cambodia

Cambodia’s hol pidan weaving tradition — nearly lost, now revived

The skill, patience, and focus needed in this intense technique is significant, and I think of the many dedicated women throughout history and the women who continue to create extraordinary textiles all over the world.


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Sinoeun Men had indefatigable energy, like many non-profit executive directors must, and forthcoming to share more than I knew what to ask about handmade textiles in Cambodia.

He has led and grown Artists Association of Cambodia (AAC) since 2003, a membership organization that supports its artisan producers with training, technical assistance, compliance of fair trade principles, and connecting to domestic and international buyers. When I reached out to him, two days were soon planned to meet several artisan producers and a road trip to a visit weavers and dyers.

From left: Sinoeum Men of AAC, Harumi Sekiguchi of Pidan Khmer / CYK, weaver and his family, Kong Chim, staff, and Sam Oeurn Ouk from Ta Prohm Souvenier

From left: Sinoeum Men of AAC, Harumi Sekiguchi of Pidan Khmer / CYK, weaver and his family, Kong Chim, staff, and Sam Oeurn Ouk from Ta Prohm Souvenier

PIDAN KHMER / Caring for Young Khmer (CYK) is a Japanese NGO that originally started in 1980 to support Cambodian women and children in refugee camps in Thailand, then evolved in 1991 in Cambodia to provide for the healthy development of women and children in impoverished villages.

The weaving program was initiated to provide skills training to women and reintroduce the hol pidan (pictoral ikat) weaving and natural dyeing traditions which the elderly women once knew.  Hol pidan had typically been created as ceremonial wall hangings for temples. Harumi Sekiguchi, director of the Pidan Khmer/CYK in Phnom Penh, has been with the organization for nearly two decades. She has seen tremendous growth in the country in that time and has seen the continuing evolution of Cambodia’s weaving traditions.  

Harumi Sekiguchi in front of the Pidan Khmer / CYK shop in Phnom Penh

Harumi Sekiguchi in front of the Pidan Khmer / CYK shop in Phnom Penh

Our first stop was to Pidan Khmer/CYK's weaving and dyeing workshop in Trapeang Krasang village, an hour and a half south of Phnom Penh.  Pidan Khmer is best know for its revitalization and development of Cambodia's traditional hol pidan. Last year they exhibited 11 new silk textiles at the National Museum of Cambodia, its historical significance presented in the scholarly journal, Southeast of Now: Directions in Contemporary and Modern Art in Asia.

Top left: Khmer golden silk; Top right: naturally cultivated indigo dye; Bottom left: bound hol threads creating a pattern; Bottom right: finished indigo hol pidan, one that was exhibited at the National Musuem of Cambodia.

Top left: Khmer golden silk; Top right: naturally cultivated indigo dye; Bottom left: bound hol threads creating a pattern; Bottom right: finished indigo hol pidan, one that was exhibited at the National Musuem of Cambodia.

Master dyer Sao Chanthorn, left, with two weavers of Pidan Khmer

Master dyer Sao Chanthorn, left, with two weavers of Pidan Khmer

Our next stop was to Kamchan Village, near Chisor Mountain Temple in Somraong District, where we met the hol pidan weavers.

A traditional Cambodian wooden stilt home, where weavers work at looms underneath their house.

A traditional Cambodian wooden stilt home, where weavers work at looms underneath their house.

Pidan Khmer hol pidan weavers, Pech Ly Kim and Pech Ly Phally, aunt and niece.

Pidan Khmer hol pidan weavers, Pech Ly Kim and Pech Ly Phally, aunt and niece.

My respect for hol pidan grew when I met and saw the work of Pech Ly Kim and Pech Ly Phally, two master artisans who bring the pictorial images to life in golden silk textiles. The skill, patience, and focus needed in this intense technique is significant, and I think of the many dedicated women throughout history and the women who continue to create extraordinary textiles all over the world.

My friend Sushmita Mazumdar once told me, “Knowing the story of one person can change the perception of a whole people, of an entire place, its culture and history, and even a war. Knowing the story of one person tells us more than we might not have ever known.”

It was on this trip that I could see the once dying art of hol pidan revived.  It reminded me, once again, why global artisans matter so much. They are the keepers of their cultural heritage, preserving ancient craft traditions, passing their knowledge and talent through generations, and carrying it into the future.

