Highlights from the 20th Annual International Folk Art Market

Highlights from the 20th Annual International Folk Art Market

This week, I'm delighted to share an inspiring conversation with Stacey Edgar, a long-time colleague who now serves as Executive Director at the International Folk Art Market (IFAM). IFAM, the world's largest juried folk-art market, is situated in the heart of Santa Fe. This year's show brought together 167 artisans from 51 countries, showcasing the finest folk art from master artists worldwide. It's both a retail show and a celebration of people, crafts, traditions, and cultures – an incredible must-attend event. I spoke with Stacey about highlights, stand-out artists, discoveries, and how IFAM's experiential nature contributes to its great success.

Could you tell us your thoughts and reflections on this year’s show? 

This year was the market's 20th anniversary, so it was a lot of fun leading up to it, hearing all the stories from the artisans and about the grassroots efforts that started it all. It was great to reach out to all the people involved during the early times and invite them back to the market. Some who came back after years of not attending were blown away by the change and growth of the show.

The first year of the show, twenty years ago, there were 60 artisans, and they expected around 500-1000 people, but luckily, the show made it into the local newspaper, and there were closer to 12,000 attendees. The Santa Fe New Mexican, which is the local city newspaper, made a market magazine that they put out in their paper to their 70,000+ subscribers, which really launched the market. Today, we have 44 cashier stations; back then, we had three which were borrowed from a local hamburger restaurant. We were taking in big trash cans of cash and sticking them in locked rooms in the Museum of International Folk Art, where we held the market. Now, we are a cashless credit card show for easy transactions and accounting – to ensure reporting is easy and clear for the artists.

This past July, we had 167 artisans exhibit from over 51 countries and close to 18,500 visitors. It's astounding. People came from all over the country and world – from Italy and Switzerland to India and London. 

Who would you say makes up the majority of visitors who attend? 

The majority are definitely individual consumers and buyers who understand the value of handmade. Handmade is both unique and also preserves cultures, using sustainable materials and techniques. The consumer base that comes to this show is really looking to change the world with their purchases.

And then there are serious collectors – many of the artists who come to IFAM don't sell wholesale, so you don't find them in stores – and even if they do, they save and bring the best of the best to be exhibited and sold at IFAM. 

Regarding the artists attending, we saw a lot of small, generational businesses from places like India, Mexico, and Uzbekistan. But we also saw artists from Papua New Guinea and all across Africa – Tanzania, Mali, South Africa, Morocco, and Algeria. Then, there is Eastern Europe – Hungary and stunning jewelry from Sardinia.

What were the products that people were going crazy over?

Thai embroidery from textile artist Somporn Intaraprayong. We saw a lot of textile sales, but people also loved the Romanian ceramics Horezu Pottery and baskets from Gahaya Links in Rwanda—five feet of outstanding basketry. Haitian vodou flags from Valentin Valris were also flying, along with retablos from Peru. Some other highlights were Pakistani wood carving and metalwork from Haiti.

The first booth I ran to was Tintsaba from Eswatini in our legacy tent. They have been coming to the market for almost twenty years. The founder Sheila Freemantle was a good friend of mine who passed, and it's been inspiring to see her husband, Richard, and the team continue to grow this business in her remembrance. 

The textiles from Hungary stood out to me. I was charmed by Dreaming Threads from Hungary, as her weaving and rugs were beautiful and innovative. They looked both nostalgic and modern at the same time. And of course, I loved seeing our dear old friend and the stunning weaving from Nilda of the Textiles Center from Cusco, in Peru.

What stood out in terms of ceramics?

The new ceramics from Romania.

What stood out in terms of jewelry?

KOKKU from Sardinia – beautiful, unique gold and silver jewelry. And, of course, I added to my collection of Sidai Designs from Tanzania. I’ve been buying Sidai Designs for years.

What about collectible pieces?

Grupo Bayate from Cuba has really fun, distinct paintings that people adore. These were well received. 

Which artists were you most excited to see say ‘YES’ to their invitation?

Ignacio Netzahualcoyotl from Mexico makes incredible ombre-colored Contla textiles. They are stunning and the community he supports is amazing.

Meeta Mastani is another artist whom I LOVE to see come. Her booth is always packed.

If you are an artist at IFAM, are you able to return and exhibit at the show as many times as you wish?

Everyone has to reapply each year, and nobody gets invited without reapplying. However, the community has grown to love some of these artists, so indeed, the placement committee considers that.

