Tag Archives: Weave a Real Peace

WARP Oaxaca Walking Tour: Textiles and Folk Art

Last Sunday, a group of ten WARP conference participants gathered in the lobby of our hotel at 9:30 a.m. We set out for a day-long walking tour of textiles and folk art, concentrating on a few superb venues to see the best of the best.

Walking around Oaxaca on a Sunday morning.

I had set meetings up in advance with two of Oaxaca’s most distinguished shops where the finest textiles are curated and sold, Arte Amuzgo and Los Baules de Juana Cata.

Efigenia, with exquisite Amuzgo huipil, rare caracol purpura (purple snail) dye

I asked the owners if they would select five to ten of their most outstanding textiles, explain the dye and back-strap weaving process, and talk about the maker and the region of origin.

Rare silk + Egyptian cotton huipil, indigo + caracol purpura dyes, San Mateo del Mar

Both are doing an outstanding effort to rescue lost weaving traditions by encouraging villages to bring back an art form on the edge of extinction.

Baby alpaca translates to traditional Mitla weaving, theme of corn + cacao beans

Both have galleries in the historic center of Oaxaca where they offer a market for indigenous artisans to show and sell their work.

Amazing indigo, native coyuchi cotton and caracol purpura blusa, Amuzgos

They give attribution to the weavers, too, by including their names and villages on the hang tags of the clothing.

On the colonial walking street, Macedonio Alcala, Oaxaca

But, first I thought it was important to offer a backdrop to Oaxaca, by explaining a bit about her history and culture. I invited Janet, who was born and raised here, to tell us about her city.

Gold-leaf interior, Santo Domingo Church, Oaxaca

Our first stop was at the cathedral on the Zocalo, where the story of Colonial Oaxaca begins. We then walked up the Alcala, making a coffee stop, a shopping stop for hand-made paper earrings (on special request from Louise), and gathered in front of Santo Domingo Church.

Like a tapestry, silk and Egyptian cotton huipil

Here, we talked about the conversion of indigenous people, the construction of the city, the power of the Dominicans, and the wealth provided by cochineal.

The underside is as beautiful as the front!

With a stop, too, at Andares del Arte Popular before lunch with a welcome from manager Eric Chavez Santiago, by the time we landed at Los Danzantes, hunger had overtaken us. Lots of walking, but we didn’t even complete 10,000 steps!

Efren at Los Baules de Juana Cata explains dedication to preserving Oaxaca textiles

Organic blue corn tortillas, Los Danzantes, Oaxaca

The aperitif, fresh frozen mango mezcal and agua de tuna

Here, I will not bore you with our seven course tasting menu that I ordered in advance.  It included grilled watermelon salad. Coconut shrimp. Rib eye tacos. Wild mushroom lasagna. Let’s go straight to dessert.

Chocolate casacada with house made vanilla ice cream, raspberry drizzle

And, if that wasn’t enough, another taste of my other favorite at Los Danzantes:

Goat cheese flan with toasted, caramelized nuts, honey and chocolate sauce

Oh, and fresh fruit. The figs were out of this world.

I ordered this so we would all stay healthy.

Back into the world of textiles, I want to show you some other beauties that we had the privilege to see this day.

Cochineal dyed silk on Egyptian cotton, embroidered, Ayutla

Irene’s find at Arte Amuzgo

Lollie and Elaine holding down the dressing room fort

Gauze weave cotton by Francisca Palafox, San Mateo del Mar

Getting a closer look

Rare green and coyuchi cotton, native to Oaxaca, Amuzgo

Oaxaca is a vast treasure trove of textile wonderfulness. In the colder mountain regions, the cottons are triple-ply and thick for warmth. Along the coast, the weave is much lighter gauze to cover-up but to also deal with hot, humid weather. Some villages weave. Others work in embroidery.

Close up of Mitla wool rebozo, with traditional corn and cacao pattern

There is a reintroduction of silk weaving, and wool is a perfect wrap around material for rebozos (shawls) to protect from winter chill in the valleys.

Stacks of fine garments at Los Baules de Juana Cata

Early Sunday morning, a perfect time for a stroll in Downtown Oaxaca

Oaxaca WARP Conference Kicks-Off with Marta Turok Wallace Keynote Talk

Marta Turok Wallace is a noted applied cultural anthropologist whose specialty is Mexican textiles. A resident of Mexico City with roots in Boston, Massachusetts, USA, (her parents were ex-pats), Marta was invited by program chair Judy Newland to speak at the WARP (Weaving a Real Peace) textile conference held in Oaxaca, June 8-11, 2017.

WARP attendees gather in San Pablo Cultural Center, Oaxaca

More than 70 people attended the conference. They came from Mexico, the USA, Canada, Poland and Russia.

Applied cultural anthropologist Marta Turok Wallace

What Marta talks about concerns all of us who love indigenous textiles and appreciate the people — women and men — who make them.  She asks questions, makes observations, offers solutions and consultation.  Then she steps back and listens, suggests, guides. She affirms that weavers can create their own destiny, their own future for themselves, their families and their communities. And, that consumers can more fully appreciate the history behind the cloth.

WARP president Cindy Lair welcomes participants

Traditions are powerful in Mexico.  Remote villages throughout Oaxaca continue to weave garments using distinctive iconographic designs particular to place. These weavings are rooted in centuries past, worn by grandparents and great-grandparents. There are garments for daily wear and special ceremonial occasions.

Clothing is cultural identity in Mexico. It signifies where you are from and your status in the community.

Teotitlan del Valle weaver Porfirio Gutierrez talks about history, culture

Yet, over time, clothing has changed (think cotton to synthetic threads, hand-spun to machine-spun) based on cost of raw materials, time to make, and influence of current fashion trends in the larger culture. This has an impact on style, design and quality.  As villages interact with each other because of communication and ease of transportation, there is design-crossover, too.

