Bringing artisans together and getting out of the way

Ampiyacu skill-sharing workshop. Photo by Campbell Plowden/CACE

Ampiyacu skill-sharing workshop. Photo by Campbell Plowden/CACE

One of CACE’s most successful programs working with artisans in the Ampiyacu River region has been to organize skill-sharing workshops where five or six veteran artisans show other artisans how to make a new special kind of handicraft.  While these workshops have steadily increased the number of native artisans who know how to make CACE’s best-selling models of hot pads, belts, guitar straps, and Christmas tree ornaments, we and our partners recognize that they also needed to become better organized to fully use this growing capacity to make and sell more high-quality crafts.

We did done some leadership training workshops with the Field Museum in 2014, but progress in this area has been slow.  I had told the Ampiyacu native artisans about several groups of campesino artisans along the Tahuayo River that had successfully formed associations and a community enterprise to improve their craft sales, and they seemed enthusiastic about meeting them to learn from their experiences.

Chino artisan Sartia with chambira basket. Photo by Campbell Plowden/CACE

Chino artisan Sartia with chambira basket. Photo by Campbell Plowden/CACE

While CACE has focused a lot of resources organizing workshops and other activities in the Ampiyacu, our relationship with the Tahuayo communities has been much simpler.  I have visited the village of Chino once or twice a year since 2008 to buy the beautiful chambira baskets they make primarily to sell to visitors from a nearby tourist lodge operated by Amazonia Expeditions (AE).  We have also worked with them to develop a colorful line of woven frog Christmas tree ornaments.

Exiles with new bathroom for Chino school. Photo by Campbell Plowden/CACE

Exiles with new bathroom for Chino school. Photo by Campbell Plowden/CACE

As CACE has sold products made by the Chino artisans, we have regularly returned part of our profits to support local development needs. Unlike the Ampiyacu where discussions about the use of this social rebate have often been contentious, Chino village meetings have openly discussed all ideas presented, and quickly and amiably reached consensus about the best way to use the funds available.  These projects have included buying new desks and building a new bathroom for the school, buying medicines for the village pharmacy, and providing food for work parties to care for chambira palms used to make woven crafts.  When I asked Estelita, the president of the Chino artisan association whether I could bring along a few guests from the Ampiyacu on my next visit, she readily agreed.

Our two Ampiyacu artisans were Liz C., president of FECONA – the federation that represents the 15 native communities in the Ampiyacu watershed and Segundina, a savvy artisan chosen by 20 Bora artisans from Brillo Nuevo to represent them during this artisan exchange trip.  We left Iquitos early on a Saturday morning on a speed boat belonging to the Rainforest Conservation Fund (RCF) – an NGO partner that has been working to improve forest and human health in the Tahuayo region for many years.  Our drivers were RCF staffers Gerardo and Exiles who coordinate RCF community programs to reforest depleted populations of aguaje palm trees and train people to climb the trees with harnesses to collect their popular fruits rather than cut them down.

We bought some extra gas and water in the town of Tamshiyacu and passed the small lancha that takes 10 to 12 hours (instead of our four) to ferry local residents, bags of charcoal, sacks of aguaje and camu camu fruits and crates of fish from Tahuayo villages to market in Iquitos.  We briefly stopped once more at the village of Buena Vista where fellow American Matt (a student working with RCF) and I checked in with the police manning the official entry point to the Tamshiyacu-Tahuayo Regional Conservation Area.  We arrived in Chino in the early afternoon and were distressed to find that our host Estelita was laying sick in her hammock barely able to speak.  The other artisans assured us, however, that we were welcome.

Campbell inspecting chambira baskets in Chino. Photo by Matt VanderMolen/CACE

Campbell inspecting chambira baskets in Chino. Photo by Matt VanderMolen/CACE

After getting settled in the guest house formerly operated by RCF two minutes upriver, we returned to Chino to inspect the group of baskets that the Chino artisans had made to fill the CACE order.  In the past I had bought all of my baskets there at a “feria” – a fair where every artisan in the cooperative would place all of the crafts she had available for sale on a table in front of her.  This is the way that they also sell their products to tourists visiting from the AE lodge.  I had bought over 400 baskets with unique designs this way, but I had found that the styles and quality of baskets had changed a lot from visit to visit over the past eight years.  Sometimes for better; sometimes for worse.  In order to develop a reliable supply of consistent quality baskets, I had sent photos of 32 models of baskets that we have sold asking the artisans to make one to three more of these specific designs.

The artisans had readily complied with our request to make more medium and small baskets since our customers had continued to admire but had been buying fewer of the more expensive large ones.   I had also asked the artisans to make the baskets using the same colors as the models showed in the photos without using the seeds they used in the past to use to adorn the baskets since they might harbor insect pests.  The seeds of “ojo de vaca” (cow’s eye) had a large deep brown center with a black rim.  Huayruru seeds were naturally orange with a black patch in one corner of their oblong shape.  Rosario seeds were a medium-sized grey pearl, and achira seeds were small black spheres.  These seeds were readily available, cheap, and had distinct shapes, sizes and colors that provided beautiful accents to the woven chambira baskets.  As I began to inspect the new baskets, I immediately spotted a big problem.  Finding good substitutes for the seeds had proven more challenging than I thought.

