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Textile Resources

TEXTILE RESOURCES

ON-LINE RESOURCES

This web site sells miniture huips for small children and dolls. There are lots of huipils here to look at and they are reliviely inexpensive to purchase.

This site has some information.

Margot Blum Schevill is a museum anthropologist, textile scholar, author of books on Maya and Andean textiles and a curator at the San Francisco Airport Museums.

BOOKS

Best place to get Mayan textile books on-line is at:

Amazon.com has a couple of titles:

BOOKS TO LOOK FOR IN THE LIBRARAY

Anderson, Marilyn. Guatemalan Textiles Today. Watson-Guptill Publications, New York. 1978, 200

Anderson, Marilyn and Jonathan Garlock. Granddaughters of Corn: portraits of Guatemala Women. Curbstone Press. Willimantic, CT. 1988, 124 pp

Annis, Sheldon. God and Production in a Guatemalan Town. University of Texas Press, Austin, TX. 1987, 197 pp

Atwater, Mary M. Guatemala Visited February - March 1946, Reprinted April 1965 as Shuttle Craft Guild Monograph Fifteen. Distributed by Craft and Hobby Book Service Big Sur, CA 1965

Bertrand, Regis and Danielle Magne. The Textiles of Guatemala. Studio Editions, London. 1991.

Bjerregaard, Lena, Techniques of Guatemalan Weaving. Van Nostrand Reinhold. New York. 1977.

Blum Schevill, Bargot. Maya Textiles of Guatemala: The Gustavus A. Eisen Collection, 1902. University of Texas. Austin. 1993.

de Arathoon, Barbara Knoke, translated by Jennifer H. de Keller: Un esbozo hisotico sobre tocados y chachales mayas de Guatemala: A Historical Outline of the Maya Headresses and Chachales of Guatemala, Museo Ixchel del Traje Indigena, Guatemala, Guatemala. 2000, 42 pp.

de Barrios, Linda Asturias and Diana Fernandez Garcia, translated by Jennifer H. de Keller; Mayan Clothing and Weaving Through the Ages, Museo Ixchel del Traje Indigena, Guatemala, Guatemala. 1999, 172 pp.

de Koose, Barbara and Liliana Batres. Guatemalan Native Costumes. pamphlet, Series Conozcamos numbero 7, Guatemala Guatemala. 1990. 12 pp

de Rodriguez, Jody Zeik and Zeik, Nona M. Weaving on a Backstrap Loom. Hawthorn Books, New York. 1978, 189

Deuss, Krystyna. Indian Costumes from Guatemala. Second Edition Chas. Goater & Son. Nottingham. 1981, 72 pp

Dieterich, Mary G., Jon T. Erickson and Erin Younger; Guatemalan Costumes: The Heard Museum Collection. Heard Museum. 1979, 95 pp.

Ehlers, Tracy Bachrach. Silent Looms: Women and Production in a Guatemalan Town. Westview Press, Boulder, Colorado. 1990 177 pp.

Garrett, Wilbur E (Editor) and Kenneth Garret (photos). La Ruta Maya, in National Geographic Vol. 175, No. 4 October 1989.

Goodman, Frances Schaill Goodman, The Embroidery of Mexico and Guatemala. 1976.Charles Scribner's Sons, NY, NY, 1976. 81 pp

Gordon, Beverly with Mary Ann Fitzgerald. Identity in Cloth: Continuity and Survival in Guatemalan Textiles. Helen Louise Allen Textile Collection. The Regents of the University of Wisconsin System. Madison, WI. 1993

Hendrickson, Carol. Weaving Identities: Construction of Dress and Self in a Highland Guatemala Town. University of Texas Press, Austin, TX 1995. 245 pp

Jenness, Aylette and Lisa W. Kroeber. A life of Their Own: An Indian Family in Latin America, Thomas Y. Crowell Company, NY, NY, 1975. 134 pp.

Klein, Kathryn (ed.), The Unbroken Thread: Conserving the Textile Traditions of Oaxaca. The Getty Conservation Institute. Los Angeles. 1997

Lemos, Pedro J. (editor), Guatemala Art Crafts. The Davis Press Inc., Worcester, MA, 1941. 40 pp

Miller, Mary Richardson. The Women of Candelaria, Pomegranate Artbooks, San Francisco. 1996 128 pp

Morales Hidalgo, Italo. U Cayibal Atziak: Images in Guatemalan Weavings. Four Ahau Press, Guatemala. Second Edition, 1990.

