EXHIBITION PRODUCED BY 3ANDY (ENDERSON "ARBARA ,OWE
2EADING )NTERNATIONAL 3OLIDARITY #ENTRE GRAPHIC DESIGN BY $AVE 2ICHARDS PHOTOS BY 3ANDY (ENDERSON WITH THANKS TO THE !RTS #OUNCIL +RYSTYNA $EUSS *AMIE -ARSHALL 'UATEMALA -AYA #ENTRE n ,ONDON $EBORAH #HANDLER "RENDA 2OSENBAUM -AYAN (ANDS "ARBARA +NOKE DE !RATHOON -USEO )XCHEL DE 4RAJE )NDIGENA
-ARTHA ,YND *ENNIFER %ASTER -AYA 4RADITIONS *ULES 7ILKINSON 'UATEMALA 3OLIDARITY .ETWORK n 5+ 2ALPH ,EE 7OODWARD *R AUTHOR OF ! 3HORT (ISTORY OF 'UATEMALA W W W R I S C O R G U K
"ACKSTRAP WEAVING BY THE -AYAN WOMEN OF 'UATEMALA 4HE BEAUTIFUL COUNTRY OF 'UATEMALA WITH ITS DRAMATIC SCENERY OF LAKES AND VOLCANOES MOUNTAINS AND LUSH RAINFORESTS IS ALSO HOME TO SOME OF THE MOST BEAUTIFUL AND INTRICATE TEXTILES IN THE WORLD 4HESE ARE PRODUCED BY -AYAN WOMEN ON THEIR TRADITIONAL BACK STRAP LOOMS AND ARE PART OF A LIVING HERITAGE THAT IS TWO THOUSANDS YEARS OLD 4HE -AYA ARE THE INDIGENOUS PEOPLE OF 'UATEMALA AND HAVE SURVIVED AND MAINTAINED MANY OF THEIR TRADITIONS
DESPITE THE THREATS TO THEIR CULTURE FROM THE 3PANISH CONQUEST IN THE TH CENTURY THEIR SUBJUGATION UNDER COLONIAL RULE AND SUFFERING IN THE #IVIL 7AR -AYAN WOMEN IN 'UATEMALA CONTINUE TO WEAVE USING A COMBINATION OF TRADITIONAL SKILLS AND NEW INSPIRATIONS 3OME GROUPS ARE REDISCOVERING THE TECHNIQUES OF THEIR ANCESTORS USING ORGANIC DYES AS A MEANS OF BOTH PRESERVING THEIR CULTURE AND RESPECTING THE ENVIRONMENT -ANY -AYAN WOMEN ARE FINDING THEY CAN EARN A VALUABLE INCOME THROUGH FAIR TRADE PARTNERSHIPS THAT ALSO PROVIDE EDUCATION IN THE COMMUNITIES PRIMARY HEALTH CARE
BUSINESS SKILLS AND TRADITIONAL CRAFT DEVELOPMENT 4HIS WINDOW INTO THE DIVERSITY AND RICHNESS OF -AYAN WEAVING CONFIRMS THAT IT IS A VITAL FEATURE OF -AYAN HERITAGE AN IMPORTANT PART OF THE ARTISTIC EXPRESSION OF THE WEAVERS TODAY AND REPRESENTS A FUTURE WITH HOPE FOR -AYAN WOMEN
PHOTO ,IDIA DE ,OPEZ WEAVING A #EREMONIAL HUIPIL ILLUSTRATION 4HE 2ESPLENDENT 1UETZAL *OHN 'OULD n THE QUETZAL IS THE NATIONAL EMBLEM OF 'UATEMALA
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h7E HAVE ALWAYS LIVED HERE WE HAVE THE RIGHT TO GO ON LIVING WHERE WE ARE HAPPY AND WHERE WE WANT TO DIE /NLY HERE CAN WE FEEL WHOLE NOWHERE ELSE WOULD WE EVER FEEL COMPLETE AND OUR PAIN WOULD BE ETERNAL v 0OPOL 6UH -AYA CIVILISATION DOMINATED -ESOAMERICA FOR ABOUT THREE THOUSAND YEARS BEFORE THE ARRIVAL OF THE 3PANISH IN THE TH #ENTURY 3OME OF THE MOST IMPRESSIVE ARCHITECTURE IN THE CONTINENT WAS CREATED IN THIS TIME 4HE SCALE AND GRANDEUR OF SOME -AYA CITIES SUCH AS %L -IRADOR BUILT AROUND " # WAS GREATER THAN ANY THAT EXISTED IN %UROPE AT THAT TIME
!BOUT !$ THE -AYA MIGRATED NORTHWARD INTO WHAT IS TODAY -EXICO .EW CITIES EMERGED WITH IMPRESSIVE ARCHITECTURAL MONUMENTS n GREAT STONE PYRAMIDS THAT STILL STAND n ALTHOUGH SURROUNDED BY THE RAINFOREST "UT INTERNAL CIVIL WARFARE AND INTERVENTION FROM CENTRAL -EXICAN PEOPLES ERODED THEIR POWER "Y THE TIME OF THE 3PANISH CONQUEST THE -AYA CIVILISATION WAS IN SERIOUS DECLINE YET THEY RESISTED SUBJUGATION LONGER THAN EITHER THE !ZTECS OF -EXICO OR THE )NCA OF 0ERU
-AYA CULTURE WAS HIGHLY DEVELOPED AND EVOLVED COMPLEX DISCIPLINES OF ENGINEERING ASTRONOMY STONE CARVING AND MATHEMATICS COMPARABLE TO THOSE OF ANCIENT %GYPT 4HEY EVOLVED A COMPLEX WRITTEN LANGUAGE WITH HIEROGLYPHS RECORDED ON STONE MONUMENTS THAT REFLECTED MAJOR HISTORICAL FIGURES AND EVENTS 'REAT CITIES AROSE AROUND CEREMONIAL RELIGIOUS CENTRES -AYA ARTISTIC AND SCIENTIFIC ACHIEVEMENTS REACHED A ZENITH IN THE CLASSIC ERA !$ 4HEY DEVELOPED AN ACCURATE CALENDAR AND COMPLEX ORGANISATIONAL SKILLS 4HEIR ART WORK SURVIVES IN PAINTED POTTERY STONE CARVING AND IN A FEW ANCIENT TEXTILES 4HEIR ARCHITECTURAL MONUMENTS WERE AS SIGNIFICANT AS THOSE OF ANCIENT 'REEK AND 2OMAN OR MEDIEVAL %UROPEAN BUILDERS
PHOTOS FROM TOP 4 IKAL .ATIONAL 0ARK 0ETEN n +AKgCHI -AYAN PEOPLE PERFORM SACRED RITUALS OF THE 'REAT 0LAZA IN ORDER TO ENSURE A GOOD HAR VEST OF CORN )N THE BACKGROUND TOWERS THE ENOR MOUS TEMPLE OF THE MASKS 4HOR *ANSON HUIPIL FROM #HICHICASTENANGO
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7HILE THE MAGNIFICENT CEREMONIAL SITES OF THE LOWLAND -AYA n WITH THEIR TEMPLES PYRAMIDS BALL COURTS AND EVIDENCE OF ADVANCED CIVILISATION n ARE HIGHLY IMPRESSIVE
OF GREATER SIGNIFICANCE FOR MODERN 'UATEMALA WERE THOSE WHO REMAINED IN THE HIGHLANDS AND MAINTAINED A VIABLE AGRICULTURAL SOCIETY OF SMALL COMMUNITIES CENTRED AROUND PRODUCTION OF CORN 4HEY ALSO GREW MANY OTHER VEGETABLES AND FRUITS AND PRODUCED NOTABLE WEAVING AND POTTERY THAT THEY TRADED WIDELY IN THEIR MARKETS (IGHLAND -AYA HISTORY WAS PASSED FROM GENERATION TO GENERATION BUT NOT WRITTEN UNTIL AFTER THE ARRIVAL OF THE
PHOTO &LOWER SELLERS ON 3UNDAY MARKET DAY IN FRONT OF )GLESIA DE 3ANTO 4OMAS #HICHICASTENANGO
3PANIARDS 4HESE WORKS TRACE THE RULING DYNASTIES BUT ALSO REFLECT MAJOR EVENTS IN THEIR HISTORY 0OPOL 6UH IS THE -AYAN SACRED TEXT WITH ITS STORIES OF THE CREATION GODS
