November 8, 2008 Yolanda Alcorta and Ana Maria Zaugg: Color and
Symbol Evolution in Maya Textiles.
Weaving demonstration by Sabina Ramirez, Master weaver from Nebaj,
Quiche
Yolanda Alcorta, and Ana Maria Zaugg, Co-Vice-Presidents, and both
former Presidents of the Friends of the Ixchel Museum, discussed
Guatemalan weaving traditions, bringing beautiful samples of Maya
weaving from their own collections, as well as the Collection of the
Friends of the Ixchel Museum. The presentation was highlighted by
a weaving demonstration by Sabina Ramirez, master weaver from Nebaj,
Quiche, who hung her back strap loom from the entry door of Room 345.
Sabina has taught weaving at museums and with United Nations special
projects. In 1989, Ms. Ramirez was named Ixil Princess, and
Rabinajau in 1991.
Following an overview of the crucial mission of the Friends of the
Ixchel Museum, Ana Maria Zaugg introduced the three basic
weaving styles: back strap loom weaving, as demonstrated by Ms.
Ramirez, foot loom weaving, and Ikat, which involves weaving with
sectioned, tie-dyed lengths of cotton thread. She then introduced
several woven motifs which have been in use from ancient times. The
offering plate motif, most commonly seen on huipiles from Comalapa and
Tecpan, represents a plate holding ritual offerings such as fruits,
bread or corn ears. The plate can be seen in post classic codices,
holding tamales or birds, and is used today in the ceremonies of
traditional religious organizations. A second motif is the cornstalk;
on many huipiles, the cornstalk is woven next to a male doll figure,
and it would be traditionally paired with a female doll figure and a
spider, the weaver. Other motifs discussed were the traditional Tree of
Life and the double-headed eagle; the latter adapted from pattern books
after the Spanish Conquest. Yolanda Alcorta illustrated as many
of the styles and motifs discussed as possible with woven samples from
her collection, and that of the FOIM. She also discussed the
changes in woven style and color over time in the villages of highland
Guatemala. Using the village of Santa Caterina Polopol as an
example, she traced the change from a traditional even red and white
striped back round to a gradual narrowing of the white stripe, to a
sudden change to blues. The introduction of acrylic threads sped up the
weaving process, and brought in more modern brilliant colors like
turquoise and teal. Fifteen years ago, huipiles were primarily aqua and
blue; now dark purple has been added. Yolanda noted that the
wearing of huipiles in other than ceremonial activities has become more
acceptable again, and that the Ixchel Museum, FOIM and master weavers
such as Sabina Ramirez are working hard to foster the continuation of
the weaving tradition. Many thanks to our speakers for what was
surely one of the liveliest and visually stunning meetings we have had!
The
Friends of the Ixchel Museum was formed in 1984, in order to promote
interest in the Guatemalan weaving tradition and the Museo Ixchel, in
Guatemala City, as well as aiding in the understanding, preservation
and protection of Mayan textiles. The Friends have assisted in mounting
traveling exhibits, have produced books, translated scholarly
monographs into English, as part of a long range plan to document every
weaving village, and helped the Ixchel Museum to develop a textile
conservation lab. In addition, the Friends sustain the Pro-Teje
project, which makes good quality weaving financially rewarding to Maya
weavers by supplying them with free thread and technical assistance,
plus payment for their products. In 2007, the Friends of the Ixchel
Museum received the International Queen Sofía Award for
Conserving and Restoring Cultural Heritage, for their outstanding work
for the defense, documentation, recovery of crafts and conservation of
the Mayan textile traditions in Guatemala.
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