Chambira basket with ojo de vaca, huayruru and rosario seeds. Photo by Campbell Plowden/CACE

Chambira basket with ojo de vaca, huayruru and rosario seeds. Photo by Campbell Plowden/CACE

Chambira basket with wooden beads. Photo by Campbell Plowden/CACE

Chambira basket with wooden beads. Photo by Campbell Plowden/CACE

Some artisans in the Tahuayo have gotten used to using wooden and other types of beads to finish their baskets for a separate export channel, so I didn’t think it would be a problem to do the same for our order.  The Chino artisans, however, had just made due with whatever beads they had on hand to complete the CACE order in three weeks.  I learned that these beads were not cheap and were difficult or impossible to buy in Iquitos.  Some of the beads the artisans used were beautiful matches; others led to horrible clashes of colors and poor fits in open spaces.

I was still feeling weak and sick from my second trip to the Ampiyacu so I welcomed Segundina’s help to figure out how to handle this challenge.  In this situation, some buyers simply say “this order is rejected because these products don’t meet our specifications.”  We have worked hard, however, to establish trust in our relationships with our artisan partners.  We acknowledge that while their job is to make quality crafts; CACE needs to recognize their reality which sometimes means admitting that we have asked them to do something that just wasn’t possible.  We all need to be flexible and figure out the best solution available.

Segundina giving pointers to Pilar about basket color and finish. Photo by Campbell Plowden/CACE

Segundina giving pointers to Pilar about basket color and finish. Photo by Campbell Plowden/CACE

In this case, I was fortunately able to offer some useful resources because I had stopped in Lima on my first day in Peru.  After an exhaustive search of a market area focused on craft-related products, I had found one shop that sold a wide variety of painted wooden beads and huassai seeds (not a kind that hosts any insects).  They were out of several colors that I had wanted, but I had at least been able to bring a good assortment of medium-sized colored beads to Chino.

Segundina and I inspected all 70 baskets and placed them into one of three piles: acceptable, acceptable if the beads were changed, and not acceptable if the chambira weaving or color was too poor to fix.  Segundina asked Romelia, “Do you have any more of these large tagua beads?  They would nicely accent the orange ring in this basket.”  She asked Rosa, “Could you replace these pink beads with purple ones in these middle rows – they would go really well with the violet center of the basket.”  She patiently explained to Pilar, “Your weaving is good, but the intensity of the color needs to be a lot stronger.”  What amazed me and Segundina was that while she had come to Chino as an outsider to observe and learn, the Chino artisans readily recognized her as a fellow artisan with a keen eye and welcomed her suggestions for ways they could improve their work.

Flooded "chacra" (farm field) at Chino. Photo by Campbell Plowden/CACE

Flooded “chacra” (farm field) at Chino. Photo by Campbell Plowden/CACE

The Ampiyacu artisans soon got to see and hear how the Chino artisans have persisted through many tough times, particularly the ebb and flow of visiting tourists and river levels.  The flux in tourism produces alternating seasons with good income and almost no income from craft sales.  Extreme floods in these villages have sometimes killed most of their chambira palm trees and farm crops.   Some artisans have left the village so their families could seek more income or better education for their children in the city. The Chino artisans have survived simply because they have learned to trust each other, work together, and have the support of their whole community.

Romelia sewing in new beads to basket. Photo by Campbell Plowden/CACE

Romelia sewing in new beads to basket. Photo by Campbell Plowden/CACE

Estelita rallied from her hammock to share the history of the Chino artisans with their new friends from the Ampiyacu.  “Long ago we had a few women who had learned how to weave chambira in other places, but Dolly (co-owner of the AE lodge) inspired us to learn how to make baskets the tourists would like and to get organized.  We worked with the name “Huacamayo (macaw) Association” for a long-time, but when we decided to formally register our group, this name was taken, so we are now officially called, “Manos Amazonicos” (Amazon Hands).  In the beginning, some of our husbands seemed threatened by the idea of women working together and potentially making more money than them.  Fortunately, this has now completely changed.  The men in Chino recognize that selling crafts generates a very important source of income for the whole village.  Everyone also appreciates that selling crafts to CACE has helped our school and other things in our community.”

Milda from Puca Urquillo with woven hot pads. Photo by Campbell Plowden/CACE

Milda from Puca Urquillo with woven hot pads. Photo by Campbell Plowden/CACE

Later in the evening, I showed the Chino artisans pictures of the diverse crafts that the Ampiyacu artisans have been making with us.  Norma remarked, “Wow, those placemats are beautiful!  I bet making a belt so straight is not easy.”  Liz and Segundina nodded in agreement.  Madita said, “I’ve made a few bottle carriers before, but they haven’t sold so well.  Now I think I know how to make them better.  I’m sure the tourists who visit here will love them!”  After closely watching the Chino artisans make baskets all day, Segundina said, “When I go back to Brillo Nuevo, I’m going to try making a basket adapting the base of a hot pad.  I don’t need to copy the patterns here – I’ve got my own ideas.”

 

I had been reluctant to share images of one community’s unique crafts with artisans from another region for a long time because I had thought it was important to respect each community’s creativity.  I learned during this trip that while my desire to respect each group’s intellectual output was well-intentioned, trying to keep these groups a part was restricting their collective creative potential.

Chambira basket with etched bird calabash pod center. Photo by Campbell Plowden/CACE

Chambira basket with etched bird calabash pod center. Photo by Campbell Plowden/CACE

This visit not only sparked ideas for ways that each group of artisans might improve their respective crafts but generated a proposal for a collaborative handicraft project.  In the past, a few Chino artisans have etched wildlife figures onto calabash pods that have been woven into the center of baskets.  They were great when done well, but many baskets which were beautifully woven seemed spoiled when their centers were adorned with mediocre carvings.

