The dulemola panels in this blouse feature two women dancing together; however, they are not shown wearing the traditional Guna wrap-around skirt, but rather flaring European-style ones. It becomes clear that there are many levels to the interaction of local Guna and imposed outsider influences in these supremely creative compositions.
]]>The modern and contemporary women of the north coast and offshore islands of Panamá, the Guna (previously Cuna or Kuna), incorporated the European scissors and machine-made cloth in the 19th century to make a remarkable new “traditional” blouse. It mixes European-style gathered sleeves and yoke with a unique type of “cut-work” in which layers of cloth are pierced to reveal many colors and create intricate designs. Such a blouse, and the cutwork panel itself, is known in the Guna language as a dulemola.
The dulemola panels in this blouse feature two women dancing together; however, they are not shown wearing the traditional Guna wrap-around skirt, but rather flaring European-style ones. It becomes clear that there are many levels to the interaction of local Guna and imposed outsider influences in these supremely creative compositions.
The letters for Jesus, whom the missionaries have told the Guna they will meet after death, are probably shown reversed to indicate that the scene with the Paliwiduru is taking place on the Other Side, in the Land of the Dead. In indigenous American cosmology, the afterlife is a reversed realm relative to the world of the living. Since the scene is looking from the point of view of “the Beyond,” the name of Jesus is written backwards. Although the missionaries and colonists imposed their system of writing and religion on the Guna, indigenous people incorporated it into their pre-existing worldview. European-style letters, and angels in Heaven are eclipsed by the overriding traditional concept of the Paliwiduru.
]]>Writing is incorporated into this contemporary cut-and-sewn dulemola made by the Guna people from the northern coast and Caribbean islands off Panamá. In the top center a version of the letters “IHS” can be seen, the monogram abbreviated from IHΣΟΥΣ, Greek for “Jesus.” However, it is important to note that the Christogram is shown backwards. The other imagery in this piece helps to explain why this might be so. Although they may look like Christian angels, the two winged, kneeling figures flanking the letters also have eagle heads and deer antlers. The Guna call these spiritual beings Paliwiduru and they believe that they call the soul of the recently deceased out of his or her body, instructing it on how to begin its afterlife journey. Thus, the artist of this piece has combined Christian elements with those of the ongoing indigenous religion.
The letters for Jesus, whom the missionaries have told the Guna they will meet after death, are probably shown reversed to indicate that the scene with the Paliwiduru is taking place on the Other Side, in the Land of the Dead. In indigenous American cosmology, the afterlife is a reversed realm relative to the world of the living. Since the scene is looking from the point of view of “the Beyond,” the name of Jesus is written backwards. Although the missionaries and colonists imposed their system of writing and religion on the Guna, indigenous people incorporated it into their pre-existing worldview. European-style letters, and angels in Heaven are eclipsed by the overriding traditional concept of the Paliwiduru.
Writing is incorporated into this contemporary cut-and-sewn dulemola made by the Guna people from the northern coast and Caribbean islands off Panamá. In the top center a version of the letters “IHS” can be seen, the monogram abbreviated from IHΣΟΥΣ, Greek for “Jesus.” However, it is important to note that the Christogram is shown backwards. The other imagery in this piece helps to explain why this might be so. Although they may look like Christian angels, the two winged, kneeling figures flanking the letters also have eagle heads and deer antlers. The Guna call these spiritual beings Paliwiduru and they believe that they call the soul of the recently deceased out of his or her body, instructing it on how to begin its afterlife journey. Thus, the artist of this piece has combined Christian elements with those of the ongoing indigenous religion.
The letters for Jesus, whom the missionaries have told the Guna they will meet after death, are probably shown reversed to indicate that the scene with the Paliwiduru is taking place on the Other Side, in the Land of the Dead. In indigenous American cosmology, the afterlife is a reversed realm relative to the world of the living. Since the scene is looking from the point of view of “the Beyond,” the name of Jesus is written backwards. Although the missionaries and colonists imposed their system of writing and religion on the Guna, indigenous people incorporated it into their pre-existing worldview. European-style letters, and angels in Heaven are eclipsed by the overriding traditional concept of the Paliwiduru.
Central America, Guna Yala (San Blas Islands/North Coast of Panamá)
Dulemolaguna (Blouse Panels) with Spiral Patterns
Dulemolaguna (the plural of one dulemola, a cutwork panel) are panels set into indigenous Guna women's blouses, one in the front and one in the back. These two panels share a color scheme and general patterning; however, they do not strictly match each other.
In handmade pieces such as these it would be challenging to make two exactly the same, although the talented Guna artists are capable of doing so if desired. Yet it is more typical for a pair to feature the kind of creative differences seen here: the top one with its upper sets of spirals making diamonds and the bottom one with a pin-wheeling set of four in its lower left corner. This makes a blouse more interesting and shows the artist’s design prowess.
