Escape winter, roll up your sleeves, and make a nuno felted wool garment you will be proud to wear. For seven nights and eight days, from January 17 – 24, 2015, you will experience the textile culture of Oaxaca, make wearable fiber art from felt fabric, learn about natural dyes and the process to make them, and explore the textile workshops of local artisans. In January 2014, we welcomed Californians, Canadians, and Brazilians! What they made is featured here.
Beginners and experienced felters are welcome.
We use comfortable, unstructured, easy to wear, easy-to-construct , yet elegant indigenous Mexican patterns to show off your design creativity. If you aren’t confident, don’t worry! The place itself is an inspiration.
Maddalena Forcella is our expert instructor for 2015. She is a fiber artist-clothing designer born in Italy where fashion is part of one’s DNA. Maddalena came to Mexico over 20 years ago to study textile design and never left. She is joined by Eric Chavez Santiago from Oaxaca, who will demonstrate the natural dye process using locally sourced plants and cochineal.
About Your Instructors
Maddalena Forcella is an internationally renown fiber textile artist whose work has been exhibited in Rome, Los Angeles, Antigua, Guatemala, Mexico City, Oaxaca, and Minneapolis, Minnesota. Her clothing is sensual and substantial. She studied at the National Museum of Modern Art in Rome, Italy, and the University of Iberoamericana in Mexico City. For many years, Maddalena has been working with indigenous women in Oaxaca and Chiapas states to preserve natural dye traditions, leading women’s textile projects with the support of private funds. She is committed to indigenous culture and sustainable development.
Eric Chavez Santiago is a one of Mexico’s most knowledgeable authorities on natural dye sources, chemistry, and production. He has taught natural dyeing techniques in Oaxaca and at U.S. universities and museums since 2006. He is a graduate of Anahuac University and is director of education for one of Mexico’s leading arts and cultural organizations.
I attended the workshop in 2013. Wow! The village of Teotitlan is an experience in itself and will immerse you in a totally different and vibrant world. The B&B and especially the meals were awesome and conversation around the table with other workshop participants was totally fun and absorbing — a bunch of creative, independent and feisty women! And, you can’t lose — even I made several shawls I’m very proud to wear. Highly recommended! –Leslie Larson
Our Itinerary
Working with Maddalena daily from 9:30 a.m. to 2:30 p.m. in our outdoor studio, we will create lengths of felted nuno fabric enough to make a garment design of your choice. You might decide to felt on silk or cheesecloth to make a lighter weight and beautifully draping fabric. After your fabric is dry, you will have the option to cut and sew it into one of several indigenous Oaxaca styles: the huipil (tunic), the blusa (blouse), rebozo (shawl), boufanda (scarf) or quechequemitl (cape), or modify the basic pattern into a design of your own. We give you patterns to adapt to your own body.
This workshop is for all levels of experience! You do not have to be an artist or experienced felt-maker to attend. We welcome beginners who have never worked in wet felting and more advanced fiber artists. This is a perfect residency for university students, teachers and artists who may want to explore a different medium, too.
We are based in the weaving village of Teotitlan del Valle where for generations families have created wool textiles. During our time together, we will go on local field trips to gain design inspiration, and meet and talk with weavers who work with natural dyes. Some weave wool fabric for wearable art as well as sturdier floor and wall tapestries. We will see examples of the types of garments that can be created from the felted fabric we make.
Supplies to bring (preliminary list). After you register we will send you a list of supply sources where you can buy the workshop materials to bring:
- Cotton cheesecloth, preferably pre-colored, 5 to 6 yards or more
- Silk chiffon, your favorite colors, at least 5 to 6 yards
- 1-1/2 to 2 pounds of merino wool, preferably naturally dyed, in your favorite colors
- Raw silk and/or wool fleece locks for texture and interest
- Sewing kit: sharp scissors, needles, threads, tailor chalk
- Optional embellishments: beads, sequins, buttons, ribbons, embroidery thread, yarn, etc.
Note: We will provide the bubble wrap, soap, sponges, buckets, work tables, and other necessities for the process.
What is included in your registration fee:
- all instruction
- 7 nights lodging
- 7 breakfasts
- 6 dinners
- pattern booklet and natural dye recipes
- sewing machine to share with needles, thread
- selected embellishments, yarns, threads
- guided visit to Oaxaca textile museum and galleries
Workshop is limited to 8 participants.
Daily Workshop Schedule: Arrive Sunday, January 18 and leave Sunday, January 24. 7 nights and 8 days with options to extend your visit.
