Rebecca van Bergen Gives Wings to Struggling Artisans | PBS NewsHour

Rebecca van Bergen Gives Wings to Struggling Artisans | PBS NewsHour

Here's an interesting link.

I just heard about NEST on the news tonight, it is interesting reading this article and comparing Rebecca van Bergen's nonprofit to help Artisans with the Arts and Crafts history we have been reading about. I thought I had posted the article.  The NEST does have financial viability as a key goal ..."We only work with artisans who show leadership and show scalability..." .  

If you've ever traveled outside the United States and wandered through a local market bustling with activity and local artisans pitching their wares, you might have picked up a beautifully woven scarf, a colorful mask, or a sandstone elephant carving.

The talents of countless small-scale craftspeople around the world are abundant, but many have trouble growing their businesses because they lack resources and connections to large-scale, and perhaps more importantly, consistent buyers in higher-income countries.

But what if those connections could be made, with some financial resources and business consulting made available? Enter Rebecca van Bergen, part social entrepreneur, part fashionista. Van Bergen is founder and executive director of Nest, a nonprofit dedicated to helping artisans in developing countries grow their businesses.

"We only work with artisans who show leadership and show scalability," explained van Bergen. "We want them to grow their operations. We really want them to operate like a business."

Artisan businesses selected to work with Nest also need to meet one of three criteria: They must work to alleviate poverty by hiring economically disadvantaged individuals; be woman-owned or -operated; or seek to promote peace.

Since founding Nest in 2006 right out of graduate school at age 24, van Bergen and her colleagues have worked with more than 2,000 artisans in 10 countries. When an individual or artisan co-op is selected, Nest staff meet with them to learn about their operations and assess their needs. In some cases, loans are given to upgrade technology or infrastructure. Staff members also spend time educating and training the artisans about business skills, finance, budgeting, and marketing to Western consumers.

Nest then connects the artisans with Western retailers who are interested in ethical sourcing. Surfer apparel maker Reef purchases fabric woven by Nest trained artisans in Guatemala for a line of sandals. Fashion designer Trina Turk has worked with a necklace-maker in India.

Photo courtesy of Nest

Nest's biggest retail partner is Maiyet, a new luxury clothing line which, according to its website, "seeks to elevate the next generation of master craftsmen from places such as Colombia, India, Indonesia, Italy, Kenya, Mongolia, and Peru."

One of the Nest artisans supplying Maiyet is "Jamel," who makes poured brass jewelry in a small village outside Nairobi, Kenya. (Jamel's real name has been changed due to privacy concerns). Before Nest, he was using large gas canisters to heat the brass in his small hut where his 10 children also lived and played. Nest provided him with a partial grant and a loan to build a new workshop on a nearby lot and enclose the gas canisters to improve the safety for his family.

In an email, Jamel said Nest helped him expand his business:

"Nest has brought a big change to my life. Before, it was a struggle to find work, to go out and find business. Now, Nest has provided stability by giving me constant work and also, very importantly, prompt payment for work done. Before, I suffered from inconsistent orders and late payments from customers. With this raise in income and with this stability, I am able to increase my team by two workers. I am very happy that I can offer them constant work and keep them employed, too."

"You definitely see rising incomes with the artisans we work with," said van Bergen. "That's an important part of our partnership with Maiyet. We're being more careful about the retailers we work with. In the past, artisans may have seen a big rise in income for a month and then it would be gone. We're really trying to get retailers purchasing year after year."

After the artisans complete Nest training and have established relationships with retailers, Nest continues to provide consulting and guidance, as needed. "We stay in touch with our artisans, even when we no longer have an active partnership," said van Bergen. "We realize that businesses have different levels of scalability. In a year or two they may need something different to get to the next stage."

Nest artisans receive the consulting and training services for free, although any loans received must be paid back. Van Bergen said the organization's operating expenses are covered by individual and foundation support, as well as a percentage of profits from their retail partners.

