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              <text>Ca. 1950</text>
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                <text>Treadle Loom</text>
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              <text>Mesoamerica, Mexico, Oaxaca</text>
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              <text>Sheep’s wool, wood</text>
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              <text>Gift of C. Clay Aldridge</text>
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              <text>Photo by Michael McKelvey, 2017</text>
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                <text>Loom with Partially Finished Textile</text>
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                <text>&lt;p&gt;Throughout the indigenous Americas and over the millennia weavers have employed the same basic backstrap loom, much like a thousand-year-old &lt;a href="/items/show/114"&gt;Andean example&lt;/a&gt;. This one is from Oaxaca in southern Mexico. Similar ones remain in use in &lt;a href="/items/show/111"&gt;Guatemala&lt;/a&gt; as well as in Perú and Bolivia.&lt;/p&gt;
&lt;p&gt;This mostly woven example from around 1940 has sheep’s-wool warps (vertical threads tied to the bars and brought up to make the diamond pattern) and wefts (horizontal threads holding the warps in place). The Spanish introduced sheep when they colonized the Americas. Before the European animals, Mesoamerican weavers had no fur-bearing animals to shear and spin the fiber into thread; they worked in cotton and plant fiber exclusively. Sheep's wool similarly transformed the textile arts of the American Southwest, for example making what are considered “traditional” Navajo rugs possible. Wool takes dyes better than cotton; here the brown was dyed and the white is the natural color of the wool. &lt;/p&gt;</text>
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              <text>South America, Central Andes, Central Coast</text>
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              <text>Chancay</text>
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              <text>Late Intermediate Period, ca. 1000–1470 AD</text>
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              <text>Ex coll. C. Clay and Virginia Aldridge</text>
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              <text>2002.1.58A</text>
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              <text>313</text>
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              <text>Photo by Bruce M. White, 2013</text>
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                <text>Loom with Unfinished Belt</text>
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                <text>&lt;p&gt;Only partially finished, this thousand-year-old belt was being made on a Chancay backstrap loom. It probably was still in process when its weaver died; it was a fairly common practice in various ancient Andean cultures to include unfinished textiles in burials, particularly those of women weavers. Presumably this means the weaver was believed to complete the belt in the afterlife or perhaps it was a gift that had to accompany its recipient under any circumstances. In traditional Andean thought death is a new phase of life taking place in the Beyond and “you &lt;i&gt;can &lt;/i&gt;take it with you.” Indeed, graves are full of clothing, possessions, and status symbols for use on the afterlife journey.&lt;/p&gt;
&lt;p&gt;This belt is made using the complementary-warp technique, which dominates the colonial and modern Andean textiles on view in the next gallery. Complementary-warp technique is less common in pre-Hispanic times, but clearly was mastered by the talented Chancay weavers. These diminutive cats appear in brown-on-white and white-on-brown; on the other side of the belt the patterns are exactly the same, but the colors are reversed. When brown warp threads are pulled to the front, white threads are pushed to the back in a reciprocal motion (expressing the key concept of &lt;span style="text-decoration:underline;"&gt;&lt;i&gt;ayni&lt;/i&gt;&lt;/span&gt;&lt;i&gt;)&lt;/i&gt;. The unwoven warps that stretch out from the loom bars alternate white and brown so that the weaver can choose which to foreground. This was to be a long belt, or perhaps a head wrap, according to the length of the unwoven warps. The delicacy of the weaving shows it would have taken many weeks, if not months, to complete.&lt;/p&gt;</text>
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              <text>20th century</text>
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                <text>&lt;p&gt;This modern Maya backstrap loom has most of its original parts, except for the belt (fastened to the lower bar that goes around the weaver’s waist) and a new rope added to the top bar and affixed onto a tree branch or a house post. Tension is created by the seated weaver leaning back against her belt. Warps (here the red, brown, and white threads that make vertical stripes) must be taut so that the wefts can be inserted. Here there are more warps, very close together, than wefts so only the warps can be seen.&lt;/p&gt;
&lt;p&gt;In the middle of the loom are a number of stick tools that assist in adding the wefts. The one with the red thread loops is called the heddle rod and the loops are known as heddles. Each loop hooks around a warp, every other warp to be exact. When the weaver pulls up on the heddle rod, the heddles pull up their warps and an opening, called a shed, is made for the weft to pass through and all the way across the loom.&lt;/p&gt;
&lt;p&gt;If the heddle rod pulled up the odd-numbered warps, then another means is necessary to pull up the even-numbered ones. This other shed is accomplished with the bar that is behind the heddle, toward the top of the loom. It has been carefully threaded to pick up the other warps. The weaver brings this bar near the heddle rod and lets the heddle loops drop loose so the new set of threads is pushed up slightly between them. Then the flat stick, in front of the heddle rod and toward the woven part and the bottom of the loom, can be threaded in to hold open that new shed. The weft goes back the other way. These two motions create the “over-under” of a basic textile, known as “plain weave.”&lt;/p&gt;</text>
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              <text>Late Post-Classic, ca. 1200–1521 AD</text>
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              <text>Gift of William C. and Carol W. Thibadeau</text>
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