Guatemalan Weaving Vocabulary

As we get more and more involved with online weaving classes, we thought that a short list of common vocab might be helpful. The following is meant to be a simple introduction, and explained by me (Mari) in the context of weaving in Guatemala only. Please keep in mind that there are so many different textile traditions around the world, and many of these techniques in a different context are applied in a different way. But here’s something to get you started, with pictures:

Backstrap weaving, Doña Lidia in San Antonio Aguas Calientes. Photo by Aiko Kobayashi.

Backstrap weaving: a pre-colombian simple loom technology that consists basically of sticks and yarn. On one end, the loom is attached to a pole, tree, or anything stable, and on the other, to the weaver, around the waist with a belt. It can be rolled up and moved easily. This is the technique used in Guatemala for traditional huipiles (blouses worn by women) and more garments. Predominantly practiced in Guatemala by women. Similar looms are found in many parts of the world.

Doña Lidia demonstrates simple brocade patterns during an online class: mosquitos, pepenado lines, and semillas. Photo by Lisa Jennings.

Brocade weave: technique used to create patterns in the weaving. In Guatemala, the type of brocade is supplementary weft brocade. Many additional threads are introduced into the weft during weaving, row by row. Some people describe this process as “embroidering while weaving.”

A wooden footloom or pedal loom in Momostenango, used for weaving wool rugs in this town.

Footloom weaving: using a larger wood-based loom that was brought by the Spanish to Guatemala. Also called “pedal loom” or “treadle loom.” This type of loom allows for much wider and longer textiles to be woven. In Guatemala, the weaving on such a loom is performed predominantly by men. It is possible to incorporate techniques such as ikat and brocade on this type of loom, as well as tapestry weave.

Irma from Lake Atitlán shows her ikat-dyeing project. This is the warp to be woven on a backstrap loom. In this case, she started with already dyed-yellow thread. This will be dyed again after the knotting is complete, so the parts under the knots will remain yellow while the rest will be dyed with the second color.
Here is an example of an ikat pattern from dyeing the warp, visible on the loom. During the knotting and the dyeing processes it can be difficult to decipher what the design will look like when finished.

Ikat: a resist-dye technique applied to thread before the weaving process. Knots are placed in calculated positions in order for the thread to reveal patterns when the knots are opened after dyeing. In Guatemala, ikat is referred to as “jaspe” and the technique is practiced for both warp and weft threads independently, and in both backstrap and footloom forms.

Picbil on the loom, taken during a Textile Travel visit, Cobán area.

Picbil: a light-weave with supplementary weft for gentle brocade, regional from around Cobán. Traditionally, this weave is for blouses, using only white on white.

All three panels used for this picbil piece have four clean selvages, which can be noted here by the absence of fringing. Cobán.

Selvages / Selvedges: the finished edges of a fabric that do not fray. Footloom-woven textiles usually have two clean selvages, but not the starting and ending points of the panel, because these parts are cut off the loom. Backstrap-woven textiles may have four clean selvedges, but making a textile like this requires the knowledge, skill, and patience. Not all backstrap-woven panels have four selvages; they may have two, three, or four. Traditionally, Maya textiles are used to their fullest extent by not cutting the panels, thus keeping the structure intact an utilizing the selvages.

All the floral and zigzag patterns above are created on the loom with the incorporation of supplementary weft threads. Master weaver Doña Lidia from San Antonio Aguas Calientes.

Supplementary weft: the additional threads used to create designs for brocade figures. This allows for extra color to be incorporated into the textile.

This ikat warp is being put on the loom after the dyeing process. Lake Atitlán.
The warp on a pedal loom in Momostenango.

Warp: the vertically-arranged yarn/thread that is necessary in all types of looms.

Doña Lidia inserts additional weft into the textile (blue) along with the normal weft (bright pink, wrapped around the shuttle.

Weft: the yarn/thread that is inserted into the warp to create a structurally-sound weave. In Guatemala, the use of additional weft threads create colorful brocade designs.

Meet Elena, designer behind capsule jewelry collection 🌺

Today, we have a special blog post written by Elena Laswick. In case you hadn’t heard yet, we’re working together for a Capsule Jewelry Collection, and we are so excited for this collaboration.  So we thought we should introduce the lovely lady – so here she is, ready to tell you how she fell in love with textiles and how she came to working with Ixil women of Guatemala in particular.

 

Hi there!

My name is Elena and I’m teaming up with Mari this spring to bring you some new jewelry designs inspired by the textiles of the Ixil region of Guatemala! 

But who am I and why am I posting on Mari’s blog? Well, let me introduce myself. 

I was born and raised in Tucson, Arizona, a mere 100 km (60 miles) from the Mexican border, where I was surrounded by Mexican culture and immersed in Spanish throughout my childhood. In middle school, I even played the violin and sang in a mariachi band! And in high school, I danced folklorico (Mexican folk dance) in a school club. 

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Elena in high school in her folklórico dress, circa 2007. Photo: John Laswick.

It truly was an upbringing from the borderlands of the U.S. Tucson is also right on the edge of the Navajo Nation, where there are many talented weavers who produce beautiful rugs. My mom’s motto has always been, “Support your local artists,” so a lot of those rugs found their way into my childhood home. It’s no doubt my parents and Tucson are to thank for my affinity for Spanish and textiles.

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Elena’s mom’s current living room setup. Note the Navajo rug hanging on the left-hand wall above the couch. Other textiles featured: On the couch; Pillowcase from Santiago Atitlan, “servilleta” throw from Nebaj, Guatemala. Floor rug: Turkish. On the reclining chair: A Kilim pillow, also Turkish. Wall hangings above/within the mantle: Molas from Panama. On the coffee table: Kuba cloth from the DRC. Under the coffee table: Cat from the local animal shelter. Photo: Elena Laswick.

During and after college, I worked for a few different Central American NGOs and found myself critical of their theories of change. When I initially moved to the Ixil region of Guatemala three years ago, it was to work with a local social enterprise. Although I hoped this model of development would be a breath of fresh air, it too seemed plagued by similar problems as those I had encountered in the NGO world. The true novelty ended up being the wealth of textiles Guatemala had to offer. I soon realized that the only things I cared about spending money on were textiles and artisan-made products in general (not surprising given the type of household I grew up in). The irony was, I was thousands of miles from home and yet once again I found myself living amongst indigenous people with deeply rooted weaving traditions. 

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 Elena’s neighbor and friend in Nebaj, Juana, weaving a new huipil (blouse) for personal use. Photo: Elena Laswick

After I quit my job at the social enterprise, I began researching Guatemalan textile-related brands. In the process, I stumbled on Kakaw Designs’ Instagram, where I eventually learned that Mari, the founder, was studying Sustainable Development in Austria. Before reaching out to Mari about meeting in person when I was traveling through Austria last fall, I tried to familiarize myself more with Kakaw Designs. Besides the beautiful plant-dyed and leather products, what most resonated with me was Mari’s life story. It seemed we had both followed similar trajectories from NGOs to artisans and had ended up returning to our roots as a result. My meeting with Mari confirmed that we are both textile lovers whose theory of change revolves around investing in artisans and trusting them to re-invest in their children and their communities. 

This capsule jewelry collection grew out of our shared desire to invest specifically in rural artisans, who have less access to an international market base. Working with me as an artisan liaison to ethically source textiles directly from weavers in the Ixil region, Kakaw Designs will soon offer a capsule jewelry collection with designs that incorporate the intricate brocade of San Juan Cotzal! I hope that these pieces make you feel connected to a place, to skilled weavers and artisans, and of course that you’ll love to wear them for their own sake as well. 

-Elena