Day 1, Saturday, January 17 – Arrive and settle in to your bed and breakfast posada in Teotitlan del Valle (we send directions)
Day 2, Sunday, January 18 – Welcome, introductions, Tlacolula Market Visit for inspiration and to source local embellishments, afternoon natural dye demonstration with Eric Chavez Santiago. (B, L, D)
Day 3, Monday, January 19 – Jump right in to make samples with silk and cheesecloth to understand the process. We will make an actual mini- scarf during this session, as well as fabric samples. (B, D)
Day 3, Tuesday, January 20 – Take a morning field trip to the village market and church for pattern inspiration from the local environment. Visit a local weaver. After lunch we will work on designs using inspiration from the morning studies. (B, D)
Day 4, Wednesday, January 21 – After a visit to a local weaver, you will start on making larger pieces of felt for your final project/garment. (B, D)
Day 5, Thursday, January 22 – Finish completing your felted fabric. In the afternoon we will demo the art of making felt flowers. (B, D)
Day 6, Friday, January 23 — Cut, sew and embellish your project. We will have a Show and Tell with Fashion Photo Shoot before our final celebration dinner. (B, D)
Day 7, Saturday, January 24 – Departure (B)
(This is a preliminary daily schedule and subject to modification.)
Note: Vest design shown is by Jessica de Haas, FunkShui Studio, 2014 Felt Fashion Workshop instructor.
Workshop Fee:
Option 1: $1,295 double occupancy basic cost per person includes shared room and bath, double occupancy.
Option 2: Single occupancy with private bath, $1,595
Extension Options:
Add-On 1: Arrive Friday, January 16 and take a Zapotec cooking class on Saturday, January 17. Includes one night lodging, breakfast, lunch, cooking class and recipes. $115 USD each.
Add-On 2: Extend your trip one day and depart Sunday, January 25. Enjoy Saturday in Oaxaca City with Norma to explore the best textile shops and visit the Museo Textil de Oaxaca. Includes transportation to Oaxaca, overnight on January 24 in Oaxaca City. $195 per person double occupancy, $275 per person single occupancy. Dinner on your own.
Add-on 3: Stay extra days before or after the workshop. Add on nights in Teotitlan del Valle at $55 per night,or in Oaxaca City at $125 per night. Let us know your preference and we make all the arrangements for you.
About Our Workshops, Retreats and Programs. We offer educational programs that are hands-on, fun, culturally sensitive, and offer you an immersion experience. Our workshop leaders are experts in their field, knowledgeable, have teaching experience and guide you in the learning process. Our goal is to enhance your knowledge while giving you time to explore and discover.
About Lodging and Accommodations. To keep this trip affordable and accessible, we stay in a local posada/guest house in Teotitlan del Valle. The food is all house made (including the tortillas), safe to eat and delicious. Vegetarian options are available.
Insurance Required: Proof of international travel insurance that covers accidents, medical coverage and emergency evacuation to the U.S.A. or your home country is required by all participants. If you do not want this, you must send us a notarized waiver of responsibility, holding Norma Hawthorne and Oaxaca Cultural Navigator LLC harmless. Thank you for your understanding.
Your registration fee does NOT include airfare, taxes, admissions to museums and archeological sites, tips, liquor/alcoholic beverages, some meals, some transportation, and insurance.
Deposits, Reservations and Cancellations. A 50% deposit is required to guarantee your spot. The last payment for the balance due (including any supplemental costs) shall be paid by December 1, 2014. We only accept Payment with PayPal. We will be happy to send you an invoice.
If cancellation is necessary, please notify us in writing by email. After December 1, 2014, no refunds are possible; however, we will make every possible effort to fill your reserved space. Your registration is transferable to a substitute. If you cancel before December 1, we will refund 50% of your deposit.
To register or for questions, contact: normahawthorne@mac.com
The Funeral of Arnulfo Mendoza
In the Oaxaca village of Teotitlan del Valle, there are hundreds of excellent weavers. Few have gained the international recognition of Arnulfo Mendozo, owner of La Mano Magica gallery, and renown for his tapestry weaving skills and talent as a painter. Arnulfo died from a sudden heart attack a few days ago, leaving behind a young wife and child. He was fifty-nine.
The church is resplendent, filled with lilies, lit with massive beeswax candles adorned with wax birds and roses. On every dark wood pew, rubbed to a polish from years of use, are four or five people shoulder to shoulder, rising, kneeling, sitting, praying, singing. I steady myself. Hold the smooth wood of the seat back in front of me, feel the wood resonate and penetrate me as if it was Arnulfo speaking. I am glad I do not have my camera. Today, the space is sacred.
The hundred or so pews are filled with family and friends, distant relations, collectors from Puebla, Mexico City, Oaxaca, the U.S.A., and Canada, onlookers, paparazzi. Some straggle in just before the mass ends. Before me are red pony tails, black braids woven with dark blue ribbon, lowered heads covered in shawls with their intricately woven fringes swaying in rhythm to the a capella ring of bells. The priest performs mass, sends Arnulfo’s spirit soaring. For a moment, I go with him and then come back to here, now. This prayer is for Suzie, too, as tears come. The man I sit with, another fine weaver I know, embraces me. The mass ends. We reach out and hold each person around us, moving from one to another in benediction.
