["itemContainer",{"xmlns:xsi":"http://www.w3.org/2001/XMLSchema-instance","xsi:schemaLocation":"http://omeka.org/schemas/omeka-xml/v5 http://omeka.org/schemas/omeka-xml/v5/omeka-xml-5-0.xsd","uri":"http://threads-of-time.carlos.emory.edu/items/browse?collection=2&%3Bsort_field=Dublin+Core%2CTitle&output=omeka-json","accessDate":"2024-03-29T14:50:57+00:00"},["miscellaneousContainer",["pagination",["pageNumber","1"],["perPage","10"],["totalResults","14"]]],["item",{"itemId":"78","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"126","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/0c5d7addf57d3350f5dd3a956aeeb844.jpg"],["authentication","d7f0e1c2fdbc1aa1d1a79c0aa759053a"]],["file",{"fileId":"366","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/b5f390b98763391a50163d51dfaaa144.jpg"],["authentication","a52b33cfb80bcbd00e89feb67effd618"]],["file",{"fileId":"549"},["src","http://threads-of-time.carlos.emory.edu/files/original/c7c9e2196d883b92efe616928d254edc.wav"],["authentication","4e6a366773c343d985666139bb987f00"]],["file",{"fileId":"550"},["src","http://threads-of-time.carlos.emory.edu/files/original/e31937c57763d17ec21c8233068b81b7.wav"],["authentication","c86ae0945105e855aee08e6d3fd8da96"]]],["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Modern Bolivia"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"590"},["text","South America, Bolivia"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"591"},["text","20th century"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"592"},["text","Polyester, mercerized cotton"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"593"},["text","Anonymous loan"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"594"},["text","L2016.14.1"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"595"},["text","314B"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1846"},["text","Photo by Michael McKelvey, 2017"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"588"},["text","Lliklla (Woman’s Mantle) with K’isa (Color Gradations)"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"589"},["text","The Aymara 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 k’isa, developed in the early 20th century, continuing this colorful tradition.
The term k’isa 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 k’isa.
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 k’isa color gradations. K'isa became a symbol of modern indigenous identity and economic prosperity; in 1979 the Aymara ethnic flag was designed based on this technique."]]]]]]]],["item",{"itemId":"101","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"164","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/9ae327269f5abe1c4ea9e8573fedaeef.jpg"],["authentication","a31cfa6e8b47bcefa42f6e82c1e7b8a2"]],["file",{"fileId":"165","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/965095ea63cba270897f25a8d325cc2e.jpg"],["authentication","b66a718e1ef52d92036d7bcf35d4882d"]],["file",{"fileId":"371","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/6c1e141feea5da7a337287a95b60dd3c.jpg"],["authentication","9da0caac0093ae8b20c388433f4018df"]],["file",{"fileId":"558"},["src","http://threads-of-time.carlos.emory.edu/files/original/d9bee7bd615192830e67b8daf0709e3e.wav"],["authentication","b5b4c83ffe52a9103263d986a8874d06"]]],["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Modern Bolivia"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"783"},["text","South America, Bolivia, Department of Chuquisaca,\r\nProvince of Yamparáez, Tarabuco"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"784"},["text","20th century"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"785"},["text","Sheep’s wool"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"786"},["text","Lent by Gail and Clark Goodwin"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"787"},["text","L2014.16.2"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"788"},["text","314B"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1860"},["text","Photo by Michael McKelvey, 2017"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"782"},["text","Ch’uspa (Man’s Coca Bag) with Horses"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1859"},["text","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 ch’uspa 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.
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.
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."]]]]]]]],["item",{"itemId":"103","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"172","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/f03d80441c3cc02cd60fe0d6f3961167.jpg"],["authentication","9a43fec3ed9adadd41b0eff0f45f94eb"]],["file",{"fileId":"339","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/82cfacbd6480c5c600927c5086d3f790.jpg"],["authentication","e7755742b68b96a8c7d1956e3f2dae5d"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1353"},["text","Small holes through the textile are the result of insect damage."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1354"},["text","Photo by Bruce White"]]]]]]]],["file",{"fileId":"340","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/4f38fbcefdb080ca778428212a214b39.jpg"],["authentication","093a03caa4757a60adc2a270615961d7"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1355"},["text","Nysa Loudon stitched numerous colored patches behind areas damaged by insects."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1356"},["text","Photo courtesy of Renée Stein"]]]]]]]],["file",{"fileId":"559"},["src","http://threads-of-time.carlos.emory.edu/files/original/5beb4b0223480fed22d9133dbdba1216.wav"],["authentication","5903c4ab4923c40b67f3dae5780c70d9"]]],["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Modern Bolivia"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"804"},["text","South America, Bolivia"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"805"},["text","20th century"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"806"},["text","Sheep’s wool"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"807"},["text","Gift of William C. and Carol W. Thibadeau"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"808"},["text","1989.12.3"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"809"},["text","314B"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1352"},["text","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.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1862"},["text","Photo by Bruce M. White, 2016"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"802"},["text","Lliklla (Woman’s Mantle) with Indigo and Red
"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1861"},["text","This 20th century lliklla, 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.