Sokhom's scarves, connecting me to understanding Cambodia

In learning about the context of handmade textiles in Cambodia, by tugging on one thread leading to another thread and the unraveling of a whole tapestry, reveals a resilient people, a rich culture, and so much more.


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Naihoang and her niece Gueckhour picked me up at my hotel and off we went, driving out of Phnom Penh and towards somewhere. I didn’t know a road trip was our plan (that detail not clarified in our email), but we were on our way to visit one of Craft Village’s master weavers two hours south. I was elated of course and getting to know Naihoang and Gueckhour there and back made it even more fun.

I had met Naihoang's sister, Naiseng, at NYNOW a year prior and was lured by Craft Village’s handwoven silk scarves, determined to visit them on my return trip to Cambodia.   

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Sokhom welcomed us to her home in Ta Non village, Takeo Province. She showed us the beautiful silk scarves she designed, having learned weaving as a girl from her mother and grandmother and great-grandmother before that.

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Sokhom is known for combining rough and smooth silk, using subtle, subdued colors that evoke presence. Additional training in textile design and color dyes through community development grants, as well as working with Naiseng, helped refine her talents that evolved into creating her own style.

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One of my intentions for this trip was to know more about the materials, processes, and context of handmade textiles in Cambodia. I came to know that traditional Cambodian silk, or Khmer golden silk, dates back many centuries. The knowledge of sericulture, or the raising of silkworms for the production of raw silk, had also nearly died out. There's been a modest revival over the decades, but it remains a luxury. To meet the current demands of silk textile production in Cambodia, white silk from Vietnam is imported.

Sokhom admits that she prefers working with Khmer golden silk for its high quality and ease in weaving, but it’s not readily available for her to buy locally. So she buys the white silk imported from Vietnam, both fine and raw bundled silk thread. She then dyes the threads using both natural and low-impact dyes, finally spinning the thread to prepare it for weaving on her loom.

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While we were there, she was preparing silk threads with a pattern for hol (ikat) dying, but admitted that she doesn’t really want to do hol weaving. It takes too long and it doesn't earn her as much money. 

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Sokhom’s gratitude from working with Craft Village over the years was palpable, and Naiheang shared that both families had come to know each other well, creating a trust that was special. She has been able to support her family with weaving, and that’s been very important for her.

Left to right: A family relative, Gueckhour, Sokhom, Sokhom’s husband, and Naihoang

Left to right: A family relative, Gueckhour, Sokhom, Sokhom’s husband, and Naihoang

I felt grateful to meet Sokhom and to learn how weaving has given her a better life and broader opportunities. While her three grown children were all taught how to weave, none are pursuing weaving as a livelihood for income. Sokhom struggles to get enough orders as she once did. 

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The  current socio-economic changes in Cambodia challenge the sustainability of its skilled weaving traditions. It is set against the increasing presence of garment factories that employ many young women to urban places, confronting gender norms in the process. My friend Yennie Tse of Fourth Sector Collective wrote an insightful piece, Daughters of Cambodia: Past and Future, that says it all so well.

Yennie also wrote, "It isn’t until we get a deeper understanding of a society and its people that we can truly appreciate or be effective partners."

In learning about the context of handmade textiles in Cambodia, by tugging on one thread leading to another thread and the unraveling of a whole tapestry, reveals a resilient people, a rich culture, a brutal recent history, and forces in regional economics and government positions that continue to alter the warp and weft of Cambodia.

A selection of Sokhom's scarves came home with me, acquired for Indigo Lion's Cambodia Collection. They are that much more meaningful. I met her. Her scarves are woven with her energy, her story, her worry, her hopes. They connect me to a better understanding of Cambodia. The story of Sokhom's scarves continues, from her hands to mine, from mine to yours.

People watching, rituals, and reconciliation

Last time I was in Phnom Penh I didn’t really like it, I will admit. But it had more to do with where we were in the arch of our overseas sabbatical last year than with the place itself. We stopped there to meet a new business contact and I returned again to meet business contacts. But on this trip I was determined to reconcile that first feeling of a place that had just started off bumpy. I knew there was more to Phnom Penh than that first impression. 


One afternoon I went to Wat Phnom, or “Mountain Pagoda”, the central Buddhist temple of the city. Following are a some of my journal writings and images of that afternoon.

“The traveling spirit in me wanting to see and experience differently, to gain perspective and take in the history, culture, and beauty of people unlike myself.”

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“People watching — people offering homages to the buddha, prayers to the gods, sacrifices to the spirits. Not sure. Can never be sure just by looking."

