1 10 14 https://threads-of-time.carlos.emory.edu/files/original/40d0c81fe4c4db8bb560a185c16b35bd.jpg 78f448464f7a3ae3aa4c13753a501505 https://threads-of-time.carlos.emory.edu/files/original/04969da3d8da0bd6dc9fae521cd1805d.jpg fd762c9ca28394e930274f50a5ea14d5 https://threads-of-time.carlos.emory.edu/files/original/ee510c584415376c2da3427a6da0b828.wav ed2f2c11d951e95cbc21d15aef7fe87a https://threads-of-time.carlos.emory.edu/files/original/05daae8fa94aa1b7778bd2b50e4e5704.wav c86ae0945105e855aee08e6d3fd8da96 https://threads-of-time.carlos.emory.edu/files/original/4667db7c5744787113f9a31d3c5b2c76.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, Department of Oruro, Province of Abaroa, Qaqachaka Date 21st century Materials Polyester Credit Line Museum purchase, courtesy of the Bright Collection of Guatemalan Textiles Accession Number 2016.21.3 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 Faja (Belt) with Robot and Animal Motifs Description An account of the resource This faja, Spanish for belt, represents the extreme intertwining of tradition and change found in contemporary Andean weaving. It is woven with neon-bright polyester thread, yet in a doublecloth technique common during the pre-Hispanic period. Doublecloth was first revived at the beginning of the 20th century, while the color gradations that appear in the background are a mid-20th century innovation. Called k’isa, this juxtaposition of gradually lighter and darker shades of the same color has become synonymous with Aymara ethnicity, as seen in a large green lliklla in the exhibition. While these features balance past and present, the imagery embraces the future. Look closely to find the figure recognizable as a robot. This image appears to be an imaginative version of “R2D2” from Star Wars. It demonstrates that weavers continue to draw inspiration from the changing world around them (just as the Guna of Panamá do in their blouse panels, seen in the adjacent gallery). https://threads-of-time.carlos.emory.edu/files/original/06518398ad8fac03948061b2385632e1.jpg ab344f5b3aaadde5428636d350e0d8e0 https://threads-of-time.carlos.emory.edu/files/original/08e099bb8dfaa1721f13c920b1123781.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. Artist South America, Bolivia, Department of Chuquisaca, Province of Yamparaez, Candelaria Culture Yampara style Date 20th century Materials Alpaca fiber, cotton, coins Credit Line Museum purchase, courtesy of the Bright Collection of Guatemalan Textiles Accession Number 2016.21.2 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 Ch’uspa (Bag) with Coins Description An account of the resource Before the European invasions in the 16th century, indigenous Americans did not use money. Even after Spanish colonization, coinage remained a somewhat foreign concept imposed by the new overlords. Metal had long functioned as a high-prestige medium but without a set monetary value; textiles played this role instead. However, precious metal discs were often sewn onto garments in ancient times, a tradition that continues today. This ch’uspa (coca bag) from the Candelaria community in Bolivia, created for important occasions, is adorned with Bolivian peso coins minted in the 1970s and 1980s. They are suspended from the bottom, acting as a fringe. These coins, repurposed and effectively rendered useless as a unit of currency, add an additional layer of status to this type of bag. They likely represented a high level of wealth; the man bearing this bag had the resources to use coins as symbols rather than a means of obtaining necessary items. The sounds made by the coins when the wearer moved may also have played a role in the regional dances performed at various festivals and exhibitions of traditional culture in major cities such as La Paz. https://threads-of-time.carlos.emory.edu/files/original/9be4fa5d4e41ed4ad5ad5e2a0045804b.jpg e799716ad5fbb4955ab4d24f2ca79ee4 https://threads-of-time.carlos.emory.edu/files/original/49df77878109da2107c07a5a38c39b7c.jpg f9d814724a1336273974a2b0d2e12f27 https://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 South America, Bolivia, Departments of Potosí and Chuquisaca, Provinces of Chayanta and Oropeza, Jalq’a, Potolo 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 Kapote (Man’s Poncho) Description An account of the resource 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. 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. https://threads-of-time.carlos.emory.edu/files/original/3e5ce647515b7275a8248b3abd6193fc.jpg 8eba339f7deeebf01ecf26e88ae6eea2 https://threads-of-time.carlos.emory.edu/files/original/ba8f363e4bc1510641fa791bd1c2cae9.jpg 448eafaa46087947bed28a9b54b7416c https://threads-of-time.carlos.emory.edu/files/original/2f242553ee8d59d6dd0c6bc162230b53.wav 00687bf08f8c74dab085331ccea68996 https://threads-of-time.carlos.emory.edu/files/original/73b81ca9863c7dedf4eff8f8e25ef2be.wav 18e70f72d0e1ccfe33e861ee52798634 https://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 Incuña (Sacred Shamanic Cloth) Description An account of the resource Incuñas 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 coca leaves, miniature ceramics, and gourds on top. Today 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. 