Earlier this year, our project manager Yully Rojas organized two workshops to teach artisans from our partner villages in the Ampiyacu to make some of our best-selling handicrafts. The first was a three-day gathering in the Bora village of Brillo Nuevo where veteran artisans showed sixty fellow artisans from six villages how they made popular models of hot pads and snake pattern belts. The results were very good with the exception of a group that worked with a last-minute substitute teacher who didn’t know her model as well as expected.
I attended a two-day training in the thatched roof maloca (meeting house) in Puca Urquillo Huitoto where four artisan teachers taught their peers from five villages how to make another batch of special crafts. Many women and children gathered around Siena on a large plastic sheet on the dirt floor to practice weaving an armadillo ornament. Others gathered around Ania and Angelina to begin making the more complicated shushupe and naca naca models of guitar straps. Many women said they learned a lot and acknowledged it was going to take a lot of practice to weave a high-quality strap. We were pleased that Luz Elena, an artisan from Neuvo Peru joined the workshop for the first time. She said, “I used to only know how to make bags and hammocks – now I can make a new kind of craft.” It was disappointing that no artisans came from two nearby Yagua villages. We have been trying to engage artisans from these communities in the project for a few years now, but we are learning that initial enthusiasm to get involved doesn’t always translate into long-term commitment.
There was a cluster of men sitting on a side bench of the maloca using crude awls to etch a paiche (a giant Amazon fish) and other wildlife figures onto dark brown calabash tree pods. When filled with beads, they become attractive hand rattles and Christmas tree ornaments. Guillermo from Puca Urquillo had been trying to sell his ornaments to Yully without success for over a year. He said, “I learned to make crafts 25 years ago when I was a teenager. This workshop was very important, though, because it gave me a chance to compare, practice and improve my work with others.” Guillermo was very pleased that we bought almost all of the ornaments he made during the workshop.
At the conclusion of the workshop, each of the artisan groups expressed their thanks to CACE, GlobalGiving and other foundations for their support of artisan skill sharing.
While workshops are a potent way to promote artisan learning, we are also producing a DVD compilation of veteran artisans showing and explaining step-by-step how they make a variety of handicrafts for CACE. Videographer Tulio Davila has now recorded more than 20 sessions with artisans from Brillo Nuevo and Puca Urquillo making a variety of woven belts, guitar straps, hot pads, hair barrettes, hat bands and water bottle carriers. He accomplished a lot during his recent three week stint in the field, but the factors that slowed him down were a potent reminder that many things are beyond our control.
Tulio could not shoot some craft models with black because high floods prevented artisan access to the fruit that is normally used to dye chambira this dark color. He couldn’t work with a few key artisans who were understandably distracted when the husband of one failed to return from a hunting trip in the forest, and the husband of another was accused of killing him. Fortunately the missing fellow wandered back to the village after three days – very hungry – but otherwise in good shape. Oscar initially agreed to be filmed explaining how he weaves the popular “anaconda” model belts and guitar straps, but backed out when he was worried that his creation might be shared with artisans outside the region.
We are having to carefully and repeatedly explain to our partners that we will only be able to sell a few of their crafts if we can’t offer them in larger numbers with consistent high quality. Since none of them would be able to fill an order from a wholesale buyer by themselves, they have to be willing to share their knowledge with each other if they want to increase their income from making and selling crafts. Our promise to them is that these detailed training materials will not be shared with artisans beyond the 15 communities in the Ampiyacu federation. Tulio is now busy editing the completed instructional videos into final form. We need to raise more funds to complete the process of documenting all of the most popular models once the river water level returns to normal.
Thank you for your support for this project – particularly on Bonus Days when your contribution will be partially matched by other donors on GlobalGiving.
These key dates are:
Wednesday, May 13 (match amount will depending on total amount given to all projects)
Wednesday, July 15 (50% match given to donations made before matching funds run out)
Wednesday Sept. 16 (30% match given to donations made before matching funds run out)
We would appreciate your feedback and questions about our work. Please contact me at firstname.lastname@example.org.
Project Leader/Executive Director
I just returned to Iquitos after a successful four day visit to the Maijuna native community of Nueva Vida in the Napo River region of the northern Peruvian Amazon. The main purpose of the trip was to meet their artisans and see if they wanted to work with CACE to develop and market several new models of handicrafts. I also wanted to explore the potential for harvesting copal resin with them and distilling it into fragrant essential oil as a new source of sustainable income for the village.
