African Handcraft Artisan Quilt -- OFDC Opportunity Fund for Developing Countries Non-Profit Start Price USD 1,000.00 Current Price USD 1,000.00 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Wednesday, November 26, 2008 End Time Saturday, December 06, 2008 Location Salt Lake City, UT See more about 'African Handcraft Artisan Quilt -- OFDC' Description This is a One-of-a-Kind quilt offered by Opportunity Fund for Developing Countries (OFDC). We are a grassroots non-profit organization based in Salt Lake City, Utah. OFDC has been raising money for ten years in order to EMPOWER WOMEN, EDUCATE CHILDREN AND ENHANCE HEALTHCARE FOR ALL. We are able to empower women through microcredit and training, educate children through school sponsorship, which includes providing uniforms and supplies, and enhance healthcare to all through bed nets, latrines and clean water—ALL ARE VILLAGE COLLABORATIVE PROGRAMS THAT ARE CULTURALLY SENSITIVE. We are entirely volunteer-powered and are able to use nearly 100% of our funding for the projects we support. Please refer to the narration square for an apt description of this quilt provided by Kathryn Lindsay of Farmington, Utah. Kathryn accompanied Nia Sherar, OFDC's founder and executive director, on one of her trips to Kenya, graciously providing the muslin squares for the women to draw upon and bringing them home to lovingly piece and quilt them. This was undertaken in the spring of 2002 in the village of Melelo, Narok District, Rift Province, Kenya. The quilt fabric is 100% cotton muslin and prints. The batting is 100% cotton. It is machine pieced and quilted. The stitches are varied and include stippling, meandering loop and waves. There are many parallels between this quilt and early American quilting, especially in the early African-American communities in the south--people coming together to work on and pass down their craft in one of their only social outlets. Women today terribly under-value the work we do with our hands and currently there is a rebirth of appreciation for this work in our country. It is a form of self-expression and something for the women of this small village in Kenya to be quite proud of. It is an heirloom--a truly unique work of art. Most importantly, it has empowered these women to help raise money that will go directly to programs in their country. Please know that OFDC is a 501(c)(3) charitable organization.Happy bidding!!! Click on the images to enlarge. (Redirected to Flickr - upper left '+' sign) Nilega was 13 when she drew this picture. She had only completed school to class 3. She was the house girl for Agnes and Simon Nkoitoi, friends of OFDC. Nilega's parents were very poor so Agnes took her in as a house girl, feeding and clothing her and giving her some pocket money. Nilega got Agnes' children dressed for school, made porridge for their breakfast, carried water and gathered firewood. Nilega was not mistreated by the Nkoitois. Nilega was married at the age of 17 (forced by her father as is the tradition of the Maasai). Nilega has been circumcised as is also the tradition of the Maasai. As you read the narration written by Kathryn Lindsay, quilter, Nilega was too busy taking care of the babies and children while the women were drawing on their squares. Later Kathryn took Nilega “behind the banda (small round hut with thatched roof) where no one could disturb us so she could draw her picture. She was so careful and thoughtful while drawing it felt like her whole life was in the picture. Note the character in the square. When studying child development in school, I remember learning that at the age of about 5 children begin to put shoulders on their stick figures. Nilega was 13. Drawn by Naoroi Letii, age approximately 30 (many Maasai do not know their age, as this is not important to them). Kathryn writes, “after Naoroi had drawn her picture of the houses, a tree and a flower she wanted to draw a man and a woman walking from one house to the other. She told me she didn't know how to draw people. I showed her how to draw stick figures and she drew them on the path between the two houses.” Naoroi has never been to school. Someone else wrote her name on the square. Drawn by Cicilas, a traditional drawing of a flower. Drawn by Rebecca Wanjira. Wanjira is a common female name in Kenya. This squares depicts a sunrise over Mt Kenya, highest peak in Kenya, and an acacia tree. The branches of the acacia tree are used to make fences to keep the wild animals away from the cattle, sheep and goats. Acacia trees have thorns of up to 4 inches. A table drawn by Karsis E. Musenkenya, “the oldest woman in the group and mother-in-law to several, had never held a writing or drawing instrument in her hand,” writes Kathryn. “The only thing she could think of to draw was the blue table we were all sitting around.” Paul, a young man who joined us, helped her draw the table and she colored it in. This is a flower, drawn by Gladys Nkoitoi, sister-in-law to Agnes and Simon. Gladys is married to one of Simon's brothers, Frances. Frances has only completed the third grade. He chose not to go to school. He and Gladys have a young son, Nanyok and have since had a baby girl. The four-petal multi-colored flower that appears on several blocks was first drawn by Gladys then copied by other women. Drawn by Evaline Nasieku Drawn by Agnes Shetishioi Nkoitoi. Agnes is a schoolteacher at Olpokoti Primary. With funds from OFDC she purchases school uniforms and “inner clothes” (underwear and petticoats) for children. For these children it is their first time to wear inner clothes. Now because they are “more confident” with having inner clothes, they are “able to play freely with the other children and their school attendance has improved.” Agnes drew a picture of her shamba, or farm. This is a narration by the quilter, Kathryn Lindsay of Farmington, Utah. Click to enlarge. Nolari N Winnie drew a picture of a moran, or Maasai warrior. Young maasai begin to herd animals before the age of 5. As they get older, they herd the young calves and finally the cattle. These larger animals require that the boys move around to areas far from their home. The move to Warriorhood is a very special time in a Maasai’s life. This is the time when they become men – Il Moran – Warriors. From this moment the boys have certain obligations. They must go off and live with boys of the same age and travel as a group. They are on their own and may receive some milk in the homes they visit as they travel. During this period the boys will learn the skills they will need as Warriors. Eventually, the "warriors" return and a huge celebration and party is held in their honor, almost like an initiation ceremony. It’s at this stage that the Warriors can begin herding again, get married and raise families. Now they can begin to acquire cattle or wealth. A Maasai’s wealth and prestige within the Tribe is directly related to the head of cattle they own. Drawn by Melina Nkoitoi, one of the wives of Simon's brother Lemaria. Lemaria did not go to school and has 2 wives. He lives the life of a traditional Maasai pastoralist. The Maasai believe all the cows in the world belong to them. You can see the young moran holding his spear and runga (club-like stick). He also has the akra, bud and cow dung in his hair. See the acacia trees. This artist is unknown, a student in third grade. This is a good depiction of a Maasai village, surrounded by acacia branches. I have to laugh when I see the matatu (bus) with only one passenger. Matatus are always very crowded and everyone is “squeezed.” Sometimes we disappear when we are in a matatu because we are so squeezed. The Maasai boys practice bow and arrow shooting so they can protect the herds from the wild animals such as hyena, lion and leopard. Most balls are made of plastic bags tied in string. Lorna Bissem drew this table with fruit. This is a traditional Maasai village drawn by Sharon Sorimpan Nkoitoi, niece of Agnes and Simon. Sharon is in the 5th grade and goes to Melelo Primary, a school with no electricity or running water. Manayata is the traditional hut made by the Maasai women of mud and cow dung. Another square of flowers drawn by Gladys Nkoitoi. This square depicts a Moran warrior drawn by Triza Wambui, niece of Patrick Ngigi. Note the earring. Maasai men and women wear beaded earrings. This shows a beaded belt and punga (machete) sleeve drawn by Kibarisho Nkoitoi and Naisula Letii. 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