Over the last six years, van Bergen has refined Nest's mission several times. Her original plan -- to offer small loans to women artisans and to receive their crafts as payment for those loans -- proved unfeasible because she didn't have enough consumers buying the goods from her online boutique. She then marketed directly to retailers, including American Eagle. But van Bergen said that model was unsustainable because in order for Nest take a cut of the profits, she had to set a high price for the artisans' goods.

The model she settled on -- part consultant, part lender, part "match-maker" -- is working well for everyone involved, van Bergen said, adding that technology is helping facilitate how she and her fellow young social entrepreneurs engage with the world.

"One reason our generation is so different than our parents' generation is because the world is so different," she said. "Nest wouldn't have been possible for my Mom to do. We have Skype, email, the ease of me going to India and Kenya, and doing conference calls on the web."

The NewsHour's Agents for Change series highlights individuals helping communities solve problems, build businesses and create jobs. We'll feature 10 of these social entrepreneurs just starting to make their mark, and invite your recommendations for others -- tweet us @NewsHourWorld and use hashtag #AgentsforChange. Or you can post them in the below comments section.

Chapter 2

Continue the discussion based on our three main questions. It is OK to excited or confused.

Chapter 1 Foundation and Fun Stories

In my personal introduction, I explained how I love how art fits into a time and a community.   It  is so interesting how cultural and literature, and music, and politics and natural disasters all come together to create art in a particular time period.

Some of this history might be of interest. 

I call it- Tabloid Art History- the stuff that ties making art to real living breathing people.

I have just given little bits that I think are fun. For example, there is the story of  how mathematicians caused the fire that made way for Pugin's Houses of Parliament.

The arts and crafts movement is super influential. To the world of making things as big an explosions as a super volcano. It was felt across the globe.  It changed the way things were made. It change how homes looked inside and out. It change what society wanted for the people who make things-fair trade- we hear it still today.

So my response is in little articles with pictures.  It starts with what is considered to be one of the first steps that lead to the Industrial Revolution and subsequently the Arts and Crafts Movement.

Change from family crafts to Industrial Revolution.

The beginning of the craft movement:

Melvin Bragg in his 2006 book, Twelve Books that Changed the World, lists the Patent Specifications for Arkwright's Spinning Machine  among the 12 most influential books of all time.  This 1769 Patent for the first time used power machinery, skilled laborers with new material--cotton.  Creating the first modern factory, this ushered in the Industrial  Revolution.   Arkwright  thought the factory town would be kinder. It was a large move away from the craft of the home--spinning and making garments in the cottage for family use. 

This is one of this first shifts  away from the family and into the factory.

Good design, morality and social reform

Pugin and the Gothic or how Mathematicians led to the Burning of Parliament 

Pugin is best known for designing, along with Sir Charles Barry, the British Houses of Parliament which had been destroyed by the most fantastic fire since London's burning in the 1666. As mathematicians skills improved, the treasury found it no longer needed tally sticks to aid at the counting house. The Treasury stored the disused wooden sticks. A bureaucratic decision had been made to destroy these tally sticks on site rather than distribute the wood to the needy neighborhoods around Westminster.  The fire started when a vast collection of disused tally sticks were  burned at Westminster. A maid kept warning the workers that the fire was too hot.  The bond fire in the chimneys caught the paneling on fire and then Parliament.  

Charles Dickens, social reformer and writer was scandalized both by the foolishness in not disrupting the wood to the poor and the cost of Pugin's building.

Not only did the fire, Nero-like make way for new buildings which conveyed the ideas of Pugin, one of the Founders of the Arts and Crafts Movement but it offered Turner a view of the drama and light he loved.

Turner actually got on a boat in the middle of the Thames to paint while London burned. This watercolor was one of the images he painted while watching the buildings burn.

 These two paintings, one a studio piece and one a watercolor sketch are by

by J. M. W. Turner.

The book focuses mostly on England and America but the Arts and Crafts was really a super Movement.

