1 10 254 https://threads-of-time.carlos.emory.edu/files/original/ee42dc2963f86a16f5a3c2a3c0b1ba29.jpg a4feaa99994203d60dbe157c774c89ac https://threads-of-time.carlos.emory.edu/files/original/12f8830c85586066eadb19baabe51fc3.wav c28e44103b57d1138abd63b13d864f0e https://threads-of-time.carlos.emory.edu/files/original/685128bd57ddcb7affd7051cedf97894.wav d1a3ea60df1406788d4449088c638ded 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 Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes Culture Inka Date Late Horizon, ca. 1430-1534 Materials Cotton, camelid fiber Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.128 Exhibition Checklist Number This number will sort the collections. 312-22 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 “Inka Key” Tunic Fragment Description An account of the resource The Spanish destroyed as much Inka art and culture as possible during the invasion and colonization, melting down the precious metals and burning the royal mummies. Despite this, they admired Inka textiles, as Pizarro’s secretary Francisco de Xeres recorded in his memoir: “In this town of Caxamalca [Cajamarca] certain houses were found full of cloth, packed in bales which reached to the roof. They say it was a depot to supply the army. The Christians [Spanish invaders] took what they required, and yet the house remained so full that what was taken seemed hardly to be missed. The cloth was the best that had been seen in the Indies. The greater part of it is of very fine wool, and the rest of cotton of rich colours, beautifully variegated” (de Xerxes 1872, 60). This small fragment of an Inka tapestry tunicis the kind of cloth de Xeres was describing, though not for the army, but a pattern reserved for upper administrators in the Empire. The pattern has four squares, with two of them connected by a diagonal line. It refers to the name for the Inka Empire, “Tawantinsuyu” or the “Land of the Four Quarters United.” This high-status qumpi includes 162 wefts and 28 warps per inch, and its indigo blue-green is likewise very prestigious and rare. The original tunic would have measured approximately 33 inches square. https://threads-of-time.carlos.emory.edu/files/original/8e851737f3b6858cffd0bf51a386e155.jpg b248af307f2bb322305c9b341a73091f 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 Non-Exhibition Images Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Baile de los Toritos Creator An entity primarily responsible for making the resource Pitxiquin Source A related resource from which the described resource is derived https://commons.wikimedia.org/wiki/File:Disfressa_de_Cavaller_del_Baile_de_los_Toritos_de_Chichicastenango.JPG 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/9ae327269f5abe1c4ea9e8573fedaeef.jpg a31cfa6e8b47bcefa42f6e82c1e7b8a2 https://threads-of-time.carlos.emory.edu/files/original/965095ea63cba270897f25a8d325cc2e.jpg b66a718e1ef52d92036d7bcf35d4882d https://threads-of-time.carlos.emory.edu/files/original/6c1e141feea5da7a337287a95b60dd3c.jpg 9da0caac0093ae8b20c388433f4018df https://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 Ch’uspa (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 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. 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. 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/a1c97d87c97c35e72bda61bf6e332ff0.jpg 38cfde5e035d252bb02be13ea33de331 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 Non-Exhibition Images Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. 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 Corazón de Mujer Creator An entity primarily responsible for making the resource Photograph by Robert Boas https://threads-of-time.carlos.emory.edu/files/original/53dadb4cafab02469ae93ba28dbb094a.jpg 76b0c1e35c6d67aca4fbffd280d7cc12 https://threads-of-time.carlos.emory.edu/files/original/868e9894b3a6bfb83145b7313c59ac8f.jpg c5190e7c3bbc9927f25c2b1e9ab80533 https://threads-of-time.carlos.emory.edu/files/original/58390cf547af6a055a76052448616d83.jpg e2b3af3a01adf835b8baee360acca4e2 https://threads-of-time.carlos.emory.edu/files/original/9f43f1e704f365aaa4c0a3951022fbf1.wav 75b86247dc1de6267108e727e912baf1 https://threads-of-time.carlos.emory.edu/files/original/5129a80c98a7f4c3dceb079eacafda5a.wav 4d4c2978ad452058ce0541a6103445e9 