The Museum of International Folk Art just posted a news release listing the ten cooperatives that will be part of the upcoming exhibition titled Empowering Women: Artisan Cooperatives That Transform Communities. The Cherry Buttons Cooperative of Sefrou, Morocco, is honored to be part of a remarkable group of cooperatives that are making a difference in their respective communities. Amina Yabis, the cooperative's president, said that she is looking forward to sharing her story and learning from others.
Amina's desire to learn was one of the main reasons why I decided to work with her coop. When other associations or cooperatives approached me for money or equipment, she asked me to help her improve the marketing of her coop. She felt that new ideas and new connections would be worth more than any grant I could bring. She is well aware of the Peace Corps goals, which are more about providing new ideas and technical training rather than hard dollars.
The first volunteer Amina worked with back in 2000 provided organizational development assistance that helped her association and cooperative take root. Another volunteer came shortly thereafter and helped her streamline her production and diversify her product line. Later, a group of volunteers from the region pitched an idea of a young girl's empowerment camp and Camp GLOW (Girls Leading Our World) was born.
When I arrived nearly two years ago with my broken Arabic and unsure as to what I would do or who I would be working with, Amina welcomed me to her home, introduced me to her family, friends, coop members, and invited me to her home numerous times for some hearty home-cooked meals. She made me feel at ease and her family made me feel as another member of the family. Also, it did not matter that my attempts at Arabic sounded like gibberish. If we needed to speak in a mishmash of French and Arabic, then that's what we would do. Communication was the goal whether it was verbally or non-verbally. That's the true essence of what we Peace Corps volunteers call a sympathetic interlocutor.
Over the last year, we set out to improve the marketing of her coop. We set up a website/blog prior to her trip to the Santa Fe International Folk Art Market (SFIFAM) last year, http://cherrybuttonscoop.wordpress.com. Some of my friends from the U.S. and Europe traveling through Morocco as well as other PCVs passing through Morocco´s shamal (north) came to take professional photographs of her products and her coop. Fouzia Chkar, a superb translator by trade, worked with me to produce the French language version of the coop' website, http://boutonsdecerises.wordpress.com. We engaged in a number of product development exchanges with U.S. textile vendors that have not panned out as of yet, but have taught us a great deal about what other markets are seeking and what we need to do before proceeding with any major exporting opportunity. A product catalogue is in the works. I will also begin training a few cooperative members on the basics of digital photography, Wordpress web development, customer service, and marketing. Inchallah (God willing), before I take off late this year and hand over projects to the next volunteer, the cooperative will be able to launch their catalogue, maintain it and update it, post updates on the blog section of their site, and begin to generate domestic as well as international sales.
This invitation to the museum exhibition is a testament to the hard work of Amina Yabis and the ladies of the cooperative. It all began with an idea to bring equity to the marketplace for the women of the Sefrou region. The women were the primary producers of a fine handicraft, but middlemen rather than the women were the primary beneficiaries. In just over ten years, it has opened many doors of opportunity for many women who have come to her cooperative to learn to weave on a variety of looms, to dye wool, and have benefited from the exchange of ideas in other Peace Corps and NGO-sponsored workshops. With the skills and a renewed sense of confidence, Amina and several coop members have ventured out of the home and traveled hundreds of miles to major craft fairs in Marrakesh, Casablanca, and Fez. Today, the coop is considered a model women's cooperative in Morocco and is showcased as such by the Regional Delegation of Artisana of Sefrou.
I want to thank the many volunteers, foundations, government and non-governmental organizations, individual donors, and the amazing staff of the Santa Fe International Folk Art Market and the Museum of International Folk Art that have given so much of their time and resources to create these amazing opportunities. A big thanks to Dr. Suzanne Seriff for her patience in working with Amina and me and for her dedication to the project. Thanks to all.
Please take a moment to read through the museum's latest release for more information on the extraordinary stories that will be told at the museum's exhibition opening.
Amina's desire to learn was one of the main reasons why I decided to work with her coop. When other associations or cooperatives approached me for money or equipment, she asked me to help her improve the marketing of her coop. She felt that new ideas and new connections would be worth more than any grant I could bring. She is well aware of the Peace Corps goals, which are more about providing new ideas and technical training rather than hard dollars.