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"Palms together holding bundles of burning incense sticks to their forehead, chanting melodic prayers before plunging it in a big caldron of ash, plumes of smoke tangling with all the others, swirling wayward to reach wherever, all over, everywhere that it may be heard."

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"Shoes off, hearts open."

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"Paper boats of acid yellow filled with offered fruit, beacons of red candles, their waxy warm drippings ready to hold the next candle."

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"Closed lotus flowers, their petals nudged awake." 

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"Laughing buddhas, lucky figurines and fake paper money placed in shiny bowls."

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Here I found a place of people's hopes, witnessed their collective aspirations, and found solace being among them. Indeed, a reconciliation.

In between a business trip, a solo traveler

My overseas trip to Laos and Cambodia for three and a half weeks in February was essentially a business trip, but it was also a solo journey, one that I had to welcome along the way. Looking back on my many previous travels abroad — whether I was a tourist for a few weeks, a traveler for a few months, or an expat living abroad for a few years — they all seemed underlined by a seeking, adventuring, or escaping. But not so with this trip.  


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My focus for Indigo Lion was to meet with current and new artisan producers and weavers; to scout for new handmade products; and to learn more about the handmade sector, the various weaving techniques and natural dye processes. 

And in between, when I wasn't engaged in business,  I observed, reflected, and was open to the emerging creative ideas that were stirring.

Notes from my journal

“I wonder about this trip. What inner and outer explorations will there be. A world away. Drawn to Laos especially and I don’t know why, but I can just learn and lean into that curiosity, let ideas come, and be open to serendipity.”  

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“Grateful that I have the health and resilience to do this at 48, the lifestyle and support to make it so, and to feel safe and at ease. Feeling more comfortable in my own skin as the days pass, and being more forgiving and accepting of myself along the way. That helps.”

“Been at this place for dinner for a third time. Tried to wander about and find another place but not very adventuresome. I can travel halfway across the globe for adventure, but wandering around to hunt for food is just too much to handle.”

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Sorta getting used to being solo, the simple routines, life slowing down, leaving much to chance. Can’t plan too much. It’s worked out alright.”

“On days with nothing planned, it’s really slow - no push pull, no expectations, no demands, nothing. Just meandering, following my own rhythm and energy. Deeply quieting. Freeing.”  

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“Aware of my micro behaviors, my morning and evening routines - simple, organized, tidy, slow, the same. Why is that?”

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“Can I be alone? Perhaps this time I can take refuge in the aloneness. Remembering that melancholy girl of my early 20s, searching, searching elsewhere, always abroad. But this time it’s different. There is no searching. There is only trying to see more clearly, to be present fully.

“Perhaps it’s when we are most alone, lonely even, at loose ends and in-between that we are in contact with ourselves most. It’s quieting, humbling, awkward.”

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We paused for inspired writing around handmade

We discovered our inner prose and glimpsed into another part of the globe. We were moved by each other’s writings that evoked memory, that inspired story, that recalled people and place and unique insight.


Some of the amazing friends and supporters who participated in the Indigo Lion Pause sessions! Top: Florence, Aida, Sush, Ann Marie, Kate, Andrea, Alex, Sharmila, Louise, Kara, Mary, Sarah. Bottom: Florence, Kate, Mary, Kim, Sush

Some of the amazing friends and supporters who participated in the Indigo Lion Pause sessions! Top: Florence, Aida, Sush, Ann Marie, Kate, Andrea, Alex, Sharmila, Louise, Kara, Mary, Sarah. Bottom: Florence, Kate, Mary, Kim, Sush

What happens when you hold handmade craft in your hands? What will it inspire you to write? This is what we discovered together in three Indigo Lion Pause sessions this fall.

We paused together to hold handmade craft in our hands and write from the heart. We discovered our inner prose and glimpsed into another part of the globe. We were moved by each other’s writings that evoked memory, that inspired story, that recalled people and place and unique insight. We created beautiful conversations and it was magical.

Michelle, Rini, Evan

Michelle, Rini, Evan

The idea of Indigo Lion Pause coming to life

It started in my travels and living abroad over the years. I’ve long been fascinated by beautifully crafted objects and their stories. I would hold them in my hands, see them up close, let my imagination wander and wonder, and try to get a sense of the person who made it. 

