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.

Since 1971 its mission has been to stimulate the investment in cultural development, and to promote, preserve, and disseminate Mexican culture.

Fomento Cultural Banamex

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The foundation’s seat in Mexico City.

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.

Fomento Cultural Banamex

USAUSA

Central AmericaCentral America

Mexico City

InternationalExhibits

Folk Art ProgramFolk Art Program

ExhibitionsExhibitions

PublicationsPublications

RestorationRestoration

Educational servicesEducational services

• 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.

All of our undertakings are based on the following premises:

Fomento Cultural Banamex (FCB)

FCB has supported the Sna Jolobil cooperative (Chiapas), above, and several Yucatan embroiderers, below

THE FOLK ART PROGRAM

Why Folk Art?

1. Because it is an extraordinary and beautiful way ofunderstanding Mexico. We consider Folk Art as aprivileged 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 ofdynamism 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)

Why Folk Art?

2. Because it is worth contributing to enhance better lifeconditions for these exceptional Mexicans.

Felipa Tzeek, mat weaver (Nunkiní, Campeche) Celso Camacho, potter

(Metepec, Estado de México)

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.

Why Folk Art?

Silver workshop (Itzincab, Yucatán)

Hammock weavers (Temozón Sur, Yucatán)

4. 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.

Why Folk Art?

Sna Jolobil Cooperative embroiderers (San Cristóbal de las Casas, Chiapas) Lino Mora,

maskmaker (Naolinco, Veracruz)

- 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)

The program’s outcome.

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)

An integral program was conceived; its first goals were:

1. To gain recognition for Great Masters and preserve their know-how.

2. 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.

Why Great Masters?

María Jesús Nolasco and her Tree of Life (Ocumicho, Michoacán)

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.

Why Great Masters?

Elena Felipe Félix, potter, working on her house

(Huánsito, Michoacán)

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•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.

Why Great Masters?

Skull vessel, Jorge Wilmot (Tonalá, Jalisco)

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Artisans taking part in the program (2008)[grouped by age and sex]

0 10 20 30 40 50 60

15 - 20

21 - 25

26 - 30

31 - 35

36 - 40

41 - 45

46 - 50

51 - 55

56 - 60

61 - 65

66 - 70

71 - 75

76 - 80

81 - 85

Age unspecified

No data av.

Men Women No data available

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.

Why Great Masters?

The baker’s ‘calaca’, González Colmenero (Guanajuato, Guanajuato) Alebrijes, Pedro &

Felipe Linares (Mexico City)

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.

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Chiapas Heights Weavers

•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).

Structure of the Folk Art Program

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Chiapas Heights Weavers

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

Structure of the Folk Art Program

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Coconuts for chocolate (Carving by José Castellanos Rabanales, Villahermosa,Tabasco, Silverwork by

Odilón Marmolejo, Mexico City)

The program consisted of four parallel phases of activity:

PHASE A. Locate and provide an economic stimulus for 150 Great Masters.

Structure of the Folk Art Program

Florentina López de Jesús with Queen Sophia of Spain, Madrid, 2001

Prize award in a FONART contest supported by FCB / GMAP

PHASE B.An integral support program.

GuidelineIt 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 someprocesses and the acquisitionof higher quality raw materials.

Structure of the Folk Art Program

Villajuana Sisters Hammock Workshop (Euán, Yucatán)

Francisco Coronel wiht his new grinding mill (Olinalá, Guerrero)

PHASE B.An integral support program.

Support actions (continues).

• Improvement of workshop conditions andinfrastructure (kilns, mills, etc.). Stock areas.

• Expansion of samples of their creations, above all in the textile area: towels, sheets, tablecloths, etc.

Structure of the Folk Art Program

New display racks, pottery workshop (Santa Fe de la Laguna, Michoacán)

Tablecloth made by Bagelia Bautista (Chicontepec, Veracruz)

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.

*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.

•“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.”

Structure of the Folk Art Program

Speaking: GMAP prize-winner Belén Segura, embroiderer (Subincancab, Yucatán)

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Structure of the Folk Art Program

PHASE C.Make the great masters worldwide known.

GuidelineA 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)

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.

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