My journey began with a speedboat ride at dawn from Iquitos to the Amazon River town of Mazan with my CACE videographer companion Tulio. After stocking up on supplies, we eventually met up with our Maijuna guides Everest and his father “Shebaco”. Thanks to an introduction from long-time Maijuna friend (and CACE board member) Michael Gilmore, we had met at a Maijuna federation congress in 2009, and he hosted me last summer in Sucusari when we conducted a quick search for copal trees near his village. I much appreciate that he gave me the name “Baiyiri” - the Maijuna word for copal.
Our original host for this visit was going to be Walter from Nueva Vida, but on two days’ notice he had flown to Lima with two other Maijuna to meet with the Peruvian President. This was a critical meeting that marked the final hurdle to winning government approval for a regional protected area that would encompass the four main Maijuna villages in the Napo and Putumayo River region and the forest in between. This struggle to gain legal recognition for their traditional lands coincided with a multi-year battle against a road project that would go through the heart of it. I wished Walter well on his mission and was happy to have Shebaco with me again for mine.
Like many native groups, the Maijuna are striving to improve their standard of living and standing in modern Peruvian society and maintain certain aspects of their culture that give them pride and sustenance. The Maijuna were once called by the derogatory term “orejones” (big ears) because they had the custom of placing increasingly larger disks into their ear lobes. They gave up this practice a generation ago, but they embraced a program led by linguists from U.C. Berkeley that has reinvigorated the teaching and use of the Maijuna language by all generations.
Half a dozen women from Nueva Vida learned how to make decorative baskets from chambira palm fiber that were similar to ones made by campesino artisans from the Tahuayo River, but their skills languished for several years because the workshop’s sponsors did not provide follow-up support to market any baskets they made. Since there was a new spark to this enterprise, Michael thought that this would be a propitious time to connect with these budding artisans.
Due to our late start from Mazan, we didn’t get into Nueva Vida in Shebaco’s peque-peque (motor canoe) until well after dark. After setting up our tents in our host’s main room and a quick supper of tuna fish and crackers, we went to sleep. My visit began in earnest the next morning by meeting almost the whole community. I spoke no Maijuna beyond my nickname, but showing and discussing a video of our handicraft project with other artisans quickly established a common language dealing with chambira palm fiber and other plants used in making woven crafts. There was no doubt they could make the kind of baskets we wanted, but it took a patient dialogue to sort through which dye plants they had available to make certain colors and which colors we should avoid using in our initial designs unless we wanted to provide artificial dyes from the city. Our discussion about pricing for the baskets was uncomfortable for a time because their scale was different than other villages we have bought similar products from.
While the Maijuna were all familiar with the basic uses of copal resin – burning it for light or boiling it to caulk their canoes, they were fascinated to see and hear the stories about the intimate relationships that copal resin exuding from the trees has with various weevils, flies, ants and bees. For two days I accompanied Shebaco and rotating four-man teams from Nueva Vida to search for copal. We had most luck finding large fresh lumps on trees on or near the tops of little hills and spent the other half of our time slogging through swampy low lying areas. Harvesting a lump was sometimes as simple as cutting it off with a machete at chest height. A team member lashed his machete to a pole and thrust the blade under lumps that were attached to the trunk ten to twenty feet from the ground. In a few cases, a spry Maijuna wrangled his way up a nearby small tree or vine to get at some lumps that were twice as high. Two men tried to catch the dislodged lumps below (in Tulio’s long-sleeve shirt the first day and an old cassava carrying bag on the second) while trying to keep dry resin bits from falling in their eyes.
The teams quickly adopted our protocol of not harvesting small fresh resin lumps so the weevils inside them could mature and stimulate more resin lumps in the future. They also understood that while they could take old black lumps back to their homes to stoke cooking fires, the dry odorless lumps were not worth distilling because they had lost most of their essential oil. We collected GPS points at all of the trees to aid in finding these trees again in five or six years and combine them with satellite landscape data to help identify other good sites for finding copal trees in more distant Maijuna forest areas.
Other highlights of my time in Nueva Vida included fishing with Shebaco and Everest and meeting Elena, an artisan who had woven a beautiful river dolphin as a sample keychain. After Tulio talked with her, I commissioned her on the spot to make fifteen more as Christmas tree ornaments. I was impressed that Tulio was able to sincerely engage with people who are understandably often very shy in this situation to become comfortable enough to share something about their craft making and other aspects of their lives. In the final hours of light, I was very happy to reach an agreement with the president of the artisan association about making an initial batch of baskets for us.
