Communities
Gender inequality is one of the main causes and effects of hunger and poverty. An estimated 60 percent of the chronically hungry are women and girls (Source: Gender Policy and Strategy, World Food Program). Studies show that when women have more income, nutrition, health and children’s education improve. Women account for two-thirds of the world’s 796 million illiterate people. Each additional year of primary school increases girls’ final wages by 10 to 20 percent. It also leads them to marry later and have fewer children, making them less vulnerable to violence. In most countries, rural women who work for a salary are more likely than men to be in temporary, part-time and low-paid jobs. Women also receive lower salaries for the same type of work (Source: FAO, 2011). “The State of Food and Agriculture in the World: Women in Agriculture, Closing the Gender Gap for Development.” More and more rural women are victims of domestic violence, but few make use of available services, according to a study carried out in various countries by the World Health Organisation (WHO).
Ana Rosa Lista is a lace designer and restorer of antique pieces, and graduated from the Dutch lace teachers school. She currently hosts lace workshops at her studio in Ames, where she works with more than 20 students.
Her work has been exhibited both nationally and internationally, in places such as Portugal, Switzerland and England. Her pieces form part of collections at the Camariñas Lace Museum, Vologda Lace Museum in Russia and the Museu da Renda de Bilros de Peniche in Portugal, among others.
Ana Rosa Lista’s work reflects the complexities of the textile genre, the crafts genre and the feminine gender. An intertwining that even today is positioned in a lower hierarchy than that of the “major arts” and the masculine gender. Her production tries, internally, to create links with art, links with design and links with fashion that have given not only lace, but also “the woman” and craftsmanship a position in the field of the arts.
The Association of Women Net Menders O’Cerco Cangas do Morrazo was set up in April 2004 with 16 members, with the aim of obtaining the concession of the workshop and therefore not being dependent on the guild, to which only a few of the purse seiners in the Vigo estuary belong.
It is currently directed by Pilar Nogeuira and has a total of 21 members.
The women net menders work repairing fishing nets. Their work is part of a cycle of production and consumption without which daily life as we know it would not be possible. If they were absent, we could notice their absence due to: the lack of fishing, the crisis it could cause in the work of the sea and an increase in the price of the food we consume. The work of “women” as a gender, has been part of Western history of invisible labour.
In the mountainous area of Guerrero, Mexico, lies the Nahuatl community of Tlamacazapa, 40 minutes from the magical town of Taxco de Alarcón. This community stands out for its use of an ancestral technique of palm weaving. In Tlamacazapa, approximately 80% of its inhabitants are involved in knot weaving with wild palm. In this context, the women are usually the protagonists of the weaving work, while the men play a fundamental role in the collection and preparation of the raw material. This intricate gender dynamic has become a remarkable aspect of daily life in Tlamacazapa, where tradition and manual dexterity intertwine to preserve and perpetuate the community’s heritage.
The Professional Association of Camariñas Lace Makers is an emblematic institution located in the fishing village of Camariñas, on the Costa da Morte (Death Coast) of Galicia. This town is famous not only for its rich tradition of bobbin lace making, known as “encaixes de Camariñas”, but also for its impressive natural and environmental wealth, which attracts many visitors every year.
The association, founded with the objective of preserving and promoting the art of bobbin lace, currently has 20 active members. These talented women, most of whom are retired, dedicate their time and skills to creating exquisite lace pieces that stand out for their complexity and beauty. However, the Professional Association of Camariñas Lace Makers faces some significant challenges. One of the problems is the lack of generational succession, as the interest in learning the technique of bobbin lace has decreased among the younger generations. To combat this problem, the association has begun to implement educational initiatives and workshops aimed at attracting young people and awakening their interest in this craft.
Emilia Guimerans is a contemporary artist based in Vigo, who specialises in ceramics. Her artistic practice focuses on teaching and experimenting with this technique. Since beginning her career in 1986, she has accumulated extensive experience as a teacher, giving classes in the Ceramics School of Nigrán. Emilia has showcased her work in a number of solo and group exhibitions, both in Spain and internationally. In 2008, she was admitted as a member of the International Academy of Ceramics and in 2012 she co-founded the Tinglao group together with Jorge Pérez Conde. Her work has been shown in many galleries, such as the prestigious Sargadelos Gallery in Vigo, Kyouei-Gama Gallery in Japan and the Posada del Potro Gallery in Córdoba among many others. Her latest exhibition, “Formas de atrapar una sombra (Ways of Catching a Shadow)”, stood out in the Faculty of Fine Arts of Pontevedra in 2023.
Khadi Oaxaca is a collective of artisans and other collaborators who mainly live in the town of San Sebastián Río Hondo and surrounding villages in the southern highlands of Oaxaca and in Santa Catarina Mechoacán (Costa Chica).