THE DAWN OF LIFE AND THE ORIGINS OF THE -AYA !S WITH MANY INDIGENOUS PEOPLE OF !MERICA THE -AYA HAVE SURVIVED DESPITE GREAT PERSECUTION 3INCE THE 3PANISH CONQUEST IN THEY HAVE SUFFERED CONTINUOUS REPRESSION UNDER A FEUDAL SYSTEM THE BANNING OF THEIR RELIGIOUS BELIEFS FORCED CONVERSION TO #HRISTIANITY AND THE SUPPRESSION OF THEIR CULTURE
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BENEFIT OF THE COMMUNITY h7E NEVER THINK OF TAKING ALL FOR OURSELVES AND LEAVING OUR BROTHERS AND SISTERS WITH NOTHING v 4HE WEARING OF TRADITIONAL DRESS AND ITS SYMBOLIC MEANINGS THE CULTIVATION OF MAIZE AND THE BAKING OF TORTILLAS ON THE TRADITIONAL STOVE ARE ALSO PART OF THE DAILY EXPRESSION OF -AYANIDAD 4HE -AYAN RELIGION AND ITS CEREMONIES AND SYMBOLS
DELIVERED THROUGH A SHAMANIC PRIEST ARE EQUALLY IMPORTANT 4HIS IS FOCUSED ON THE SACREDNESS OF THE EARTH
AS A MOTHER PROVIDING FOR HER CHILDREN THE -AYA AND OF THE SUN THE FATHER WHO GENERATES THE LIFE ENERGY TO THE EARTH $URING THE S AND S THE SAVAGE PERSECUTION AND WIDESPREAD KILLING OF THE (IGHLAND -AYA LED TO A NEW SOLIDARITY WITH THE ,OWLAND -AYA OF %ASTERN -EXICO
'UATEMALA AND "ELIZE AND A NEW SENSE OF THE -AYA NATIONAL IDENTITY 4HIS WAS REVEALED IN THE AUTOBIOGRAPHY PUBLISHED IN BY 2IGOBERTA -ENCHU A -AYAN WOMAN WHOSE FATHER A COMMUNITY LEADER WAS ASSASSINATED WITH OTHER PROTESTORS IN THE 3PANISH %MBASSY MASSACRE IN 'UATEMALA #ITY IN *ANUARY 4HE TITLE OF HER AUTOBIOGRAPHY WAS 4HIS IS HOW MY CONSCIOUSNESS WAS BORN 3HE WAS AWARDED THE .OBEL 0EACE 0RIZE IN AND THIS BROUGHT INTERNATIONAL ATTENTION TO THE -AYA 4HE -AYA IN 'UATEMALA HAVE AN INCREASING INTEREST IN EXPRESSING THEIR IDENTITY DESCRIBED AS -AYANIDAD ! KEY PRINCIPLE IS DEVOTION TO THE LAND NOT FOR PRIVATE OWNERSHIP n A CONCEPT OF THE COLONISERS n BUT TO BE SHARED FOR THE
PHOTOS 3TALLS IN !NTIGUA MARKET
4HIS HOLISTIC RELIGION INFLUENCES ALL ASPECTS OF LIFE
INCLUDING SOCIAL DECISION MAKING THROUGH CONSENSUS h)N ORDER TO DECIDE WHICH DAY TO HAVE A MEETING WE LOOK AT THE CALENDAR AND SEARCH FOR A GOOD DAY WHICH WILL AUGUR WELL FOR DELIBERATIONS "EFORE AN IMPORTANT MEETING WE PREPARE OUR HEARTS WITH A -AYA CEREMONY !FTER THAT WE ARE READY SHARE OUR PROBLEMS AND IDEAS READY TO LISTEN TO ALL AND TO TRY AND UNDERSTAND WHAT EACH HAS TO SAY ,ATER WE HAVE A PERIOD OF CONCILIATION TO ENABLE US TO REACH A COMMONLY HELD POSITION v ,INGUISTICALLY DIFFERENTIATED BY AS MANY AS TWENTY LANGUAGES THE -AYANS SHARE A COMMON BOND THROUGH THEIR WEAVING HERITAGE -ANY ASPECTS OF -AYA CULTURE ARE COMMUNICATED BY COSTUME OR TRAJE )T IS AN ART FORM THROUGH WHICH WOMEN SHOW THEIR ARTISTRY AND COMMITMENT TO CULTURAL IDENTITY
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,AND ! COUNTRY OF STRIKING FEATURES AND A STRONG INDIGENOUS CULTURE 'UATEMALA S NATURAL BEAUTY AND POWERFUL IDENTITY STAND IN STARK CONTRAST TO ITS CONFLICT RIDDEN PAST AND TROUBLED PRESENT -OUNTAINOUS HEAVILY FORESTED AND DOTTED WITH -AYAN RUINS LAKES VOLCANOES ORCHIDS AND EXOTIC BIRDS
'UATEMALA IS ONE OF THE MOST BEAUTIFUL COUNTRIES IN #ENTRAL !MERICA )TS INDIGENOUS POPULATION THE -AYA MAKE UP ABOUT OF THE POPULATION -AYAN LANGUAGES ARE SPOKEN ALONGSIDE 3PANISH THE OFFICIAL TONGUE -ANY 'UATEMALANS ARE OF MIXED !MERINDIAN n (ISPANIC ORIGIN - % 8) # /
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#ENTRES OF -AYAN WEAVING 'UATEMALA #ITY 3AN 0EDRO .ECTA )XTAHUACAN !GUACATAN 3ANTA #ATARINA #HICHICASTENANGO .EBAJ #OTZAL #HAJUL #OMALAPA !NTIGUA 3AN !NTONIO !GUAS #ALIENTES 3ANTA -ARIA DE *ESUS 0ALIN 'UATEMALA #ITY
PHOTOS FROM TOP ,AKE !TITLAN WITH 6OLCAN 3AN 0EDRO "ANANA TREE FLOWER $AMAGE FROM (URRICANE 3TAN
(URRICANE 3TAN )N /CTOBER (URRICANE 3TAN STRUCK 'UATEMALA
CAUSING DEVASTATING FLOODS AND MUDSLIDES !T LEAST PEOPLE WERE KILLED AND OVER WERE AFFECTED MAINLY THE POOR INDIGENOUS COMMUNITIES LIVING IN THE HIGHLAND AREAS 3IX MONTHS LATER MANY HAD RETURNED TO THEIR HOMES (OWEVER THERE IS STRONG CRITICISM OF THE 'UATEMALAN GOVERNMENT S INADEQUATE RESPONSE TO THE DISASTER )T IS APPARENT THAT RECONSTRUCTION HAS BEEN GEARED TO THE INTERESTS OF THE PRIVATE SECTOR AND MANY POOR COMMUNITIES HAVE BEEN IGNORED
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(ISTORY 'UATEMALA S BEAUTY AND STRENGTH OF IDENTITY HAVE NOT BEEN ACCOMPANIED BY COHESION AND PROSPERITY )N THE COUNTRY EMERGED FROM A YEAR LONG CIVIL WAR 0EACE ACCORDS WERE SIGNED OFFICIALLY ENDING YEARS OF ARMED CONFLICT BUT LIFE IS NOT MUCH IMPROVED FOR MOST 'UATEMALANS 4HE CIVIL WAR STARTED WITH A GUERRILLA UPRISING IN n SIX YEARS AFTER A #)! BACKED COUP DEPOSED THE DEMOCRATICALLY ELECTED GOVERNMENT WHICH HAD CONFISCATED LANDS FROM A 53 FRUIT COMPANY 4HE ECONOMIC AND SOCIAL DISCRIMINATION IN WHICH THE INSURGENCY WAS ROOTED REMAINS UNRESOLVED !LTHOUGH THE INDIGENOUS -AYA FORM THE MAJORITY POPULATION THE POLITICAL POWER WEALTH AND OWNERSHIP OF LAND LIES WITH THOSE OF 'ERMAN OR 3PANISH DESCENT 4HE CONFLICT n RECOGNISED AS ONE OF THE MOST BRUTAL IN THE HEMISPHERE n WAS STRONGLY INFLUENCED BY THE #OLD 7AR ! 5. SPONSORED TRUTH COMMISSION REPORTED IN THAT ABOUT PEOPLE WERE KILLED OF WHOM WERE CIVILIANS 4HE WORST ATROCITIES TOOK PLACE IN THE -AYAN HIGHLANDS AND IT IS ESTIMATED ABOUT -AYAN VILLAGES AND THEIR INHABITANTS WERE DESTROYED 4HE REPORT ALSO CONFIRMED THAT GOVERNMENT FORCES WERE GUILTY OF GENOCIDE 4HUS 'UATEMALANS LIVE IN ONE OF THE MOST INIQUITOUS SOCIETIES IN THE REGION 0OVERTY IS PARTICULARLY PREVALENT IN RURAL AREAS AND IN INDIGENOUS COMMUNITIES
