1
10
14
-
http://threads-of-time.carlos.emory.edu/files/original/0c5d7addf57d3350f5dd3a956aeeb844.jpg
d7f0e1c2fdbc1aa1d1a79c0aa759053a
http://threads-of-time.carlos.emory.edu/files/original/b5f390b98763391a50163d51dfaaa144.jpg
a52b33cfb80bcbd00e89feb67effd618
http://threads-of-time.carlos.emory.edu/files/original/c7c9e2196d883b92efe616928d254edc.wav
4e6a366773c343d985666139bb987f00
http://threads-of-time.carlos.emory.edu/files/original/e31937c57763d17ec21c8233068b81b7.wav
c86ae0945105e855aee08e6d3fd8da96
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia
Date
20th century
Materials
Polyester, mercerized cotton
Credit Line
Anonymous loan
Accession Number
L2016.14.1
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Lliklla</em> (Woman’s Mantle) with <em>K’isa</em> (Color Gradations)
Description
An account of the resource
The <span style="text-decoration:underline;">Aymara</span> people who inhabit the regions around Lake Titicaca in Bolivia and Perú have been noted for their masterful use of color since they were incorporated into the Inka Empire during the 1400s. Newer techniques, such as <span style="text-decoration:underline;"><em>k’isa</em></span>, developed in the early 20th century, continuing this colorful tradition. <br /><br />The term <em>k’isa</em> refers to the use of three shades of the same color next to one another in narrow stripes. These gradations can be arranged symmetrically around a central stripe, moving outward from darkest to lightest shade, or vice versa. For example, toward the right side, in from the wide green column, the narrow stripes include a thin pink outline then dark blue, medium blue, and light blue in quick succession. These blues form a <em>k’isa</em>.<br /><br />This rainbow technique quickly spread throughout many different Bolivian indigenous communities, in part due to its status as the first hand-woven technique to be replicated on a mechanical loom. In the 1970s, many Aymara people migrated into the urban areas of La Paz and started businesses to mass-produce cloth containing <em>k’isa</em> color gradations. <em>K'isa </em>became a symbol of modern indigenous identity and economic prosperity; in 1979 the Aymara ethnic flag was designed based on this technique.
-
http://threads-of-time.carlos.emory.edu/files/original/9ae327269f5abe1c4ea9e8573fedaeef.jpg
a31cfa6e8b47bcefa42f6e82c1e7b8a2
http://threads-of-time.carlos.emory.edu/files/original/965095ea63cba270897f25a8d325cc2e.jpg
b66a718e1ef52d92036d7bcf35d4882d
http://threads-of-time.carlos.emory.edu/files/original/6c1e141feea5da7a337287a95b60dd3c.jpg
9da0caac0093ae8b20c388433f4018df
http://threads-of-time.carlos.emory.edu/files/original/d9bee7bd615192830e67b8daf0709e3e.wav
b5b4c83ffe52a9103263d986a8874d06
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia, Department of Chuquisaca,
Province of Yamparáez, Tarabuco
Date
20th century
Materials
Sheep’s wool
Credit Line
Lent by Gail and Clark Goodwin
Accession Number
L2014.16.2
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Ch’uspa</em> (Man’s Coca Bag) with Horses
Description
An account of the resource
The Tarabuco region of Bolivia is known for its depictions of animals and people, often arranged in scenes illustrating daily routines and festivals. The finely woven <span style="text-decoration:underline;"><i>ch’uspa</i></span><i> </i>or coca bag at left features a wide range of images: birds, spiders, monkeys, men and women, corn plants, llamas, and horses. Like other 20th-century Tarabuco textiles, it is woven with sheep’s wool and polyester yarn dyed in the brightest possible colors, demonstrating the shift in production that had occur-red by that time.<br /><br />The rearing horses in particular represent the development of “modern” indigenous artistic traditions. While we tend to associate “traditional” Native Americans with riding horses, the indigenous peoples of South America did not domesticate horses, which were already extinct in the Americas. The modern horse was only reintroduced into the Americas by the Spanish in the 16th century.<br /><br />Quickly adopted by all nomadic native peoples, the horse soon transformed culture and even dress. Riding made the open-sided man’s poncho a necessary innovation, a garment that allowed the necessary freedom of movement, eclipsing the ancient tunic. The New World camelids—llamas, alpacas, guanacos, and vicuñas—cannot be ridden; horses therefore served as a new and important mode of transportation. The horse has become an integral part of life in indigenous communities and is now viewed as a traditional, as part of the ever-evolving definitions of what is “traditional” versus what is “new” in a given culture and time.