All 650 artisans are self-employed and work in their spare time. They own their production tools and work from home. This works well for the hundreds of spinners who live on rancherías and have very few options for earning an income.. The work is paid per unit (kilo, metre, piece), and people are paid periodically, every fortnight or month depending on the craft. The artisans don’t have to wait until the piece is sold to get paid. They are paid on the spot when they deliver their work. Payment rates are made through dialogues between the artisans and the central team whenever required, taking into account the possibilities of the company and the needs of the artisans.
BEING A RURAL WOMAN
COmmunities
COmmunities
Gender inequality is one of the main causes and effects of hunger and poverty. An estimated 60 percent of the chronically hungry are women and girls (Source: Gender Policy and Strategy, World Food Program). Studies show that when women have more income, nutrition, health and children’s education improve. Women account for two-thirds of the world’s 796 million illiterate people. Each additional year of primary school increases girls’ final wages by 10 to 20 percent. It also leads them to marry later and have fewer children, making them less vulnerable to violence. In most countries, rural women who work for a salary are more likely than men to be in temporary, part-time and low-paid jobs. Women also receive lower salaries for the same type of work (Source: FAO, 2011). “The State of Food and Agriculture in the World: Women in Agriculture, Closing the Gender Gap for Development.” More and more rural women are victims of domestic violence, but few make use of available services, according to a study carried out in various countries by the World Health Organisation (WHO).
In the mountainous area of Guerrero, Mexico, lies the Nahuatl community of Tlamacazapa, 40 minutes from the magical town of Taxco de Alarcón. This community stands out for its use of an ancestral technique of palm weaving. In Tlamacazapa, approximately 80% of its inhabitants are involved in knot weaving with wild palm. In this context, the women are usually the protagonists of the weaving work, while the men play a fundamental role in the collection and preparation of the raw material. This intricate gender dynamic has become a remarkable aspect of daily life in Tlamacazapa, where tradition and manual dexterity intertwine to preserve and perpetuate the community’s heritage.
Ana Rosa Lista is a lace designer and restorer of antique pieces, and graduated from the Dutch lace teachers school. She currently hosts lace workshops at her studio in Ames, where she works with more than 20 students.
Her work has been exhibited both nationally and internationally, in places such as Portugal, Switzerland and England. Her pieces form part of collections at the Camariñas Lace Museum, Vologda Lace Museum in Russia and the Museu da Renda de Bilros de Peniche in Portugal, among others.
Ana Rosa Lista’s work reflects the complexities of the textile genre, the crafts genre and the feminine gender. An intertwining that even today is positioned in a lower hierarchy than that of the “major arts” and the masculine gender. Her production tries, internally, to create links with art, links with design and links with fashion that have given not only lace, but also “the woman” and craftsmanship a position in the field of the arts.
Ana Rosa Lista is a lace designer and restorer of antique pieces, and graduated from the Dutch lace teachers school. She currently hosts lace workshops at her studio in Ames, where she works with more than 20 students.
Her work has been exhibited both nationally and internationally, in places such as Portugal, Switzerland and England. Her pieces form part of collections at the Camariñas Lace Museum, Vologda Lace Museum in Russia and the Museu da Renda de Bilros de Peniche in Portugal, among others.
Ana Rosa Lista’s work reflects the complexities of the textile genre, the crafts genre and the feminine gender. An intertwining that even today is positioned in a lower hierarchy than that of the “major arts” and the masculine gender. Her production tries, internally, to create links with art, links with design and links with fashion that have given not only lace, but also “the woman” and craftsmanship a position in the field of the arts.
Tlama
In the mountainous area of Guerrero, Mexico, lies the Nahuatl community of Tlamacazapa, 40 minutes from the magical town of Taxco de Alarcón. This community stands out for its use of an ancestral technique of palm weaving. In Tlamacazapa, approximately 80% of its inhabitants are involved in knot weaving with wild palm. In this context, the women are usually the protagonists of the weaving work, while the men play a fundamental role in the collection and preparation of the raw material. This intricate gender dynamic has become a remarkable aspect of daily life in Tlamacazapa, where tradition and manual dexterity intertwine to preserve and perpetuate the community’s heritage.
The Association of Women Net Menders O’Cerco Cangas do Morrazo was set up in April 2004 with 16 members, with the aim of obtaining the concession of the workshop and therefore not being dependent on the guild, to which only a few of the purse seiners in the Vigo estuary belong.
It is currently directed by Pilar Nogeuira and has a total of 21 members.
The women net menders work repairing fishing nets. Their work is part of a cycle of production and consumption without which daily life as we know it would not be possible. If they were absent, we could notice their absence due to: the lack of fishing, the crisis it could cause in the work of the sea and an increase in the price of the food we consume. The work of “women” as a gender, has been part of Western history of invisible labour.
The Association of Women Net Menders O’Cerco Cangas do Morrazo was set up in April 2004 with 16 members, with the aim of obtaining the concession of the workshop and therefore not being dependent on the guild, to which only a few of the purse seiners in the Vigo estuary belong.
It is currently directed by Pilar Nogeuira and has a total of 21 members.