While committed weavers could improve their carving, they are unlikely to get as much practice refining this craft as the handful of Ampiyacu artisans who are now producing hundreds of gorgeous carved calabash pod ornaments with a range of Amazon birds, mammals, frogs and fish for CACE.  We will now ask these carvers to see if they would like to produce four to five inch wide carved pieces that Chino artisans can sew into some of their chambira baskets.

Estelita measuring chambira basket length. Photo by Campbell Plowden/CACE

Estelita measuring chambira basket length. Photo by Campbell Plowden/CACE

The next day, the Chino artisans stacked up their finished baskets on a table where Estelita measured each one to make sure its size and price were correctly recorded on the tag and in her ledger.  She told one artisan, “this basket is half a centimeter less than its proper length; you can’t get full price for it.  Please pay better attention to the standard sizes.”  Liz and Segundina were stunned to see how the Chino artisans had direct responsibility for quality control and agreed to consistent pricing among their members.  Segundina said, “My fellow artisans often criticize each other, but they find it hard to ask for and accept suggestions for ways to make their crafts better.  We have to figure out how to encourage and trust each other to improve our quality and hold each other accountable; this will help all of us.” Liz added, “When tourists come to my village, they often shop from house to house because some artisans try to undercut their prices to make a sale. We have to get on the same page so everyone gets a fair price for making the best crafts.”

Campbell with artisans in front of Chino "Escuela de artesanas." Photo by Matt VanderMolen/CACE

Campbell with artisans in front of Chino “Escuela de artesanas.” Photo by Matt VanderMolen/CACE

One highlight of the visit was visiting the new “Escuela de artesanas” – the artisan school under construction in Chino.  After major floods destroyed the last simple building the artisans used to sell their crafts to tourists, the artisans decided they needed a larger and stronger building where they could gather to dye their chambira with roots, fruits, leaves and bark and weave their crafts under one roof.  They could then demonstrate these traditional techniques to visiting tourists – giving them a more personal experience and incentive to buy the crafts offered for sale.

The ability to work together will also help the Chino artisans improve the consistency of their work by using the same batch of colored chambira to make multiple baskets with the same design.  The structure built with sturdy wooden beams, cement and rebar was progressing, but costs had surpassed donated funds available from Amazonia Expeditions.  I was glad that CACE was able to contribute the most recent batch of our social rebate funds from our sale of baskets and frog ornaments to help complete this worthy effort.  I was sorry that we were going to miss helping out in the big village work party set to happen the next day to get the walls and roof up.

Chino artisan Yermeth with woven frog ornaments. Photo by Campbell Plowden/CACE

Chino artisan Yermeth with woven frog ornaments. Photo by Campbell Plowden/CACE

As we headed back to Iquitos at dawn on Monday, Segundina told me, “I can’t wait to get home to share everything that I’ve learned on this trip with my fellow artisans.  I didn’t believe you when you kept saying that the artisans at Chino cared so much about each other and cooperated so well.  Now, I know you were telling the truth.  These women are really inspiring, and we need to learn from them.”

Perhaps my best reward of this trip was seeing Segundina and Estelita hug and exchange phone numbers when they parted.  That instant confirmed that bringing these dynamic artisans together was the right thing to do.  CACE is now thinking about launching a region-wide school for artisan leadership to promote more of this kind of exchange.  We also just need to know when to get out of the way.

To support this project, please vist: www.AmazonAlive.net.

To find the village of Chino and the Ampiyacu native communities on a map, visit CACE Field Sites in Peru.

Blue headed parrot (double-image) at Chino. Photo by Campbell Plowden/CACE

Blue headed parrot (double-image) at Chino. Photo by Campbell Plowden/CACE

Producing the first essential oil from rosewood trees at Brillo Nuevo

Heliconia flower montage at Brillo Nuevo. Photo by Campbell Plowden/CACE

Heliconia flower montage at Brillo Nuevo. Photo by Campbell Plowden/CACE

Three years ago we began an exciting joint project with our partner Camino Verde by planting almost 1000 seedlings of rosewood trees in the Bora native community of Brillo Nuevo (see Global Giving Report #8). Our aim was to help families create a long-term sustainable source of income by carefully harvesting leaves and branches of these aromatic trees and distilling them into a valuable essential oil.  Our other goal was to promote the recovery of this endangered species brought to the verge of extinction by unlimited harvesting of whole trees for the perfume industry.

Campbell and Bora team members measuring the width of a rosewood tree at Brillo Nuevo. Photo by Tulio Davila/Center for Amazon Community Ecology

Measuring a rosewood tree at Brillo Nuevo. Photo by Tulio Davila/CACE

Our project reached an important milestone this month when our friend Robin van Loon from Camino Verde joined us again to lead the first harvest of material from healthy young rosewood trees planted in the forest fields of five families.  We began by recording the size and condition of every tree. While the seedlings had been planted in the same way, they had fared differently according to the characteristics of the site and management style of the owner.

 

Measuring rosewood tree seedling height at Brillo Nuevo. Photo by Campbell Plowden/Center for Amazon Community Ecology

Measuring rosewood tree seedling height at Brillo Nuevo. Photo by Campbell Plowden/Center for Amazon Community Ecology

A few men had regularly cleared weedy vegetation that could compete with the juvenile rosewoods; one fellow pretty much allowed nature to take its course.  While half of the trees had died since 2013, Robin complimented the owners that their overall efforts to care for these trees had produced a much higher survival rate than other attempts to reforest rosewood in Peru and Brazil.  One of the plot owners Brito said, “I’m very content that most of my trees are still alive.  It’s important to realize that these trees grow more slowly than many others and don’t mind some shade.