What is “pure” or “authentic” is no longer relevant, perhaps. Change happens and it is impossible to keep people in a box doing what they have always been doing to satisfy collectors and appreciators of tradition. What we want to do is encourage innovation, collaboration, independence and economic success.

The inversion graph, an aging population of artisans, copyright M. Turok

Marta showed a slide explaining that there is a 50% loss of traditional artisans in Mexico. Artisans are aging out and so few of the next generation are stepping in to continue the work. She asks, Why is tradition dying out?

Is the acquisition of artesania being abandoned by the consumer? What is happening in the communities to impact this change? What is in need of revitalization? How do you prepare artisans to sell at fairs and expoventas? How do they show things, take orders, fulfill and ship? Are goods priced fairly for the amount of time put into making them? What are people willing to pay because something is made in Mexico?  How do you commodify art, handmade?

Scholarship recipients present their work, philosophy of design

So, it’s not only about keeping the skill alive, it is about getting it out into the marketplace?  Once something becomes commercialized, then does that erode its value and also compromise how an artisan is compensated?

As they say, It’s complicated!

Young women from Chenalho, Chiapas, represent their cooperative

And, if one changes the scale of motifs or introduces different color palettes to satisfy marketplace demands, or adapt a textile to another purpose (think going from sarapes/ponchos to rugs to handbags and purses), is this a compromise of traditions?

Important topics of discussion during the conference included appropriation of traditional design motifs by contemporary fashion designers, fair wages, using sustainable and native materials.  “What is Fair Trade, really?” when there are no standard rules.

Speaker Eric Chavez Santiago will discuss commercialization

Marta notes that when something is handmade AND mass-produced, someone is not being paid very well.

Many of us want to meet the artisan, have a personal relationship and buy directly so that the money exchange benefits the maker 100%.  That’s not always possible, so it’s important for us to read labels, and ask who made my clothes.

We also need to be sensitive and conscious to the myth that Mexican handmade items are cheap or that we can bargain just for the fun of it.  Let’s be conscientious about the haggler mentality.

What we also notice is that most weavers are no longer creating cloth for themselves — they are weaving for the marketplace, no longer investing a year of labor to create an elaborate ceremonial huipil.  They may dress in ready-made cotton or polyester purchased at Soriana or Walmart. Why?

SOLD: Hand-woven, embroidered ceremonial huipil, San Felipe Usila. 

[Note: This “stained glass window” huipil, above, is from the Chinantla pueblo of San Felipe Usila, about 12 hours from Oaxaca up a mountain road. I know the makers. It is woven on a back-strap loom, then intricately embroidered in cross-stitch. A special piece. Size L-XL. $500 USD. Time to make: 8 months. Who wants it?]

To dress differently exposes one to racism and discrimination. We heard a story about a Oaxaca village where the mayor was so intent on assimilation, that he forbade any weaving of traditional garments. It took thirty years to rescue the tradition by encouraging a new generation of weavers to bring back their cultural identity.

During the conference, Andares del Arte Popular hosted a curated show and sale of artisans in an adjacent patio. Conference-goers could meet the makers and buy directly from them. It was a wonderful introduction to Oaxaca for WARP.

A conference of weavers, dyers, anthropologists, collectors, textile lovers

I was pleased to to work with WARP to produce this conference. I served as the on-site administrator and conference planner, participated on the program committee, contacted speakers, organized a panel discussion, arranged for hotel, meals, conference venue, transportation, and a one-day natural dye textile tour for all conference attendees.  We went to villages to meet artisans and understand the complexity of the creative work of Oaxaca. On Sunday, 12 women accompanied me on an optional walking tour of Oaxaca with a focus on naturally dyed textiles. More about this in the next posts.

 

 

 

Register Now! Oaxaca WARP Textile Conference, June 8-11, 2017

Since early 2016, I’ve been working behind the scenes with Weave a Real Peace, otherwise known as WARP, to help them plan their 2017 annual meeting/textile conference in Oaxaca. Attendees will arrive on June 8 and the events go through Sunday, June 11. There are also many optional activities planned, too.

CLICK to Find Out More About the WARP Conference.

A panel of designers, artisans and academics will explore how indigenous traditional design elements are used in contemporary fashion, the issues and ethics of ownership and recognition, and ways to innovate responsibly. We’ll break into round-tables so you can participate, too.

Innovative materials combine with traditional at Porfirio Gutierrez studio

My role as conference planner has been to help program chair Judy Newland with on-the-ground logistics and administrative details. I’ve also helped her make connections with some of Mexico and Oaxaca’s most notable textile experts and artisans who will participate in the program.

Variations of indigo blue, depending on wool color and number of dye dips

On Saturday, June 10, I’m organizing a one-day textile study tour for all the conference participants. This is included in the conference fee.

We will go out into the Valle Central de Oaxaca (Central Valley of Oaxaca) to visit only artisans who weave using naturally dyed fibers. We will see natural dye demonstrations with cochineal, indigo, wild marigold and other plant materials. We will meet weavers who work on the pedal and back strap looms. We’ll have a traditional Oaxaca lunch at a great home-style restaurant.

There will also be an expoventa (exhibition and sale) of the best Oaxaca folk art courtesy of the Fundacion Alfredo Harp Helu project to promote Arte Popular de Oaxaca.

Selection of Teotitlan del Valle wool rugs from the tapestry loom

I hope you will join me at the conference. The cost is reasonable and the benefits are many.

What is WARP?

Founded in 1992, WARP members strive to support long-standing textile traditions as a means for cultural preservation and economic development. We do that by fostering a global network of textile enthusiasts, artisans, academics, wholesalers, retailers, and many others.

Natural dye workshop participants experiment with color