-
http://threads-of-time.carlos.emory.edu/files/original/f03d80441c3cc02cd60fe0d6f3961167.jpg
9a43fec3ed9adadd41b0eff0f45f94eb
http://threads-of-time.carlos.emory.edu/files/original/82cfacbd6480c5c600927c5086d3f790.jpg
e7755742b68b96a8c7d1956e3f2dae5d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Small holes through the textile are the result of insect damage.
Source
A related resource from which the described resource is derived
Photo by Bruce White
http://threads-of-time.carlos.emory.edu/files/original/4f38fbcefdb080ca778428212a214b39.jpg
093a03caa4757a60adc2a270615961d7
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Nysa Loudon stitched numerous colored patches behind areas damaged by insects.
Source
A related resource from which the described resource is derived
Photo courtesy of Renée Stein
http://threads-of-time.carlos.emory.edu/files/original/5beb4b0223480fed22d9133dbdba1216.wav
5903c4ab4923c40b67f3dae5780c70d9
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia
Date
20th century
Materials
Sheep’s wool
Credit Line
Gift of William C. and Carol W. Thibadeau
Accession Number
1989.12.3
Exhibition Checklist Number
This number will sort the collections.
314B
Technical Notes
Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein.
Textiles are vulnerable to insect damage, especially from moths and beetles. This mantle entered the collection with existing insect damage, probably from moth larvae that ate through the protenacious animal fiber leaving many holes and associated tears. Project intern Nysa Loudon stitched cotton patches on the reverse side of the mantle to provide support for the weakened structure and to visually fill holes with the correct color.<br /><br /><p>For more conservation information, please see <span style="text-decoration:underline;"><a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a></span>.</p>
Photo Credit
Photo by Bruce M. White, 2016
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<p><em>Lliklla</em> (Woman’s Mantle) with Indigo and Red</p>
Description
An account of the resource
<p>This 20th century <span style="text-decoration:underline;"><i>lliklla,</i></span> shoulder mantle in Quechua, embodies the long-held Andean concept of ayni or dual parts in an almost-equal relationship. First, blue paired with bright red is a typical Andean choice; the two highest-status colors are cool and warm, natural opposites but also complementary. Second, Bolivian garments still today are almost universally formed of two units of cloth sewn together. On a practical level, making smaller cloths means each can have a tighter weave and therefore finer patterning, since the threads have a shorter distance to travel before they sag. Third, here the central seam is covered with alternating colors of bright embroidery stitching, drawing attention to the two distinct parts of the garment. Thus, this mantle represents the idea that two together make a whole, parts balancing in a dynamic dialogue.</p>
<p>This piece also combines ancient, colonial, and modern elements. The process of indigo dyeing was in place well before 1000 BC in the Andes. However, this particular geometric pattern was invented in the 20th century. The pink areas are dyed with chemically derived aniline dyes developed in the 19th century. The use of sheep’s wool is a modern development, replacing alpaca as the fiber of choice after the Spanish brought sheep from Europe. The artist has employed <i>lloque</i> (alternating threads dyed the same color but spun and plied in opposite directions to create slight, shadowy diagonals) pioneered in the 16th century. A <i>lliklla</i> such as this epitomizes the idea of the palimpsest, or layering over time.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/2f1a37a85bfe6f3a2a129a93acf85b9f.jpg
efff8fdad26fe2f25e7afddab90e3ba8
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Artist
Ramona (Aymara)
Geographic Area
South America, Bolivia, Departments of Potosí and
Chuquisaca, Provinces of Chayanta and Oropeza, Jalq’a, Potolo