Our Nueva Vida hosts were accepting if circumspect in sharing their evaluation of our visit with us. Every community in this region has had multiple experiences with visitors from various groups coming in to pitch one project or another – many of which lack follow-up or don’t go well for other reasons so I understand why they temper their enthusiasm for a new venture until it proves worthwhile. I already felt a bond with Shebaco, but I was encouraged that several people from Nueva Vida asked me one and only one simple question: “When are you coming back?” So the dance has begun. I hope to see thirty beautiful baskets in three weeks as the next step.
Back in Iquitos, our project manager Yully set herself to the task right away of distilling the resin collected at Nueva Vida. It was great to learn that it shared the highest yield of essential oil we have produced so far from any region. Analyzing a sample of it will help determine its composition and commercial potential. If these aspects prove positive as well, the next step will be to formulate a management plan to guide the development of this local enterprise in the years to come.
The idea for creating Christmas tree ornaments with our artisan partners along the Ampiyacu River came by observing that some made a knick-knack holder by weaving chambira palm fiber around a grapefruit-sized calabash tree pod – locally called a “tutuma.” They made the first ornaments by adapting the technique to an egg-shaped pod and attaching a chord to it. Other artisans had etched figures of wildlife and geometric patterns onto walnut-colored tutuma maracas so ornaments could be made on smaller pods without a handle. Both types could double as hand rattles by adding achira seeds to cleaned pods before sealing them.
We encouraged both Bora and Huitoto artisans in Puca Urquillo to try making ornaments in 2011 as a new line of crafts distinct from woven items being made by our original partners in Brillo Nuevo. After one Christmas season, the results were clear. We had quickly sold all of the tutuma rattle ornaments etched with jaguars, toucans, and other jungle critters. The woven chambira ornaments were well made, but would not add as interesting a touch to a holiday tree.
When I next met with the women artisans in Puca Urquillo, I expected they would be happy to hear that one of our first products was very successful and that we wanted to order a lot more etched tutuma ornaments for the following Christmas. I was not prepared for a prolonged awkward silence. Elsa finally spoke up – “we know how to weave, but only a few men know how to carve the tutumas. My husband made all of the ones you got from me last year.”
Over the next year, about eight Huitoto women tried to make the more popular tutuma ornaments. When I returned to their village, they gathered in a circle in the group leader’s home with a pile of their first efforts in front of them. I sat in the center and inspected every ornament from every artisan in turn. A few tutumas were good, but many had a crudely etched figure of a bird with the background scraped away. Some made great hand rattles, but many contained too few seeds inside to make a good sound when shaked. I praised all of the artisans for their efforts, bought the best ones, asked them to fix ones that could be improved, and explained why some were not good enough to sell.
Giving this honest feedback can be agonizing. Some artisans got discouraged and gave up right away. Fortunately others kept trying and made better and better looking critters. There is no doubt, though, that the Bora artisan Rider Velasquez is still the master tutuma maker. Each one of his tutumas portrays a realistic or creative vision of rainforest life – a jaguar stalking a paca, a hummingbird poking its bill into a tubular flower, or a giant paiche fish against a stylized sunset. Our challenge is figuring out how to facilitate him sharing some of his artistry with the other artisans.
In the past few years, we have also worked with artisans in other communities in northern Peru to design their own ornaments. Dora and her family from Jenaro Herrera on the Ucayali River wove multi-colored chambira fiber into miniature plates, pots, stars, dragonflies, butterflies and bees. Lesli from the Maijuna village of Sucusari wove a beautiful rainbow colored snail. Yermeth from the campesino village of Chino on the Tahuayo River wove frog ornaments whose huayruru seed eyes imbued each one with personality. These frogs became so popular that a dozen other artisans from her cooperative are now making them as well.