In Scotland, Charles Macintosh, architect, worked with his wife, Margaret MacDonald. The Glasgow School of Design was very influential on American Arts and Crafts  Frank Lloyd Wright studied Macintosh's Tea Rooms--his introduction of Japanese design.  Macintosh's interest in designing everything that played a part of an environment-from architecture to silverware, influenced Wright.

Meanwhile on the Continent

 In Paris, Haussmann designed a new city. While England looks back to the Gothic, He moved Paris from its medieval warren of tiny winding streets to the modern boulevards painted by the Impressionist. Even Les Halles, the market place that had been functioning since medieval time, was repurposed.  The Metro commissioned entry ways in the art nouveau, arts and craft's baby sister. In Belgium, Victor Horta designed buildings with an organic feel--looking to nature a fundamental of the arts and crafts.

In Vienna,

advocate of the Vienna Secession, Klimt argued for good design and innovative artists. Like the PRB, Klimt studied  craft and work before the Renaissance. He went to Ravenna, one of the four seats of the early Byzantine government to study to mosaics.

Later the Wiener Werkstätte, formed a craft guild.

Arts and Crafts and Americans

Although Ruskin, contributed greatly on the Arts and Crafts in America, In his later years, he began losing his mind.

He attacked American, James Whistler for "Nocturne in Black and Gold:  Falling Rockets" as an  ."The ill-educated conceit of the artist... for flinging a pot of paint in the public's face."

 When Whistler sued Ruskin for libel, Ruskin was ill and asked Burne-Jones to represent him in court--a witness for the defense.  Although Burne-Jones was deeply uncomfortable with the attack on another artist and a new style Burne-Jones appeared in court  a debt of years of friendship with Ruskin.  This ended the friendship between Ruskin and Burne-Jones. Whistler won a token farthing but sinks into financial ruin.   "The 10 o'clock Lecture" documented the experience. Whistler added a stinger to his butterfly signature.

 

And ironically, Whistler pulled himself out of bankruptcy by doing the engravings for a new addition of "Stones of Venice", Ruskin's book.

Burne-Jones Gets Around

John La Farge, another friend of PRB's Edward Burne-Jones, changes his art each time he meets with Burne-Jones.

 

 

Our book mentions H H Richarson's Trinity Church in Boston, as one of the few extant Aesthetic movement works.  
It's interior program was done by John La Farge and includes a small stained glass window from Burne-Jones. La Farge won the Legion of Honor in France for his stained glass which was one of the most important prizes in the world. Yes, Tiffany stole La Farge’s process. 

Art Pottery--women craftsmen

My last story is more personal and regional.

Women in the Arts and Crafts

There were always women in the Arts and Crafts  movement from the very beginning Dante Gabriel Rossetti AND his sister, poet, Christina worked to express the ideals of craft.  From the PRB's redheads to designer Margaret MacDonald, women were partners in the Arts and Crafts movement.  (Embroidered panels -MacDonald)

Surprisingly, Newcomb pottery is not listed among the American art pottery in this

chapter.

Associated with Newcomb’s women’s college in New Orleans, Newcomb pottery embodies the Arts and Crafts. The pottery program was to
instruct southern women in liberal arts. Just as ancient greek vases have two marks, the “x made this” and the “x painted this”, at Newcomb one artisan threw the pots and someone else decorated it . Women decorated the pottery. Newcomb Pottery looks to nature with very regional motifs: moonlight, Spanish moss, giant oaks. It is highly collectible today. It's my favorite. So I tuck it in as my last image.

chapter 1, Makers

This is the main post where your responses to chapter 1 of the Makers belongs. Remember your thoughts, questions, outside knowledge is welcomed. The hope is that we each begin to see and experience craft in the fullest sense in a new way. Do not hesitate if something is confusing or if you disagree. This is a semester long dialog.

Thinking virtually but living in proximity

I just watched the first of the PBS craft episodes and thought I would throw this out there to the more proximate or potentially more proximate Dallasites.

My studio is open to any of you. The weaving guild is right around the corner from my house. I have a friend who is an art quilter and my mom (lives around the corner-big Italian family) can quilt.