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. https://threads-of-time.carlos.emory.edu/files/original/75ef2d6b9f3296719fbc5c488cdb9219.jpg 3588b9f2c5ee91e6ad9d4c444ff9c85e https://threads-of-time.carlos.emory.edu/files/original/7f65cab85a27096a9e3fd2717c2e9ff3.jpg 58c9a8ba448e9116ac9a8ceee33f22c6 https://threads-of-time.carlos.emory.edu/files/original/ed03e2d3d80fe07ce9c9600df022d6c0.jpg abac2ce7eae84c34c2ebd66b94459913 https://threads-of-time.carlos.emory.edu/files/original/f9e1fbbc2cbaa8c063375a9e9c230174.wav 5903c4ab4923c40b67f3dae5780c70d9 https://threads-of-time.carlos.emory.edu/files/original/6bc571de2b2f700a8c9f6933041a266f.wav 5cf4ab79ea7dad49999e33c7584a1ba6 https://threads-of-time.carlos.emory.edu/files/original/9dea7cbd43c0fed8c37ee1cebbf82198.wav 9c9d9cf5ba10d5e0d363ee58e3d8f000 https://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 Lliklla (Woman’s Mantle) Description An account of the resource 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. 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 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. https://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 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. After 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. https://threads-of-time.carlos.emory.edu/files/original/4a73571edcae6d2d6e68b3451ffd667a.jpg 13174ff7df8e04dbce2df5c0f88389b4 https://threads-of-time.carlos.emory.edu/files/original/6b74de72329c0d271476791cded98aac.jpg 21d678f3fcb5429c8e6bb6a72ae2eb64 https://threads-of-time.carlos.emory.edu/files/original/7fcc6c337efb35e7a46e48804cc1a38a.jpg 631888438823bafb3724748babff3ce5 https://threads-of-time.carlos.emory.edu/files/original/45f92b09c023cbe9918cb24aea52f4b2.jpg 02dd591b48640411707807025ed1a584 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 The scale pattern of an alpaca fiber can be seen through images taken at 1500x’s magnification with a scanning electron microscope. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource SEM Alpaca https://threads-of-time.carlos.emory.edu/files/original/f14d5349e02ac39e4201c6ae959c8e80.jpg 90a3c890f44fba35ec7aca6431e33e1a 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 The scale pattern of a llama fiber can be seen through images taken at 1500x’s magnification with a scanning electron microscope Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource SEM Llama https://threads-of-time.carlos.emory.edu/files/original/48f848971d138c0c3a239a9db96e150c.wav 5903c4ab4923c40b67f3dae5780c70d9 https://threads-of-time.carlos.emory.edu/files/original/81cb0caf0b94a057c8d22447c65c167b.wav 7e198f7ab5e3638542f6997462bff512 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 Potosí, Norte Potosí, Llallagua Date 20th century Materials Camelid fiber, sheep's wool Credit Line Gift of Nicholas Pisaris Accession Number 2009.43.2 Exhibition Checklist Number This number will sort the collections. 318 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. This lliklla as well as most of the modern Andean ponchos, mantles, belts and bags in the exhibition are woven from spun and dyed animal fibers. Animal fibers are recognizable by their distinct scale patterns, which are visible under magnification. These scales are often worn from processing and dyeing as well as subsequent use and washing. It can also be challenging to bring the scale patterns into sharp focus under a transmitted light microscope; however, scanning electron imaging reveals the surface details in high resolution. To help differentiate among the scale patterns of sheep, llama, vicuña, and alpaca, Jeannette Taylor, Technician at Emory University’s Robert P. Apkarian Integrated Electron Microscopy Core, produced images of reference fibers and samples from collection objects. For more conservation information, please see <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. 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 Lliklla (Woman’s Mantle) with Guitar and Olive Branch Motifs Description An account of the resource Among the various detailed patterns in this woman’s shoulder mantle are three sideways guitar motifs (in the patterned stripe above the shawl’s center seam). Introduced by the Spanish, guitars are now also associated with Latin American music. The lute had had a long history in Europe and then, in 15th-century Spain, the vihuela, or the “mother” of the modern guitar, was developed. In the 16th century the large body of the lute and the shape of the vihuela were merged into the guitar of today. Including them in this woman’s lliklla signals her appropriation of outside symbols from daily life in the 20th