Many of you may have heard about the remote mountain village of Santa Maria Tlahuitoltepec. It’s a two-and-a-half hour drive up the misty mountains beyond Teotitlan del Valle and San Pablo Villa de Mitla, Oaxaca. It is way off the beaten path and tourists rarely visit there. During our recent Oaxaca Summer Mountain Tour, ten of us ventured out into Oaxaca’s Sierra Mixe. Yes, they speak Mixe here, and the tribal group is one of 16 different groups in the state. It was quite an adventure, first starting out on the soon to be completed (they say) superhighway to the coast. We got off at the Ayutla exit, miles past the road to Hierve El Agua.
Many know Tlahui (as it’s called locally) as the village whose traditional blouse was copied verbatim by French fashion designer Isabel Marant and passed off as her own in 2015. This became the outcry for what we call today Cultural Appropriation, an issue that continues for indigenous communities around the world, and especially in Mexico. While these designs cannot be copyrighted because they are centuries old, there is an ethical question: Are ancient indigenous villages entitled to recognition and compensation for their original designs?
In Mexico, we call this Cultural Patrimony, defined as an object having ongoing historical, traditional, or cultural importance central to the indigenous group or culture itself, and which, therefore, cannot be alienated, appropriated, or conveyed by any individual regardless of whether or not the individual is a member of the indigenous group.
Our destination was the workshop studio of Fernando Gutierrez Vasquez, a weaver and natural dyer, who uses locally sourced alder wood (palo de aguila) tree bark, the traditional dye of the region, to color blouses, dresses, scarves and shawls (blusas, huipiles, bufandas and rebozos).
The workshop space is terraced in three levels on the side of a mountain. We look out at misty mountains, most of the peaks shrouded in clouds. Tlahuitoltepec is a village of houses cantilevered into the surrounding hillsides connected by winding roads carved into the landscape.
Our first stop was at the dye studio where we saw vats of alderwood fermenting for a week in a cold water bath. This releases the color from the bark. Alderwood trees require humidity to grow and they are rich in tannic acid. This is a direct dye and doesn’t need a mordant to affix the color to the fiber.
The cotton skeins will be soaked for three days once the fermenting process is complete. When one puts the dyed skeins in direct sun, it deepens the color. Some of the pieces I saw looked a golden mahogany color. Oak bark, which is also used here, gives a rich beige color because it contains less tannin. The color can vary depending on the variety and age of the oak. The end result can be a surprising and unpredictable process — scientific up to a point! Fernando also maintains an indigo dye vat.
The weaving happens after the yarn is colored. The cloth will be woven on the flying shuttle treadle loom that has four harnesses. On the mid-level, weavers are working at four looms, their feet dancing, the looms singing.
There is a rhythm of harmony and creativity here. The beater on the loom sounds as if it is a Native American drum beat, a heart beat, living threads. Various patterns in the cloth can be achieved based on how the pedals are manipulated.
On the top level is the embroidery studio and gallery. Here women and men in the family cooperative work at embroidering the traditional village designs into blouses, shirts and dresses. This is machine embroidery but it is free-form. The creativity of the embroiderer is reflected in the work. The embroiderer guides the needle to create complex images without using a template. None of the sewing machines are electronically programmed. Each garment is unique based on the hand and eye of the men and women who operate the machine. This is definitely an art form.
The Spanish never got to Tlahuitoltepec during the first centuries of the conquest. It was too far, too remote. It was not until recently that the dirt horse path was widened and paved over.
We enjoyed a home-cooked lunch of chicken soup, fresh vegetables and rustic, stone ground tortillas under the palapa as the mist lifted and the sun peaked out. And, we enjoyed the gallery and the opportunity to meet the makers and purchase directly from them, knowing that this experience would be mutually satisfying for all of us.
After lunch, we made our way to the studio of famed potter Silvia Martinez Diaz, where we saw a demonstration of an ancient technique used to make bowls, pitchers and cooking vessels. No potter’s wheel is used here. They use the coil technique to hand build even the largest pieces, that are then fired in a wood kiln or open pit much like the New Mexico pottery I know.
As we left the village in mid-afternoon, we all agreed this was a special highlight of our week together.
Note: In Mexico, death is a continuum of life and a celebration. We still have spaces open for our Day of the Dead Culture Tour. Consider joining us to understand this rich and meaningful pre-Hispanic tradition and how death and mortality are considered in Mexico and the USA.