Robin van Loon discussing pruning strategy with Bora team at Brillo Nuevo. Photo by Campbell Plowden/Center for Amazon Community Ecology

Discussing pruning strategy with Bora team. Photo by Campbell Plowden/CACE

We did our first round of monitoring on a cloudless day under an intense tropical sun.  As we shifted to collecting rosewood material on the second day, we surrendered ourselves to working in the rain.  Robin showed the team how to cut small branches with pruning shears and how to use a pruning saw to harvest larger branches with a series of three cuts.  Plot owner and talented carver David observed, “It was amazing to see how much better my rosewood trees looked after removing some dead wood and a few lower branches with leaves we can distill.  I suppose this is science, but it feels more like a kind of art I can practice to shape and care for my trees for a long time.  Some of them will eventually produce seeds we use to plant more of these beautiful trees all around our community.”

Rosewood team returning to Brillo Nuevo in rainy season. Photo by Campbell Plowden/Center for Amazon Community Ecology

Rosewood team returning to Brillo Nuevo. Photo by Campbell Plowden/CACE

Our prime adventure of the day was wading up to our armpits to cross an engorged stream en route to Dolores’ field.  I was deeply relieved when she steadied our videographer Tulio’s arm just as he slipped off a submerged log and was about to plunge his camera in the water.  Navigating around wasp nests on the underside of leaves on the trail and rosewood trees was a challenge that usually succeeded but sometimes resulted in painful stings.  This site was the most distinct since it was on a slope, and most of the rosewood seedlings had been lost to unchecked regrowth of forest tree pioneers.

Weighing rosewood leaves collected at Brillo Nuevo. Photo by Campbell Plowden/Center for Amazon Community Ecology

Weighing rosewood leaves collected at Brillo Nuevo. Photo by Campbell Plowden/CACE

After Dolores took on the task of caring for this field, however, the survivors had become the most robust and tallest rosewood trees we found.  While we collected five to eight kilograms of leaves and branches from other fields with many small trees, the few four to five meter tall trees in this distant plot easily yielded 12 kilograms of material.  Dolores said, “It was great to receive my first payment from these trees.  As they keep growing, it’s easy to see how we’ll be able to collect more material each time we prune them and provide some more money for my family.”

We invited two members of the rosewood team to go to Iquitos with us this time to distill the rosewood material.  It was fortunate that Oscar and David drew the lucky numbers since they and Robin figured out how to clean out the stalled motor of the grinder that had not been used for a while.  Oscar immediately appreciated the efficiency of this machine since the last time we distilled material in Brillo Nuevo, he and two other men had spent hours chopping branches into bits with their machetes.

Feediing rosewood leaves into shredder for distillation. Photo by Campbell Plowden/Center for Amazon Community Ecology

Feediing rosewood leaves into shredder. Photo by Campbell Plowden/CACE

Once the shredder got working, we quickly fed leaves into the top hopper and straight branches through a cone to the larger knives.   We poured five gallons of water into the outer tank of the distiller and then packed the inner tank with about 20 kg of finely chopped green aromatic material.  An hour after setting the tank to boil, the first drops of golden oil began to flow into the collecting glass along with fragrant hydrosol – the water used in distilling plants that absorbs some its aroma.  While the oil is the most valuable product of the process, we also hope to market the hydrosol as an ingredient in natural cosmetics.

Our yield from distilling the rosewood material from Brillo Nuevo was modest, but it was a good start.  Leaves tend to have less oil than branches, and this first batch collected from young trees had a relatively high proportion of leaves.  The amount of oil we will be to extract should increase over time as the trees continue to grow and produce larger branches that can be carefully removed without damaging the tree.  This principle seemed to be confirmed a few days later when we collected material from 11 year old rosewood trees from a campesino family’s field near the town of Tamshiyacu.  The yield of oil from these older trees was 30% higher.

Collecting rosewood oil from Brillo Nuevo. Photo by Campbell Powden/Center for Amazon Community Ecology

Collecting rosewood oil. Photo by Campbell Powden/CACE

Oscar described his experience with the rosewood project this way – “I fondly remember the aroma of a few rosewood trees that my father had brought from the Putumayo to plant in our front yard.  I really appreciate the chance to plant rosewood trees in my field in Brillo Nuevo now and learn how to use this distillation equipment to make oil from it.”  He concluded, “Our goal isn’t to create big plantations of rosewood trees.  The Bora have an old tradition of planting many kinds of trees to produce fruits, fibers and medicines (a well-documented process called agroforestry).  It’s great that we can now include valuable rosewood trees in this mix.”

 

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Thank you very much for your interest in this project.  We would particularly welcome your support on the next GlobalGiving Bonus Day on March 16 when a part of your donation will be matched by other donors.  Visit www.AmazonAlive.net to make a contribution.

Listening to artisans in the Ampiyacu

Angelina Torres and her family of artisans in the Bora community of Brillo Nuevo. Photo by Campbell Plowden/CACE

Angelina Torres and her family of artisans in the Bora community of Brillo Nuevo. Photo by Campbell Plowden/CACE

The Center for Amazon Community Ecology aims to promote conservation, create sustainable livelihoods and build stronger communities in the Peruvian Amazon by helping native and mestizo artisans to develop and market innovative handicrafts and novel essential oils.