One has been turned over to show the back face, highlighting the red and turquoise layers of cloth and clearly showing the sewing pattern of the red thread. Two-color, geometric dulemolaguna are known as “grandmothers,” revered as the earliest type but still widely made today.
Central America, Guna Yala (San Blas Islands/North Coast
of Panamá)
However, a newer innovation is the embroidery embellishing the heads, concentric lines of stitches echoing the circular black-and-white eyes. Embroidery is quick, relative to the arduous work of cutting and stitching the design, and it adds another surface layer. Thus, embroidery is not an intrusive element, but rather follows the already established tendencies creatively invented and explored by Guna women artists.
Furthermore, multi-headed animals are a staple of shamanic art. Snakes in particular figure prominently in visionary experience and those with two or more heads have been called Vision Serpents, often appearing in the ancient art of Central and Mesoamerica. Shamans go into trance and witness wise and terrifying animals such as snakes, that give them advice on how to cure their patients. Thus, this dulemola delves deeper into the spiritual worlds in which most Guna still wholeheartedly believe.
]]>The fantastical multi-headed snakes take their place among the many subjects of Guna dulemolaguna that relate to Nature, but not in direct imitation. The undulating and interlocking lines of orange and red create a sense of snake bodies without explicitly delineating individual ones. All available space teems with additional serpentine shapes and curls cut into the maroon top cloth to reveal the layers below in typical dulemola fashion.
However, a newer innovation is the embroidery embellishing the heads, concentric lines of stitches echoing the circular black-and-white eyes. Embroidery is quick, relative to the arduous work of cutting and stitching the design, and it adds another surface layer. Thus, embroidery is not an intrusive element, but rather follows the already established tendencies creatively invented and explored by Guna women artists.
Furthermore, multi-headed animals are a staple of shamanic art. Snakes in particular figure prominently in visionary experience and those with two or more heads have been called Vision Serpents, often appearing in the ancient art of Central and Mesoamerica. Shamans go into trance and witness wise and terrifying animals such as snakes, that give them advice on how to cure their patients. Thus, this dulemola delves deeper into the spiritual worlds in which most Guna still wholeheartedly believe.
In this blouse panel the ship on the blue waters is shown entering the Pacific end of the canal under a bridge, the Puente de las Américas, or Bridge of the Americas. The artist has added local seabirds and tropical foliage, but most interestingly fills in the available “sky” with the traditional spiral patterns of the “grandmother” dulemolaguna (earlier, or more fundamental geometric compositions here, here, here, and here). This creative composition encapsulates the wonderful layering of modern and traditional imagery that exists in Guna dulemolaguna.
]]>The dulemola at left celebrates the famed Panama Canal that joined Pacific and Atlantic Oceans, allowing ships and cargo to move much more efficiently around the planet. The canal actually rejoined the oceans that had long ago been one body of water, until the volcanoes in southern Central America connected to form a solid landmass, changing the global climate. The “Panama Effect” meant that cold water and winds circulated differently around the Atlantic, which became saltier, among many other phenomena. This isthmus also became a land bridge for animals from bears to llamas that migrated between North and South America.
In this blouse panel the ship on the blue waters is shown entering the Pacific end of the canal under a bridge, the Puente de las Américas, or Bridge of the Americas. The artist has added local seabirds and tropical foliage, but most interestingly fills in the available “sky” with the traditional spiral patterns of the “grandmother” dulemolaguna (earlier, or more fundamental geometric compositions here, here, here, and here). This creative composition encapsulates the wonderful layering of modern and traditional imagery that exists in Guna dulemolaguna.
The dulemola panel features two churches, a subject that is obviously not “traditional” since the Guna religion was and continues to be shamanic and nature-based. Yet, according to dulemola artists, equal-armed cross shapes stand for the top lashed cross-bars of local thatch structures called palapas. Indeed, the two on the church roofs take the symmetrical cross shape (a universal symbol representing the World Tree and the four directions) and occupy the same relative position as in a palapa. Below them, however, are Christian crosses that are characteristically longer in the vertical direction. Thus, these four crosses, perhaps further alluding to the four cosmic directions, subtly combine indigenous and imposed religious symbols.
The Guna are familiar with the various missionary groups who first entered Panamá as early as 1699, but did not take hold until the 19th and 20th centuries. The Panama Canal Zone, being American territory for nearly a century, increased the influx of American missionaries of all denominations. By the 1950’s the Guna were a focus of the Southern Baptist Home Mission and today Mormons are a common sight in the San Blas Islands. The Guna maintain a basic tolerance for various religions, though their own religious practices are still paramount. Indeed, what may be an abstract tree between the two churches could refer to the Guna traditional orientation toward the spiritually alive Earth as more central than the churches introduced by outsiders.