Date
21st century
Materials
Sheep’s wool
Credit Line
Purchased from the artist with the assistance of the Emory Center for Digital Scholarship
Accession Number
2016.23.2
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contemporary Wall Hanging/Table Runner
Description
An account of the resource
<p>Beginning in the mid-20th century, Western tourists and art dealers began to arrive in Perú and Bolivia and were struck by the quality of the historic heirloom textiles still in use. As these textiles began to appear on the art market, the artistry of the Andean weaving tradition drew international recognition. Western buyers preferred to buy older textiles because they were seen as more true to the indigenous culture. However, the contemporary traditions of the Jalq’a and Tarabuco communities in south central Bolivia rival older pieces with their imaginative figural imagery and intricate details. The Jalq’a weaving tradition has changed in response to outside demand, becoming more technically complicated as weavers include more of these figures to make pieces more attractive to buyers.</p>
<p>Weavers from both communities belong to the Indigenous Textile Art Renaissance Program, which began in 1986. Today this program includes more than eight hundred women weavers organized in seventeen communal workshops. This piece was woven by a member named Ramona from the Jalq’a town of Potolo. She produced the piece for sale; however, it contains the types of images woven in traditional garments. These bird and animal figures represent beings from Ukhu Pacha or the Inner World, which is considered to be a creative realm that supports our world.<br /><br />To see the weaver of this textile, Ramona Contreras, describe her weaving, please view the <a href="/modernbolivia">video</a> taken by Shelley Burian.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/72bbcb7d486b4bee40845bd5b1e3772f.jpg
be23660d2366638092de7b4732663e2a
http://threads-of-time.carlos.emory.edu/files/original/49e14ecda8e9ea6ff8dba3f163ed1e9f.jpg
adb02b96eb3a17b3327c395302aaca51
http://threads-of-time.carlos.emory.edu/files/original/1d5a61ed06361e6db2040f6453847021.jpg
8b65c024aaccedd21208de61dc1cbb8d
http://threads-of-time.carlos.emory.edu/files/original/202389efa4d52fa4f2d3fad7e3bdb810.jpg
a1291ae2a1cde55e98ff868bb61366d2
http://threads-of-time.carlos.emory.edu/files/original/3aedda8c46f58499cb8dce50d039f32a.wav
e0cb5584d8e18d174ede9a6aab3214ff
http://threads-of-time.carlos.emory.edu/files/original/7a4c74cd16e54076f87fc955d68e208f.wav
7142de84aa6db0f577337228627ecdf9
http://threads-of-time.carlos.emory.edu/files/original/d3242c9d3c7f7476ba4b85a2a609e343.wav
d5092c5461ada7cb8db97a494b7495bd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia, Department of La Paz, Province of Bautista Saavedra, Charazani
Date
20th century
Materials
Camelid fiber
Credit Line
Gift of Lee and Nancy Lovvorn
Accession Number
2013.25.27
2013.25.24
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Bruce M. White, 2014
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Chumpi</em> (Belt) with Horse and Llama Motifs<br /><em>Chumpi</em> (Belt) with Horse and Bird Motifs
Description
An account of the resource
<p>Belts of many different kinds were used throughout the Andes well <a href="http://34.193.12.70/items/show/77">before the Inka</a> and continue to be an accessory for indigenous men and women today. Being narrower than other garments, belts are one of the first items that Andean girls learn to weave. Belts are called <i><span style="text-decoration:underline;">chumpi</span></i> in Quechua and <i><span style="text-decoration:underline;">huaka</span></i> in Aymara.</p>
<p>These representative modern Andean examples were made in the 20<sup>th</sup> century. When the Spanish entered the Americas, they preferred tapestry woven pieces in which the wefts carry the pattern. The type of weaving that features the patterning in the warps then became more typical of local clothing. In these belts, adjacent warps of different colors are pulled to the front and pushed to the back as weaving progresses. This method is a perfect example of <i><span style="text-decoration:underline;">ayni</span></i> or the value placed on reciprocity; the patterns are the same on both sides, but the colors reverse.</p>