We began working with the Bora community of Brillo Nuevo as a pilot project site in the Ampiyacu River area in 2009.  In recent years we have organized skill-sharing workshops so veteran artisans can teach others how to make new kinds of crafts.  This growth in the number and skill of partner artisans as well as our increasing capacity to market their crafts has allowed us to gradually expand our program to eight of the fifteen villages represented by the native federation in the region.

CACE intern measuring chambira yield with Bora artisan at Brillo Nuevo. Photo by Campbell Plowden/CACE

CACE intern measuring chambira yield with Bora artisan at Brillo Nuevo. Photo by Campbell Plowden/CACE

Surveys done in the field with artisans have given us an idea about the current stocks of chambira palm trees and the amount of palm fiber needed to make different types of crafts.  While our general goal has been to continue building artisan capacity to make and sell more quality handicrafts, the GlobalGiving Feedback Fund has given us a valuable opportunity to ask our partners about their economic realities and dreams, and how making more crafts with our without our assistance could help them achieve their goals.

With assistance from GlobalGiving staff and a team of international affairs students studying monitoring and evaluation at the New School, we designed a survey to ask artisans to respond to questions in four areas: sources of family income, expenses, assets, education levels, personal and family goals, and handicraft production.

We contracted Peruvian videographer Tulio Davila to conduct the survey because he was well known and trusted by the artisans due to his previous work with them in workshops and making instructional videos.  In the course of two weeks, Tulio spent an average of one hour speaking with 18 artisans from three villages – about one third of the artisans we routinely work with.

CACE paying Bora artisan for woven hot pad at Brillo Nuevo. Photo by Campbell Plowden/CACE

CACE paying Bora artisan for woven hot pad at Brillo Nuevo. Photo by Campbell Plowden/CACE

We learned a lot from this first round of surveys.  It’s been obvious from the beginning that our partners don’t have much money; this survey gave us a sense of the upper and lower range of income in the village and how important selling crafts is to many families.  It was also interesting to learn that CACE is the major craft buyer from some artisans and a minor one for others.  We had assumed artisans wanted to sell more, but asking them to describe their goals for one year and five years gave them a chance to set craft production targets and showed us how many more crafts we would need sell to help artisans meet their goals.

Two-story house in Brillo Nuevo. Photo by Campbell Plowden/CACE

Two-story house in Brillo Nuevo. Photo by Campbell Plowden/CACE

Learning how artisans spend their limited income now and what they want more for has given us valuable insights into their evolving expectations and aspirations.  In the past, people wanted enough money to buy a few basic items (like soap, salt and kerosene) to supplement their subsistence lifestyles.  As access to electricity increases through wider use of gasoline generators and connections to power lines from cities, lighting, TV, and DVD players have become common.  Many people now want bigger houses, bigger boats and engines, chain saws, refrigerators, and nicer clothes.  A few want to raise fish, raise cattle or expand the size of their fields.  Some goals are focused on increasing their means to increase income while others describe the amenities they could get with more money.

Confirming that our partners have materialistic aspirations was not surprising but revealed something important.  While artisans are well aware of the challenges, most families want to at least try to stay and improve their standard of living in their remote villages.  Recognizing this has significant implications for our work and forest conservation.  One is that we need to try and help our partners increase their income from sustainable enterprises even more than we had expected.  Their desire to make money is growing, and it may not matter much if the way they attempt to do so is illegal or damages the forest.

Bora children playing at Brillo Nuevo. Photo by Campbell Plowden/CACE

Bora children playing at Brillo Nuevo. Photo by Campbell Plowden/CACE

The stakes for success seem higher in another way we hadn’t considered before.  Families have often worked hard to help their children learn a professional trade so they can build a life outside the village, but it seems the trickle of entire families leaving the villages is increasing.  Adults want to get regular and higher paying work, and they want their children to attend higher quality grade schools.  This emigration threatens to create a downward spiral in local development because the regional government will close down secondary schools if their enrollment drops below a minimum number of students.  If the villages at the frontier of the forest continue to shrink, there will be fewer and fewer people with a vested interest in keeping the forest intact to support their low-impact lifestyles. This will leave the forests more vulnerable to predatory exploitation by outsiders.

The other types of lessons we learned from this first survey were that questions need to be asked in a way that matches peoples’ normal frames of reference.  We initially thought that since most people do not keep any records about their earnings or expenses, we would get the most accurate responses by asking people to provide monthly “averages” for certain sources of income or types of things they paid for.  It turned out that the artisans we spoke with had the best overall recall when asked about the previous six months of economic activity combined.

Bora artisan with daughters and woven bag in Puca Urquillo. Photo by Campbell Plowden/CACE

Bora artisan with daughters and woven bag in Puca Urquillo. Photo by Campbell Plowden/CACE

Our imprecise phrasing of one question greatly slanted its perceived meaning.  We expected that many families would say that a key long-term goal would be to provide a better education for their children.  A few did express this, but this response may have been low because our question unintentionally seemed to ask them to mention concrete objects they could buy like a TV or chain saw rather services they might need to pay for like school tuition.  We corrected these issues before carrying out a second round of interviews.