The first volunteer Amina worked with back in 2000 provided organizational development assistance that helped her association and cooperative take root. Another volunteer came shortly thereafter and helped her streamline her production and diversify her product line. Later, a group of volunteers from the region pitched an idea of a young girl's empowerment camp and Camp GLOW (Girls Leading Our World) was born.
Over the last year, we set out to improve the marketing of her coop. We set up a website/blog prior to her trip to the Santa Fe International Folk Art Market (SFIFAM) last year, http://cherrybuttonscoop.wordpress.com. Some of my friends from the U.S. and Europe traveling through Morocco as well as other PCVs passing through Morocco´s shamal (north) came to take professional photographs of her products and her coop. Fouzia Chkar, a superb translator by trade, worked with me to produce the French language version of the coop' website, http://boutonsdecerises.wordpress.com. We engaged in a number of product development exchanges with U.S. textile vendors that have not panned out as of yet, but have taught us a great deal about what other markets are seeking and what we need to do before proceeding with any major exporting opportunity. A product catalogue is in the works. I will also begin training a few cooperative members on the basics of digital photography, Wordpress web development, customer service, and marketing. Inchallah (God willing), before I take off late this year and hand over projects to the next volunteer, the cooperative will be able to launch their catalogue, maintain it and update it, post updates on the blog section of their site, and begin to generate domestic as well as international sales.
I want to thank the many volunteers, foundations, government and non-governmental organizations, individual donors, and the amazing staff of the Santa Fe International Folk Art Market and the Museum of International Folk Art that have given so much of their time and resources to create these amazing opportunities. A big thanks to Dr. Suzanne Seriff for her patience in working with Amina and me and for her dedication to the project. Thanks to all.
Please take a moment to read through the museum's latest release for more information on the extraordinary stories that will be told at the museum's exhibition opening.
Museum of International Folk Art
The ten women's cooperatives in the exhibition
EMPOWERING WOMEN: ARTISAN COOPERATIVES THAT TRANSFORM COMMUNITIES
(Santa Fe, NM, June 11, 2010)-Ten women's artisan cooperatives will be represented in the Museum of International Folk Art's Gallery of Conscience inaugural exhibition, Empowering Women. These co-ops are from Swaziland, South Africa, Nepal, Lao PDR, India, Peru, Bolivia, Morocco, Kenya, and Rwanda. You may read more about the exhibition here.
Swaziland: Phez'kwemkhono Bomake-Ncheka Cooperative
Today more than 50 local women work in the cooperative making baskets to earn money for their families and to provide support for the community's many AIDS orphans. Their earnings have transformed the lives of hundreds of AIDS orphans funding education, clothing, a soup kitchen, medicine, home-base care for the bedridden, and hospital services.
South Africa: Mapula Embroidery Project
With embroidery members of this collective call attention to the joys and hardships of their homeland. Scenes range from the nostalgic depicting animals and village life to current issues such as crime, AIDS, unemployment, to alcohol addiction. Maria Rengane, founder of the Mapula (Mother of Rain) Embroidery Project said; "I would like to spend all of the years of my life helping communities do things like this project for themselves. This is how you build a strong successful nation."
Nepal: Janakpur Women's Development Center
The women of the Mhathili culture were renowned for painting designs on the mud walls of their village homes for weddings, festivals, and other special occasions. When Claire Burkett, a New England college graduate arrived in the Nepalese lowlands in 1989, she thought if the women painted their beautiful, spontaneous images onto handmade paper, they could be sold to an outside market, and increase their socio-economic status. Today, more than forty women travel daily to the Janakpur Center, a huge step for women who were not allowed to leave their homes.
Lao PDR: OckPopTok
Ten years ago this coop was founded by a London fashion photographer and the daughter of a master weaver from the Mekong region of Lao Peoples Democratic Republic. OckPopTok means "East Meets West." OckPopTok has grown from a one-room weaving studio for local weavers to an internationally recognized heritage destination, gallery, retreat center and women's weaving collaborative for more than 200 artisans in three provinces and seven villages. This cooperative is as likely to sell wall hangings inspired by Mark Rothko as the traditional skirts woven with Laotian motifs.