century. There are also zigzag olive branch designs to the left of the guitars. This design entered the repertoire of weaving patterns after Bolivia gained independence from Spain in 1825. The olive branch, together with the laurel branch, symbolized the Neo-Classical ideal of the republic and was prominently displayed in buildings, silver objects, and military uniforms. This method of appropriating new content is found throughout modern indigenous American textiles. This open attitude may seem surprising in “traditional” garments, yet artists of all cultures embrace the new. https://threads-of-time.carlos.emory.edu/files/original/b9520935f147160a3bc69057ccf086de.jpg 5966b5ca39937e121f6118f5b0c65b3c https://threads-of-time.carlos.emory.edu/files/original/5f10a22c40d9b7120bf11f933a0f5566.jpg b037718a8adee8181934f147b16fd55e https://threads-of-time.carlos.emory.edu/files/original/cddbc4ea7769cbbf6633d488be2442b4.wav b1993708a352bf6cc011325b0b042b78 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 Date Late 20th century Materials Camelid fiber Credit Line Anonymous loan Accession Number L2016.14.3 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 19th Century-Revival Iscayo (Woman’s Mantle) Description An account of the resource Indigo dye and the vivid colors of blue-to-green that it produces have been privileged through much of the Andean textile tradition. Many ancient Andean pieces attest to the long-term mastery of natural indigo dyeing (see examples of indigo in an <a href="http://34.193.12.70/items/show/54">openwork textile</a>, a <a href="http://34.193.12.70/items/show/44">Wari tunic fragment with faces</a>, and a <a href="http://34.193.12.70/items/show/27">Wari tunic fragment with a staffbearer</a>). No doubt the dedication to indigo is in part due to the magical transformation the thread undergoes. Fiber enters the dye-bath white and does not change to blue on contact, but rather transforms when the thread is lifted into the air. Allowed to dry, then dipped again, a stronger blue usually results. Therefore, dark navy and even blue-black are the most prestigious blues of all. The rich blue areas of this woman’s iscayo, or shoulder mantle in Aymara, demonstrate the continued love of blue throughout the 19th and 20th centuries. This mantle’s style is 19th century, yet it was woven in the late 20th century. The distinguishing feature of the earlier style is the symmetrical arrangement of stripes of varying colors and widths. In the 1970s, American and European art collectors became fascinated by the minimalist aspects of the 19th century designs, which weavers had ceased to produce. The style’s subsequent rise in market popularity caused weavers to revive the tradition. This combination of pink, white, blue, and black is typical of the La Paz region. Different color schemes are associated with different regions in what are now the modern countries of Bolivia and Perú, making ethnic identities visible to all. https://threads-of-time.carlos.emory.edu/files/original/26e82bcb61eb1992fda474639cf9a3de.jpg 51367938604b985322fb526c4f40876e https://threads-of-time.carlos.emory.edu/files/original/125162a4b78f565e6b1e4f90aaace939.wav e0cb5584d8e18d174ede9a6aab3214ff https://threads-of-time.carlos.emory.edu/files/original/6fa0047b011d1725f47d419d5e9dbca4.wav 7142de84aa6db0f577337228627ecdf9 https://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 Chumpi Kurti (Belt) with Birds Description An account of the resource 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 chumpi in Quechua and huaka in Aymara. 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 <a href="http://34.193.12.70/items/show/116">two 20th century Bolivian belts</a>, 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. 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. https://threads-of-time.carlos.emory.edu/files/original/72bbcb7d486b4bee40845bd5b1e3772f.jpg be23660d2366638092de7b4732663e2a https://threads-of-time.carlos.emory.edu/files/original/49e14ecda8e9ea6ff8dba3f163ed1e9f.jpg adb02b96eb3a17b3327c395302aaca51 https://threads-of-time.carlos.emory.edu/files/original/1d5a61ed06361e6db2040f6453847021.jpg 8b65c024aaccedd21208de61dc1cbb8d https://threads-of-time.carlos.emory.edu/files/original/202389efa4d52fa4f2d3fad7e3bdb810.jpg a1291ae2a1cde55e98ff868bb61366d2 https://threads-of-time.carlos.emory.edu/files/original/3aedda8c46f58499cb8dce50d039f32a.wav e0cb5584d8e18d174ede9a6aab3214ff https://threads-of-time.carlos.emory.edu/files/original/7a4c74cd16e54076f87fc955d68e208f.wav 7142de84aa6db0f577337228627ecdf9 https://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 Chumpi (Belt) with Horse and Llama Motifs Chumpi (Belt) with Horse and Bird Motifs Description An account of the resource 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 chumpi in Quechua and huaka in Aymara. These 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. 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.