Then a couple of years ago, I would get together with Sushmita Mazumdar, an artist, writer, and educator at her studio, Studio Pause for monthly “Mary Pauses”. These were wonderfully creative sessions. One of things I proposed was conversations with objects. I selected a few handcrafted items I had acquired in Mexico and Morocco and wrote freely what came to mind. I was surprised at what was revealed in my conversations. They were full of interesting associations, current emotions, and meaningful insights.

I had conversations with these two handcrafted objects: a ceramic container from Fez, Morocco and an Oaxacan rabbit figurine that was a gift from a dear friend in Mexico

I had conversations with these two handcrafted objects: a ceramic container from Fez, Morocco and an Oaxacan rabbit figurine that was a gift from a dear friend in Mexico

Then this past summer I started attending Sush’s “writing pauses, as she calls them, where we would use the monthly community art on her studio wall as prompts. In ten minutes we would write whatever came to mind — whether associations from past, or present thoughts, weaving in fiction, poetry, prose, whatever. With current issues being what they’ve been this year, we had conversations about race and religion, language and ethnicity, love and social justice.

Kara, Sush, and Tannia inspired by Susan Sterner’s photographic posters of women day laborers in Guatemala at one of Studio Pause’s writing pauses.

Kara, Sush, and Tannia inspired by Susan Sterner’s photographic posters of women day laborers in Guatemala at one of Studio Pause’s writing pauses.

It was also around this time that Sush proposed the idea of doing a series of writing pauses with a twist: focusing on the handmade crafts I was bringing in from Laos, Myanmar, and Cambodia as prompts for writing. It all came together and Indigo Lion Pause was born.

Here I am at the launch of the first Indigo Lion Pause in October, focusing on Laos textiles and accessories

Here I am at the launch of the first Indigo Lion Pause in October, focusing on Laos textiles and accessories

The magical happenings of inspired writing

The instructions were simple. We could choose whatever handmade item on the display that spoke to us, bring it on our laps, feel it in our hands, and then in ten minutes write whatever thoughts came. There wasn’t any right or wrong way, or any particular way to do it. Just lean in and let our imagination be free to discover what might appear in writing. We were often surprised at what we wrote. But it was all from the heart, unfiltered, and on the spot. In that sense, it was magical.

Andrea, Alex, Victoria, and Susan

Andrea, Alex, Victoria, and Susan

LAOS

In October we touched the gentle indigo-dyed textiles from the Tai Leu, the ink-black woven bamboo from the Tai Lao, and the inlay woven beading from the Katu in Laos. Feelings of warmth and peace, memories of one’s grandmother and mother, of faraway cafes and imagined stories all came alive in our writing.  

Details from cushion covers, napkins, table runners, hand cloths, and purses — all accessories and home accents from the Tai Leu, Katu, and Tao Lao ethnic groups. Traditional and adapted designs, hand spun, hand dyed and handwoven natural cotton using natural dyes. LAOS

Details from cushion covers, napkins, table runners, hand cloths, and purses — all accessories and home accents from the Tai Leu, Katu, and Tao Lao ethnic groups. Traditional and adapted designs, hand spun, hand dyed and handwoven natural cotton using natural dyes. LAOS

Starting upper left, clockwise: Padee of the Tai Dam ethnic group; women weavers of the Katu ethnic group; Chaban and Noy (mother and daughter) and Sengmany  of the Tai Leu ethnic group (photo credit: MaTeSai for Katu weavers and Sengmany). LAOS

Starting upper left, clockwise: Padee of the Tai Dam ethnic group; women weavers of the Katu ethnic group; Chaban and Noy (mother and daughter) and Sengmany  of the Tai Leu ethnic group (photo credit: MaTeSai for Katu weavers and Sengmany). LAOS

MYANMAR

In November we wrapped ourselves in uniquely designed blankets by the Tiddim Chin weavers of Myanmar. We got close to the intricate patterns, coiling tassels, and embroidered motifs. We traveled along railroads and went to villages at night, we felt textures and decided on designs, and told stories about reindeers and drums.