Bora artisan from Brillo Nuevo making chambira palm fiber bracelet. Photo by Campbell Plowden/CACE

Bora artisan from Brillo Nuevo making chambira palm fiber bracelet. Photo by Campbell Plowden/CACE

While artisan surveys provided thoughtful and insightful answers about their goals, the amounts of time, material and money they thought they would need to achieve these goals often seemed based on imprecise and unrealistic estimates and faulty basic math.  The message to us is clear.  Artisans need to continue mastering their craft, but we also need to help them better understand the quantitative aspects of managing trees, processing fibers, and selling crafts.  We have done studies that provide solid data about these issues.  Our next task is to teach the artisans how to derive and work with these numbers on their own.  This will be a critical step toward truly empowering them to improve their lives and safeguard the forests.

Building a better bug ornament

In 2007, I spent a month near Jenaro Herrera on the Ucayali River.  While I spent most of my time studying copal resin ecology at a research station, I also wanted to meet local artisans to see if CACE could help market any of their handicrafts.

Peruvian artisan Dora Tangoa from Jenaro Herrera holding achiote fruit pods used to dye chambira palm fiber. Photo by Campbell Plowden/Center for Amazon Community Ecology

Dora Tangoa with achiote fruit pods. Photo by Campbell Plowden/CACE

One Saturday afternoon, I met Dora and her small group of fellow artisans at her home and watched them lay out some bracelets and necklaces made with rainforest seeds and simple bags woven with chambira palm fiber.  I bought some samples of each and asked them to make some chokers with certain colors at my teenage daughter’s suggestion.  CACE sold enough of these in the U.S. to buy some supplies for the public school when I returned in 2008.  That summer, Dora took us out to her field and showed us which plants provided the seeds and natural dyes to make her crafts.

Peruvian artisan Rosa Estela Mozombite Tangoa with chambira palm fiber insect ornaments made in cooperation with the Center for Amazon Community Ecology. Photo by Campbell Plowden/CACE.

Rosa Mozombite Tangoa with chambira insect ornaments. Photo by Campbell Plowden/CACE.

Sales of the loose woven bags (called “xicras” in the local market) were never great for us, however, and over the next few years, sales of the seed jewelry slowed to a trickle.  In 2011, we started developing Christmas tree ornaments with artisans in the Ampiyacu, and I invited Dora and her group to come up with ideas of their own.  Dora wove a miniature pot, her aunt Hilda made a miniature plate, her niece Doilith wove chambira stars with seeds, and her teenage daughter Rosa made little butterflies and grasshoppers.  We did so-so with the first three types, but the insects were an immediate hit.

Chambira palm fiber bee ornament made by Jenaro Herrera artisan in cooperration with the Center for Amazon Community Ecology. Photo by Campbell Plowden/CACE

Chambira fiber bee ornament. Photo by Campbell Plowden/CACE

Over the next few years, we tested different colors, sizes and types of new critters – sometimes on purpose and sometimes by accident.  We learned (probably not surprisingly) that people much prefer pink, yellow an orange critters over black ones with any color.  One batch of giant purple bees were produced due to misunderstanding over the Spanish meaning of “fuxia.”  So, some ornaments have sold very well while others are lingering long in our inventory even at “clearance” prices.

Chambira palm fiber butterfly ornament made by Doilith del Castillo in cooperration with the Center for Amazon Community Ecology. Photo by Campbell Plowden/CACE

Chambira palm fiber butterfly ornament. Photo by Campbell Plowden/CACE

Last year, we asked Dora and company to increase the number of legs on the critter ornaments from four to six so they would have one more realistic element on them.  This past trip, I asked her group if they would like to try to advance this process a step further by trying to weave replicas of specific types of insects.  I had downloaded a variety of photos of butterflies, dragonflies and bees from the internet onto my laptop and went over each image with them at Dora’s big table in front of her house.  They embraced the challenge – each one agreed to make a prototype of one or two new “species.”

I checked in a few days later and was thrilled to see the progress of Doilith’s Amazon darner (Anax amazili) which closely represented the dragonfly’s shape, colored tail bands, and fine lacey wings.  Hilda’s blue morpho butterfly also had a lot of promise.  Dora had skillfully captured the green orchid bee’s hind legs used to carry pollen and resin back to its nest, but her “ronsapa” bee needed more work since its head resembled a bull-dog snout.

Amazon darner dragonfly and chambira palm fiber ornament made by Doilith del Castillo in cooperration with the Center for Amazon Community Ecology. Photos by Bob Thomas & Campbell Plowden/CACE

Amazon darner dragonfly and chambira palm fiber ornament. Photos by Bob Thomas & Campbell Plowden/CACE

I admit that most members of the public neither know nor care if these ornaments are anatomically correct, but I do hope we can develop models with our partners that will be attractive enough to sell and gradually educate buyers about real rainforest critters along the way.  It seems this type of understanding can only help to increase people’s desire to preserve the forest and support sustainable livelihoods for its traditional peoples.

It has been rewarding to see that creating and selling more crafts has allowed Dora and her relatives to improve their houses and invest more in their children’s education.  I am glad that CACE has played a role in this process.

Miguel, Celestina and Rosewood Trees in Tamshiyacu – November 8, 2015

Juan harvesting rosewood branch

Juan Silvano harvesting rosewood leaves from Miguel’s tree. Photo by Campbell Plowden/CACE

One highlight of my recent trip to Peru was spending a day with Miguel and Celestina – a couple who live in Tamshiyacu, a small town that is about an hour and a half by Iquitos by speed boat.  I first toured their farm a year ago with our local contact Juan who introduced us to a few families that had planted rosewood trees in a community development project around 2003.

