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The Maya Textile Tradition provides an in-depth look at the life and art of the Maya of southern Mexico and Central America. Some 145 stunning images, made by the award-winning photographer Jeffrey Jay Foxx and arranged in breathtaking color portfolios, capture the glorious Maya arts and culture as preserved since ancient times. The photographs combine with artful line drawings made especially for this book, an introduction by Linda Schele, co-author of the groundbreaking study of Maya civilization The Blood of Kings, and texts by four leading Mayanists to provide a unique portrait of these proud and vital people. Ecologist James D. Nations introduces us to the history and ecology of the Maya world; Guatemalan author and curator Linda Asturias de Barrios discusses how the old ways still guide the people in their farming, marketing, and weaving; textile specialist Margot Blum Schevill writes on innovation and change in Maya textile art; and anthropologist Robert S. Carlsen discusses ceremony and ritual in the Maya world.
The vibrant character of Guatemala is most visible in its handwoven textiles, which are still in everyday use and readily available in native markets all over the country. A Textile Traveler's Guide to Guatemala is an excellent resource for discovering artisans, markets, shops, and those storied regional textile traditions. Geared to independent-minded travelers, this guide presents the safest and most accessible methods of travel, where and when to go, where to stay, and what to eat. Expert advice helps the traveler know what to look for, how to distinguish high-quality work, and how to bargain intelligently and ethically. With abundant photographs, this guide celebrates the color, joy, and energy of folklife in Guatemala.
"Guatemala is a land of contrasts: stunning mountain, river, and cloud forest landscapes with the constant threat of volcanic eruptions, mudslides, earthquakes, and brutal upheavals. Against this backdrop, the indigenous Maya and their Ladino compatriots persist in creating some of the loveliest and most colorful textiles the world has known. Their weaving, spinning, and basketmaking have sustained them economically and culturally against the pressures of change and a thirty-six year armed conflict that decimated their population. In Traditional Weavers of Guatemala, twenty artisans share their personal histories, hopes, and dreams along with the products of their hands and looms"--Inside cover.
Rigt illustreret værk om tekstiler fra Guatemala. Om materialer, indfarvning og vævning samt om Guatemalas historie, specielt Maya-kulturenes indflydelse på tekstiltraditionerne
Informative and beautifully illustrated.... It is both a detailed anthropological study, which delves into aspects of Mayan culture and examines historical and sociological forces brought to bear on Mayan communities of Guatemala, and a catalog of the stunning collections, containing descriptions of techniques, dying processes, and textile production. -- Booklist
Guatemala is one of the few places on earth where traditional textile arts from ancient cultures survive: Mayan spinners and weavers still produce the traditional motifs developed by their ancestors, but modern dyes add brilliant, luminous color to their textiles. This book presents 150 superb photographs by Gianni Vecchiato, providing a magnificent view of the textiles people, and daily life of Guatemala. It is truly a feast for the eye and spirit.
Looks at the daily life and culture of the modern Maya people and discusses the connections with the civilization of their ancient ancestors.
Unwriting Maya Literature provides an important decolonial framework for reading Maya texts that builds on the work of Maya authors and intellectuals such as Q’anjob’al Gaspar Pedro González and Kaqchikel Irma Otzoy. Paul M. Worley and Rita M. Palacios privilege the Maya category ts’íib over constructions of the literary in order to reveal how Maya peoples themselves conceive of artistic creation. This offers a decolonial departure from theoretical approaches that remain situated within alphabetic Maya linguistic and literary creation. As ts’íib refers to a broad range of artistic production from painted codices and textiles to works composed in Latin script, as well as plastic arts, the authors argue that texts by contemporary Maya writers must be read as dialoguing with a multimodal Indigenous understanding of text. In other words, ts’íib is an alternative to understanding “writing” that does not stand in opposition to but rather fully encompasses alphabetic writing, placing it alongside and in dialogue with a number of other forms of recorded knowledge. This shift in focus allows for a critical reexamination of the role that weaving and bodily performance play in these literatures, as well as for a nuanced understanding of how Maya writers articulate decolonial Maya aesthetics in their works. Unwriting Maya Literature places contemporary Maya literatures within a context that is situated in Indigenous ways of knowing and being. Through ts’íib, the authors propose an alternative to traditional analysis of Maya cultural production that allows critics, students, and admirers to respectfully interact with the texts and their authors. Unwriting Maya Literature offers critical praxis for understanding Mesoamerican works that encompass non-Western ways of reading and creating texts.
In this volume, anthropologists, art historians, fiber artists, and technologists come together to explore the meanings, uses, and fabrication of textiles in Mexico, Guatemala, Ecuador, Peru, and Bolivia from Precolumbian times to the present. Originally published in 1991 by Garland Publishing, the book grew out of a 1987 symposium held in conjunction with the exhibit "Costume as Communication: Ethnographic Costumes and Textiles from Middle America and the Central Andes of South America" at the Haffenreffer Museum of Anthropology, Brown University.
Housed in the former 16th-century convent of Santo Domingo church, now the Regional Museum of Oaxaca, Mexico, is an important collection of textiles representing the area’s indigenous cultures. The collection includes a wealth of exquisitely made traditional weavings, many that are now considered rare. The Unbroken Thread: Conserving the Textile Traditions of Oaxaca details a joint project of the Getty Conservation Institute and the National Institute of Anthropology and History (INAH) of Mexico to conserve the collection and to document current use of textile traditions in daily life and ceremony. The book contains 145 color photographs of the valuable textiles in the collection, as well as images of local weavers and project participants at work. Subjects include anthropological research, ancient and present-day weaving techniques, analyses of natural dyestuffs, and discussions of the ethical and practical considerations involved in working in Latin America to conserve the materials and practices of living cultures.