https://threads-of-time.carlos.emory.edu/files/original/6f3af6446c483b628adfd66b26f21972.wav 728d593fe8ccb86139fd196594c368f8 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 Guatemala Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guatemala Culture Maya Date 20th century Credit Line Bright Collection of Guatemalan Textiles Accession Number 2009.42.540; 2009.42.539; 2009.42.543A/C Photo Credit Photos 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 Cordeles (Sets of Tie-Dyed Warps) Description An account of the resource Sets of tie-dyed warp threads (called cordeles) have been sold in the markets of Guatemala for decades. Without doing the tie-dyeing (jaspé) themselves, weavers can use them to make simple patterns such as in a small <a href="/items/show/137">tzut</a>. Cordeles in various stages of being tied off, dipped in dye, then untied help explain the process of weaving in jaspé. All the threads were initially white, then certain lengths of them were tightly tied off with thread to preserve that white from the blue dyebath (1). When untied (2, 3) and placed on the loom in the proper sequence, then the weft threads inserted, the pattern becomes <a href="/items/show/137">apparent</a>. More traditional examples were dipped repeatedly in indigo dye (1, and 3); each dipping attached more blue to the threads’ surfaces. In 1, which remains almost entirely tied, the indigo has colored the warps and the ties equally so it looks uniformly blue. However, if it were untied, as in 2, then the white and blue areas would appear. Some cordeles represent a somewhat more complex process of producing tie-dyed warps. In 3, the white threads were first all dyed red, and allowed to dry. The areas that still appear red were then tied with tightly wound threads to keep them that way. A black dye, not a traditional indigo, was the final dyebath. Untied, now red stripes in black are apparent. https://threads-of-time.carlos.emory.edu/files/original/c62a99500422ca62ffe210b522312860.jpg 9563e8d32021b32708acf7f7f8a24007 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 Panama Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guna Yala (San Blas Islands/North Coast of Panamá) Culture Guna Date Late 20th century Materials Cotton Credit Line Anonymous loan Accession Number L2016.23.1 Exhibition Checklist Number This number will sort the collections. 314A 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 Dulemola (Blouse Panel) with Abstract Coral Patterns Description An account of the resource This blouse panel represents the all-important coral reef that used to thrive in the San Blas Islands where the Guna live, but is now endangered. The piece renders coral as an abstract pattern of branching, pointed elements. It aptly communicates the ideal profusion of these sea animals, tiny invertebrates that secrete limestone around their bodies. Ideally, among the coral's branches algae thrive to feed lobsters, turtles, and the other sea life central to Guna existence and economy. https://threads-of-time.carlos.emory.edu/files/original/5f52966dd80fc5562c1b23a72c60770e.jpg 42d9ce1afd91179e1947ccf67d29fc54 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 Panama Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guna Yala (San Blas Islands/North Coast of Panamá) Culture Guna Date 20th century Materials Cotton Credit Line Lent by Sherry Thorup Accession Number L2016.16.5 Exhibition Checklist Number This number will sort the collections. 314A 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 Dulemola (Blouse Panel) with Caribbean Spiny Lobster Description An account of the resource The Guna free dive down as far as eighty feet to catch the Caribbean spiny lobster (Panulirus argus), or rock lobster, shown in the blouse panel. Spiny lobsters resemble "true" lobsters and are edible, except they have very long antennae and only females have small claws on their back legs. Bright orange in color, with many spiky dots, this animal is well captured by the artist's use of the orange top cloth and the many elaborately cut-through color segments on its body and tail. The serrated edges on the triangles in the main body are particularly apt versions of the animal's bumpy surface. This type of edge is the most challenging to make, and indicates the hand of a skilled textile artist.