<p>These red belts come from a Quechua-speaking region of Bolivia known for its detailed imagery of animals and people as well as its bright aniline-dyed colors. The second example contains the European-introduced horse alongside native llamas and birds. The horses have stylized manes and circles representing their hooves, whereas the llamas have longer bodies, shorter legs, and horizontal squares representing their feet.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/26e82bcb61eb1992fda474639cf9a3de.jpg
51367938604b985322fb526c4f40876e
http://threads-of-time.carlos.emory.edu/files/original/125162a4b78f565e6b1e4f90aaace939.wav
e0cb5584d8e18d174ede9a6aab3214ff
http://threads-of-time.carlos.emory.edu/files/original/6fa0047b011d1725f47d419d5e9dbca4.wav
7142de84aa6db0f577337228627ecdf9
http://threads-of-time.carlos.emory.edu/files/original/0a8867b3d44fed10ff25c444c6df4b24.wav
d5092c5461ada7cb8db97a494b7495bd
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia, Department of Oruro, Province of Aboroa, Qaqachaka
Date
21st century
Materials
Alpaca fiber
Credit Line
Anonymous loan
Accession Number
L2016.14.2
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Chumpi</em> Kurti (Belt) with Birds
Description
An account of the resource
<p>Belts of many different kinds were used throughout the Andes well <a href="http://34.193.12.70/items/show/77">before the Inka</a> and continue to be an accessory for indigenous men and women today. Being narrower than other garments, belts are one of the first items that Andean girls learn to weave. Belts are called <i><span style="text-decoration:underline;">chumpi</span></i> in Quechua and <i><span style="text-decoration:underline;">huaka</span></i> in Aymara.</p>
<p>When the Spanish entered the Americas, they preferred tapestry woven pieces in which the wefts carry the pattern. The type of weaving that features the patterning in the warps then became more typical of local clothing. In this and <span style="text-decoration:underline;"><a href="http://34.193.12.70/items/show/116">two 20<sup>th</sup> century Bolivian belts</a></span>, adjacent warps of different colors are pulled to the front and pushed to the back as weaving progresses. This method is a perfect example of <i><span style="text-decoration:underline;">ayni</span></i> or the value placed on reciprocity; the patterns are the same on both sides, but the colors reverse.</p>
<p>The belt with purple is more traditional in that such bird motifs originated in the pre-Hispanic period and the muted, carefully arranged stripes continue the age-old use of natural dyes. Yet, this 21st century belt was woven exclusively for sale rather than for local use, demonstrating that the market does not necessarily change all features of textiles.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/472b5429641d96de20bf7ebaa1dfeb3d.jpg
41feea4fc92aa7830bdfee9d806f7fcf
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia
Date
19th century
Materials
Camelid fiber and sheep's wool
Credit Line
Anonymous promised gift
Accession Number
L2016.13.1
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Boy’s Mourning Poncho
Description
An account of the resource
<p>Early 19th century Bolivian garments, such as the boy’s poncho at right, contain muted colors created entirely with natural dyes, just as they had been throughout the pre-Hispanic period. The thread itself is also identical to that in used ancient garments, spun from the silky hair of the alpaca. Although this poncho maintains the materials used in antiquity, the poncho is not actually a pre-Hispanic garment type, despite the fact that it may be associated with indigenous Americans today. The poncho evolved out of the tunic, a sleeveless shirt sewn up the sides and with a finished neck slit. Leaving the sides open allows more flexibility of movement necessary to ride the horses introduced by the Spanish.</p>