\nThis 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 lloque (alternating threads dyed the same color but spun and plied in opposite directions to create slight, shadowy diagonals) pioneered in the 16th century. A lliklla such as this epitomizes the idea of the palimpsest, or layering over time.
"]]]]]]]],["item",{"itemId":"106","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"177"},["src","http://threads-of-time.carlos.emory.edu/files/original/2f1a37a85bfe6f3a2a129a93acf85b9f.jpg"],["authentication","efff8fdad26fe2f25e7afddab90e3ba8"]]],["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Modern Bolivia"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"58"},["name","Artist"],["description"],["elementTextContainer",["elementText",{"elementTextId":"831"},["text","Ramona (Aymara)"]]]],["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"832"},["text","South America, Bolivia, Departments of Potosí and\r\nChuquisaca, Provinces of Chayanta and Oropeza, Jalq’a, Potolo\r\n"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"833"},["text","21st century"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"834"},["text","Sheep’s wool"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"835"},["text","Purchased from the artist with the assistance of the Emory Center for Digital Scholarship"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"836"},["text","2016.23.2"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"837"},["text","314B"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1866"},["text","Photo by Michael McKelvey, 2017"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"829"},["text","Contemporary Wall Hanging/Table Runner"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"830"},["text","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.
\nWeavers 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.
To see the weaver of this textile, Ramona Contreras, describe her weaving, please view the video taken by Shelley Burian.
Belts of many different kinds were used throughout the Andes well before the Inka 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 chumpi in Quechua and huaka in Aymara.
\nThese representative modern Andean examples were made in the 20th 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 ayni or the value placed on reciprocity; the patterns are the same on both sides, but the colors reverse.
\nThese 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.
"]]]]]]]],["item",{"itemId":"117","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"193","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/26e82bcb61eb1992fda474639cf9a3de.jpg"],["authentication","51367938604b985322fb526c4f40876e"]],["file",{"fileId":"582","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/125162a4b78f565e6b1e4f90aaace939.wav"],["authentication","e0cb5584d8e18d174ede9a6aab3214ff"]],["file",{"fileId":"583","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/6fa0047b011d1725f47d419d5e9dbca4.wav"],["authentication","7142de84aa6db0f577337228627ecdf9"]],["file",{"fileId":"584","order":"4"},["src","http://threads-of-time.carlos.emory.edu/files/original/0a8867b3d44fed10ff25c444c6df4b24.wav"],["authentication","d5092c5461ada7cb8db97a494b7495bd"]]],["collection",{"collectionId":"2"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"2"},["text","Modern Bolivia"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"935"},["text","South America, Bolivia, Department of Oruro, Province of Aboroa, Qaqachaka "]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"936"},["text","21st century"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"937"},["text","Alpaca fiber"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"938"},["text","Anonymous loan"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"939"},["text","L2016.14.2"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"940"},["text","314B"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1878"},["text","Photo by Michael McKelvey, 2017"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","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/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"933"},["text","Chumpi Kurti (Belt) with Birds"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"934"},["text","Belts of many different kinds were used throughout the Andes well before the Inka 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 chumpi in Quechua and huaka in Aymara.
\nWhen 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 two 20th century Bolivian 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 ayni or the value placed on reciprocity; the patterns are the same on both sides, but the colors reverse.
\nThe 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.
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\nAfter the Spanish actually banned the tunic in the mid-18th 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.
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\nThese 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 lliklla (plying twists two threads together to make straight and strong yarn). The plain or pampa sections contain ch’imi, a technique in which two colors of thread are plied together like a candy cane. In this piece, pink and brown create ch’imi. Another new plying technique, lloque, 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.
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\nToday the items on such a shamanic mesa (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.
\nSacred 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.
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This 20th-century man’s kapote, 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.
\nColor 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.
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