)LLITERACY INFANT MORTALITY AND MALNUTRITION ARE AMONG THE HIGHEST IN THE REGION LIFE EXPECTANCY IS AMONG THE LOWEST AND IN COMMON WITH MANY OF ITS NEIGHBOURS THE COUNTRY IS PLAGUED BY ORGANISED CRIME DRUG TRAFFICKING AND VIOLENT STREET GANGS
(UMAN RIGHTS h$ISCRIMINATION IS PART OF THE STRUCTURE OF THE STATE IN 'UATEMALA 4HE POLITICAL PROCESS IS MONO CULTURAL AND MONO LINGUAL AND INDIGENOUS PEOPLE LOSE OUT v 2IGOBERTA -ENCHU THE INDIGENOUS ACTIVIST AND .OBEL 0EACE 0RIZE WINNER MADE THIS STATEMENT FOLLOWING THE COUNTRY S FIRST TRIAL AGAINST RACISM IN !PRIL &IVE 'UATEMALAN POLITICIANS WERE FOUND GUILTY OF RACIAL DISCRIMINATION AGAINST -ENCHU 4HIS DREW ATTENTION TO THE DISCRIMINATION SUFFERED BY THE INDIGENOUS PEOPLE AND PARTICULARLY TO RURAL INDIGENOUS WOMEN /NLY OF GIRLS GO TO SCHOOL n OF BOYS GO AND 'UATEMALA HAS THE HIGHEST LEVELS OF INFANT AND MATERNAL MORTALITY IN #ENTRAL !MERICA 7OMEN SUFFER GREATLY FROM HUMAN RIGHTS ABUSES !LMOST WOMEN WERE KILLED IN !LTHOUGH THE AUTHORITIES BLAME ATTACKS ON YOUTH GANGS HUMAN RIGHTS ORGANISATIONS HAVE IDENTIFIED POLICE AND MILITARY INVOLVEMENT IN ORGANISED CRIME NETWORKS
PHOTOS CLOCKWISE FROM TOP .ATIONAL 0ALACE OF #ULTURE 'UATEMALA #ITY -ISSING 0EOPLES RELATIVES DEMONSTRATE IN FRONT OF THE /LD -ILITAR Y !CADEMY $ANIEL (ERNANDEZ 3ALAZAR #HARCOAL SELLER !NTIGUA MARKET
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4HE -AYAN GODDESS )XCHEL IS SAID TO HAVE INVENTED BACKSTRAP WEAVING !S WELL AS WEAVING SHE IS THE GODDESS OF THE MOON WOMEN CHILDBIRTH AND MEDICINE 7EAVERS MADE OFFERINGS TO HER BEFORE BEGINNING EACH NEW TEXTILE 4HE UNBROKEN PRACTICE OF WEAVING FROM ANCIENT TIMES TO THE PRESENT DAY HAS ENABLED -AYA WOMEN TO MAINTAIN THEIR CULTURE AND RESIST OUTSIDE INFLUENCES
"ACKSTRAP WEAVING IS A SYMBOL OF THE LIFE OF MANY -AYA WOMEN 7ITH THE LOOM STRAPPED AROUND HER WAIST AND THE OTHER END ATTACHED TO A TREE THE WEAVER IS AN INTEGRAL PART OF THE LOOM n SHE IS CONNECTED TO HER ENVIRONMENT 4HIS ANCIENT TRADITION IS PASSED DOWN FROM MOTHER OR GRANDMOTHER TO GIRLS BETWEEN THE AGES OF &OR MANY TRADITIONAL -AYA WOMEN LIVING IN HIGHLAND VILLAGES OF 'UATEMALA WEAVING IS A RITUAL PART OF DAILY LIFE "EFORE SUNRISE SHE AWAKES TO CARE FOR CHILDREN AND ANIMALS STARTS THE FIRE GRINDS THE CORN AND MAKES TORTILLAS AND FOOD FOR THE FAMILY !FTER DAWN SHE UNROLLS AND CONNECTS HER LOOM 3HE SITS STRAPPING IT AROUND HER WAIST AND IS READY TO BEGIN WEAVING FOR THREE OR FOUR HOURS UNTIL SHE
PREPARES LUNCH FOR HER FAMILY )N THE AFTERNOON SHE WEAVES ANOTHER THREE OR MORE HOURS UNTIL THE SUN BEGINS TO FADE !T THE END OF A WEAVING DAY THE LOOM CAN BE ROLLED UP AND PUT AWAY ONLY TO BE UNROLLED AT DAYBREAK AND RESUME THE PROCESS THE FOLLOWING DAY 4O WEAVE THE TRADITIONAL HUIPIL BLOUSE INVOLVES TWO OR THREE MONTHS OF THIS DAILY RITUAL DEPENDING ON THE COMPLEXITY OF THE DESIGN
-AYA 4RADITIONS -AYA 4RADITIONS IS A SMALL FAIR TRADE WHOLESALE BUSINESS BASED IN ,AKE !TITLAN AND #ALIFORNIA &OR OVER TEN YEARS IT HAS WORKED WITH -AYA INDIGENOUS WEAVERS IN THE HIGHLANDS OF 'UATEMALA )TS MISSION IS TO SUPPORT WEAVING GROUPS
HAND CROCHET ARTISANS AND SMALL FAMILY BUSINESSES THROUGH PROVIDING CONSISTENT INCOME AS WELL AS IMPROVING QUALITY OF LIFE THROUGH MUCH NEEDED HEALTHCARE AND EDUCATION PROJECTS WWW MAYATRADITIONS COM
ILLUSTRATION )MAGE OF GODDESS )XCHEL AT HER LOOM PHOTOS FROM TOP -ODERN WOVEN PURSE BY -AYA 4RADITIONS (UIPIL FROM 3AN !NDRES 8ECUL
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!BOUT MILLION INDIGENOUS -AYA PEOPLE LIVE IN THE HIGHLANDS OF 'UATEMALA 4HEY CONSTITUTE ABOUT OF 'UATEMALA S TOTAL POPULATION 'UATEMALA IS THE ONLY COUNTRY IN #ENTRAL !MERICA OF WHICH THE MAJORITY POPULATION IS INDIGENOUS )T IS THEREFORE QUITE NATURAL THAT THE ANCIENT INDIGENOUS CULTURES ARE BEST PRESERVED HERE
INCLUDING THEIR TRADITIONAL CRAFTS &ROM TEXTILE IMPRINTS FOUND IN BURIALS IT IS KNOWN THAT WEAVING ALREADY EXISTED IN #ENTRAL AND 3OUTHERN !MERICA YEARS AGO 4HE WEAVING TOOLS FOUND IN GRAVES INDICATE THAT THE SAME LOOM WAS USED AS TODAY n THE BACKSTRAP LOOM
-AYAN WEAVING HAD ALREADY ACQUIRED INTERNATIONAL FAME BY THE TIME OF THE 3PANISH #ONQUEST IN %VEN THEN THE -AYAS EXPORTED LARGE QUANTITIES OF WOVEN FABRICS TO THE POWERFUL !ZTECS IN -EXICO AND BEYOND
3CULPTURES AND FRESCOES FROM THE CLASSIC -AYA PERIOD !$ DEPICT BEAUTIFUL AND INTRICATELY WOVEN COSTUMES 4HE WOMEN S COSTUMES ON THESE FRESCOS ARE VERY MUCH LIKE THE WOMEN S CLOTHES OF TODAY HUIPIL BLOUSE SKIRT BELT AND THE ALL PURPOSE UTILITY CLOTH "EFORE THE #ONQUEST -AYA MEN WORE LOINCLOTHS AND CAPES TODAY THEY MAY WEAR TH CENTURY 3PANISH COLONIAL INSPIRED JACKETS AND TROUSERS OR WESTERN STYLE CLOTHES