 

They warmly greeted us in their home filled with their children, grandchildren and dogs.  Other families in the area had either sold their land or sold the rights to their rosewood trees to a new company making essential oil.  I was pleased that this senior citizen couple wanted to work with us to manage the rosewood trees they had left on their property.

Motorcar from Tamshiyacu

Motorcar from Tamshiyacu. Photo by Campbell Plowden/CACE

Heading out with machete and large collecting basket, our project manager Yully, Celestina and I sat in the back seat of a motorcar while Miguel and CACE videographer Tulio perched in the luggage rack in back.  We soon got beyond the paved road in town and traveled for miles on dirt roads that were rutted but solid since the “dry” season rains were not intense.   Twenty minutes out, we passed by some rough wooden buildings with tarp roofs in a clearing made by roughly hacking down a section of rainforest.  The government was creating these new settlements by giving land rights to poor families seeking a place to farm.

 

Miguel squeezing sugar cane

Miguel squeezing sugar cane with wooden press.  Photo by Campbell Plowden/CACE

The motorcar dropped us off at a tiny trail entering the woods on the other side of the road and promised to pick us up at the end of the day if we could reach him on his cell phone.  After a half-hour hike, we reached Miguel and Celestina’s plot that they had legally acquired over twenty years ago.  They had planted yucca (also known as cassava and manioc) as their main staple food.  Pineapples, umari fruit, and Brazil nuts were their main commercial crops.  Sugar cane provided snack food. They hoped that selling rosewood material could increase their modest income.

 

Miguel attaching tag to rosewood tree

Miguel tagging rosewood tree on his property. Photo by Campbell Plowden/CACE

We got to work tagging and measuring all of the rosewood trees that were still alive a dozen years after the donated seedlings were transplanted into their field.  Some were vigorous tall trees that seemed good to maintain as a source of seeds in the future.  Many had grown to 30 feet tall and seemed good candidates to be pruned to provide branches and leaves for distilling.  A few were still no bigger than seedlings that might grow if exposed to more light.

 

Tulio measuring rosewood tree diameter

Tulio measuring rosewood tree diameter. Photo by Campbell Plowden/CACE

After four hours of hot hard work, we gathered under their rustic shelter built to protect bags of charcoal they were soon going to sell.  Miguel then cut up and gave each of us a whole pineapple to savor – the freshest and sweetest I had ever had in my life.

We promised to return soon to do our first modest harvest to make a small batch of rosewood oil. We will need to undertake this task carefully, though, since many of the trees have grown very large and will need to be pruned carefully to keep them healthy and produce good material for distilling in the future.

CP Yully Miguel Celestina at Tamshiyacu

Miguel, Celestina, Yully Rojas and Campbell Plowden. Photo by Tulio Davila/CACE

In addition to helping this couple in the coming years, we hope to learn a lot about rosewood tree growth and management that we can apply to our rosewood project at Brillo Nuevo being developed with our partner Camino Verde.  Those trees are now almost three years old, and we expect to conduct our first experimental harvest in early 2016.

Breakthroughs with three artisan communities – October 15, 2015

Raquel Lopez planting chambira seedling

Bora artisan planting chambira seedling in 2013. Photo by Campbell Plowden/CACE

We have had growing success helping artisans in the Ampiyacu develop and market innovative handicrafts, but our efforts to catalyze significant reforestation of chambira palms used to make woven crafts has been frustratingly slow.  While we have also promised to reinvest part of our craft sales in the US to support health, education and conservation needs in the communities, this social rebate program had unfortunately created more dissension than good works for several years.

Brillo Nuevo artisans receiving donated clothing. Photo by Campbell Plowden/CACE

Bora artisan planting chambira seedling in 2013. Photo by Campbell Plowden/CACE

While mentally prepared to confront the same resistance, I decided to at least try a fresh approach while meeting with our artisan partners in Brillo Nuevo.  As they trickled in to our house at the far end of the village, they saw a written agenda posted on the wall.  Noting the ambitious list included numerous updates and serious topics, they favorably commented that it also included slots for receiving certificates, donated clothing, and lunch.

Artisans playing crocodiles and frogs 2

Caimans and frogs game with Brillo Nuevo artisans. Photo by Campbell Plowden/CAC

Since discussions of tough issues in previous meetings had sometimes produced more rancor than resolution, we also inserted a few cooperative games into the mix.  These were a balloon race which generated lots of laughs and an energetic round of caimans and frogs which featured artisans (as the frogs) holding on to each other on sheets of paper (representing tree stumps in a river) so the hungry caiman (the Amazon version of an alligator) wouldn’t get them when he woke up.

The results of the meeting included new agreements regarding craft pricing, quality control, a household survey, and a proposal for chambira reforestation.

Chambira planting group of artisans

Chambira “minga” with Brillo Nuevo artisans (2013) P

Three days later, the full community endorsed the reforestation plan.  Brillo Nuevo would use a large chunk of its CACE social rebate fund to provide a standard “basket” of food (rice, beans, oil, etc.) for up to 20 families who wished to organize work parties (“mingas”) to help plant or do extensive maintenance on chambira, assai palm, or medical plants in their forest fields.  Future rounds would allow more families to do the same.  They also decided to use part of the fund to buy some critical supplies and medicines for the village health post that were not provided by the government.