Sharing the success of these novel ornaments with the Ampiyacu artisans has inspired them to come up with their own clever designs. Cherly from Pucu Urquillo wove an armadillo, squirrel and monkey. Deusebio from Santa Lucia de Pro wove a black caiman and pink river dolphin. Lucia and her ten-year old son José have carved balsa wood into agoutis and pacas (two medium-size Amazon rodents) and used a fire-heated wire to add expressive facial features and stripes. They carved turtle and armadillo bodies from balsa wood and attached shells made from small curved pieces of calabash pod. Teenager Kiary carved and painted balsa wood into parrot, anteater and tapir figures. This past summer, we commissioned this young carver to make prototypes of basset hound ornaments for a small business in State College, PA that sells puppies of this friendly breed. Not surprisingly, his parents Lucio and Ania are also talented artisans. Lucio makes great etched tutumas and wove contrasting babaca and bonbojaje around a balsa core to make a miniature rainstick. Ania told us, “I am very happy that our family can make more money selling handicrafts to CACE. We can now pay for Kiary to go a better school, and he is learning a good skill to earn income for himself.”
In the past two years, we have sold just over 400 ornaments – mostly at craft fairs and one local Christmas tree farm that displays our ornaments in their gift shop. We are on pace to sell several hundred more this year with one new Christmas tree seller alone buying 98 ornaments for his shop. It seems very fitting that more people are buying ornaments made by native families from the Amazon that truly reflect the spirit of the holiday. We would welcome receiving any ideas or contacts you have that could help us expand this market.
Thank you very much for your support for our project with best wishes for your holiday and the New Year.
Executive Director and Project Leader
Dear Friend of the Amazon,
When I sit down to write an update about our project, I normally tell our supporters a brief story about a person or a topic that highlights some recent success. GlobalGiving has inspired me, however, to enter its Fail Forward contest with a story about a few big challenges and failures we have faced working with our native artisan partners in Peru.
I visited Bora, Huitoto and Ocaina native villages along the Ampiyacu River in northern Peru for the first time in June 2008 to see if they would like to work with my new organization to develop and sell handicrafts and other value-added non-timber products from the rainforest. After traveling down the Amazon River for a full day by boat, I arrived in Puca Urquillo for a meeting set to form an association to promote handicraft sales from artisans in the 14 communities in the region. The representative of the NGO that organized the gathering enthusiastically told the artisans that getting better organized and improving the quality of their crafts could greatly increase their sales and income. I followed up with a pitch about the modest success that CACE had had selling woven crafts and jewelry made by campesino artisans from the Ucayali River. Without further discussion, the moderator called for nominations from the floor for the group’s first officers. He then asked the artisans to come up to a dirty white board one at a time and put a mark by the name of their preferred candidate. In this open style of democracy, four popular artisans from the largest villages were duly elected.
When I returned to the Ampiyacu the next year to begin our project, the artisans from Brillo Nuevo complained that the association president from Puca Urquillo had not helped them, visited them or even convened a meeting. I was a bit disappointed but not surprised that the venture was stillborn since it was launched more by an energetic consultant than the artisans and lacked follow-up. While I thought the regional association was premature, I was sure CACE could help the Brillo Nuevo artisans build a strong village level association.
In late 2009, we got enough funding to hire a very capable project manager, Yully Rojas, to visit this Bora community way up the Yaguasyacu River once a month. Artisans were initially enthusiastic about working with us because we encouraged their creativity and bought most of the new types of crafts they produced. For the first year we worked very well with Felicita, the young “leader” of the Brillo Nuevo artisans who was talented, articulate, and respected enough by her peers to pull them together for a meeting or informal skill-sharing session at her house.
We were able to sell some snake-pattern belts designed by the artisans in the second year of the project, but this initial success stalled when we asked them to make more of the most popular models. The women were used to making bags and hammocks one at a time to sell to tourist shops in the city. The artisans who had made beautiful prototypes couldn’t replicate them because they had forgotten the original design or changed the colors because they didn’t have the same dye plants around. Less experienced artisans who made belts with dirty chambira, faded colors, and uneven edges got mad when we told them we couldn’t pay them for poor quality crafts that we couldn’t sell.
Later that year I spent some time with the Non-Timber Forest Products Exchange Programme in the Philippines and found that many of the artisan groups they worked with in south and southeast Asia had successfully established quality-control committees to enhance their enterprises. Committee members were helping their fellow artisans improve their skills and building strong reputations with their buyers by inspecting crafts made by their members and only shipping items that met design specifications.
This system seemed like a great way to empower Ampiyacu artisans to improve the consistency and quality of their crafts for the export market. I presented the idea to the artisans from Brillo Nuevo in 2011, and they elected three veteran weavers to form a quality control committee as part of their village artisan association. They also liked CACE’s proposal to give certificates and prizes to the most productive artisans as an additional incentive to improve their quality.
