una idea o producto derivado de un fuente ya existente

En otras palabras, el plagio es un acta de fraude. Involucra las dos cosas, robar el trabajo de alguien y mentir sobre el robo después.

Porque Importa

Después que reconocemos el plagio, podemos preguntar, ¿Por qué importa? ¿Quién está dañado, a quién beneficia, quién pierde, por qué es incorrecto, y por qué es un problema? Hay razones numerosas por qué el plagio importa, y por qué es una buena idea  poder reconocerlo. Reconocimiento puede ayudar a informar nuestras acciones, decisiones, compras, denuncias de robos, y evidencia de respeto para un grupo de personas y su cultura. Si reconocemos que una comunidad o grupo étnico está siendo copiado por una corporación grande, un diseñador, etc., podemos escoger no comprar estos artículos, aunque parecen muy atractivos y hermosos. Su aspecto no existe en el vacío, o viene de ningún lugar. Son informados por culturas mundiales. Esto es donde “influencia” vs. “copia” son relevantes e importantes. En el caso de México, una cultura empapada en expresión creativa, rica en la iconografía cultural y etnográfica, diseños son copiados frecuentemente. Hay casos legales bien conocidos. Presento unos acá.

El Caso de Tlahuitoltepec, Oaxaca

Un caso muy público y flagrante llegó a la luz por la cantante-ahora-Senadora de Oaxaca Susana Harp, fue la copia del diseño y estilo de una blusa de Santa María Tlahuitoltepec (Tlahui) por un diseñador francés. Harp, en una visita a Texas, EEUU, entró un almacén grande y de lujo y tenía el golpe de ver lo que apareció como la blusa de Tlahui en venta. La reconoció porque ella es de Oaxaca. Ella la puso en medios sociales y se volvió viral, y en fin era la base del caso del plagio de expresión cultural  específica por el mundo de la moda. Como la gente Mixe no fue mencionada, reconocida, ni pagada en ninguna manera por el diseño robado, fue un grito fuerte y una serie de acciones legales iniciados por la comunidad para proteger sus diseños.

El Caso de San Juan Bautista Tlacoatzintepec, Oaxaca

Marca de ropa Intropia: ViveOaxaca.org
Las mujeres Chinatecas de San Juan Bautista Tlacoatzintepec: Fotos por Stephanie Schneiderman, visita personal a la comunidad.

El Caso de Anthropologie y Pottery Barn (y muchas otras tiendas) copiando diseños tradicionales de los Otomi

Quizás no diseño de México ha estado más victima del plagio que los diseños Otomi de la Sierra Oriental de Hidalgo, conocidos como Tenangos. Estos diseños son bien conocidos por su bordado de flores, personas, y animales, los cuales se cree son inspirados por los curanderos de las comunidades. Dado el encanto de estos dibujos y bordados, son blancos ideales para imitación. Vestidos impresos de Anthropologie (una empresa grande infractora habitual) y almohadas “Hecho en China” con Diseños Otomi fueron vendidos en el Pottery Barn. (Debido a presión del público las quitaron de sus tiendas.) Estos diseños están usados en platos, trastos, manteles, y  sigue y sigue y sigue.

Cojines Bordados de Otomi Tenango y Copias de Diseñadores

Viajar Puede Ayudar

Mientras que no debemos ni podemos viajar AHORA, viajar provee a viajeros curiosos la oportunidad de visitar en primera mano, conocer los tejedores, bordadores, y autores de los trabajos, ver los diseños y traje tradicional que son copiados. Ofrece la oportunidad de experimentar y absorber el contexto natural y cultural de lugar y pueblo. Después de estas visitas interculturales, los viajeros tienen una habilidad expandida a reconocer las creaciones originales, sus diseños e iconografía. Conocer el original contribuye para reconocer las imitaciones. Además, el original siempre es mejor que el falso. Tiene mejor apariencia, se siente mejor, y es más significativo por haber viajado a la cultura y ambiente natural, a los hogares y talleres de los artesanos. ¿Por qué alguien querría una copia después de tener la oportunidad de ver, admirar, aprender, y comprar la verdadera pieza?

Crear entendimiento cultural y admiración profunda para la energía creativa y talento artístico de la gente de todo el mundo, y también establecer amistades, es una gran parte de viajes culturales y sostenibles.

Para leer más sobre el caso de los diseños Otomi de los famosos Tenangos que ha estado y todavía es bastante flagrante y ofensivo, puede ver mi blog (en inglés) y también una versión más breve en el próximo boletín informativo de WARP.

Stephanie Schneiderman vive en Ann Arbor, Michigan, pero pasa mucho de su tiempo con sus amigos textileros en México. Bajo del nombre Tía Stephanie, ella ha guiado muchos tours culturales en México, Guatemala, y Colombia – y va a seguir en el momento que es seguro viajar.