Upper left and bottom right: blankets with traditional motifs and designs reflecting Tiddim Chin culture. Upper right and bottom left: weavers Phyu Win and Sui Te (photo credit of weavers: Chin Chili Myanmar Folk Art). MYANMAR

Upper left and bottom right: blankets with traditional motifs and designs reflecting Tiddim Chin culture. Upper right and bottom left: weavers Phyu Win and Sui Te (photo credit of weavers: Chin Chili Myanmar Folk Art). MYANMAR

Upper left and bottom right: blankets with traditional motifs and designs reflecting Tiddim Chin culture. Upper right and bottom left: weavers Vung Pi and Oo Man (photo credit of weavers: Chin Chili Myanmar Folk Art). MYANMAR

Upper left and bottom right: blankets with traditional motifs and designs reflecting Tiddim Chin culture. Upper right and bottom left: weavers Vung Pi and Oo Man (photo credit of weavers: Chin Chili Myanmar Folk Art). MYANMAR

CAMBODIA

In December we swooned over gorgeous rough-spun silk accessories made by Cambodian weavers and sewists. We let the colors take us to sky and fields, to subtle moods and wonder, to savor ice cream and remember home and childhood.

Weavers from a women’s cooperative in Krang Thong Village, Cambodia; Bottom right on left: Vibol Sath, founder of Colors of Life Social Enterprise; details of multi-colored designs of hand spun and handwoven rough silk accessories. CAMBODIA

Weavers from a women’s cooperative in Krang Thong Village, Cambodia; Bottom right on left: Vibol Sath, founder of Colors of Life Social Enterprise; details of multi-colored designs of hand spun and handwoven rough silk accessories. CAMBODIA

Multi-design and multi-color rough silk hand spun and handwoven accessories: Starting upper left, clockwise: Coin purses sewn by N. Hang; shoulder bags sewn by Vandy; scarves woven by Sok Khim. CAMBODIA

Multi-design and multi-color rough silk hand spun and handwoven accessories: Starting upper left, clockwise: Coin purses sewn by N. Hang; shoulder bags sewn by Vandy; scarves woven by Sok Khim. CAMBODIA

And of course all of the items were available for purchase so participants could take home the ones they fell in love with.

What’s next? The curating beautiful conversations booklet!

Handmade craft has an energy and an unfolding story - from the artisan who made it, to liaisons working with those artisans, to me sharing it with others, and finally enthusiasts of handmade. We all contribute to the story of handmade.

With that in mind, I’m compiling a booklet of the Indigo Lion Pause sessions to share our beautiful conversations with others. I’ve invited all the participants to contribute their writings with the intent to share it with the artisans and liaisons in Laos, Cambodia, and Myanmar.

It’s a way to complete the circle and to show how we’re all connected, how what they do matters and how their handmade craft inspires us.

Kara and Alex

Kara and Alex

And this, what I wrote in an earlier post, “The beautiful conversations held in my hands”:

Most importantly, I want to tell her how much I genuinely love what she’s made. I want to tell her that holding it in my hands is a delight, as if I can feel its energy knowing that she’s held it before me. I feel a glimpse of her culture by its colors and patterns and materials that are not my own, but allow me a moment of wonder about hers.

I want to thank her for sharing it with me and tell her to keep making more because there are many others who would enjoy experiencing this too. This is my conversation, held in my hands, what I want to tell her. And in that moment we are connected, if only in my mind, around the one thing we do have in common, that we both held in our hands her beautiful handmade craft.

Aida and Florence

Aida and Florence

A final reception will be held where we’ll showcase the finished booklet, share our collective experiences, and a chance to buy a copy! Stay tuned for upcoming details.

Thank you! 

A huge thank you to Sushmita Mazumdar for this awesome and fun collaboration, for opening your studio to us, and for conceiving of these wonderful writing pauses. Your constant enthusiasm, creativity, and tremendous support made the Indigo Lion Pauses spectacular.

Sush!

Sush!

Thank you to all the participants (many of whom are dear friends and supporters) who paused from busy days and crazy lives to experience something new — writing about textiles from Southeast Asia, delving into memory and association and story, and sharing together a range of perspectives and emotions. I learned something from each of you and have tremendous appreciation for your writings.

Sarah, Ann Marie, Sharmila, Brittany, and Su

Sarah, Ann Marie, Sharmila, Brittany, and Su

Finally, a big shout out to John Chapin, Alexandra Boycheck, Sharmila Karamchandani, and Brittany Noetzel for your enduring belief in me, good counsel along the way, and support beyond words. Thank you Alex Treble, Sushmita Mazumdar, and John Chapin for taking and sharing photos.

Michelle, John, Evan, Sush, Alex, Rini, and Susan

Michelle, John, Evan, Sush, Alex, Rini, and Susan

It really was a lot of fun.

It really was a lot of fun.