I have a wheel and a kiln that does glass and clay. Although these were gifts to my children and I have no real expertise with these but they are available for use.

If any of you are interested-- in field trips or getting together to make art/crafts or see art/crafts.
I would be happy to host, help organize, or sit quietly offering snacks and drinks.

Syllabus

Spring 2013

Art 5360 Seminar in Art Education : “Traditional Crafts: American Crafts Inside and Outside the Studio”

Future Akins-Tillett, Associate Professor of Art

future.akins@ttu.edu

Last day to drop a class without a penalty

February 1, 2013

Catalog Description

Topics very per course from faculty research to publication processes, ecology, technology, interpretation, and issues of power, privilege, and ideology. May be repeated for credit.

Prerequisites

Graduate standing and permission of instructor.

Overview of Class

This class will study the history of studio craft through the materials of clay, glass, metal, textile, and wood. As artists/educators we will reflect on this rich history, examine how we apply or do not apply this traditional approach to our own studio practice, and exchange ideas on the pedagogical concepts reached through craft making.

As a class you will respond weekly (posts are due by midnight on Monday) to a series of questions based on our readings. In addition you will need to respond to a minimum of three of the post from your classmates each week. I am interested in your honest and thoughtful reactions to the readings and the writings of the other students. I ask you to listen to each other with respect. If at anytime an issue develops and you feel a need to contact me directly or privately do not hesitate to write me at future.akins@ttu.edu.

Outcomes

1. Students will examine contemporary traditional crafts through metal, wood, clay, glass and textiles.

2. Students will compare contemporary traditional craft theories to pedagogical theories.

3. Students will apply the gained knowledge to their own studio practice.

Assessments

1.Students will be able to reflect, analyze and discuss contemporary traditional crafts through written responses to the assigned readings.

2.Students will write a 500-700 word essay based on the various pedagogical approaches as it applies to their art practice.

3. Students will use their own studio practice to create a work of art based on or influenced by the readings and responses.

Attendance Policy

Your attendance is necessary in order to make this class a successful learning experience. If you know you will be unable to respond on the blog during the set time it is your responsibility to notify me in advance and make arrangements to make up work. Continued absences will have a direct impact on your grade. You are expected to respond to the postings within the week in order to have a continuous dialog. Responding late, in bulk messages, is unfair and puts the other students at a disadvantage. Your grade will reflect this practice.

Absence due to officially approved trips.

The Texas Tech University Catalog states that the person for a student missing class due to a trip should notify the instructor of the department in advance of the trip. The may not be penalized and is responsible for the material missed.

Religious Holy Days (O.P. 34.19)

“Religious holy days” means a holy day observed by a religion whose place of worship are exempt from property taxation under Tax Code 11.20. A student who intends to observe a religious holy day should make that intention know in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that within a reasonable time after the absence. A student who is excused may not be penalized for the absence; however, the instructor may respond appropriately if the student fails to complete the assignment satisfactory.

Academic Integrity (OP 34.12)

For “students to present as their own any work which they have not honestly performed is regarded by the faculty and administration as the most serious offense and render the offenders liable to serious consequences, and possible suspension”.

American with Disabilities Act

Any student  who because of a disabling condition may require some special arrangements in order to meet course requirements, should contact the instructor as soon as possible to make any necessary accommodations. Students should present appropriate verification form Student Disability Services to the instructor. Please note instructors are to provide classroom accommodations to a student until appropriate verification from Student Disability Services office at 335 West Hall or 806.742.2405 ( American with Disabilities Act, July 26,1990).

Health and Safety Policy

Every effort will be made to comply with the intent of state laws or acts

and the University Health and Safety Program in an effort to maintain a

safe academic and working environment. Information and awareness of

safety factor will be included in course content.

Civility in the Classroom

Students are expected to assist in maintaining a classroom environment

that is conductive to learning. In order to assure that all students have an

opportunity to gain from time spent in class, unless otherwise approved by

the instructor, students are prohibited from using cellular phones or

beepers, making offensive remarks, reading newspapers, sleeping or

engaging in any other form of distraction. Inappropriate behavior in the

classroom shall result in minimally a request to leave the class. Unless the

instructor requires it, you may not surf the Internet or check your email

during class time. If you are asked to leave the class it will be counted as an

absence for that session.

