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Fomento Cultural Banamex

I want to thank, on behalf of Fomento Cultural Banamex and my own, the invitation to take part in this forum. The goal of my conference is to emphasize the importance of a fairer and deeper appraisal of folk art, a conviction that I consider UNESCO also holds. Fomento Cultural Banamex.

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Fomento Cultural Banamex

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  1. I want to thank, on behalf of Fomento Cultural Banamex and my own, the invitation to take part in this forum. The goal of my conference is to emphasize the importance of a fairer and deeper appraisal of folk art, a conviction that I consider UNESCO also holds.

  2. Fomento Cultural Banamex Since 1971 its mission has been to stimulate the investment in cultural development, and to promote, preserve, and disseminate Mexican culture. The foundation’s seat in Mexico City.

  3. International Exhibits Fomento Cultural Banamex • ACTIVITIES • • Exhibitions in the Banamex Palace of Culture in Mexico City, national and international venues. • Program of Support for Folk Art • Restoration and conservation of Cultural Heritage. • Publications. USA Mexico City Folk Art Program Exhibitions Publications Restoration Educational services Central America

  4. Fomento Cultural Banamex (FCB) All of our undertakings are based on the following premises: • Respect for all cultural means of expression. • Educational background in all our actions. • Conservation of patrimony. •The endorsement of partners in each project, so that: • - Savings are multiplied through cost-sharing • -Another point of view is obtained, which ensures that work is on the right path. •Activities are conducted throughout Mexico and at key points abroad, depending on the subjects and audiences being dealt with. FCB has supported the Sna Jolobil cooperative (Chiapas), above, and several Yucatan embroiderers, below

  5. THE FOLK ART PROGRAM

  6. Why Folk Art? Because it is an extraordinary and beautiful way of understanding Mexico. We consider Folk Art as a privileged expression of the artistic spirit of the people. In accordance with the objectives of this Forum, we are aware of the fact that cultural industries, especially Folk Art, brim with creativity, an exceptional mixture of tradition and innovation and the pursue of excellence. Folk Art is immersed in a cultural environment full of dynamism and it is a vehicle for economic development and employment, as well as for full human development. Manuela Cecilia Lino, weaver (Hueyapan, Puebla) Bagelia Bautista & Magdalena Flores, embroiderers (Chicontepec, Veracruz)

  7. Why Folk Art? Because it is worth contributing to enhance better life conditions for these exceptional Mexicans. Felipa Tzeek, mat weaver (Nunkiní, Campeche) Celso Camacho, potter (Metepec, Estado de México)

  8. Why Folk Art? 3. Because of the wise advise of Teresa Pomar, the person who probably knows the most about Mexican Folk Art. She is and has been a key figure in this program and has enriched it tremendously. Silver workshop (Itzincab, Yucatán) Hammock weavers (Temozón Sur, Yucatán)

  9. Why Folk Art? • Thanks to Banamex owners and managers since 1991, who have supported the proyect. Mr. Roberto Hernández’s personal and institutional help, by means of the Fundación Pedro y Elena Hernández, deserves a special mention. Sna Jolobil Cooperative embroiderers (San Cristóbal de las Casas, Chiapas) Lino Mora, maskmaker (Naolinco, Veracruz)

  10. The program’s outcome. - It has made many people aware of the importance of Folk Art. - It has given a name and face to each of the great masters. - It has sparked interest in other related programs. María del Refugio Requejo, weaver (Samachique, Chihuahua) Florentina López de Jesús, weaver (Xochistlahuaca, Guerrero)

  11. Why Great Masters? • As in any project, it was necessary to make selections, set limits, and establish concrete objectives. We considered that great masters constitute the core of folk art creation. • In 1995 Mexico was missing a program that regarded these creators as true ARTISTS and that viewed folk art as ART on par with other artistic expressions, and that contributed to the preservation of their unique knowledge. Florentino Jimón and his pottery (Tonalá, Jalisco)

  12. Why Great Masters? • An integral program was conceived; its first goals were: • 1. To gain recognition for Great Masters and preserve their know-how. • To raise the living standards of Great Masters, since many of them lived in extreme poverty. • 3. To spread their knowledge and create new jobs in their communities. María Jesús Nolasco and her Tree of Life (Ocumicho, Michoacán)

  13. Why Great Masters? • A great master is an individual who, based on tradition, reaches outstanding standards. • The Great Masters of Folk Art display superior levels of artistry, technique, and creativity. They express traditional values and images as something contemporary and personal, and they enjoy the acknowledgement of their community. Elena Felipe Félix, potter, working on her house (Huánsito, Michoacán)

  14. Why Great Masters? • •The selection of the program’s beneficiaries was made following a central criterion: to obtain a representative group of the best folk artists of Mexico. This means that we tried to include as many specialties as possible. • •It is worth mentioning that there is an unintentional gender selection; nevertheless, due to the social and occupational structure prevailing in Mexico, women constitute the majority. Skull vessel, Jorge Wilmot (Tonalá, Jalisco)