Our mutual curiosity can find each other

What if instead of only us hearing the stories about artisans, we share our stories with them too? Why not share our stories with them about our enthusiasm and love for their handmade craft.


Like a field of flowers before blooming in full color, ceramic beads in the making at the Clay Cult studio workshop, Siem Reap, Cambodia

Like a field of flowers before blooming in full color, ceramic beads in the making at the Clay Cult studio workshop, Siem Reap, Cambodia

What would happen if she, the artisan, knew of my conversation with her? Is she having similar conversations to some anonymous me, the “American customer”? Is she thinking, who will appreciate this, or who is that person who will eventually buy this, or does that person care who made this?

I care. And I believe there are are others too, like me, like her, who actually care very much. Shouldn’t we then find a way to connect with each other? To let our mutual curiosity about the other and the handmade craft that binds us have a beautiful conversation?

A string bouquet of one of a kind beads - big bulbous bespeckled - adorning each other to speak boldly in this statement necklace from Clay Cult, Siem Reap, Cambodia

A string bouquet of one of a kind beads - big bulbous bespeckled - adorning each other to speak boldly in this statement necklace from Clay Cult, Siem Reap, Cambodia

It does seem possible. So why isn’t it happening? In the global artisan sector some things are happening but not enough of a happening. Meaning, I’m able to find out much more about the stories of artisans if I choose, but I don’t have access to sharing my admiration and curiosity with them and they doubtful have access to sharing their thoughts or curiosity with me if they choose.

We’re ready. Let's go. We’re ready as a kind of gathering tribe wishing to connect, discover, and create. We can do it, technically, globally, and communally. We can take on that challenge and create a kind of social change around this. It then leaves us to find each other and make great conversations about something we all care about, don’t you think?

What if instead of only us hearing the stories about artisans, we share our stories with them too? Why not share our stories with them about our enthusiasm and love for their handmade craft?

Letting someone know you love their work, sharing our story of why we are drawn to their handmade craft, or even why we bought it, can be a real lift and motivator. I want artisans to feel this, to know they are valued.

Some of the talented and dedicated artisans at the Clay Cult studio workshop, along with Savat the gentleman who showed me around with great enthusiasm. Its worth finding out more about  Clay Cult , their work in nurturing the talents and providing long-term opportunities for women.

Some of the talented and dedicated artisans at the Clay Cult studio workshop, along with Savat the gentleman who showed me around with great enthusiasm. Its worth finding out more about Clay Cult, their work in nurturing the talents and providing long-term opportunities for women.

What would you say?

The beautiful conversations held in my hands

I feel a glimpse of her culture by its colors and patterns and materials that are not my own, but allow me a moment of wonder about hers.


Striped colors of ruby magenta, sky blue and inchworm green among the inviting handcrafted silk scarves of Colors of Life, Phnom Penh, Cambodia

Striped colors of ruby magenta, sky blue and inchworm green among the inviting handcrafted silk scarves of Colors of Life, Phnom Penh, Cambodia

Global artisans around the world make exceptional handmade craft. They infuse it with their cultural heritage and it connects them with their livelihoods and stories. Beautiful handmade crafts brings out a delight in me for the unique and meaningful and a curiosity about who made it and why.

Where can we go to find global handmade crafts? Perhaps in a fair trade shop in our region. Or on our travels when we go to a bazaar or a shop. Maybe it was a gift from a friend on one of their travels. We might know where it’s from and something about its materials. If we’re lucky, we might know more about the artisans or the mission of an artisan enterprise they’re associated with.

But this only spikes my curiosity to know more about the artisan, her life, her culture, who she is. I want to know more about her handmade craft, about its cultural significance and traditions, or techniques or materials.

Adjusting the threads of her loom with an eye for perfection, the lead weaver at the Colors for Life workshop in Krang Phnong village, Cambodia

Adjusting the threads of her loom with an eye for perfection, the lead weaver at the Colors for Life workshop in Krang Phnong village, Cambodia

Most importantly, I want to tell her how much I genuinely love what she’s made. I want to tell her that holding it in my hands is a delight, as if I can feel its energy knowing that she’s held it before me. I feel a glimpse of her culture by its colors and patterns and materials that are not my own, but allow me a moment of wonder about hers. I want to thank her for sharing it with me and tell her to keep making more because there are many others who would enjoy experiencing this too. This is my conversation, held in my hands, what I want to tell her. And in that moment we are connected, if only in my mind, around the one thing we do have in common, that we both held in our hands her beautiful handmade craft.