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Managing design from a local cultural Identity perspective: a Design and Craft facilitators training program.
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Managing design from a local cultural Identity perspective: a Design and Craft facilitators training program.


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This presentation describes key aspects of a ten-day experiential train-the-trainer workshop for facilitators and artisans. It was conducted in Boyacá Colombia in Dec. 2008. The connection to native …

This presentation describes key aspects of a ten-day experiential train-the-trainer workshop for facilitators and artisans. It was conducted in Boyacá Colombia in Dec. 2008. The connection to native cultural heritage was central to this process. Here you can see the influence between environment and cultural icons in the artisan's creations during the workshop. Artisans’ results are showed. Brand identity, name, logo as well as a catalogue prototype was generated during this multidimensional experience. Workshop methods and philosophy are outlined.

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  • 1. A methodology for sustaining artisans product, process and their networks Managing Design from the Local Identity Perspective
  • 2. The Project A methodology for sustaining the artisans product, process and their networks
  • 3. Facilitating Artisans Local Cultural Identity A 10 day long program This project was conceived and developed for SENA and delivered in the city of Paipa, Boyac á , Colombia in December 2008. Its goal was to support and develop authentic artisans’ products and increase their revenue potential in self-sustainable ways. A two parts project: A three day training of trainer on facilitating the artistic creative processes, fallowed by a seven day event, during which artisans could develop ideas, product line, brand identity and explore their vision for future work. The project was a cooperative venture between artisans, facilitators and governmental institutions. It was developed with the participation of artisans from 20 municipalities in 11 disciplines, representing most crafts in the state of Boyac á Colombia. Twenty four facilitators and eighty eight artisans participated.
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    • Claiming the beauty of the high elevation of the Andean mountains and the rich lower planes, the state of Boyac á cultural heritage goes back more than ten thousand years.
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  • 7. Boyacá Project Process: 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 across cultural barriers through the collaborative facilitation of healthy dialogues. 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 Professional consultants.
  • 8. Local History Boyac á is known as the altar of Colombia’s homeland. It is here that Sim ón Bol í var achieved independence and gave birth to the Republic by wining the battles of Pantano de Vargas and Boyac á Bridge. 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.
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    • Mapa con las regiones
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    • The philosophy of BOYAC Á PROJECT is characterized by three focal points:
    • an approach in which the artisans are sovereign. The process maintains their identity from beginning to end.
    • a methodology that brings a multicultural and multidisciplinary lens to the work in contrast to what was culturally imposed on the artisans in the past
    • a transformative experience that occurs though the mutual learning facilitation that takes place in conversations among the artisans themselves and between facilitators and artists, as well as.
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    • Facilitating the process
    • of the artisan is seen as the manifestation of his/her complex multicultural heritage. This means that any change in the artisan’s product also implies a transformation of the artisan and as a consequence, a transformation of the context to which they belongs.
    • Since the culture is alive and present, the cultural activity were examined within a deep social justice sociological context. In order to maintain the artisans’ multicultural identity it was crucial for facilitators to avoid engaging in superficial preconceptions about them.
    • Finally, this project’s goal is to preserve and support the essence of the artisans’ products. Doing this requires going beyond what is immediately apparent and entering without fear into an investigation of the product itself.
    • - The multicultural dynamic is the doorway to transformative ideas.
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  • 13. The artisans workshop preceded with a visual investigation of the region’s artistic culture and traditions. It involved (1) an interaction with the local community, and (2) a facilitation of processes that identify product line, methodology, brand identity and product choice - a pedagogy that values local cultural influences. This occurred though a process of facilitating mutual learning conversations. The experience took place among artisans, practitioners and facilitators. The result was the creation of handcraft products with a regionally authentic identity and a fresh perspective. The Workshop
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  • 15. "Managing Design from the Local Identity Perspective," lead to the creation of product line. In this case the European dining table was chosen as a prototype for the creation of new products that emerged from the roots of the Boyac á cultural heritage . From the beginning, traditional crafts technologies were taken as the point of departure to generate 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.
  • 16. roll loom frame
  • 17. By the end of the workshop, groups of artisans produced several collections of products for the dining table. Their new creations had a unique cultural identity signature. This signature emerged from the artisans’ and their environment - a new way of perceiving themselves and their products. The products were a result of 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. The workshop generated innovated product design, brand identity and a prototype for a group catalogue. 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
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    • created a stronger connection between the artisan, their cultural legacy and their environment.
  • 20. Salt and pepper shakers made of tagua (vegetable ivory)
  • 21. The ruana (poncho) and adobe brick texture design for a bread warmer basket
  • 22. Adobe fence texture inspired a water dispenser design
  • 23. Corn as influence on a basket design
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    • Cactus plant inspired dish design
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    • Falta mazorca
    Native flower inspired a appetizer serving picks
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  • 33. Brand Image Development The brand image, was created from the artisans community itself, a simultaneous process of brand and product development. 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'sumerceá 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.
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  • 35. The Complete Image
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  • 39. Product Catalogue Product Description Number Price Candle Holder Tagua Salt Shaker Bread Basquet Baking Dish Coal tagua fique Raw Material clay BO.CA01 BO.TG02 BO.FQ03 BO.AR04
  • 40. 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/Colombia - 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
  • 41. Fotos de coordinadores locales Consuelo, Amparo, Sandra, Guillermo, Jorge, Gloria Development Team
  • 42. 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
  • 43. Acknowledgments
      • Historian: Pablo Solano
      • Consultants: Jorge Camargo: Docente Universitario, Doctor en mercados y logística de abastecimiento.
      • Special thanks to: Samuel Gómez Cristancho Director SENA Regional Boyacá, Dagoberto Berdugo Hernández Subdirector Centro de Gestión Administrativa y Fortalecimiento Empresarial del SENA, Cristina Castiblanco Programa Diseñando a Boyacá. Gobernación de Boyacá.
      • Technical Asssitance: Verónica Araque, Thomaz Sellins, Dale Schwarz, María Victoria Gómez, Valeria Montaña, Natalie Salas, Martha Fernández Samacá, María Teresa Uribe.
      • SENA Team: Belkis Molano, Carol Valencia, Amparo Tejedor, Pedro Leguizamón, Libia Coy, Alberto Rincón, Martha Álvarez, Ligia Fonseca, Doris Gómez, Clemencia Perez Zárate, Diana Becerra. Myriam Cordoba, Victoria Rodriguez
      • Master Artisans: Juan César Bonilla, Cecilia Tapias, Luis Alberto Alvarez
      • Audio Visual production and documentation: Javier Corba, Jhon Jairo Gaitán.
      • History teller and poet: Oscar Olivo Fonseca
      • Brass Quartet: Grupo Trompetistas de Paipa
      • Accomidations: Hotel Sochagota and its work team.
  • 44. 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 Center for Creative Consciousness en Boyac á, Colombia - All rights reserved . Sunderland Massachusetts
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