  15. Why Great Masters?

  16. Why Great Masters? •The commercial development of artisans was and still is, extremely variable, ranging from auto-consumption to professional marketing. •The types of works they create are: • Utilitarian items • Commercial goods • Ornaments • •The ethnic profile of the artisan is mainly indigenous or mestizo. The baker’s ‘calaca’, González Colmenero (Guanajuato, Guanajuato) Alebrijes, Pedro & Felipe Linares (Mexico City)

  17. Structure of the Folk Art Program • -Integral program. • -First phase regarded only Great Masters. Why? • •Their expertise could be a catalyzer for further work. • •The preservation of an exquisite and sometimes endangered cultural heritage was also a top priority. Chiapas Heights Weavers

  18. Structure of the Folk Art Program •A program not bogged down in academic debates; instead, one that began directly with action. •A long term, permanent support (the program has been operating during 14 years). Chiapas Heights Weavers

  19. Structure of the Folk Art Program Work started by determining areas of specialization and master artisans. A first approach intended to achieve: * Balance in the areas * Presence over all 32 federated states of Mexico * Selecting the most outstanding masters in their own specialty, in terms of: - perfection of traditional technique - strength and beauty of their pieces - recognition among their community Coconuts for chocolate (Carving by José Castellanos Rabanales, Villahermosa,Tabasco, Silverwork by Odilón Marmolejo, Mexico City)

  20. Structure of the Folk Art Program The program consisted of four parallel phases of activity: PHASE A. Locate and provide an economic stimulus for 150 Great Masters. Florentina López de Jesús with Queen Sophia of Spain, Madrid, 2001 Prize award in a FONART contest supported by FCB / GMAP

  21. Structure of the Folk Art Program PHASE B. An integral support program. Guideline It is the master, not the program, who determines what his/her greatest needs and interests are. Support actions. • Apprentices training. (Priority: old masters working alone) • Technical support, mechanization of some processes and the acquisition of higher quality raw materials. Villajuana Sisters Hammock Workshop (Euán, Yucatán) Francisco Coronel wiht his new grinding mill (Olinalá, Guerrero)

  22. Structure of the Folk Art Program PHASE B. An integral support program. Support actions (continues). • Improvement of workshop conditions and infrastructure (kilns, mills, etc.). Stock areas. • Expansion of samples of their creations, above all in the textile area: towels, sheets, tablecloths, etc. New display racks, pottery workshop (Santa Fe de la Laguna, Michoacán) Tablecloth made by Bagelia Bautista (Chicontepec, Veracruz)

  23. Structure of the Folk Art Program PHASE B. An integral support program. Support actions (continues). • Packaging and presentation needs. Artisans from more than 10 communities have been provided with liquid plastic packing machines, as well as attractive commercial wrapping. • Accounting guidance. • Marketing support, by teaching them selling skills for different regions and types of shops. Liquid plastic machine, Óscar Soteno Workshop (Metepec, Edo. de México) Latest design of Banamex shopping bags.

  24. Structure of the Folk Art Program *Men and women in the Great Master program are proud of what they have achieved in their creative lives. *They are natural leaders in their communities, and with more strategic and planning tools, they can further develop of their specialties. Speaking: GMAP prize-winner Belén Segura, embroiderer (Subincancab, Yucatán) • “I received a prize of 18.000 pesos.” • “I never thought I would become a great master.” • “I didn’t know if would ever be recognized for my work.” • “Even when I’m rocking my kids in the hammock, I keep working.” • “I’m thankful for Fomento’s support, since it is only through it that all the sacrifices I’ve made have really born fruits.”

  25. Structure of the Folk Art Program PHASE C. Make the great masters worldwide known. Guideline A self-sustaining sales strategy can only be achieved if the pieces are known and appreciated by a broad public. 1)A COLLECTION with exhibiting purposes has been assembled. Nowadays, it consists of more than 9000 pieces. •Since 1998, the collection has been presented in more than 30 venues in Mexico, the United States of America, Europe and the Middle East, exhibiting an average of 800 pieces in each of them. The exhibition has been seen by almost 3 million visitors. The collection exhibited in the Phoenix Museum of Art (2004)

  26. Structure of the Folk Art Program PHASE C. Make the great masters worldwide known. 2) A BOOK, that would spread awareness of the great masters as outstanding creators, was carefully written and designed. •It should serve as a reference tool for both folk art lovers and connoisseurs. •The book was structured focusing attention on the Master Artisans. •Today, we are preparing a SECOND BOOK.

  27. Structure of the Folk Art Program PHASE D. A marketing program. Guideline -Help the Great Masters gain access to better channels to sell their work. Points of sale. - in our store - in nationwide and international commercial fairs - in specialized shops through sale and consignment - in special private sales - in art galleries - in prestiged museum shops

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