The women net menders work repairing fishing nets. Their work is part of a cycle of production and consumption without which daily life as we know it would not be possible. If they were absent, we could notice their absence due to: the lack of fishing, the crisis it could cause in the work of the sea and an increase in the price of the food we consume. The work of “women” as a gender, has been part of Western history of invisible labour.
Tlama
In the mountainous area of Guerrero, Mexico, lies the Nahuatl community of Tlamacazapa, 40 minutes from the magical town of Taxco de Alarcón. This community stands out for its use of an ancestral technique of palm weaving. In Tlamacazapa, approximately 80% of its inhabitants are involved in knot weaving with wild palm. In this context, the women are usually the protagonists of the weaving work, while the men play a fundamental role in the collection and preparation of the raw material. This intricate gender dynamic has become a remarkable aspect of daily life in Tlamacazapa, where tradition and manual dexterity intertwine to preserve and perpetuate the community’s heritage.
Palilleiras
The Professional Association of Camariñas Lace Makers is an emblematic institution located in the fishing village of Camariñas, on the Costa da Morte (Death Coast) of Galicia. This town is famous not only for its rich tradition of bobbin lace making, known as “encaixes de Camariñas”, but also for its impressive natural and environmental wealth, which attracts many visitors every year.
The association, founded with the objective of preserving and promoting the art of bobbin lace, currently has 20 active members. These talented women, most of whom are retired, dedicate their time and skills to creating exquisite lace pieces that stand out for their complexity and beauty. However, the Professional Association of Camariñas Lace Makers faces some significant challenges. One of the problems is the lack of generational succession, as the interest in learning the technique of bobbin lace has decreased among the younger generations. To combat this problem, the association has begun to implement educational initiatives and workshops aimed at attracting young people and awakening their interest in this craft.
Emilia
Emilia Guimerans is a contemporary artist based in Vigo, who specialises in ceramics. Her artistic practice focuses on teaching and experimenting with this technique. Since beginning her career in 1986, she has accumulated extensive experience as a teacher, giving classes in the Ceramics School of Nigrán. Emilia has showcased her work in a number of solo and group exhibitions, both in Spain and internationally. In 2008, she was admitted as a member of the International Academy of Ceramics and in 2012 she co-founded the Tinglao group together with Jorge Pérez Conde. Her work has been shown in many galleries, such as the prestigious Sargadelos Gallery in Vigo, Kyouei-Gama Gallery in Japan and the Posada del Potro Gallery in Córdoba among many others. Her latest exhibition, “Formas de atrapar una sombra (Ways of Catching a Shadow)”, stood out in the Faculty of Fine Arts of Pontevedra in 2023.
Emilia Guimerans is a contemporary artist based in Vigo, who specialises in ceramics. Her artistic practice focuses on teaching and experimenting with this technique. Since beginning her career in 1986, she has accumulated extensive experience as a teacher, giving classes in the Ceramics School of Nigrán. Emilia has showcased her work in a number of solo and group exhibitions, both in Spain and internationally. In 2008, she was admitted as a member of the International Academy of Ceramics and in 2012 she co-founded the Tinglao group together with Jorge Pérez Conde. Her work has been shown in many galleries, such as the prestigious Sargadelos Gallery in Vigo, Kyouei-Gama Gallery in Japan and the Posada del Potro Gallery in Córdoba among many others. Her latest exhibition, “Formas de atrapar una sombra (Ways of Catching a Shadow)”, stood out in the Faculty of Fine Arts of Pontevedra in 2023.
Emilia Guimerans is a contemporary artist based in Vigo, who specialises in ceramics. Her artistic practice focuses on teaching and experimenting with this technique. Since beginning her career in 1986, she has accumulated extensive experience as a teacher, giving classes in the Ceramics School of Nigrán. Emilia has showcased her work in a number of solo and group exhibitions, both in Spain and internationally. In 2008, she was admitted as a member of the International Academy of Ceramics and in 2012 she co-founded the Tinglao group together with Jorge Pérez Conde. Her work has been shown in many galleries, such as the prestigious Sargadelos Gallery in Vigo, Kyouei-Gama Gallery in Japan and the Posada del Potro Gallery in Córdoba among many others. Her latest exhibition, “Formas de atrapar una sombra (Ways of Catching a Shadow)”, stood out in the Faculty of Fine Arts of Pontevedra in 2023.
Khadi
Khadi Oaxaca is a collective of artisans and other collaborators who mainly live in the town of San Sebastián Río Hondo and surrounding villages in the southern highlands of Oaxaca and in Santa Catarina Mechoacán (Costa Chica).
All 650 artisans are self-employed and work in their spare time. They own their production tools and work from home. This works well for the hundreds of spinners who live on rancherías and have very few options for earning an income.. The work is paid per unit (kilo, metre, piece), and people are paid periodically, every fortnight or month depending on the craft. The artisans don’t have to wait until the piece is sold to get paid. They are paid on the spot when they deliver their work. Payment rates are made through dialogues between the artisans and the central team whenever required, taking into account the possibilities of the company and the needs of the artisans.