The “umgcwembe” meaning “partaking plate” is the shallow wooden bowl that is the most traditional eating utensil in Swaziland.  Early in the morning, men go to the forest to chop down the kiard tree using axes—and, by law, they replant the minor branches.  The basic form is carved using a hacking saw while the wood remains fresh, and the piece is buried in sawdust to slow drying.

A smaller knife is used to fine-tune the shape, and the bowl or platter is left to dry in the shade, then sanded to smooth the finish. The bottom of the bowl is charred with a hot iron bar, and the top is polished by using a large coca-cola bottle to burnish the wood. In this way, the wood is made watertight.  Something that appears as simple as a bowl can have symbolic and ritual meaning—such is the case with the “umgcwembe”.  It is given by fathers to brides, buried with the dead, and even used by polygamous men to indicate the chosen wife for a particular night.

Called “sitja” in Siswati, the local language, the sisal baskets are hand-woven by rural women in the kingdom of Swaziland, South Africa. Spun-dyed sisal is coiled around basket grasses in the Nguni coil-work style. Baskets range in size from six to sixteen inches and have an extensive range of colors with earth tones the most dominant. The most traditional bowl is made using different tree barks with a hint of sisal in browns and cream. Patterns derive from three basic shapes, each with specific symbolism. The triangle represents the rays of the sun in different seasons. The diamond signifies wealth, prosperity and the fullness of life. The spiral denotes an impending storm or the autumn wind.

Each piece is made by an individual artist. Some of the earliest remaining pieces are over 100 years old and the tradition is carried on by artists who learn from their mothers or from the local cooperatives they join to learn the craft. Traditionally, the pieces were made two times a year for Christmas and Easter, however, in current times artisans make these to sell all year long. It is now the fashion to decorate homes using the very colorful pieces which are appreciated by Polish and tourist buyers alike.

Ceramics have been produced in Boleslawiec since the mid 17th century.  Today these are incorporated into unique (signed) limited edition pieces produced by Ceramika Artystyczna cooperative. In the last 10 years the designs of Boleslawiec pottery has changed considerably. In the past the dsigns were German influenced but today they are distinctly Polish design and taken from numerous cultural foloral and geometric embroidery deisgns from all over Poland.

Introduced by Portuguese settlers, the craft of lace-making is now a way of life, an expression of cultural identity and a means of survival for the Xukuru Tribe in Pernambuco, Brazil.  The women who make this delicate lace continue the time-honored tradition of creating fine Labyrinth, Renaissance, and Bobbin laces, yet they can barely sustain their families.

Handeira Linens & Lace is leading an economic sustainability initiative to represent these artists Founded by Brazilian-born Ilma Paixao, now a fellow at MIT, Handeira’s sales provide invaluable support to Xukuru communities as they struggle against outside aggression, government indifference, and lack of water resources. 

Rubia, a nonprofit organization, was founded in response to a critical need to create economic opportunities for Afghan refugee women and provides an opportunity for self-support and preserving embroidery skills practiced for generations.

Rubia is committed to working in the old ways with natural fibers, plant dyes and designs rooted in Central Asia that reflect diverse geographical and textile traditions from the various regions. All work is hand-sewn from locally produced products such as Kabul-woven cotton, handspun and hand-loomed cotton, silk threads and donated yarns. 

Malika’s Kantha Collection is a nonprofit cooperative that allows Indian women to access a national and international market for textiles based on nakshi kantha, a centuries-old, simple way of handling fabric.
For years, West Bengal women from poor and middle-class homes would overlay and rework bits of cloth from worn clothing, using a simple running stitch to create mats, baby wraps and blankets. The practice lagged as printed materials were introduced, but the cooperative reinvigorated the art by using contemporary colors, geometric patterns and luxury textiles.

Cooperative founder Shamlu Dudeja popularized kantha amongst Indian designers and elite, urban women. The products include bedspreads, cushion covers, curtain lengths, table linen often decorated with beautiful village scenes. Dudeja feels that the women’s deep involvement in culture and their central role in religious festivals allow them to develop highly artistic sensibilities that find expression in their handiwork.

The Rehwa society has helped to preserve and revive a centuries-old tradition of handloom weaving particular to the town of Maheshwar.  Thirty years ago, this rich tradition was in danger of disappearance as community members began to leave their looms and the village itself, no longer able to find markets for their textiles.  Since 1978, the Rehwa society has not only revitalized the practice of handloom weaving, but has sought to empower local women and to provide healthcare, housing and education for the community in the process.  Today there are nearly two thousand weavers in Maheshwar producing scarves, shawls, stoles and sarees in a manner learned by watching family members.  These textiles adapt traditional style, texture, colors, geometric patterns, and weaving techniques to novel forms.

Jewelry making has held a prominent place in Uzbek arts since the 19th century, and Alisher’s family has contributed to the tradition for generations. Alisher reproduces classic old designs for both men and women using methods learned from his grandfather: wire drawing, engraving, granulation, filigree work, stamping and enameling. He has exhibited in Russia, England, Germany and France and belongs to several artisan associations in Uzbekistan.