<p>After the Spanish actually banned the tunic in the mid-18<sup>th</sup> century, ponchos became more widely adopted and customized to fulfill a variety of ceremonial roles. This poncho, distinguished by its black stripes, is specifically designed as a “mourning” garment for a small boy. Such clothes were worn not only at funerals, but also on All Soul's Day and Good Friday. Since these special garments could take several months to complete, they were often passed down through several generations as heirlooms. They were considered as a physical link between the generations of the living and the dead.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/75ef2d6b9f3296719fbc5c488cdb9219.jpg
3588b9f2c5ee91e6ad9d4c444ff9c85e
http://threads-of-time.carlos.emory.edu/files/original/7f65cab85a27096a9e3fd2717c2e9ff3.jpg
58c9a8ba448e9116ac9a8ceee33f22c6
http://threads-of-time.carlos.emory.edu/files/original/ed03e2d3d80fe07ce9c9600df022d6c0.jpg
abac2ce7eae84c34c2ebd66b94459913
http://threads-of-time.carlos.emory.edu/files/original/f9e1fbbc2cbaa8c063375a9e9c230174.wav
5903c4ab4923c40b67f3dae5780c70d9
http://threads-of-time.carlos.emory.edu/files/original/6bc571de2b2f700a8c9f6933041a266f.wav
5cf4ab79ea7dad49999e33c7584a1ba6
http://threads-of-time.carlos.emory.edu/files/original/9dea7cbd43c0fed8c37ee1cebbf82198.wav
9c9d9cf5ba10d5e0d363ee58e3d8f000
http://threads-of-time.carlos.emory.edu/files/original/3b06ccf6cfce0d0c51d758f168863c4b.wav
8553be9f1e9862402416f43abc0252bc
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia, Department of La Paz/Cochabamba, Province of Bolivar
Date
19th century
Materials
Camelid fiber
Credit Line
Anonymous loan
Accession Number
L2014.11.3
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Lliklla</em> (Woman’s Mantle)
Description
An account of the resource
<p>With the Spanish invasion in the 16th century and the establishment of their colonial empire, an array of fabrics from around the world began to be introduced into the Andes and elsewhere in the indigenous Americas. Chinese fabrics came to the Americas in exchange for the huge amounts of silver needed to manufacture Chinese coins. Spanish trading ships also sailed across the Pacific to Europe, carrying American products including the precious red dye, cochineal. They returned with cloth manufactured in Europe.</p>
<p>These foreign fabrics made an impression on Aymara weavers of Bolivia, who created new methods of plying thread so as to imitate their shimmering surfaces and subtle color changes. New plying techniques are present in this <span style="text-decoration:underline;"><i>lliklla</i></span> (plying twists two threads together to make straight and strong yarn). The plain or <span style="text-decoration:underline;"><i>pampa</i></span> sections contain <span style="text-decoration:underline;"><i>ch’imi</i></span>, a technique in which two colors of thread are plied together like a candy cane. In this piece, pink and brown create <i>ch’imi</i>. Another new plying technique, <span style="text-decoration:underline;"><i>lloque</i>,</span> is visible in the pink bands at the mantle’s edges. This technique alternates warp threads that have been plied in opposite directions, creating the visual effect of chevrons. A slight shimmer also results as light hits the surface. These techniques, common in the 19th century, have now become traditional elements of Aymara garments.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/3e5ce647515b7275a8248b3abd6193fc.jpg
8eba339f7deeebf01ecf26e88ae6eea2
http://threads-of-time.carlos.emory.edu/files/original/ba8f363e4bc1510641fa791bd1c2cae9.jpg
448eafaa46087947bed28a9b54b7416c
http://threads-of-time.carlos.emory.edu/files/original/2f242553ee8d59d6dd0c6bc162230b53.wav
00687bf08f8c74dab085331ccea68996
http://threads-of-time.carlos.emory.edu/files/original/73b81ca9863c7dedf4eff8f8e25ef2be.wav
18e70f72d0e1ccfe33e861ee52798634