A year later it seemed that all of these ideas had failed because I had assumed that the artisans enjoyed a high level of trust between each other. The artisan Felicita who had inspired her colleagues to work together had left the village with her husband. Her aunt Monica had offered her fellow artisans what she thought were helpful suggestions about ways they could improve their weaving techniques but resigned from the quality control committee after being harshly told by an artisan in a different family to mind her own business. When we gave out the certificates and prizes for the first time, the evening was marked by awkward silence and no supportive cheers. The only thing we did that improved the mood was passing around large bottles of bubblegum flavor soda. After the gathering, one top-honored artisan told me that she and her sisters were going to stop making crafts for us because their success had generated way too many hurtful expressions of jealousy.
It finally became apparent that the lines of tension between the artisans reflected similar divisions of families that attended two churches and routinely argued in community assemblies. Encounters between one woman who was almost always laughing and another who was steadfastly calm could erupt into intense verbal clashes if they started discussing differences over land rights in their adjoining fields going back a generation. I met with several artisan leaders from “both sides” including Ines and Angelina and feared for a time that both groups would stop working with us. I then met with most of the artisans again the day before I left the village and apologized that our initiatives seemed to be causing more harm than good. The artisans agreed that the quality control committee hadn’t worked, but I was surprised that they really wanted to keep receiving the certificates and prizes – we would only award prizes in the future, though, for achievements that we could document like craft sales. Asking the artisans to choose a prize for a more subjective honor like “the artisan who has been the most supportive” would only accentuate their factionalism. Gisela added, “I don’t like it when Sra. Yully doesn’t accept one of my crafts that I have worked hard on, but getting this feedback has really helped me improve my craftmaking.” Most of the artisans nodded in agreement. They then asked me if CACE could provide refreshments for their Christmas party. I said that we would do this if they showed that they could get along with each other.
The next year we were able to buy a greater variety of handicrafts from the artisans in Brillo Nuevo and formed partnerships with artisans from four new native communities along the Ampiyacu. We knew we could sell even more crafts to benefit artisan families if we could expand our sales beyond friendly church craft fairs. The artisans were getting along better, but they still didn’t work together effectively enough to fill wholesale orders for businesses.
We were planning to organize skill-sharing workshops in partner villages last year to help artisans better make specific types of crafts. The Field Museum of Chicago, however, invited us to help them develop and lead a series of interactive workshops in Puca Urquillo and Brillo Nuevo focused on process instead of products. The three part “tool-kit” was designed to help artisans improve their skills with communication, leadership, organization, planning and sustainability. They played games, role-played dealing with buyers, and drew pictures of chambira palm trees they would plant to replenish their fiber for woven crafts. They formed mock companies that competed to make as many woven bracelets of the same design as they could in five minutes. They examined their results, talked about how to do it better, and went again. They worked hard, laughed hard, and enjoyed being together. We saw that these artisans had both a deep desire and capacity to learn new skills. They wanted to sell more crafts to better support their families, and they wanted to gain the confidence and pride of creating quality work.
The other critical lesson we learned during these workshops was that these women were best prepared to learn, cooperate and have fun when they took on challenges with the same small group of close friends and family members they shared their daily lives with. After the workshops, we began dividing up orders for crafts between these natural small groups or mini-associations. One group for example might be responsible for weaving ten hot pads of the same model in one month and organizing work parties to plant chambira palms in each other’s fields. A few artisans are still intent on working solo, but most are embracing or are at least trying to share their skills and be mutually accountable to the people they care for the most. My favorite part of this summer’s artisan award ceremony was giving some fishing line and hooks, a notebook, pens and a cap to Casilda, Dalila, Dolores, Lidaberna and Ortensia whose group completed the total number of quality crafts requested on time for three months in a row.
The artisans of Brillo Nuevo or other villages may eventually want to form functional associations to represent their community and maybe join together in a regional one, but I trust that they will know when the time is right. Our job is to respect and support their organic process, culture and vision.
Thank you very much for your support for our project. Visit our page on GlobalGiving at www.AmazonAlive.net to get more information or make a donation. Please remember that Wednesday, October 15 is the last Bonus Day of the year. Any online contributions made early enough in the day will receive a 30% match from GlobalGiving.
Tourists visiting Iquitos, the gateway city to the northern Peruvian Amazon, buy a fair amount of bags and hammocks woven from the fiber of the chambira palm tree. The women artisans who harvest its long spear-like leaves covered with long sharp spines to weave these items get paid relatively little for their painstaking labor because there are so many others in remote villages doing the same thing.