4HE -AYA USED TO DYE THEIR OWN COTTON THREAD #OCHINEAL LICE THAT LIVE ON CACTUS WERE USED TO MAKE A BEAUTIFUL RED 0URPLE WAS OBTAINED FROM A 0ACIFIC COAST SHELLFISH 0URPURA PATULA PANSA "LUES AND BLACK WERE DERIVED FROM THE INDIGO PLANT AND A DARK REDDISH BROWN FROM BRAZILWOOD /THER PLANTS GAVE YELLOWS AND GREENS 4ODAY THE MAJORITY OF DYES USED ARE CHEMICAL BUT THERE IS ALSO A REVIVAL OF SOME OF THE NATURAL DYES
ILLUSTRATION 'ODDESS )XCHEL PHOTOS FROM TOP (UIPIL FROM 3ANTA #ATARINA 0ALOPO &RANCESCA MEMBER OF WEAVING GROUP IN 3ANTA #ATARINA 0ALOPO
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7EARING WEAVINGS
-OST OF THE GARMENTS ARE WOVEN ON THE SIMPLE BACKSTRAP LOOM 5SUALLY ONLY WOMEN WEAVE ON THIS LOOM %VERY VILLAGE HAS ITS OWN PATTERNS AND ONLY ONE OR TWO DIFFERENT BROCADING TECHNIQUES ARE USED IN EACH VILLAGE
%ACH VILLAGE HAS ITS OWN TRADITIONAL CLOTHING FOR BOTH MEN AND WOMEN BUT IN MANY VILLAGES THE MEN HAVE EXCHANGED THESE TRADITIONAL CLOTHES FOR NYLON SHIRTS AND POLYESTER TROUSERS 4HIS IS PRIMARILY DUE TO DISCRIMINATION AGAINST THE INDIGENOUS -AYA $URING THE CIVIL WAR MEN COULD BE TARGETED BY THE MILITARY BECAUSE THEIR DRESS IDENTIFIED THEM AS COMING FROM A PARTICULAR VILLAGE 4HE ANONYMITY OF WESTERN CLOTHES GRANTED SOME SAFETY -OST -AYAN WOMEN
WHOSE LIVES ARE MORE CENTRED IN THE HOME AND THEIR VILLAGE
STILL MAKE AND WEAR THEIR TRADITIONAL CLOTHES (OWEVER THE DEMANDS OF MODERN LIFE AND THE NEED TO EARN AN INCOME
RESULTS IN SOME WOMEN ABANDONING THEIR HUIPILES FOR RAYON BLOUSES WITH FRILLS AND LACE WHICH CAN BE BOUGHT COMPARATIVELY CHEAPLY
'ARMENTS CONSIST OF SQUARE UNCUT PIECES OF MATERIAL n SKIRTS SHIRTS WITH ADDED SLEEVES BELTS HUIPILES TROUSERS AND UTILITY CLOTHS 4HEY ARE ALL WRAPPED AROUND THE BODY AND FASTENED WITHOUT THE NEED FOR BUTTONS OR ZIPS 4HE -AYA HAVE BEEN INTERESTED ONLY IN MAKING THE CLOTH THAT THEY WEAR AS BEAUTIFUL AS POSSIBLE THERE HAS NEVER BEEN A CONCERN WITH A CLOSE FIT IN CLOTHES 4HE CLOTH WOVEN ON THE BACKSTRAP LOOM IS COTTON SILK OR RAYON MAY BE USED FOR A PATTERN WARP 7OOLLEN FABRICS FOR HEAVY JACKETS AND TROUSERS ARE WOVEN ON FOOT LOOMS 4HE FOOT LOOM WAS INTRODUCED BY THE 3PANIARDS AND USUALLY ONLY MEN WEAVE ON IT ! SMALL NARROW FOOT LOOM IS USED IN SOME PLACES FOR WEAVING BELTS AND HAIRBANDS
7OMEN S TRADITIONAL CLOTHING CONSISTS OF A HUIPIL AND A TUBE SHAPED SKIRT WHICH IS DRAPED AROUND THE WAIST WITH A PRESCRIBED NUMBER OF PLEATS DIFFERENT FOR EACH VILLAGE )N MOST AREAS THE SKIRT IS HELD IN PLACE WITH A BELT 4HEY WEAR VARIOUS TZUTES ON THEIR SHOULDERS n FOR WARMTH AND TO CARRY THEIR CHILDREN AND THEIR BUNDLES n OR ON THEIR HEADS TO PROTECT FROM THE SUN -OST GARMENTS ARE DECORATED WITH BROCADING IN BRIGHT COLOURS )N BROCADING AN EXTRA PATTERN WEFT IS PLACED ON TOP OF A PLAIN WOVEN SURFACE 4HUS THERE ARE ALWAYS TWO WEFTS ON TOP OF EACH OTHER IN BROCADING n THE GROUND WEAVE AND THE PATTERN
PHOTOS CLOCKWISE FROM TOP #ATARINA A MEMBER OF THE WOMEN S WEAVING GROUP ,%-! 3AN *UAN LA ,AGUNA $ETAIL OF TZUTE FROM 3OLOLA 7ILFI ,OPEZ WEAVING ON A FOOT LOOM
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,IDIA IS A -AYAN WOMAN WHO WAS TAUGHT BACK STRAP WEAVING BY HER MOTHER AT THE AGE OF EIGHT 3HE IS MARRIED TO #ESAR AND THEY HAVE TWO GROWN UP SONS ONE OF WHOM WEAVES ON BOTH THE MECHANICAL FOOT LOOM AND UNUSUALLY FOR MEN BACK STRAP LOOM 4HE PRINCIPAL GARMENT WOVEN ON THE BACK STRAP LOOM BY WOMEN IS THE HUIPIL A TYPE OF TUNIC THAT HAS DISTINCTIVE DESIGNS PARTICULAR TO THE TOWN OR VILLAGE OF THE WEAVER WEARER &OR ,IDIA WEAVING IS hMY CULTURE MY FAMILY AND A PART OF MY LIFEv ,IDIA EXPLAINS THAT THE DESIGNS ON THE HUIPILES ARE DISTINCTIVE TO EACH FAMILY AND ARE PASSED DOWN THROUGH THE GENERATIONS FROM MOTHER TO DAUGHTER ! VARIETY OF DESIGNS AND SYMBOLS EXIST AND THE WEAVER S CHOICE DEPENDS ON THE USE OF THE HUIPIL /UT OF A POSSIBLE SYMBOLS THE WEAVER MAY CHOOSE TO INCORPORATE ONLY FIVE DESIGNS ,IDIA EXPLAINS HOW THE DESIGNS EVOLVE THROUGH THE GENERATIONS ,IDIA S GREAT GRANDMOTHER S HUIPIL SHOWS DESIGNS FROM THE PAST n SIMILAR TO ,IDIA S BUT WITH MORE GEOMETRIC DESIGNS AND USING NATURAL DYES SUCH AS INDIGO AND COCHINEAL
PHOTOS FROM TOP 0ARROT MOTIF ,IDIA DE ,OPEZ WEAVING ON HER BACK STRAP LOOM
)N THE PAST A HUIPIL COULD LAST UP TO YEARS AND COULD BE RENEWED BY CUTTING OFF THE BOTTOM SECTION WHICH HAD BEEN TUCKED INTO THE SKIRT AND SEWING IT TO THE TOP 4HIS RE USE OF MATERIALS NO LONGER HAPPENS )T MAY TAKE MONTHS TO WEAVE A HUIPIL USUALLY FOR SEVERAL HOURS A DAY FITTED AROUND OTHER HOUSEHOLD TASKS AND WORK
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,IDIA IS CONCERNED THAT YOUNG WOMEN CONTINUE TO WEAVE 3HE IS IN FAVOUR OF PROGRESS BUT WANTS TO RETAIN A SENSE OF IDENTITY AND hWHO WE AREv AS -AYANS 3HE SEES THAT WEAVING HUIPILES CONTRIBUTES TO THIS ,IDIA DOES NOT HAVE A DAUGHTER BUT SHE HAS TAUGHT HER SON AND ONE OF HER NIECES TO WEAVE 3HE HAS ALSO TAUGHT MANY PEOPLE WHO HAVE SHOWN AN INTEREST INCLUDING STUDENTS OF WEAVING FROM AROUND THE WORLD ,IDIA S SISTERS AND NIECES ALSO CONTINUE THE TRADITION ,IDIA S HUIPILES ARE AMONG OF THE HIGHEST QUALITY PRODUCED IN 3AN !NTONIO !GUAS #ALIENTES WHICH ARE SOME OF THE MOST ELABORATE IN 'UATEMALA 4HE HIGH STANDARD OF WORK IS REFLECTED IN THE FACT THAT THE REVERSE SIDE OF THE HUIPIL IS AS PERFECT AS THE FRONT AND THERE ARE NO LOOSE THREADS )N A CONTEMPORARY HUIPIL ,IDIA INCORPORATES A WIDE RANGE OF MOTIFS FROM THE NATURAL WORLD INCLUDING BIRDS QUETZALS
