Managing Design from a Local Identity Perspective: a Design and Craft Facilitators Training Program. Conducted in Boyacá, Colomba - Dec 2008. A collaboration between Jorge Monaña, Heloisa Crocco, Guillermo Cuellar and El SENA (Alexandra Pinto).

1. A methodology for sustaining artisans and their networks

9. History Boyac á is the state that is known as the altar of Colombia’s homeland. It is here that Sim ón Bol í v ar achieved independence and gave birth to the Republic by wining the battles of Pantano de Vargas and Boyac á Bridge. It is a land of rich green colors. It is the birthplace of the Muisca civilization whose artisans did such extraordinary’ work with gold and emeralds that they gave rise to the legend of "El Dorado." In an environment of corn, potatoes and the Ruana (wool poncho), the pre-Hispanic traditions continue and evolve as they re-define numerous Spanish words to have new meanings. One such word is "sumerc é ," a term of endearment uniquely used among the natives of this region. The indigenous craftsmanship of Boyac á is recognized as one of the most representative of Colombia’s traditions. These caring artisans have succeeded in having their creations transcend their traditional use and become items that are now seen as valued objects in their own right.

11. Managing design from a local Identity perspective: a Design and Craft facilitators training program. This project was conceived and developed for SENA in Paipa, Boyac á . Its goal is to develop artisans’ products and increase revenue potential in self-sustainable ways. The project was a cooperative venture between participants, practitioners and governmental institutions. It was developed with the participation of artisans from 20 municipalities in 11 disciplines, representing most crafts in the state. It was designed to take place in a period of one week, during which participants could develop ideas and explore their vision for future work. The Project

12. Fotos de coordinadores locales Consuelo, Amparo, Sandra, Guillermo, Jorge, Gloria Development Group

13. JORGE MONTANA - Colombia - He is an industrial designer and Coordinator of the Latin American Design Network (Red Latinoamericana de Dise ño) . Jorge has done postgraduate work in design project management. He is currently President of the National Bureau of Design. HELOISA CROCCO - Brazil - She is a plastics artist and designer, who applies wood patterns in her design work. Heloisa is the Coordinator of the Laboratory Piracema of Design (Laboratorio Piracema de Dise ño) . GUILLERMO CUELLAR - United States - He is an educator, artist and group facilitator with a doctorate in organizational development and creative change. Guillermo provides innovative work with a multicultural and multidisciplinary emphasis, based on principles of participatory involvement. He is president of the Center for Creative Consciousness. ALEXANDRA PINTO - Colombia - Industrial designer, Specialist in Market Management. She works for SENA at the Regional Office for Artisan Equity. Coordination

14. Boyac á Project: An experiential pilot program with the aim of bringing together master artisans from the state of Boyac á . It utilizes a mixture of theory and practice through courses, lectures, creative practices and fieldwork experiences supporting mutual learning and healthy dialogues. It took place in the city of Paipa in Boyacá, Colombia. It brought together master artisans and a selected group of SENA instructors, students and faculty from Universidad UPTC, Universidad Nacional de Colombia, and a group of consultants.

15. The workshop preceded with an investigation of the region’s artistic culture and traditions. It involved (1) an interaction with the local community, and (2) a presentation to the artisans on the methodology and philosophy. A pedagogy that values local cultural influences. This occurred though a process of mutual learning and healthy conversations. The experience took place among artisans, practitioners and facilitators. The main objective was the creation of handcraft products with a regionally authentic identity and a fresh perspective.

18. The activities of the week's "Managing Design from the Local Identity Perspective," lead to the creation of a collection of products for the dining table. In this case the dining table was chosen as a prototype for the creation of new product lines. From the beginning, traditional crafts technologies were taken as the point of departure for create new ways to apply and expand those technologies. By doing this, new work habits are created and the technology evolves. The “ fique” (natural fiver), wood, clay, ivory palm, wool, Gallon silk, straw, esparto, coal and metal, were some of the materials used to create the collections.

19. By the end of the workshop, groups of artisans created several collections of products. The products emerged from the artisans’ culture identity, and environment. The products emerged from an interactive dialogue with technical experts in the fields of design, marketing, and professional associations. The product samples were showcased in a new context that validated the integrity of the products’ cultural and environmental legacy. This approach that takes into consideration various aspects such as the product design, brand identity and the artisan’s portfolio. This process opens the way for follow-up and subsequent consolidation of the artisan’s experience in a context that generates new business partnerships. The Living Experience

22. MARIA VERONICA ARAQUE – Argentina - Graduate and lecturer in Visual Arts Thomaz SELLINS – France - A graphic designer and audiovisual producer. He has a video and graphic design production business in France and Spain. GLORIA RODRIGUEZ – Colombia - A graphic designer with experience in teaching artisan communities. Graphic Design Team

25. Image Development The brand image, was developed from the artisans community itself. In the first phase participants developed the symbols most representative of their region. They also selected the name for the collection chosen by a majority. The symbols represent peasants with typical attire of the PA Ñ O LON, RUANA and hat. They represent the relationship commitment of man and woman. The collection titled B o yacá pa'sumerce á reflects popular sentiment and slang phrase that addresses the values of the boyacense’s relationships. It is a symbol of warm and affectionate welcome to visitors.

26. The Complete Image

27. Applications

35. roll loom frame

55. Product Catalogue Product Description Number Price Candle Holder Tagua Salt Shaker Bread Basquet Fruit Basket Coal tagua fique Raw Material clay BO.CA01 BO.TG02 BO.FQ03 BO.AR04

57. RICAURTE Y OCCIDENTE María Bertilda Páez Flor Marina Rivera Emilse Aidee Guevara Díaz Jorge Díaz Yanira Monroy Martha García Puerta Clara Inés Enciso Alberto Rincón Sandra Gómez Juan Cesar Bonilla RICAURTE: Emperatriz Suárez Gloria Isabel Coy Blanca Nubia Coy María Emma Silva Victoria Castellanos Rosa Castro Rodríguez Edelmira Villanueva Jacqueline Roncancio Saúl Varela Fredy Londoño Amparo Albarracín CENTRO Martha Cáceres Juan Carlos Piragauta Héctor Julio López María Clemencia Bernal Aura Luz Piza Alejandra Ticora Rosa Inés Suárez José Ángel Villabona Pedro Camilo Buitrago Amparo tejedor Libia Coy SUGAMUXI Harold Alvarado Jacqueline Ojeda Lubaida Pérez Cecilia Tapias Carlos Pulido Luis Álvarez Derly Molina Martha Álvarez Consuelo Toquica Pedro Leguizamon TUNDAMA Bernarda Becerra Julián Becerra Nazareth Wilches Rosa Corredor Elba Sánchez Berta Cano David Ruiz Wilson Rincón Esperanza Gómez Beatriz Herrera Marcela Avendaño Liliana Becerra Diana Alarcón Alonso Camargo Carol Valencia Diego Añez Ligia Fonseca MARQUEZ Y GUTIERREZ Fabio Muñoz Alexandra Bohorquez Delfina Pedraza Elvia Lopez Yessica Tatiana Hernandez Dora Gomez Romero Marina Bustacara Angelina Sanchez Omaira Manrique Doris Yasmin Gomez Clara Ines Cristancho Artesans © 2008 Laboratorio Piracema en Boyac á, Colombia - All rights reserved . Center for Creative Consciousness