It's also worth mentioning that it's not the staff or the IFAM who chooses who comes to the show. We have two independent committees, one of which is a selection committee with diverse backgrounds. They review online applications from all 600 applicants. They meet in person for four days, narrow applications down to about 300, then those are passed down to the placement committee which looks at how many ceramicists, textiles, and jewelry to keep it balanced. It's essential to create a balance between the product mix and a selection of both new and old. This year, 41 new artists attended.

Where is the line between traditional folk art and modern?

For the past few years, we have had an innovation tent with 27 artists who are rooted in tradition but have innovated the technique. This is one of the most popular tents. A Peruvian company called Amapolay that is creating bomber jackets particularly stands out.

It's an excellent combination of true heritage designs and more future-forward companies. Folk art is the art of the people. It comes from people and culture, but it's always changing. In this tent, you can see the historical roots but also the modern take.

In terms of artists attending, are you seeing primarily elderly artists or also many younger artists as well?

We are seeing a span of ages – there are certainly elders who have kept their craft alive, but also a lot of young people who want to make a living through creativity. I mean, who wouldn't like to make a living being creative?

Is there anything you wish to improve or grow at IFAM?

We want to make more year-long market/artisan linkages. I see many connections happening, but we would like to grow this idea and help cultivate more connections for buyers and artists.

Our lecture series was so impactful. We invited speakers, including industry leaders Natalie Chanin, Angel Chang, and Kavita Parma, as well as artists Aboubakar Fofana and Ignacio Netzahualcoyotl.

Getting our shoppers into those lectures is really important to help them understand how this community is taking on migration, climate change, and the challenges of both reviving and sustaining natural materials. This is inspiring. 

Is the show free for artists who are selected?

If you are a new artisan applying and have never attended before, we ask the following question: Do you need sponsorship? If they need a sponsor, we have funding to fully sponsor 30 selected artisans, including airfare, meals, hotel stay, local transportation, and the booth fee.

We do have a booth fee for returning artists, but they are able to have us pay their expenses up front and then they can reimburse IFAM through their earnings from the show.

What was the ultimate highlight of the show for you?

We have an artist conference only for the artists and also a party at the end to celebrate. These are the best part of the show for me. To see artists sharing knowledge and conversations about how they can work together across countries and cultures – the public doesn't see this but this is the magic of IFAM. 

At this year’s Artist Conference we had Amy Denete Deal, a Navajo designer with a brand and shop called 4 Kinship. She grew up in an adopted family, got into fashion working with big brands in NY, and then wanted to recover her Navajo indigenous roots, and she just was named the first Native American CNN ‘Champions of Change’. During her keynote address she opened a dialog and the artists really opened up about their challenges in this conversation. We have a large indigenous population in Santa Fe, and I would like to see more crossover between IFAM artisans and local indigenous artisans. 

How do many of the artists manage to ship tricky pieces such as ceramics? 

Some drive trucks up from Mexico with their ceramics. Sometimes, artists collaborate and ship their items together. They figure it out and often work together to get better rates on airfreight or container loads. We also give in-depth training courses on how to pack and ship, all of which are translated into five key languages of those participating.

Where can those who missed it see more and get more information?

Go to our website. We have a Folk Art Matter Series about four times a year, and are planning online pop-ups, so look for those. And plan your trip to 2025! It's the second week in July from July 10-13! Tickets go on sale January 1, 2025!

Why do you think IFAM has been so successful?

IFAM has 1,400 volunteers who all come to or live in Santa Fe, which is necessary to make it happen. This is something unique to Santa Fe and is also why it is very hard to replicate this model. Santa Fe is so unique in this way.

Looking ahead, where do you see growth and success in this sector?

I see successful artisan companies taking their heritage – rooted in place and culture – and making it into something unique and collectable.

I also see success when local businesses create experiences in their own countries. For example, artists in tourism—either stores in-country or those creating experiences in their own communities—are also having a lot of success. I think this connects to our desire to travel and gives artisans success outside the export world. 

People are craving experiences, and that’s why IFAM is growing instead of shrinking. IT IS AN EXPERIENCE – coming to Santa Fe, meeting the artists and musicians, and enjoying the food. For retailers or for artists who are exporters, the more you can bring your brand to life, the more ways you can incorporate videos, live programming, demonstrations, maker classes, and other hands-on experiences into your store, the more success I think you’ll find.

Handmade is about people – the more people you meet, the more you fall in love with the field.

For more info, visit - https://folkartmarket.org/