PARROTS AND BLUEBIRDS ANIMALS FISH AND SCORPIONS
FLOWERS ROSES AND MORNING GLORY AND FRUITS STRAWBERRIES AND GRAPE VINES 4HE SIGNATURE GEOMETRIC ZIGZAG LOZENGE AND CHEVRON PATTERNS OF THE VILLAGE ARE WOVEN AT THE BEGINNING OF THE WEAVING TO BE WORN AROUND THE WAIST 7AVES REPRESENT THE WIND
PHOTO ,IDIA S HUIPIL SHOWING BOTH FIGURATIVE AND GEOMETRIC DESIGNS IN THE BROCADING
4HERE ARE THREE MAIN TYPES OF HUIPILES WOVEN IN 3AN !NTONIO !GUAS #ALIENTES ❖ #EREMONIAL HUIPIL n WORN AT WEDDINGS AND FESTIVALS AND ON SAINTS DAY FIESTAS 4HE MOST ELABORATE AND CAN TAKE SIX TO SEVEN MONTHS TO MAKE WITH UP TO SIX HOURS A DAY DEVOTED TO THEIR WEAVING ❖ $IARIO OR EVERYDAY HUIPIL n FOR DAILY LIFE AND WORK 2ELATIVELY SIMPLE BUT WILL STILL TAKE UP TO FOUR MONTHS WEAVING HOURS TO MAKE ❖ $IARIO POR EL CAMPO n EVERYDAY FOR THE FIELDS -ADE TO ACCOMMODATE HARD WORK IN THE HOME AND IN THE FIELDS
GROWING AND PREPARING THE STAPLE CROPS MAIZE BEANS
COFFEE ONIONS AND THE CULTIVATION OF FRUIT AND AVOCADO TREES 4HEY TAKE TWO TO THREE MONTHS TO MAKE $ESIGNS AND SYMBOLS IN ,IDIA S CEREMONIAL HUIPIL ARE RICH IN FIGURATIVE IMAGES OF NATURE SURROUNDING ,IDIA S WORLD BIRDS FLOWERS FRUIT TREES ANIMALS SERPENTS ANIMAL FOOTPRINTS GRAINS OF MAIZE OR WHEAT BEANS THE -AYAN LANGUAGES THE PATH OF LIFE ALSO REFERS TO MUSIC AND CREATIVITY THE KEYS OF THE MARIMBA INSECTS NATURE S ELEMENTS n THE WIND AND RAIN n AND SYMBOLS OF 'UATEMALA S UNIQUE LANDSCAPE OF VOLCANOES
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,IDIA HER HUSBAND AND SONS ARE PART OF A LARGE EXTENDED FAMILY 3UNDAY LUNCH IS AN OPPORTUNITY FOR ALL THE FAMILY TO GATHER AT HER MOTHER -ARGARITA S HOUSE 4ORTILLAS ARE A FAVOURITE PART OF MOST MEALS 4HE MAIZE KERNELS ARE GROUND TO A PASTE AND THE TORTILLAS ARE PATTED INTO SHAPE BY HAND BEFORE BEING COOKED ON A LARGE METAL PAN OVER AN OPEN FIRE
PHOTOS CLOCKWISE FROM TOP ,IDIA AND HER FAMILY PREPARING TRADITIONAL -AYAN MEAL (ER MOTHER -ARGARITA COOKING TORTILLAS 4HE EXTENDED FAMILY AND FRIENDS SIT DOWN TO LUNCH "ARBEQUE OF VARIOUS MEATS AND POTATOES "EAN POT
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4HE EXTENDED FAMILY OWN SOME SMALL PLOTS OF LAND WHERE THEY GROW THE ESSENTIAL CROPS OF MAIZE BEANS COFFEE
ORANGES BANANAS AND AVOCADOS (URRICANE 3TAN RESULTED IN DEVASTATING FLOODS ON THEIR LANDS KILLING HALF OF THE COFFEE PLANTS n HUNDREDS WILL HAVE TO BE REPLACED
PHOTOS CLOCKWISE FROM TOP ,IDIA AND HER HUSBAND PICKING COFFEE ON THEIR PLANTATION "ANANA PLANT ON THE FAMILY PLOT 0ROCESSING THE COFFEE BEANS THROUGH A GRINDER
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A TOP BEAM WITH SELVAGE CORD WOUND AROUND IT B CROSS TIE BLOCKING THE SHEDS C ROD D HEDDLE E BATTEN F SHUTTLE CARRYING THE GROUND WEFT G STRETCHER H BOTTOM BEAM WITH THE STICK FOR ROLLING UP THE WEAVING I BACKSTRAP
0REPARING THE WARP 4HE FIRST STEP IS SETTING UP THE WARP FOR THE BACK STRAP LOOM 3EVEN COLOURS ARE CHOSEN AND EACH COLOUR IS WOUND ONTO THE URDIDOR OR WARP FRAME 4HE THREADS ARE WOUND IN A SYMMETRICAL SEQUENCE 4HE PRINCIPLE COLOUR BLUE IS POSITIONED IN THE MIDDLE OF THE WARP AND HAS THREADS 4HE OTHER COLOURS ARE WOUND ON AT EACH SIDE AND HAVE THREADS IN EACH SECTION 7HEN THE THREADS HAVE BEEN WOUND ON TO THE URDIDOR
THREE CROSS TIES ARE ATTACHED TO HOLD THE THREADS IN THE RIGHT ORDER 4HE WARP IS CAREFULLY LIFTED AND TRANSFERRED TO THE TOP AND BOTTOM STICKS OF THE BACK STRAP LOOM 4HE PALETA OR BATTEN IS INSERTED IN THE MIDDLE OF THE WARP TO RETAIN THE SEPARATION OF THE FRONT AND BACK LAYERS OF THE WARP
4HE HEDDLE IS CREATED 4HE CHOKOY OR STRING HEDDLE IS CREATED FROM A NARROW STICK WITH A STRONG THREAD WHICH PICKS UP INDIVIDUALLY THE THREADS ON THE FRONT OF THE WARP THE UNDER LAYER OF THREADS STAY UNTOUCHED ! STRING IS TIED ACROSS THE HEDDLE FROM EACH END TO KEEP THE THREADS SECURE
4HE PALETA AND THE WARP CROSS ! STICK IS PLACED ALONGSIDE THE PALETA IN THE MIDDLE OF THE WARP TO KEEP THE THREADS SEPARATED 4HE PALETA IS REMOVED PLACED BELOW THE LOWER WARP CROSS
PUSHED TOWARDS THE HEDDLE AND PLACED ON ITS EDGE TO SEPARATE THE WARP LAYERS 4HE PALETA IS RAISED ON EDGE IN FRONT OF THE WARP CROSS IN FRONT OF THE HEDDLE 4HE WARP CROSS WILL THEN MOVE BEHIND
PHOTO ,IDIA WINDING THE WARP ON THE WARP FRAME
THE HEDDLE UP TO THE CROSS TIE WHERE THE WARP CROSS IS BLOCKED ! THIN STICK IS INSERTED TO KEEP THE WARP LAYERS SEPARATED BEHIND THE HEDDLE 4HE WARP LAYER ON TOP IS CALLED THE ROD SHED THE ONE AT THE BOTTOM TO WHICH THE HEDDLE STRING IS TIED IS THE HEDDLE SHED
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4HE WEAVER AND THE BACK STRAP LOOM 4HE WEAVER SUSPENDS THE TOP OF THE LOOM WITH THE LASSO