Conflict Resolution The Student Resolution Center is available to assist students with any conflict or problem that has to do with being a student at Texas Tech University. You may visit the Student Resolution Center in the Student Union Building or call 742-4791

Books for the class

Makers: A History of American Studio Craft

Janet Koplos and Bruce Metcalf

2010

University of North Carolina Press, Chaple Hill

Craft in America: Celebrating Two Centuries of Artists and Objects

Jo Lauria and Steve Fenton

2007

Clarkson Potter Publishers

Semester Mapping

All posts are due by midnight on the assigned date. Responses to posts are due before the next posting date. An example: if your post is due by Sunday March 24th, then all responses to that post are due by Sunday March 31^st.  Hopefully this will help create a continuous dialog. I will send each of you a mid term report by March 20^th.

For each chapter of Makers, you are to answer the following three questions: What surprised you?,

What impressed you?

What are you carrying away with you?

On the surface these may seem simple questions but if you take a moment to consider the implication of each question you will see how complex and individual each response can be. Embrace the readings. This book is filled with outstandingly beautiful images of art works. Take time to think about the artwork and the corresponding essays. Allow yourself to be in the time period documented. Consider how you would be as an artist during this time.

For Craft in America there will be separate questions based on the responses.

For a final exam you are to create a work of art (your choice of medium) inspired /influenced by the readings. In addition you will write a short essay (500-700) words describing your process, reasoning, considerations for the work created.

January

27     Introductions

Share a little about yourselves. Your undergrad degree, if you are a classroom teacher (what grades), your art medium, your dream for/from this class.

         Chapter 1 of Makers

February

3       Chapter 2 of Makers

10     Chapter 3 of Makers

17     Chapter 4 of Makers

24     Chapter 5 of Makers

March

3       Chapter 6 of Makers

10     Spring Break

17     Chapter 7 of Makers

         Midterm reports sent to students

24     Chapter 8 of Makers

31     Chapter 9 of Makers

April

7       Chapter 10 of Makers

14     Introduction to Craft in America

21     Section I of   Craft in America

28     Section II of   Craft in America

May

5       Section III of   Craft in America

11     Final date for personal art work and essay

Grade Rubic

Postings    5 points each, 15 posts

                  (2 pts for your post, 1 for each response)           75

Individual Art work                                                                  15

Essay over art work                                                                 10

90-100               A

80-89                 B

70-79                 C

60-69                 D

below 60            F

Greetings

Welcome and greetings from West Texas.
Look over the syllabus. If you have any questions just ask. I realize that sometimes I take for granted that others can read my mind and/or translate my meandering thoughts.
My  goal  for this class is to study, explore,  and enjoy the wonderfully rich history of traditional crafts within America. The images from both our books are beautiful and inspiring, or at least they are for me. I love both books because they celebrate art made by hand and from the heart.  Craft in America  is the accompanying book for the PBS "Craft in America". If you want to "see" this book in action I encourage you to order or find the DVDs , make some popcorn and sit down for a series of moving  stories filled with art/craft.

As I read, view,  and ponder the examples of outstanding crafts, I am constantly re-thinking what I know about art in general and what I seek in my art in particular. I feel accepted.

If you consider "crafts" to be secondary or less than what is called "fine art" I encourage you to simply give the work you will be studying a chance. Suspend your judgment, set aside all the poor examples you have seen. When responding to the readings and the posts use "I" language. Speak from your experience express your opinion. I am not interested in generalizations or huge declarations. If you want to share a web site, do so, but I want your ideas on the site. More than "cool /awesome site". Making references to other books, DVDs is encouraged. Again, explain how you see the connection. When possible relate to your art practice or your teaching philosophy.
Most importantly, be respectful of each voice within this community of learners.


A view of bead wall, in my front studio.