http://threads-of-time.carlos.emory.edu/files/original/457786f40889926b3598f4eff9c9defd.wav
c3efabecfd0500b4d77be2439176c4f2
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
South America, Bolivia, Department of La Paz, Province of Pacajes
Date
20th century
Materials
Sheep’s wool
Credit Line
Anonymous promised gift
Accession Number
L2016.13.2
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Incuña</em> (Sacred Shamanic Cloth)
Description
An account of the resource
<p><span style="text-decoration:underline;"><i>Incuñas</i></span> or sacred cloths, like the example at left, may resemble a woman’s mantle, but are made and used differently. Indigenous people in Perú and Bolivia fill them with special items and lay them on the ground during important ceremonies, such as rituals to promote animal fertility. This is a very ancient practice. Graves from at least 300 AD include ritual bundles or cloths laid out with offerings of <span style="text-decoration:underline;">coca</span> leaves, miniature ceramics, and gourds on top.</p>
<p>Today the items on such a shamanic <span style="text-decoration:underline;"><i>mesa</i></span><i> </i>(Spanish for table, but meaning anything that presents sacred objects for ritual use) still feature coca leaves, which have always been a key feature of Andean ceremonies. Coca forms a link between the past and present, as the various coca bags seen in this gallery attest. Today coca is arrayed alongside cigarettes, herbs (such as chamomile), and molded sugar figurines. The various objects are symbolically shared with the spirits so as to encourage them to help the living.</p>
<p>Sacred cloths are special in way that is obvious to the highly textile-literate Andean peoples. One is the fact that it was woven as a single piece, whereas mantles and ponchos are always made from two parts.</p>
-
http://threads-of-time.carlos.emory.edu/files/original/9be4fa5d4e41ed4ad5ad5e2a0045804b.jpg
e799716ad5fbb4955ab4d24f2ca79ee4
http://threads-of-time.carlos.emory.edu/files/original/49df77878109da2107c07a5a38c39b7c.jpg
f9d814724a1336273974a2b0d2e12f27
http://threads-of-time.carlos.emory.edu/files/original/8e1687607a60ab22bbff32f5f6bbcf92.wav
10bc944fad1443c74ab98ab0fb64bb09
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Modern Bolivia
Threads of Time Item
This item type contains fields for the works in the Threads of Time exhibition.
Geographic Area
<p>South America, Bolivia, Departments of Potosí and Chuquisaca, Provinces of Chayanta and Oropeza, Jalq’a, Potolo<br /><br /></p>
Date
20th century
Materials
Sheep’s wool
Credit Line
Anonymous loan
Accession Number
L2014.11.7
Exhibition Checklist Number
This number will sort the collections.
314B
Photo Credit
Photo by Michael McKelvey, 2017
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Kapote</em> (Man’s Poncho)
Description
An account of the resource
<p>This 20th-century man’s <span style="text-decoration:underline;"><i>kapote</i></span>, or poncho, stands in stark contrast to the 19th-century boy’s version across the gallery. One hundred years has made a remarkable difference. They are both ponchos, however, and as such reflect the dramatic post-Hispanic changes to indigenous dress, especially that of men. The Spanish reintroduced horses into the Americas and indigenous men could not ride them in their tight-fitting long shirts or tunics. Hence the sides were split open and the poncho was born; what we think of as a “traditional” Latin American garment is, in fact, a hybrid form.</p>
<p>Color is one of the most changed elements of Bolivian and other modern native dress. With the innovation of chemically extracted dyes, called aniline, in the mid-19th century, the intensity of colors increased exponentially. European ladies had been craving a stronger purple color, which British chemist William Henry Perkin accidentally discovered in 1856, a chemically derived “mauveine.” His fame and fortune followed and aniline dyes of all colors began to infiltrate the market, a trend that continues to this day.</p>