CACE’s basic goal in working with native villages along the Ampiyacu and other forest-based communities in the region is to help its people improve their livelihoods by creating and selling value-added forest products including innovative handicrafts and essential oils. We need to advance this work along three paths in step-wise fashion. 1. Support artisans to make interesting and quality crafts, 2. Help artisans market these crafts, 3. Support artisans to harvest the plants used to make the crafts in a sustainable way. As craft sales grow, we need to help train more artisans and increase the supply of plants to meet anticipated demand.
The new kinds of crafts that our partner artisans have made from chambira fiber and other local plants in past years has included: belts, guitar straps, hat bands, bracelets, hair barrettes, bags, coin purses, cell phone carriers, holiday tree ornaments, and hot pads. We have been selling most of these crafts at presentations, craft fairs, conferences with a growing amount also being sold online and through retail shops. As opportunities to sell more crafts increases, we have facilitated skill-sharing between artisans and worked with them to assess the abundance of chambira in their fields.
This summer, our Peruvian interns Cindy and Jill accompanied several artisans including Dolores, Lucila, and Casilda through every stage of the craft-making process so we could document and better understand how much time and materials were involved in harvesting the plants and making different types of finished handicrafts. An artisan (or sometimes her husband) begins this process by walking from her home to one of her “purmas” (fallow farm-field) where chambira palms have either grown through natural regeneration or were intentionally planted. She first cuts a medium age “cogollo” (a spiny medium age leaf that looks like a spear) with a machete or pruning saw (provided by CACE to reduce damage to non-target leaves). The artisan vigorously shakes the spear to unfurl the dozens of leaflets and then pulls them off of the central stem. She will tie these in a bundle and then harvest more cogollos from other trees if she has a big project.
In the village, I marveled at the foot dexterity of Dolores as she secured the base of one leaflet at a time between two toes and then used her fingers to snap the top of the leaflet and then peel the fibers away from it. The remainder includes the stiff core and the “bagassa” (waste part). It can easily take several hours to remove the fibers from a big batch. Dolores next boiled the fibers in her house and then cleaned and washed it from her dugout canoe in the river and finally draped the strands of over a clothes line to dry for two days. She came by a couple of times during this time to comb out the stray fluffy pieces. When the chambira is sun dry, artisans collect other plants to dye the fiber into as many colors as needed for the craft they plan to make. These parts may include the leaves, fruits, roots, seeds, or bark of a dozen plants that may be available during different times of the year. The dye plant parts are usually mashed or grinded and then put into a pot with a batch of chambira to boil for five to ten minutes. The colored chambira is then hung in her house in the shade to dry. Sometimes the chambira is then soaked again in river mud to deepen and perhaps fix the color (acting like a natural mordant). Twining comes next. There are no spinning wheels here so the artisans take one or more fine strands of chambira fiber and rub them up and down their thigh to twist them into long strong threads of the proper thickness. (Warning to curious researchers and tourists – this is painful for people who have hair on their legs to attempt). The final stage is to weave the fibers into whatever craft the artisan wishes to make. It can take anywhere from half a day to a full week to complete one item.
When we compared the weights and prices of a wide variety of crafts, we made some important discoveries. The artisans were making about $5.18 per cogollo of chambira harvested and processed for making and selling a typical bag and only $1.48 per cogollo for an average hammock sold to a tourist shop in Iquitos (not including their cost of travel to and from the city). In contrast, they were making $11.85 per cogollo for making a hot pad and $13.33 per cogollo for making a guitar strap they sold to CACE in their village. The implications of these data for the forest and the artisans were already becoming clear. Since it takes 5 to 10 cogollos to make one hammock, artisans have spent lots of time making a product that offers little compensation and making lots of hammocks leads to harvesting chambira at a faster rate than it takes to grow back. These results also make our mission equally clear. Training more artisans to make the higher-value products will generate more income for the artisans and use the chambira resource much more sparingly.
Dolores summed up her feelings about this situation in simpler terms – “I like making hot pads for CACE because it’s more profitable than making a hammock and uses a lot less chambira. It’s a much easier way for me to help take care of my family.”
Thank you very much for your support for our project. We would particularly welcome contributions on the upcoming GlobalGiving Bonus Day on October 15 when donations made early in the day will receive a 30% match. Visit our GlobalGiving page at: www.AmazonAlive.net.
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