THE HEAVY CORDS ATTACHED ON EACH SIDE OF THE TOP ROD OF THE LOOM AND SLINGS IT FROM A HIGH BEAM OR THE BRANCH OF A TREE AND SITS EITHER ON A LOW STOOL OR KNEELS ON A MAT ON THE FLOOR 4HE LOWER PART OF THE LOOM IS ATTACHED AROUND THE WAIST OR HIPS OF THE WEAVER BY A STRONG BELT MADE OF LEATHER OR A STRONG FABRIC WHICH IS TIED TO EACH SIDE OF THE BOTTOM BEAM OF THE LOOM 4HE KEY FEATURE OF THIS TYPE OF LOOM IS THAT THE WEAVER S BODY CREATES BOTH THE TENSION IN THE WARP AND THE LOOSENESS AT ALTERNATE POINTS IN THE WEAVING PROCESS TO CREATE THE GROUND WEFT
4HE WEFT AND THE SHEDS 4HE WEFT THREAD IS WOUND ONTO A SMALL BAMBOO STICK n THE TRAMADOR OR SHUTTLE WITH THE BALL OF THREAD HANGING DOWN 4O START WEAVING THE TRAMADOR IS PASSED THROUGH THE GAP BETWEEN THE FRONT AND BACK LAYERS OF THE WARP FROM ONE SIDE TO THE OTHER 4HIS IS AT THE LOWER END OF THE WARP AND BELOW THE PALETA 4HE GROUND WEAVE IS MADE BY PUTTING THE GROUND WEFT THROUGH THE WARP AFTER EACH CHANGE OF SHEDS n AS IN ANY OTHER KIND OF WEAVING 4O RAISE THE HEDDLE SHED THE LEFT HAND IS PLACED ON THE MIDDLE OF THE HEDDLE STICK AND RAISED 7ITH THE PALETA IN THE RIGHT HAND THE WARP THREADS ARE PUSHED DOWN RIGHT BEHIND THE STRING HEDDLE LETTING THE PALETA SLIDE DOWN TO THE WARP CROSSING AT THE SAME TIME THE WEAVER BENDS
PHOTO ,IDIA PREPARING THE WARP ON THE NEW LOOM
FORWARD SLIGHTLY TO LOOSEN THE WARP A LITTLE 4HE HEDDLE IS KEPT UP WITH THE LEFT HAND AND THE PALETA PUT THROUGH THE SHED THE TRIANGULAR OPENING BETWEEN THE WARP LAYERS JUST UNDERNEATH THE STRING HEDDLE 4HE PALETA IS GRABBED AT EACH END WITH BOTH HANDS AND PULLED DOWN FIRMLY TOWARDS THE BOTTOM BEAM 4HE PALETA IS POSITIONED ON ITS EDGE AND THE SHUTTLE STICK
WITH THE GROUND WEFT IS PUT THROUGH THE WARP 4HE WEFT IS FIRMLY BEATEN DOWN WITH THE PALETA /NLY AFTER THE THIRD WEFT ROW IS INSERTED WILL THE WEFT STAY IN PLACE 4O LIFT THE ROD SHED THE ROD IS PULLED DOWN SO THAT IT LIES CLOSELY BEHIND THE HEDDLE 4HE WARP IN FRONT OF THE HEDDLE IS TAPPED WITH THE PALM OF THE HAND AT THE SAME TIME IT IS STRETCHED BY THE WEAVER LEANING BACK 4HE FIRST FEW LINES OF THE WEFT ARE INTRODUCED AND THE WHOLE PIECE IS REVERSED AND THE PROCESS IS REPEATED AT THE OTHER END !N AGUJA OR BONE NEEDLE IS USED TO PUSH THE WEFT THREAD INTO PLACE
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4RADITIONAL -AYA BELIEFS REVEAL THAT AT THE BEGINNING OF TIME THE -OON /UR 'RANDMOTHER TAUGHT THE FIRST WOMAN TO WEAVE ON A BACK STRAP LOOM &OR MORE THAN YEARS
-AYA WOMEN HAVE USED THIS SIMPLE LOOM TO WEAVE BEAUTIFUL CLOTH RICH WITH SYMBOLS THAT INFORM THEIR CULTURE -ANY -AYA WOMEN LOVE TO WEAVE TO INSCRIBE IN THEIR CLOTH THEIR PEOPLE S UNIQUE VIEW OF THE UNIVERSE AND THEIR PASSION FOR NATURE 4HOUGH VALUED AMONG THE WORLD S FINEST TEXTILE ARTISTS -AYA WEAVERS OFTEN LIVE IN CONDITIONS OF EXTREME POVERTY SOMETIMES EARNING AS LITTLE AS a A MONTH -AYAN (ANDS A FAIR TRADE ENTERPRISE FOUNDED IN
STRIVES TO IMPROVE THE LIVES OF THESE TALENTED ARTISANS -AYAN (ANDS WORKS WITH TEN DIFFERENT GROUPS OF WEAVERS ABOUT WOMEN WHO LIVE IN SMALL VILLAGES IN THE HIGHLANDS OF 'UATEMALA AND MARKET THEIR PRODUCTS THROUGH FAIR TRADE 4HESE WEAVERS DEPEND ON THE MODEST BUT REGULAR INCOME THAT ENABLES THEM TO EAT BETTER SEND THEIR CHILDREN TO SCHOOL AND IMPROVE THEIR SITUATION -AYAN (ANDS WORKS WITH THE WEAVERS IN CREATING INNOVATIVE DESIGNS AND PRODUCTS FOR EXPORT 4HEY HAVE ALSO CREATED SPECIAL ITEMS FOR EXHIBITS AT -USEUMS SUCH AS THE 3MITHSONIAN )NSTITUTION AND FOR CATALOGUES SUCH AS THE 7ORLDWIDE &UND FOR .ATURE h4HROUGH FAIR TRADE -AYAN (ANDS SUPPORTS THE WEAVERS IN THEIR QUEST TO BRING THEIR FAMILIES OUT OF EXTREME POVERTY
AT THE SAME TIME THAT THEY KEEP THEIR CHERISHED -AYAN CULTURE ALIVE AND DEVELOP THEIR COMMUNITIES v FROM WWW MAYANHANDS ORG
PHOTO .AHUALA HUIPIL MADE BY -ICHAELA 4ZEP 0ROJECT #O ORDINATOR AT -AYAN (ANDS
4WO 3TORIES n /NE 3UPPORT )SABEL #HOPEN FROM THE COMMUNITY OF %L !DELENTO 3OLOLA
IS A MEMBER OF THE OF THE !SSOCIATION OF 7EAVERS 5NITED WHICH HAS HELPED HER TO SURVIVE SOME DIFFICULT YEARS SINCE THE DEATH OF HER PARENTS AND OTHER MEMBERS OF HER FAMILY IN THE ARMED CONFLICT OF THE PAST CIVIL WAR #HOPEN HAS BEEN ABLE TO BUY A PLOT OF LAND WITH THE RESULTS OF HER WORK AS A WEAVER AND HER CHILDREN ARE ABLE TO ATTEND SCHOOL )N %L !DELANTO THE WOMEN OF THE ASSOCIATION HAVE IN TOTAL CHILDREN "ARBARA $AMIAN AGED YEARS
ORIGINALLY FROM 4ZANCHAJ AFFIRMED THAT THE PROCEEDS FROM THE SALE OF THESE WEAVINGS HAS ALLOWED FOUR OF HER CHILDREN TO BE IN THE FOURTH GRADE h"EFORE WE WOULD NOT HAVE BEEN ABLE TO ENROLL OUR CHILDREN IN THE SCHOOL NOR BE ABLE TO BUY THE EDUCATIONAL TOOLS OR WHEN WE DID SEND THEM THEY WOULD BE PUT IN THE SAME GRADE EVEN WHEN THEY WERE OF DIFFERENT AGESv SHE RELATED )N THE COMMUNITY THE WOMEN HAVE CHILDREN
ALTHOUGH SOME OF THESE ARE NOW ADULTS FROM THE 'UATEMALAN .EWSPAPER ,A 0RENSA *ANUARY
