In this exposition, I presented a series of workshops held in the Arctic Circle region, where the development project VillaInno – Wool Innovation takes place to improve and enhance the use of sustainable wool by revitalizing craft heritage in a multicultural way. This study applied an art-based action research approach, focused on implementing an Indigenous craft from Mexico in a culturally sensitive way, as an educational tool to spread awareness of craft traditions, natural materials and Indigenous cultures.
The workshops held at Relate North in Umeå, Sweden, and Äkäslompolo, Finland, served as platforms to communicate the problems of Wixaritari people from a personal and close perspective to a broader international context. Communicating and exemplifying the problematics of other latitudes helps to create empathy and awareness of different contexts and the fact that, for example, the spiritual background behind a craft piece is not always obvious when one acquires it. In other cases, during workshop discussions, it has been possible to talk about engaging in cultural appropriation of Indigenous art by non-Indigenous individuals and institutions, This topic is still of huge concern, as it is rooted in colonization and ongoing oppression (The Canadian Encyclopedia, 2020), and this is very often caused when popular craft pieces are shared in social media, in which the DIY tutorials omit information about its origins, values and spiritual uses.
In addition, spaces to create awareness of Indigenous issues are possible through symposiums such as Relate North. For academics, researchers, and non-Indigenous people, this requires them to foster a genuine dialogue. It is only through empathic spaces that it is possible to use craft as a platform and artistic research as a tool for addressing such complex issues. Collaborations between Indigenous and non-indigenous artists, academics, and scientists can build a bridge between traditional knowledge and contemporary challenges.
An important characteristic of tsik+ri crafts, as well as Woven Cosmos workshops, is its ability and potential to transcend geopolitical borders. The combination of contemporary popular mediums – such as wool yarn – and intuitive technique, allows participants to take part in a relaxed atmosphere, where it is possible to open deep discussions addressing current global and local problems such as land issues, cultural appropriation, indigenous knowledge and craft heritage.
Another important characteristic of this art is the possibility of using sustainable materials. Wool yarn has the ability to connect people from different contexts and to be used as a material with the potential to tell stories. Using wool can promote sustainable practices that can merge tradition and innovation (Cervantes, 2023). Tsik+ri weaving has emerged as a powerful tool for transcending borders, as well as a good method to support decolonial practices.
Finally, Indigenous craft practices, such as weaving a tsik+ri, are rooted in the Wixárika cultural identity, and they will continue to serve as a form of resistance against the erasure of traditional knowledge and practices during and after the period of post-colonialism in Mexico. These crafts are tangible narratives, woven stories of survival, adaptation, and resilience. These crafts carry the enduring marks of Wixárika history and speak about their relationship with the land and their struggle for cultural continuity.
This study highlights how vital this awareness is for contemporary art and craft, when learning about Indigenous craft and traditions, as they embody a unique fusion of spiritual values, tradition, and design. Tsik+ri is nowadays recognized as a traditional handcraft in Mexico, and it exemplifies how this country is enriched by its multicultural origins and identities. These workshops were based on knowledge and respect for the origins of the craft.
During the process of writing this exposition, I have challenged my perceptions and preconceptions and opened a door leading to better understanding of the complexities of Indigenous people’s issues. I have particularly gained knowledge on the concepts of assimilation, syncretism, and transculturation. The journey has expanded my understanding of art-based methods and the need to develop respectful solutions from a pluriversal perspective that honors diverse worldviews.
My objective with these workshops is to provide people access to more ecocentric practices. Thus, spreading knowledge of Indigenous cultures through craft workshops is just an attempt to include, respect, and embrace a polycentric and pluralistic practice. The Woven Cosmos workshops aim to recognize the resilience of Indigenous peoples against the dominant cultures.
In future workshops, I would like to continue encouraging group discussions to explore further how colonialism has affected the perception of materials, tools and concepts of other cultures. With these workshops, I not only facilitate a place for discussion and creative exploration, using intuitive tools that are available in many regions of the world, but I strive to connect Indigenous knowledge and practices with the non-academic and academic spheres. Therefore, the implementation of this workshop will continue in the future with the participation of a member from Wixárika who will travel to Finland to co-host a workshop and offer a presentation about using yarn and sheep wool as an important symbol in the ceremonies.
The workshop will seek to present this type of craft as a tool to connect to nature. The collaboration has been agreed upon and is currently in progress. Many aspects need to be considered to ensure respect for the cultural origin of this craft. The first involves continuing to develop profound background research to ensure that all the information that is shared with the participants is accurate and comes from a trusted source.
An inclusive language is consistently implemented in the workshop, a language that is not considered appropriative. The workshop has been framed as an exploration of the craft rather than a replication of it. Nevertheless, in the future, I would like to focus further on the participants' own experiences and interpretations, as well as the inclusion of additional moments of reflection to encourage participants to connect to other´s stories, intentions and thoughts.
After piloting the last workshop, I realized that supplementary materials can be shared with the participants, to be studied in their own time and space. The materials can include writings, interviews, videos, and documentaries from Indigenous artisans and researchers to provide a wider perspective and a deeper understanding of this craft. By sharing reliable and trustworthy knowledge with the participants, I am contextualizing and shaping their learning experience.
Lastly, I want to emphasize the unique contributions of Indigenous crafts and practices to the world and advocate for their integration into the contemporary discourse on sustainability. By developing these workshops, I am fostering spaces that honor Indigenous wisdom and promote craft practices that prioritize environmental stewardship using local and natural materials. Crafting together can become an educational tool that could help us comprehend and empathize with Indigenous history, as craft is a field that allows borders and barriers to expand while allowing the transmission of stories to cross cultural boundaries. I intend to continue fostering these spaces to raise awareness, recognize and understand how we perceive other human experiences by using empathy to transcend boundaries. This statement captures my commitment to understanding and spreading this knowledge in the pursuit of social and environmental justice.