Sawing chambira stem

Cutting chambira leaf spear with pruning saw.  Photo by Campbell Plowden/CACE

When we headed back down the river to Puca Urquillo Huitoto, I was pleasantly surprised that their community meeting quickly agreed to also use their rebate fund to carry out 10 chambira work parties to replenish supplies of this vital plant for their artisans.  Another part of improving chambira management will be providing pruning saws that can be used to harvest leaf-spears without damaging adjoining stems as often happens when the task is done with a machete.

I was astounded when the leader of the Puca Urquillo Bora council handed me a 3 page proposal requesting our assistance to fund enrichment planting of chambira in 30 hectares of fallow forest fields.  Their decision was particularly surprising to me since they had rejected the offer of a researcher last year to measure the abundance of chambira palms in their fallow fields as we had done with artisans at Brillo Nuevo.

I have no illusions that these plans will be carried out without a hitch, but it was wonderful to feel this spiritual burst of affirmation to quench my growing wonder if some basic aspects of our work were seriously off-track.

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CACE welcomes donations to this project through our page on GlobalGiving at: www.AmazonAlive.net

 

Ines – the laughing and feisty artisan from Brillo Nuevo – July 27, 2015

Ines lighting copal incense

Ines lighting copal incense. Photo by Campbell Plowden/CACE

I first became aware of Ines during my second visit to the Bora native community of Brillo Nuevo in 2009 because she was enthusiastic about everything.  When we first tried to make incense candles from copal resin, she immediately got her hands blackened with the burnt sticky stuff and suggested they might look nice in the half-shells of macambo fruit pods.  She pulled me aside, though, and said, “You know these are really pretty ugly.”  I said, “I know,” and she burst out laughing.

Ines and Graciela drawing snake patterns

Graciela and Ines drawing snake patterns for belts. Photo by Campbell Plowden/CACE

Ines is a quintessential artisan from the Peruvian Amazon.  She said, “I live by selling bags and hammocks made from chambira palm that I cultivate in my fields.”  While meeting with artisans in a Brillo Nuevo classroom to discuss weaving new products to expand their income, Ines jumped at the chance to go the blackboard to draw the patches and wavy lines of a cascabel (tropical rattlesnake) as a design for a woven snake-pattern belt.

Ines weaving belt with cats eating fish 800 px

Ines weaving cascabel pattern belt with cats. Photo by Campbell Plowden/CACE

Ines soon welcomed me into her home while making the prototype on her hand-made loom with her two cats munching on a little fish in front.  Ines’ voice stood out in the animated mélange of Spanish and Bora of artisans discussing their creations and her distinct laugh could mark her location more than a soccer field away.

Ines grating mishquipanga montage

Ines grating mishquipanga fruits to dye chambira fiber. Photos by Campbell Plowden/CACE

Over the past six years, we have shared many adventures, triumphs and challenges with Ines.  She showed us how she grew, collected, and prepared half a dozen plants used to dye chambira palm fiber various shades of yellow, orange, red and deep purple and then dyed my silvery hair black with roasted leaves from a huito tree.  She has proudly showed us new styles of bags and guitar strap designs that she invented and readily shared these with her fellow artisans in skill-sharing workshops.

Ines dying CP hair with huito 800 px

Ines dyeing Campbell’s hair with huito leaf mash. Photo by Yully Rojas/CACE

Ines’ hard work made her the most prolific craft maker with CACE.  She once told me, “I really like working with your project because it has given me a chance to create new kinds of crafts and improve the quality of my weaving.  The extra income has allowed me to help my sons study at a better school.”

Amrit and Ines with certificate

CACE volunteer Amrit and Ines with certificate. Photo by Campbell Plowden/CACE

Giving Ines an award for being the top-selling artisan in her community, though, first generated more resentment than accolades from her peers.  One evening, she came to talk and began to cry. “My sisters and I love working with your project, but we are thinking of dropping out because people can be so mean.”

I soon met with other artisan leaders and families to hear their view of the situation.  They had said they wanted us to give certificates to artisans according to their sales and give small prizes as incentives for doing extra good work.  Did they want us to stop?  We wouldn’t continue the practice if it was going to stimulate jealousy and weaken rather than build their community.  One artisan Gisela said, “We really do like the certificates because they give us pride about our success.  The prizes are good as well, but don’t ask us to select any winners.”

Casilda Vasquez with TP028

Casilda with chambira hot pad. Photo by Campbell Plowden/CACE

Since that meeting, some things have gotten better, and we have had to face new challenges.  Over the past few years, providing some soda and snacks at the award ceremony, applauding and taking a picture with every winner has made this a fun and more mutually supportive event.  When we announced that Ines was the top-seller again, one artisan Casilda said, “I knew that was coming, but it’s OK, I’m going to keep making more crafts myself.”

I’ve also learned that while Ines has a big heart, she can also be a tough cookie.  During one recent artisan meeting, we were talking about ways to encourage artisans to plant more chambira palms when suddenly Ines and another artisan leader began yelling at each other.  Apparently our survey of chambira in their fields had reignited an old dispute about whose family had the rights to harvest plants in one small section of recovering forest.

Artisans playing crocodiles and frogs

Artisans playing “crocodiles and frog” during meeting at Brillo Nuevo. Photo by Campbell Plowden/CACE

The incident helped me realize that artisans’ periodic troubles cooperating may be rooted more in historical frictions in the community than personality clashes in the present.  We’ve been trying to bring people together in our project and navigate around hazards that appear like the tips of Amazon village icebergs.  I’m glad that we have at least won the trust of talented and caring and sometimes feisty artisans like Ines to help guide us.