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7EAVERS 5NITED WAS FORMED IN BY TWO FAIR TRADE ORGANISATIONS n -AYA 4RADITIONS -4 AND -AYAN (ANDS 4HEIR FIRST PROJECT AN ACTIVE EXPRESSION OF THE FAIR TRADE PARTNERSHIP WITH ARTISANS IS /XLAJUJ " ATZ PRONOUNCED /SH LA WHO "AHTZ A -AYAN NAME MEANING @4HE 4HIRTEEN 4HREADS WHICH SIGNIFY THE IMPORTANCE OF THE ANCESTORS AND OF BACK STRAP WEAVING FOR -AYAN WOMEN 4HERE ARE GROUPS WITH ALMOST WOMEN ,IVING MAINLY IN ISOLATED RURAL VILLAGES FIVE OF THESE ARTISAN GROUPS CONSISTING MAINLY OF TRADITIONAL BACK STRAP WEAVERS HAVE BEEN WORKING WITH -4 SINCE 4HE !SSOCIATION EMPLOYS INDIGENOUS STAFF MEMBERS IN THEIR WORKSHOPS ON MEDICINAL HERBS EDUCATIONAL WORKSHOPS FOR THE WOMEN THEIR CHILDREN AND STAFF TRAINING TO ENHANCE TRADITIONAL WEAVING AND OTHER WORK SKILLS AND AS TRANSLATORS BETWEEN -AYAN LANGUAGES AND 3PANISH
4HIS HAS RESULTED IN SOME VALUABLE OUTCOMES !S PART OF THE STUDENTS COMMUNITY SERVICE THEY DISCUSSED WITH THE WOMEN THE PROBLEMS OF YOUTH n GANG ACTIVITY SUICIDE
ALCOHOLISM AND FAMILY DISINTEGRATION 4HIS COMMUNICATION HAS ENABLED MANY POSITIVE CHANGES TO BE INITIATED IN THEIR COMMUNITIES
0ROJECTS HERB GARDEN -AYA 4RADITIONS HAVE RUN A LARGE HERB GARDEN ON THE HILLSIDE ABOVE ,AKE !TITLAN NEAR 0ANAJACHEL FOR YEARS 4HE GARDEN MANAGER "ASILIA AND THE SPECIALIST -IGUEL PREPARE MEDICINES DRIED HERBS ORGANIC FERTILIZERS AND INSECTICIDES AND RUN A PLANT NURSERY 4HE HERBS AND MEDICINES ARE FOR THE BENEFIT OF THE WEAVERS AND THEIR FAMILIES 7ORKSHOPS ARE HELD WITH REPRESENTATIVES OF THE GROUPS IN THE !SSOCIATION
4HEY WORK IN COLLABORATION WITH OTHER 'UATEMALAN FAIR TRADE GROUPS TO DEVELOP CO ORDINATED SERVICES
0ROJECTS EDUCATION 4HE -4 EDUCATION PROJECT INCLUDES WOMEN IN THE GROUP AND THEIR CHILDREN 3CHOOL SUPPLIES ARE PROVIDED FOR PRIMARY AND SECONDARY SCHOOL STUDENTS AND MONTHLY GRANTS FOR HIGH SCHOOL STUDENTS OF TEACHING AND ACCOUNTING 4HE STUDENTS @PAY BACK THEIR SCHOLARSHIPS BY GIVING TWO MONTHS OF SERVICE TO THE COMMUNITY THAT IS TO THE WOMEN IN THE WEAVING GROUPS
PHOTOS FROM TOP (ERB GARDEN PROJECT 'ARDEN MANAGER "ASILIA DR YING HERBS FOR MEMBERS OF THE !SSOCIATION
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4HE MAIN GOAL OF /XLAJUJ " ATZ 4HE 4HIRTEEN 4HREADS IS TO EDUCATE THE WOMEN IN HEALTH GROUP MANAGEMENT PRODUCT DEVELOPMENT AND BUSINESS SKILLS )N THE WOMEN RECEIVED TRAINING IN TOPICS SUCH AS WOMEN S HEALTH MENOPAUSE CHILDBIRTH BIRTH CONTROL AND HERBAL MEDICINE 4HEY LEARNED HOW THEY CAN HELP THEMSELVES AND THEIR FAMILIES !N INDIGENOUS MIDWIFE RAN WORKSHOPS AND MADE COMMUNITY VISITS )N A STUDY WAS UNDERTAKEN ON THE PROBLEMS SUFFERED BY THE WOMEN WEAVERS CAUSED BY BACK STRAP WEAVING !N ERGONOMICS EXPERT VOLUNTEERED TO OBSERVE AND MAKE RECOMMENDATIONS /NE OF THE OUTCOMES IS THE DESIGN OF AN ERGONOMIC CHAIR FOR BACKSTRAP WEAVERS 4HE FIRST FIVE PROTOTYPES WERE DELIVERED IN *ANUARY TO THE WOMEN S GROUP IN 0ANABAJ 3ANTIAGO !TITLAN
'ROUP MANAGEMENT 7ORKING WITH A COMMUNITY PSYCHOLOGIST AND A -AYAN COMMUNITY ORGANISER GROUPS HAVE INITIATED A PARTICIPATORY PROCESS TO STRENGTHEN THEIR ABILITY TO FIND THEIR OWN SOLUTIONS TO PROBLEMS GROUP LEADERSHIP AND CONFLICT RESOLUTION /THER AREAS IN THE ADULT EDUCATION PROGRAMME INCLUDE READING WRITING AND MATHEMATICS PRODUCT DEVELOPMENT AND BUSINESS SKILLS SUCH AS QUALITY CONTROL MARKETING AND ANALYSIS OF COST OF PRODUCTION
PHOTOS FROM TOP #OMMUNITY PSYCHOLOGIST "RENDA LIAISES WITH /XLAJUJ "gATZ PROJECT CO ORDINATORS 2AMONA AND %RLINDA %RGONOMIC CHAIR DESIGNED FOR THE COMFOR T OF THE WEAVERS $ETAIL OF HUIPIL FROM 3AN -ARTIN *ILOTEPEQUE
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4HE /XLAJUJ " ATZ 4HE 4HIRTEEN 4HREADS PROJECT IS WORKING WITH A GROUP OF WOMEN SURVIVORS OF (URRICANE 3TAN /N THE NIGHT OF TH /CTOBER THE HURRICANE STRUCK 'UATEMALA AND THE VILLAGE OF 4ZANCHAJ WAS DESTROYED BY A MUD SLIDE FROM THE 4OLIMAN VOLCANO ABOVE THE VILLAGE ENGULFING THEIR HOMES AND KILLING SIXTY EIGHT PEOPLE 4HE SURVIVORS HAVE BEEN MOVED TO A REFUGEE CAMP AT 0ANABAJ WHERE THEY ARE HOUSED IN TEMPORARY BUILDINGS UNTIL A NEW VILLAGE IS BUILT 4HE SURVIVORS DO NOT WANT TO RETURN TO THE OLD VILLAGE AS THEY FEEL THEY WILL NEVER BE SAFE THERE AGAIN /XLAJUJ " ATZ IS SUPPORTING THE WOMEN BOTH THROUGH WEAVING PROJECTS AND THE PROVISION OF A COMMUNITY PSYCHOLOGIST WHO IS COUNSELLING THE SURVIVORS AND HELPING THEM TO RECOVER FROM THE TRAUMA OF THEIR LOSSES IN THE HURRICANE
PHOTOS FROM TOP $ETAIL OF HUIPIL FROM 3AN !NDRES 8ECUL 0ANABAJ REFUGEE CAMP WITH THE MUDSLIDE FROM THE HURRICANE VISIBLE ON 6OLCANO 4OLIMAN IN THE BACKGROUND 3UR VIVORS OF (URRICANE 3TAN WHO ARE MEMBERS OF THE /XLAJUJ " ATZ !SSOCIATION
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4HERE ARE ABOUT WOMEN IN THE GROUP WHO WERE AFFECTED BY THE HURRICANE -OST OF THEM OF THEM HAVE BEEN WEAVING SINCE THE AGE OF 4HEY EXPLAINED THAT IF A FAMILY HAS FUNDS THE YOUNG GIRLS ALSO GO TO SCHOOL BUT GENERALLY ONLY ABOUT OUT OF GIRLS ATTEND SCHOOL -ARIA ONE OF THE WOMEN IN THE GROUP EXPLAINS HOW SHE WEAVES HUIPILES AND SHAWLS FOR HERSELF AND FOR SALE THROUGH THE WEAVING GROUP AND /XLAJUJ " ATZ -ARIA AND THE OTHER WOMEN ALL HOPE TO CONTINUE WEAVING THROUGHOUT THEIR LIVES 4HEY FEEL THEY HAVE BENEFITED FROM THE SUPPORT OF /XLAJUJ " ATZ 4HE VILLAGE HAD SUFFERED FROM THE YEAR CIVIL WAR THAT ENDED IN AND SEVERAL WOMEN HAD LOST THEIR HUSBANDS THROUGH THE ACTIONS OF PARA MILITARY GROUPS THAT TARGETED INDIGENOUS COMMUNITIES 4HE HURRICANE AND THE MUDSLIDE HAVE RE AWAKENED A SENSE OF FEAR AND INSECURITY IN THE WAR WIDOWS WHICH ARE ADDRESSED IN THE COUNSELLING SESSIONS 2OSA WEAVES ON A TREADLE LOOM MADE BY HER UNCLE
