Analysis of the commercialization process of indigenous handicrafts in the Valley of Oaxaca, Mexico

For three weeks, I visited the city of Oaxaca and some metropolitan municipalities. I had the opportunity to attend two handcraft workshops, I conducted five semi-structured interviews with Oaxacan artisans, in addition to participating in the artisanal production processes. The artisans interviewed belong to the ethnic groups: Zapotec and Mixe. The main goal of this research exploration was to know the process of elaboration and commercialization of Oaxacan handicrafts. For most indigenous people, the production and marketing of handicrafts represent the only economic income to survive. Many Indigenous families have found in the production and sale of crafts, a way to avoid forced migration to the “Norte.” (United States) Being able to learn about the creative and sophisticated work of Oaxacan artisans was the most significant experience of this research trip. Behind each handmade piece, be it an “alebrije,” a mini sculpture, indigenous clothing, pottery, and wool rugs, there is a personal story, a dream, an ancestral knowledge that seeks to be shared. Being able to get to know firsthand these creative work experiences require total respect for the work that Indigenous communities do. Although communities are receptive to share their experiences, a genuine commitment is needed that the stories that are shared require careful to respect and understanding of the cultural forms that Indigenous life comprises. A clear example of the above is the meaning of property in the capitalist sense versus community ownership in the Indigenous vision. For Indigenous communities, the prices of handicrafts are not subject to the forces of supply and demand (although alien agents insist, they should). The artisans, instead, want the tourist to acquire a “little” of the creative work of the indigenous communities. Therefore, a good recommendation is, never haggle the price of a handcraft because of the simple fact that you believe its value cannot be compared to that of a piece of art.

One of the main findings of this experience is that indigenous artisans tend to deal with art resellers, people (mostly foreigners) who acquire large volumes of handicrafts to be then resold at exorbitant prices in different parts of the world. Obtaining high profits, of which artisans are not participants. Cultural appropriation is another problem that artisans face. International brands (clothing manufacturing, especially) seek to incorporate indigenous designs into their garments, without respecting or at least making any mention of where these ideas originally came from it. Moreover, here, the problem is, again, a matter of cultural differences. While, on the one hand, indigenous people are encouraged to protect their designs as registered trademarks or intellectual property. On the other hand, indigenous communities cannot even imagine that “someone” can be the sole owner of the designs or procedures that have been transmitted from generation to generation for hundreds of years. For the Indigenous vision, that knowledge is communitarian and, therefore, there cannot be “someone” with the rights of exclusive use.

These experiences acquired in this research trip will undoubtedly be beneficial to know the decolonial processes of the indigenous peoples of Oaxaca in the search for their development and well-being. The production and sale of handicrafts represent only part of the complex process of rescue and preservation of indigenous knowledge in the new generations and as a legacy for the heritage of humanity itself.