Four men each carry a stanchion topped with a circle of encrusted white roses four feet in diameter. As they leave the church altar, twelve pallbearers, six on each side, follow shouldering the ornate mahogany-colored wood casket decorated with etched copper where Arnulfo rests. Behind them are four more men bearing another four stanchions of rose circles. Family members spill into the aisle with lit candles, armloads of fresh flowers, heads downcast. I see that the village grandmothers carry flowers, too.
We assemble in the church courtyard. I hug Arnulfo’s cousins and nieces, offer murmurs of condolence, and join the procession through the village streets to the cemetery. The band is out front. The tubas, clarinets, trombones, saxophones, drums alternate between dirge and dance. I walk slowly, lagging, matching steps with Magdalena, half my height now, who buried a husband and son years before during the same year. Every several blocks, we stop, pray, give the pallbearers rest. The sky darkens heavy with clouds on this late Sunday afternoon in southern Mexico.
Across from the cemetery entrance is the woman who usually sells snacks at the health clinic. The ice cream vendor scoops, fills cones with burnt vanilla, angel kisses, hot pink nopal fruit. A woman silently offers bottled water for sale. Inside, fresh flowers fill almost every urn. The grandmothers peel away from the procession as it enters sacred space and scatter to family graves. They begin to sweep away the leaves and debris, remove dried flowers and replace them with the fresh bundles they carry. The pallbearers stop under an ancient tree where the earth is soft and ready. Copal incense wafts smoky and pungent. If you get too close you will begin to cry.
The band forms a circle under the permanent awning. There is a press of people around the gravesite. I hang back to leave space for the family. An ex-pat moves away from the edge of the grave, approaches me, asks me why they dig up the bones of Arnulfo’s father to place Arnulfo there. I explain about the ten-year cycle of using the same family plot, then ask how she knows Arnulfo. “Oh, I read about it. I took a group to the Tlacolula Market today and we decided to stop here, too.” she says. “It’s time I find them and go.”
Someone is in the tree beside Arnulfo’s grave, taking photos, high above the rest of us, another ex-pat I recognize but don’t know. He is hovering at the perfect vantage point, wears white. The band plays a waltz. The ex-pat lowers himself from the tree, passes inches from me with no eye-contact, takes a few more steps, then pivots as the father-in-law of the deceased moves past me going in the other direction toward the grave. They criss-cross in front of me. The father-in-law is from another country across the Pacific Ocean. They are both now steps away. The ex-pat stops the older man, asks, “What will happen to all the things in the gallery?” I say, “That’s not a question for today.” The father-in-law’s face scrunches up, his brows almost touch, he stares, then shrugs, doesn’t answer, turns, continues on. The man in white, says, You interrupted me, that was rude. He didn’t understand you, I say. I did, he says. That’s perfect, I say. He moves to another side of the cemetery, takes photos of people huddled on tombstones.
There is clapping. Testimonials. A thunderclap answers. Human hands clap again. He was so young, I hear someone say. He was so talented, says another. That’s life, says a man I know who stops to greet me as I walk slowly away.
I think of Arnulfo. He looked so young, even at fifty-nine. Smooth, chestnut skin, a few laugh lines, a shock of slightly receding pitch hair drawn into a ponytail at the nape of his neck, the contentment of fatherhood. I remember him standing at the gallery doorway on Macedonio Alcala, he waves and smiles, I do the same, stop in, buy artist-imprinted T-shirts for my husband and son. His new wife packages them in tissue with gentleness.
I remember years ago when I first came here, in search of his fine tapestries, the shoulder bag with strands of gold and silver, woven into wool the color of nightfall, wet earth, blood, garnet, magic, climbing the hill to Casa Sagrada to find the kitchen where the family taught the secrets of Zapotec mole negro.
I think of Suzie, thirty-five, still in a coma. Why did she get into this particular taxi that crashes into a concrete barrier at sixty miles per hour? Yesterday, Kathryn and I talk about Suzie. We remember her giddy filled-with-life laugh, how people light up when she enters a room. Is it all about when our time comes, Kathryn asks? You mean, is it predetermined, how and when?, I ask. Yes, she says. No, I say. I think it is random, like when my son was held up at gun-point, averted his eyes, lived. Life happens in a moment. This is life, and to know and accept is all that matters.
After the funeral, I pick up Robin, whose daughter-in-law is scheduled for an emergency cesarean to deliver an early, underweight baby. The risks are high. The baby is in stress. We drink white wine, wait for news. The phone rings. She begins to sob, then says to her husband on the other end, thank you, Grandpa.
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Posted in Cultural Commentary, Oaxaca Mexico art and culture, Teotitlan del Valle
Tagged Arnulfo Mendoza, artist, burial, cemetery, culture, custom, death, funeral, Mexico, Oaxaca, painter, weaver