.ICHOLAS 2OSA S MAIN WORK IS AS A WEAVER AND SHE MAKES HUIPILES AND OTHER PIECES SUCH AS SCARVES FOR SALE 2OSA WAS YEARS OLD WHEN SHE LEARNT TO WEAVE FROM HER MOTHER )T TAKES HER FIVE DAYS TO MAKES A SIMPLE HUIPIL IN TWO SECTIONS 2OSA WEAVES A SCARF FOR -AYAN (ANDS 3HE HAS BEEN WORKING ON THE TREADLE LOOM FOR FOUR YEARS .ICHOLAS MADE THE CONSIGNMENT OF WOODEN TREADLE LOOMS FOR THE WOMEN S WEAVING GROUP
PHOTOS FROM TOP 2OSA WEAVING AT MECHANICAL FOOT LOOM (ER 5NCLE .ICHOLAS WITH THE WOODEN FOOT LOOMS HE HAS MADE FOR THE GROUP $ETAIL OF SKIRT FROM 3AN !NTONIO !GUAS #ALIENTES
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2OSALINDA 4AY SET UP THE !SSOCIATION OF 7OMEN 7EAVERS USING .ATURAL $YES FIVE YEARS AGO TO SUPPORT WOMEN WEAVERS AND LOOK FOR OPPORTUNITIES FOR WORK n AND TO RESCUE THE TRADITIONAL CULTURE OF THE VILLAGE
GUARANTEEING THE QUALITY OF OUR PRODUCTS v 4HERE ARE WOMEN IN THE ASSOCIATION AND THEY WEAVE BEDSPREADS TABLECLOTHS CHALINAS SHAWLS BONFANDAS SCARVES BOLSAS BAGS AND HUIPILES BLOUSES
h4HE NAME OF THE ASSOCIATION ,%-! MEANS TREE DYEING IN OUR -AYAN LANGUAGE 4Z UTUJIL ,%-! CONSISTS OF GROUPS OF WOMEN WEAVERS WHO USE DIFFERENT DYEING TECHNIQUES PASSED FROM OUR ANCESTORS 7E ONLY USE PLANTS AND TREES THAT GROW IN OUR SURROUNDINGS 3OME WE PLANT OURSELVES IN OUR PLANT NURSERY "Y USING ORGANIC NATURAL DYES WE THE WOMEN OF 3AN *UAN ,A ,AGUNA ARE VALUING THE ENVIRONMENT 7E SEEK TO PRESERVE OUR CULTURE AND OUR WORK AS ARTISANS 7E ALSO WANT TO SAFEGUARD OUR FAMILIES FUTURES THROUGH FINDING MARKETS FOR OUR WEAVINGS AND BY
PHOTOS FROM TOP -EMBERS OF ,%-! DEMONSTRATE DYEING THREAD WITH NATURAL DYE FROM RADISHES 6IEW OF ,AKE !TITLAN NEAR 3AN *UAN LA ,AGUNA
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THE HUIPILES IN THEIR VILLAGE BY WEARING THEM AND EXPLAINING THEIR DESIGNS 2OSALINDA WEARS HER MOTHER S HUIPIL WITH A STRIPED BACKGROUND IN SOFT COLOURS OF NATURAL BEIGE PEACH AND GREY AND DETAILED EMBROIDERY AROUND THE NECKLINE 4HE HUIPILES REPRESENTED INCLUDE A RED STRIPE HUIPIL WITH A COLOURFUL EMBROIDERED NECKLINE WITH SYMBOLS REPRESENTING THE -AYAN CALENDAR !NOTHER HUIPIL IS MADE OF WHITE GAUZE WITH BRILLIANT COLOURED EMBROIDERY AROUND THE NECK AND SHOULDERS 7OMEN ALSO WEAR MACHINE MADE BLOUSES IN RAYON WITH DETAILS SUCH AS FRILLS AND LACE 3OMETIMES THIS IS BECAUSE IT IS CHEAPER OPTION THAN TAKING THE TIME TO MAKE A HUIPIL 4HE ASSOCIATION SELLS THEIR PRODUCTS THROUGH FAIR TRADE SHOPS AND WHOLESALERS -EMBERS SOMETIMES USE CHEMICAL DYED THREAD THOUGH THIS MAY BE FOR LOCAL AND PERSONAL USE 2OSALINDA HOPES TO ENSURE A BETTER FUTURE FOR HER FAMILY AND TO HELP HER SISTER WEAVERS OF 3AN *UAN 4HE INCOME THEY EARN FROM WEAVING HELPS THEM TO PUT THEIR CHILDREN THROUGH SCHOOL AND EVEN COLLEGE SO THEY MAY HAVE THE OPPORTUNITY OF A PROFESSIONAL CAREER
%XAMPLES OF PLANTS FROM WHICH NATURAL DYES ARE MADE ❖ OCHOTEC n A SEED POD WHICH GIVES A SOFT PEACHY ORANGE ❖ PERICONG n A TYPE OF TEA WHICH GIVES A LIGHT YELLOW BEIGE ❖ PIMIENTA n A LEAF SIMILAR TO BAY WHICH GIVES GREEN ❖ SACATINTA n A GREEN HERB THAT GIVES BLUE
4HE HURRICANE HAS AFFECTED THE LOCAL AGRICULTURE ESPECIALLY COFFEE AND MAIZE )T IS THROUGH WEAVING THAT WOMEN ARE ABLE TO ENSURE THEIR FAMILIES SURVIVAL %LBIA -ENDOZA USES DESIGNS LEARNT FROM HER MOTHER AT THE AGE OF 3HE SAYS IT IS DIFFICULT TO FIND THE TIME TO MAKE A HUIPIL n BUT STILL MAKES THEM BOTH FOR HER FAMILY AND TO SELL 4HIS PAYS FOR HER CHILDREN S SCHOOLING 2OSALINDA AND HER COLLEAGUES DEMONSTRATE THE EVOLUTION OF
PHOTOS FROM TOP 2OSALINDA 4AY WEARING HER MOTHER S HUIPIL /CHOTEC PODS WITH ORANGE THREAD $ETAIL OF MODERN RED HUIPIL WITH DESIGN OF -AYAN CALENDAR AROUND THE NECK
WOVEN BY %LBIA -ENDOZA
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'RUPO -UJERES 4EJEDORAS &RANCISCA IS A MEMBER OF THE 'RUPO -UJERES 4EJEDORAS 7OMEN S 7EAVING 'ROUP OF 3ANTA #ATARINA 0ALOPO ,AKE !TITLAN 3HE HAS A SMALL SHOP ON THE MARKET SQUARE WHERE SHE BOTH WEAVES ON THE BACK STRAP LOOM AND SELLS THE WEAVINGS OF THE GROUP 3ANTA #ATARINA IS FAMOUS FOR ITS BEAUTIFUL BLUE AND INDIGO HUIPILES (ER MOTHER AND DAUGHTER BOTH OF WHOM WEAVE ON THE BACK STRAP LOOM
ACCOMPANY &RANCISCA IN THE SHOP &RANCISCA SPEAKS OF THE IMPORTANCE OF MAINTAINING THE TRADITION OF WEAVING FOR THE WOMEN OF HER VILLAGE 3HE EXPLAINS MANY OF THE DESIGNS IN THE HUIPIL WHICH ORIGINATE IN THE DESIGNS OF THE VILLAGE 4HEY INCLUDE VOLCANOES OF ,AKE !TITLAN CHICLES TREES THAT PRODUCE THE SAP FOR CHEWING GUM BIRDS PEACOCKS AND QUETZALS BUTTERFLIES
#HRIST S #ROSS CORN PLANTS
PHOTOS CLOCKWISE FROM TOP $ETAIL OF HUIPIL FROM 3ANTA #ATARINA 0ALOPO &RANCISCA DISPLAYING THE PIECE SHE HAS BEEN WEAVING & RANCISCA WITH HER DAUGHTER 2OSA IN THEIR SHOP SURROUNDED BY HUIPILES AND OTHER WEAVINGS
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