India: Self-Employed Women's Association Trade Facilitation Center
SEWA includes more than 3,500 artisan shareholders in 80 villages in India's western state of Gujarat. The women - all skilled home-based embroidery and textile artisans - are the producers, managers, and owners of their collective livelihood. The women run every phase of the business and their success has translated into building a legacy of respect where previously they were known either by their father's or husband's name and are now known by their given name - part of the tradition these women want to pass on for their daughters.
Peru: Centro de Textiles Tradicionales del Cusco
Hand-woven textiles in the Peruvian Andes are an important social and ethnic marker and a significant part of the cultural heritage of the region. Nilda Callanaupa, granddaughter of a master weaver who herself was weaving by age seven, founded this coop in 2005 to preserve traditions that were dying out. Today the CTTC is in nine regions of Peru, each supporting its own cooperative structure and a state-of-the-art museum of Andean textiles and a weaving training center, the CTTC in Cusco has become a destination for tourists and community members alike.
Bolivia: Cheque Oitedie Cooperative
The 45 women in this cooperative plant and harvest the bromeliad and produce and market hand-woven and dyed fiber bags to an international market. The group's sales amount to more than 60% of the total community income and now they manage a collective bank account for the first time.
Morocco: Women's Button Cooperative of Sefrou
Amina Yabis, a typical Moroccan Muslim housewife and mother of four boys ran unsuccessfully for public office in 1997. This left her with a clear realization: women needed first to have access to the cash economy to be successful in public life. Over the next few years Amina organized more than 400 women from her province into a craft association called Golden Buttons. Economic success led to the formation in 2000 of the Women's Button Cooperative of Sefrou, a for-profit cooperative that was the first of its kind organized by women. The cooperative has ventured into other crafts and training programs to expand opportunities for Moroccan women for successful engagement in public life.
Kenya: Umoja Uaso Women's Group
The beginning of the Umoja Uaso Women's Group in Kenya was not about art. It was about survival. Rebecca Lolosoli and 16 other home-less women founded the village of Umoja Uaso in 1990 as a refuge fro Samburu women who ere victims of rape, beatings, forced marriage, genital cutting, and other violent domestic crimes. Umoja, which means "unity" is now a safe have for women and girls fleeing abuse. The women of Umoja sell their tribe's elaborately beaded jewelry and crafts, both traditional and contemporary, to provide for themselves and their children. They have established a sickness and disability fund, a community center, and a school for their children.
Rwanda: Gahaya Links Cooperative
In 100 days of explosive ethnic violence in 1994, Rwandan Hutus murdered some one million Tutsis and moderate Hutus, leving hundreds of thousands of widows and orphans. Ephigenia Mukantabana lost 65 family members but has forgiven her family's killer and now works side-by-side the imprisoned man's wife as fellow members of a basket-weaving cooperative. Beginning with 20 women the company has now grown to a network of more than 4,000 weavers across the country, organized into 52 cooperatives. Ephigenia credits teaching her art to both Hutus and Tutsis as the balm that restored her shattered life. She says; "Art heals the hopeless soul. Weaving is hope for tomorrow."
Media Contacts
Suzanne Seriff, Ph.D
Sr. Lecturer, Dept. of Anthropology,
University of Texas at Austin
Guest Curator, "Empowering Women: Artisan Cooperatives that Transform Communities"
seriff@aol.com
512 459-3990
Sr. Lecturer, Dept. of Anthropology,
University of Texas at Austin
Guest Curator, "Empowering Women: Artisan Cooperatives that Transform Communities"
seriff@aol.com
512 459-3990
Steve Cantrell, PR Manager
505-476-1144
505-310-3539 - cell
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The Museum of International Folk Art houses the world's largest collection of international folk art, with the ongoing exhibition Multiple Visions: A Common Bond in the Girard Wing. Changing and traveling exhibitions are offered in the Bartlett Wing and exhibitions highlighting textiles are featured the Neutrogena Wing. Lloyd's Treasure Chestoffers visitors interactive displays about collections and how museums care for collections.