Museo Ixchel del Traje Indigena, Mayan Clothing of Guatemala (13 minute video), Guatemala, Guatemala. 1994.

Nash, June (editor). Crafts in the World Market, University of New York Press, Albany, NY. 1993. 264 pp

Nash, Manning. Machine Age Maya: The Industrialization of a Guatemalan Community. University of Chicago Press, Chicago, IL, 1965 2nd edition. 155 pp

Pettersen, Carmen L. Maya. of/de Guatemala: Life and Dress/Vida y Traje. Second Edition. Ixchel Museum, Guatemala. 1976

Rowe, Ann Pollard. A Century of Change in Guatemalan Textiles. The Center for Inter-American Relations. 1981.

Sayer, Chloe Sayer. Mexican Patterns: A Design Source Book. Portland House, New York. 1990.

Schevill, Margo Blum. Maya Textiles of Guatemala: The Gustavus A. Eisen Collection, 1902, the Hearst Museum of Anthropology, The University of California at Berkeley. University of Texas Press, Austin, Texas. 1993, 295 pp

Schevill, Margo Blum and Janet Catherine Berlo and Edward B. Dwyer. Textile Traditions of Mesoamerica and the Andes: An Anthology. Garland Publishing., INC. NY, NY. 1991. 503 pp

Skoglun, Margaret. Maya Textiles from the Raymon E. Senuk Collection and Exhibition at the Angel Mounds State Historic Site. University of Southern Indiana. 1996. approx 25 pp

Sperlich, Norber and Elizabeth Katz Sperlich. Guatemalan Backstrap Weaving. University of Oklahoma Press. 1980. 176 pp

Taber, Barbara and Marilyn Anderson., Backstrap Weaving: Step-by-step techniques on one of the oldest and most versatile looms. Watson-Gupill Publications, New York. 1975. 160 pp.

Tokyo Kasei University. Resplandor de colores: Trajes indigenas Mayas de Guatemala. Kokyo Kasei University Japan, 1998. 168 pp

Vecchiato, Gianni. Guatemala Rainbow. Pomegranate Artbooks, San Francisco, CA.

Ventura, Carol Ann. Mayan Hair Sahes Backstrap Woven in Jacaltenango, Guatemala. Yax Te' Press., Ranchos Palos Verdes, CA. 1996.

Weitlaner-Johnson, Irmgard. Mexican Indian Folk Designs: 252 Motifs from Textiles. Dover Publications. New York, 1993.

Beach Information

Nightlife - Romance

Golf Courses

SNA JOLOBIL

Sna Jolobil means "The Weaver's House" in Tzotzil, a Mayan language; it is an organization made up of 800 weavers from 20 Tzotzil and Tzeltal speaking Indian communities in the Chiapas highlands. It is incorporated as a profit sharing "Sociedad Cival".

The main objective of Sna Jobobil is to preserve and revitalize Mayan art by encouraging its members to study and recreate ancient textiles, natuaral dying methods for wool and cotton, and ancestral weaving techniques.

Each piece is an original creation with it's own value, impregnated with the sensibility, wisdom and respect with which each artist composes the designs and symbols inherited from their elders.

Sna Jobobil is also a study center for the backstrap loom technique known as brocade, in which the designs are woven into the cloth itself.

Many of these brcaded designs survive from pre-colombian times; they portray the saints, gods, and animals who protect the growth of corn and fertility of the earth and symbolize the Mayan vision of the cosmos.

Women who devote their lives to brocade and achieve mastery of its complicated techniques and symbolism are greatly admired in their communities.

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MAYA FASHIONS

MAYAN RUINS

FEATURES

The ethnic communities of the Maya have various systems of social and administrative power. There are stewards [Mayordomos] who are the decision making leaders of groups.
The Chole have a traditional form of government under the care of elders, while the Lacandons recognize the oldest member of the caribal [traditional cluster of huts] as their sole authority.
Among the Zolques for example there are albaceas, who take care of images, and fiscales, who are in charge of rites, chants and prayers.
Another characteristic is the religious syncretism of ancient beliefs and Catholicism. The Tzeltals venerate "talking crosses", sculptures associated with pre-Hispanic idols, which according to tradition talk to the faithful.
Of all the fiestas organized by the different groups of the state, the Chamula Carnival, also called Kin Tajimultic, is the most famous. This is the most important fiesta of the Totzils and includes cavalcades, ritual dances, a procession of flags and the spectacular fire running. These ceremonial activities serve to reaffirm the group's identity and to revive an ancestral religion based largely on agriculture.